Crisis of transcendence : a theology of digital art and by J. Sage Elwell

By J. Sage Elwell

From the net to the iPhone, electronic expertise is not any mere cultural artifact. It impacts how we event and comprehend our international and ourselves on the inner most levels-it is a basic situation of dwelling. The digitization of recent lifestyles constitutes an important box of non secular crisis since it affects our person and cultural sensibilities so profoundly. regardless of this, it has but to be thematized because the topic of spiritual or theological mirrored image. The problem of Transcendence treatments this through asking a unmarried major query: How is electronic expertise impacting the ethical and non secular intensity of tradition?

How can whatever as ineffable and nebulous because the intensity of tradition be identified and articulated, not to mention critiqued? writer J. Sage Elwell means that a solution lies within the arts. the humanities have traditionally acted as a barometer of the intensity of tradition, reflecting the religious impulses and dispositions on the middle of society. He argues that if the humanities topic in any respect, they are going to light up greater than themselves. via an experimental interpretation of electronic paintings, Elwell deals a serious mirrored image on how electronic expertise is altering us and the area we are living in at a degree of non secular value. making use of a theological aesthetic of electronic paintings, this booklet indicates how the arrival of electronic know-how as a progressive cultural medium is remodeling the methods we expect approximately God, the soul, and morality

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The question thus remains, do MEART’s drawings represent creative activity or are they simply the product of a closed circuit? Any formal similarities between the 64-pixel images and MEART’s drawings are just as likely the result of pattern correspondence between received stimuli on the MEA system and the pneumatic motion triggers on MEART’s robotic arms. As evidence that SymbioticA had similar inclinations, in 2004 MEART embarked on a new project, the Black Square. In collaboration with the Ultrafuturo Group, SymbioticA installed MEART in the digital art space at the First Russian Biennale for Contemporary Arts and gave it the task of drawing a simple black square.

Although each aspect of the fetish is evident in every area of inquiry, each area seems to foreground one over the other two. Thus, as noted, from anthropology, we see the image of the fetish as an embodied source of independent power. From economics, we see the image of the fetish as a mechanism of control. And from psychology, we see the fetish as a means of effecting deep, personal transformations. Pulling these elements together, we can summarize the logic of the fetish in terms of an inclination to acquire power in order to control and ultimately affect radical transformation.

Inasmuch as Alba was the expression of the green fluorescent protein and glowed in the dark, she existed an instantiation of the coded form and a testament to Kac’s ability to harness the power of code—both genetic and digital—to exact lasting control. However, it is precisely as the realized embodiment of Kac’s control that Alba as code demanded that Kac relinquish control. ”23 A dialogical exchange obtains between Kac as creator and controller and his autonomous creation which embodies the demands of responsibility that fall to the creator of an independent living being.

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