The work of art in the time of technogenesis
- Publisher:
- Intellect
- Publication Type:
- Journal Article
- Citation:
- Ubiquity: The Journal of Pervasive Media, 2018, 5 pp. 175 - 189 (15)
- Issue Date:
- 2018-01-01
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| Filename | Description | Size | |||
|---|---|---|---|---|---|
| UBIQ 5 Titmarsh.pdf | Published Version | 813.48 kB |
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In our current environment the digital screen has become part of the daily rhythm of work and play. Yet as those digital screens become more refined and flatter they also approach the form and presence of a painted surface. A painting is also a screen, an image bounded by an edge, portable and primarily visual. Both kinds of screens have native temporal designs that are in productive tension with each other. By fracking into their differential relationship images are shown to metabolize time, arriving out of time for the sake of an unsustainable time, concealing an end of time, hidden beneath a fantastic time beyond time. This article will develop an alternative ontology of the image through interlocked notions of time, temporality, colour and presence based on contemporary painting, the plastic arts and an uncertain relation to the visual, brought on by information communication technologies. Using the ideas of Martin Heidegger, Richard Dienst and Bernard Stiegler it will be shown that by deconstructing everyday notions of time there is a fractal proliferation of temporal modes that releases an explosive plasticity of visual presence with a hue and density held somewhere between the agency of light and the plastic materiality of the screen.
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