Introduction to Art Experience
Discussion around the Mona Lisa, one of the most famous paintings in the world, and the contrasting experiences of viewing it in person versus through digital mediums.
Louis Ruby emphasizes that viewing art in person offers an experience unattainable through screens or prints, as the physical presence allows for a deeper emotional connection.
Importance of In-Person Experience
Perception of Art: In-person experiences allow for a full appreciation of:
Angles: The viewer can see the artwork from multiple perspectives, capturing the artist's intended composition.
Lighting and Color: Natural conditions affect how we perceive colors and shadows, revealing nuances that can be diminished in reproductions.
Details: Fine details, such as brush strokes and textures, can be lost or distorted in reproduction, which affects the overall understanding of the piece.
Scale: Understanding the size relative to the viewer enhances appreciation; great works can be larger or smaller than expected, affecting their impact.
Understanding Through Digital Displays
Personal Perspective: The narrator acknowledges the sensory differences but questions the necessity of in-person experience for appreciation.
Technological Limitations: Ruby’s concerns about technology's ability to capture art can be seen as valid but not necessarily a fault of viewing online; digital formats can still facilitate engagement with art.
Future of Technology: Suggests that technology may improve (e.g., virtual reality, 3D modeling) and thereby enhance future experiences of viewing art online.
Walter Benjamin's Concept of Aura
Aura Defined: Benjamin suggests that copies lack an 'aura'—the authenticity and unique historical context tied to original artworks, which imbues them with significance.
Original vs. Reproductions:
Unique Artworks: Works like the Sistine Chapel carry an aura that makes them special, drawing viewers not just to the art, but to the history behind it.
Mass-produced Items: Unlike unique works, mass-produced items, such as iPhones, lack this singular authority due to their reproducible nature, which diminishes their perceived value.
Questioning the Necessity of Aura for Appreciation
The narrator invites reflection on whether the aura is necessary for understanding and appreciating art, introducing a debate on the significance of authenticity.
Personal Connection to Digital Art: The narrator creates online art content (Shakespeare Vlogs) and ponders if he loses some essence of the art in the process, exploring the personal journey of creation within the digital realm.
Digital Dualism: Real vs. Digital Worlds
Nathan Jurgenson's Theory: Digital dualism is described as separating physical experiences from digital interactions, reflecting a perception that the two realms are at odds.
Interconnectedness: Jurgenson posits both worlds are interconnected and influence each other, suggesting that digital engagements can enrich real-world experiences.
Emergence of Augmented Reality: The rise of AR technologies indicates a future where viewing experiences blend seamlessly, suggesting these experiences are an integrated whole rather than distinct categories of engagement.
Interactivity in Media
New vs. Old Media: There are misconceptions that new media (like YouTube and social networking platforms) is inherently more interactive than older forms of media.
Lev Manovich's Argument: He argues for the interactivity of traditional media (e.g., architecture, novels, and conceptual art), emphasizing that all forms of media encourage interaction, albeit in different manners.
Context Over Content: The context in which art is experienced shapes interaction levels; settings like galleries versus home views greatly affect engagement.
Changing Contexts of Art Appreciation
Selfies and Social Media: Modern contexts (like social media) significantly influence how visitors engage with artworks, creating phenomena like selfies at the Louvre that alter traditional art appreciation methods.
Cultural Shifts: Engaging with art has evolved to incorporate the act of sharing and being seen engaging with it, highlighting a shift from solitary appreciation to public performance.
Conclusion: Can Art Be Fully Appreciated Online?
The narrator poses lingering questions about online appreciation of art:
Is experiencing the canonically authentic piece necessary for true appreciation?
What is lost or gained when moving art to a digital context, particularly concerning emotional and cultural connections?
Encourages the audience to reflect on how to balance technological advancements with traditional experiences in the appreciation of art.
