Digital Art and Crowd Creation in Iran (Case Study: Tehran Annual Digital Art Exhibition)
This paper aims to show the status of digital art in Iran and explain how the meaning of an artist has transformed in the digital age. The primary assumption of this paper is that the experience of digital art has again revived the collective experience in creating arts. Although, interactivity is c...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
University of Tehran
2018-07-01
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| Series: | Cyberspace Studies |
| Subjects: | |
| Online Access: | https://jcss.ut.ac.ir/article_66726_e3a9ca9cb1f4861ceb28de0df183567d.pdf |
| Summary: | This paper aims to show the status of digital art in Iran and explain how the meaning of an artist has transformed in the digital age. The primary assumption of this paper is that the experience of digital art has again revived the collective experience in creating arts. Although, interactivity is considered to be the most important quality of digital art, their collective, collaborative and progressive qualities should as well be emphasized. These qualities have transformed all aspects of art. The present study focuses on the audience’s part in the foundation of producing art in new media art or digital art. Using Howard Becker’s idea of ‘the sociology of art’ we can show the process of change, that the notion of crowd production of art has undergone and almost reached its exact meaning. The current study is applying a qualitative approach using participation and interview techniques. The research was carried out during the Tehran Annual Digital Arts Exhibition (TADAX). The research data were obtained based on interviews with artists and participators in the four TADAX exhibitions from 2013 to 2016. |
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| ISSN: | 2588-5499 2588-5502 |