Analogue and Digital
Source TitleTheory, Culture & Society
University of Melbourne Author/sCubitt, Sean
AffiliationCulture and Communication
Document TypeJournal Article
CitationsCUBITT, S. (2006). Analogue and Digital. Theory, Culture & Society, 23 (2/3), pp.250-251. https://doi.org/10.1177/0263276406023002151.
Access StatusOpen Access
This in an electronic, pre-publication version of an article published in Theory, Culture and Society, © 2006 Sage Publications. Reproduced with permission. For further information see http://tcs.sagepub.com/
In the brief fifty years of its history, computer arts have given rise to a number of schools. Early practitioners like Jordan Belson were interested in machinic contributions to the spiritual aspects of abstraction noted in the early 20th century by Malevich, Kandinsky and Mondrian. Certain artists insist that only engineering in software and hardware constitutes digital art, while the use of existing programmes and machines is dilettantism. Other schools have focused on interactivity, immersion or networking as constitutive factors of a distinctively digital art. And some artists (Young Hae Cheung, Vuk Cosic) renounce all high-level programming and interaction. While some commentators, especially in the 1990s, sought to distinguish the digital aesthetic from all previous aesthetic modes, increasingly scholars and critics have come round to a disputed and various but common belief in continuities between digital and previous arts.
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