Exploring the continued importance of technique in the co-production of art with A.I.
- Authors: Venter, Simon Denis
- Date: 2024-04
- Subjects: Art and technology , Mass media and culture , Artificial Intelligence
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/63573 , vital:73504
- Description: n Plato’s Republic, artists are criticised for their perceived lack of rationality, since “art encourages and appeals to emotion,” insofar as “its ruling principle is the passions, which in a happy and well-ordered life must be controlled by reason;” indeed, on this basis, “the aesthetic experience” is even said to be “a psychological anarchy, [and] an orgy of misrule” (Collingwood, 1925: 156). However, this reification of reason in Plato’s hypothesized world,1 informed as it was by static hierarchy, has remained dissonant with the path of history toward entropy, as evinced by the chaotic flux of postmodernity. Certainly, this is exemplified in our own postmodern world, characterized as it is by ever greater degrees of disintegration into diversity, as the economic, social, and geo-political orders established in the mid-twentieth century are challenged and transformed into new paradigms through the increasing multiplicity of demands being made on them (Fowlie & Sills, 2011: 120-121). Accordingly, far from being a source of delusion and dissimilation, it could equally be argued that, collectively and individually, artists’ works reflect this kaleidoscopic trace of time more truthfully than the lens of reason, precisely because life – like art – is also largely psychological anarchy and an orgy of misrule. And within this dynamic environment, the reflections of artists, in turn, assume their value, as traces of what, for want of a better term, will henceforth be referred to as living dialogical time. That is, from this perspective, artists are not the political problem Plato suggested them to be, but rather as a whole comprise a reflection of the living dialogical time that, today, recognises itself collectively as humanity. However, while art has always involved material marks, digitality has recently changed this requirement, in ways which have raised a series of important and difficult questions for the world of art. That is, digitality has changed the wall of the cave into the digits of ones and zeros, which are eradicated at the click of an icon, only to be reconstructed at the click of an icon. Thus, the interface between art and digitality involves the former being presented with increasing opportunities for dynamism, but only at the expense of its materiality – insofar as such dynamism requires art to transition to cyber-virtual platforms. But in this regard, it must be remembered that, by definition, an icon is something which connects us to what cannot ever be represented, because it is beyond our everyday living reality, in an atemporal plane. , Thesis (MA) -- Faculty of Humanities, School of Language, Media and Communication, 2024
- Full Text:
- Date Issued: 2024-04
- Authors: Venter, Simon Denis
- Date: 2024-04
- Subjects: Art and technology , Mass media and culture , Artificial Intelligence
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/63573 , vital:73504
- Description: n Plato’s Republic, artists are criticised for their perceived lack of rationality, since “art encourages and appeals to emotion,” insofar as “its ruling principle is the passions, which in a happy and well-ordered life must be controlled by reason;” indeed, on this basis, “the aesthetic experience” is even said to be “a psychological anarchy, [and] an orgy of misrule” (Collingwood, 1925: 156). However, this reification of reason in Plato’s hypothesized world,1 informed as it was by static hierarchy, has remained dissonant with the path of history toward entropy, as evinced by the chaotic flux of postmodernity. Certainly, this is exemplified in our own postmodern world, characterized as it is by ever greater degrees of disintegration into diversity, as the economic, social, and geo-political orders established in the mid-twentieth century are challenged and transformed into new paradigms through the increasing multiplicity of demands being made on them (Fowlie & Sills, 2011: 120-121). Accordingly, far from being a source of delusion and dissimilation, it could equally be argued that, collectively and individually, artists’ works reflect this kaleidoscopic trace of time more truthfully than the lens of reason, precisely because life – like art – is also largely psychological anarchy and an orgy of misrule. And within this dynamic environment, the reflections of artists, in turn, assume their value, as traces of what, for want of a better term, will henceforth be referred to as living dialogical time. That is, from this perspective, artists are not the political problem Plato suggested them to be, but rather as a whole comprise a reflection of the living dialogical time that, today, recognises itself collectively as humanity. However, while art has always involved material marks, digitality has recently changed this requirement, in ways which have raised a series of important and difficult questions for the world of art. That is, digitality has changed the wall of the cave into the digits of ones and zeros, which are eradicated at the click of an icon, only to be reconstructed at the click of an icon. Thus, the interface between art and digitality involves the former being presented with increasing opportunities for dynamism, but only at the expense of its materiality – insofar as such dynamism requires art to transition to cyber-virtual platforms. But in this regard, it must be remembered that, by definition, an icon is something which connects us to what cannot ever be represented, because it is beyond our everyday living reality, in an atemporal plane. , Thesis (MA) -- Faculty of Humanities, School of Language, Media and Communication, 2024
- Full Text:
- Date Issued: 2024-04
A critical cultural review of the media coverage in the infighting of Nelson Mandela's burial in 2013
- Authors: Tandwa, Nontlahla
- Date: 2014
- Subjects: Mandela, Nelson, 1918-2013 , Mass media and culture
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/5733 , vital:20987
- Description: The aim of the study is to analyze the representation of isiXhosa traditional culture through the coverage on media coverage as the topic suggests following a legal battle on the removal of the remains of Mandela‘s children in the year 2013. The online news articles selected in this study covered issues since Mandela was in and out of hospital. The articles covered are those of local newspaper, The Herald-online- as it is based in the Eastern Cape and has covered more on the traditional beliefs, understanding and following such rituals. The aim of the study is to explore and describe the perceptions and experiences of people around the family feud and the legal battle on the removal of those remains. It will also emphasize on the representation of the media on this problem and how Xhosa tradition can be affected and also compare other newspaper articles on their coverage.
- Full Text:
- Date Issued: 2014
- Authors: Tandwa, Nontlahla
- Date: 2014
- Subjects: Mandela, Nelson, 1918-2013 , Mass media and culture
- Language: English
- Type: Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10948/5733 , vital:20987
- Description: The aim of the study is to analyze the representation of isiXhosa traditional culture through the coverage on media coverage as the topic suggests following a legal battle on the removal of the remains of Mandela‘s children in the year 2013. The online news articles selected in this study covered issues since Mandela was in and out of hospital. The articles covered are those of local newspaper, The Herald-online- as it is based in the Eastern Cape and has covered more on the traditional beliefs, understanding and following such rituals. The aim of the study is to explore and describe the perceptions and experiences of people around the family feud and the legal battle on the removal of those remains. It will also emphasize on the representation of the media on this problem and how Xhosa tradition can be affected and also compare other newspaper articles on their coverage.
- Full Text:
- Date Issued: 2014
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