The
South Face of a Mountain
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http://www.technologyreview.com/articles/viewpoint0798.asp |
Powerful and inspired
computer art requires a melding of the aesthetic and engineering sensibilities
in the same person
In Japan, a
miyadaiku (a carpenter trained in the ancient art of Japanese temple
carpentry) attains special status from the Emperor if the temple
he builds stands for more than a thousand years. "Such temples,"
said one of the last miyadaiku, the late Tsunekazu Nishioka, "stand
not because of the magnificence of their design, but because the
miyadaiku goes to the mountain, and selects trees from the south
face of the mountain to be used for the south face of the temple,
trees from the west face of the mountain for the west face of the
temple, and so on for the other two sides." Because the building
materials are carefully selected in order to respect the laws of
nature, the temple can coexist in harmony with nature. Both the
extrinsic and intrinsic qualities of the temple radiate its overall
strength and beauty.
Whether we accept the specifics of the miyadaiku's explanation or
not, the metaphor of harmony between the materials and the work
of art is a powerful one. Indeed, although this story might seem
quaint and old-fashioned, we can use it to explain the situation
in the most high-tech of contemporary fields: computer art.
With a very few exceptions,
all of today's computer art represents a collaboration between an
artist and an engineer. The artist has the conception, but it is
the engineer who understands the materials—the hardware and
software—needed to realize this conception. This is very far
from the harmony envisioned by the miyadaiku between conception
and realization, materials and design. In fact, in today's computer
art, the artist assumes the role of the creative genius while the
engineer settles for the subordinate role of manual laborer. Although
such collaborations can produce respectable artwork, they rarely
lead to works of real power and inspiration. What is more, the situation
is getting worse because relentless progress in information technology
has widened the gap between artist and engineer: The artist has
little understanding of the computer as a medium, and the engineer
(who has no artistic training) is not allowed to unlock his creative
potential in using the medium he has mastered.
How can we heal this
split and unleash the deep creative power that is inherent in the
new medium? I think the answer lies in re-engineering our teaching
so that the same person can be a fully formed computer artist—both
conceptualizer and engineer in one person. Not that I think this
will be an easy process. Actually, today it is still a very difficult
process, and one that can only be accomplished after significant
trial and error, as my own career demonstrates.
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