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    Please use this identifier to cite or link to this item: http://ir.lib.ksu.edu.tw/handle/987654321/4134


    Title: The Work of Art in the Age of Digitized Culture
    Authors: ChiuChih-Yung (邱誌勇)
    Date: 2006
    Issue Date: 2009-09-02 01:25:21 (UTC+8)
    Abstract: In recent years, certain basic differences have been discovered between the ways of managing knowledge and visualization in image culture, and in cultures deeply affected by the use of digital technology. A central theme of this phenomenological investigation of digitized art in cyberspace has been the relationship between digitized art, technology, and human beings. I have also been exploring the idea that digital technologies are contributing to the meaning of art in the human Lebenswelt. I have made the claim that the digital technologies are leading toward a fundamental cultural and social transformation. The term Zeitgeist (the spirit of the age) perhaps provides another way of thinking about the spirit of this digital era. This contemporary digital culture is not merely extending previous technologies and lifestyles, but also is involved in redeveloping some of the most basic notions of what it means to be human and how humans organize themselves with particular reference to the technologies they use and the communities they live in. This dissertation has claimed that the complexity of human thought can be found in objects, and it is precisely the strength and depth of human thinking that frames the interconnections humans create between images in and outside of cyberspace. I have also suggested that the distinctions between authentic and reproduced images are what drive the fascination humans have with the images they create and view. Meaning and communication are forced to interact with each other and embody one another in image-worlds. The relationship between authentic works of art and digitized images cannot be predicted by their individual characteristics. There is always a process of embodiment at work that frames how meanings circulate through the use and abuse of subject/object relations. Spectators’ perceptions go beyond the boundaries of either image or subject and thereby enhance the thinking process about them. As I have discussed, the power of these embodied relations of intelligence, exchange, and communication, are evidenced in both hybridized relationships between human beings and technologies as described in this paper, and the different bodily existences of artworks as described in this paper. A good example of this process of embodiment at work is the manner in which da Vinci’s Mona Lisa becomes popular to the point of being worshipped. This fluidity of reinterpretation is part of the movement of art into the realm of communication systems and new networks of distribution. In this chapter, I attempt to conclude these issues, which I have discussed in great detail, within the context of a phenomenological investigation.
    Relation: The 4th annual meeting of the cultural studies association U.S.A., 19-22 April, 2006, Washington. D. C.
    Appears in Collections:[Department of Media Arts & Graduate School of Media Arts] Proceedings

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