FACTA UNIVERSITATIS Series: Visual Arts and Music Vol. 6, N o 2, 2020, pp. 127 - 135 , 2021

The development of various technologies in the second half of the twentieth century brought about the emergence of new art genres. While these new forms of art were striving for recognition and gaining popularity, the older legacy forms were also undergoing some transformations. Undoubtedly, technological innovations alter the relationships between the forms of creative expression and the audience for which art is intended. Art has not been perceived in the same way after the digital media came on stage. While arguing if computer graphics is actually a form of art, we tend to overlook the main issue: does the development of new technologies changes the entire nature of art. Traditional aesthetics is faced with the huge problem to collect, analyze and summarize the wide range of newly emerging genres of art. Most of them are not susceptible of generalization and methodization because of the unlimited freedom and dynamism in their development.

“Help me,” reads a cool, white neon sign on the fourth floor of the New Museum, adjacent to Pipilotti Rist’s installation, 4th Floor to Mildness. It is a portent, an augury. It is visual representation, almost an echo, of a sound bite from Rist’s Selbstlos im Lavabad (Selfless In The Bath of Lava) (Bastard Version), (1994), which is in the museum’s stairwell gallery. Whether you go top down (recommended) or bottom up, this exhibition is vexing and often discomforting, for both aesthetic and physical reasons. It has the veneer of happiness, joyousness, and freedom, with its “lite” musical soundtracks, natural world imagery, and soft psychedelic color palettes. It has the accoutrements of comfort with beds, pillows, and floor cushions for museum goers to use and settle in for the show. Yet,

Thomas Hirschhorn: The Purple Line, 2021

Published in the catalogue, edited by MAXXI, Rome

acuads.com.au

Tom R. Chambers was invited by the Fine Arts Department, New Media, Beijing Film Academy (BFA) (Beijing, China) (April 8, 2005) to give a retrospective lecture, Dyer Street Portraiture to Pixelscapes, to students and faculty. This twenty-five year retrospective took a look at Chambers' evolution from conventional documentary photography to his current work with digital and new media art.

The Art Bulletin, 2018

Journal Philosophy of Photography, Vol.3, Issue 2, Intellect Publishing, 2012

The article offers information on the word pixel, which is a contraction of the terms pic and either cell or element. It provides a historical background of the term, which used to refer to things not related to still photography practices or outputs. It states that the definition and application of the term varies, however it is generally considered as the smallest element of a noncontinuous and discrete dataset that is captured by digital sampling and arranged through an address on a grid location. It discusses the pixel's presence in digital images and how noise makes it behave inappropriately resulting to lower image quality.

Little Squares: The Pixel as Material and Metaphor, 2020

What does finding Kazimir Malevich’s “Black Square” in the form of a pixel (“MDM-18”/”My Dear Malevich”) - via a digitized portrait of Malevich - mean for the 21st Century digital art scene and as it relates to 20th Century Modernist Art? Does this singular pixel level arrangement echo back directly to Malevich’s own totally abstract composition? The digital process becomes a metaphor for Malevich's own journey deep with himself - his discovery of the non-objective soul of art contained within the objective world as to constitute a form of visual poetry with his “Black Square” and other Suprematist forms.