Art, Antiquity and the Digital Revolution

by Kristina Bumphrey

In this ever-changing, speed-infused culture, it's easy to see our future as
bleak. Drugs and guns are prevalent, global superpowers posses everything
from nuclear to biochemical warfare, the media has become a new form of reli-
gion, and we are in the eve of technological advances which will allow us to
clone and duplicate human beings.

From the artists’ perspective, this could be enough to either push us further
into an embryonic, reclusive state of depression—from which many of us
already exist—or inspire us to change and force our intensely creative and aes-
thetically obsessive will on a world which holds the Survivor series in higher
regard than the complex thought exhibited through poetry, music, film or visual
art.

Though we'd like to think that we live outside the perimeter of this violent,
selfish, money-driven and thoughtless culture; that we perhaps find solace from
these things in art, the fact remains that it is not only our market, but also our
influence, our inspiration and the one thing that will give context to our work
for generations to come. Many people | know, even those who are not artists,
are fearful of our future. Many people in our generation are suspicious of the
changes we have witnessed, and those we will continue to witness throughout
our lifetime. | prefer to greet these transitions with optimism.

| feel lucky, because | have one foot ascending into the digital revolution, but
the other is still firmly planted in an analog world. Though | am literate in com-
puter software, hardware and the internet, | still recall the sound of my grand-
mother's old Remington Standard, and appreciate the look of a design created
in the not-so-long-ago method of cut-and-paste. Though | can operate a digital
camera or a digital-8 camcorder, | can still manually edit 8mm film, and find

by Janet Glover

Digital Analog

This is a brief explanation. Of digital/analog. For you who don't know. Or may be wondering. First of
all. If you lose all your digits. In an accident. Or some personal reason. That's okay. Because you can still
make art. Some nice kinds of art. Like with holding a pencil or brush in your mouth. Or if you are trying
to talk at the same time. Perhaps the crook of your elbow. We've all seen it done before. Let's admit it.
On tv. And it is good. Or by pressing buttons. Why do you need fingers to press buttons. You do not
need fingers for this "pressing buttons". Depending on their size. Plus your art might be likely to turn out
different. Than you expected. So we have established that non-digital art. Might be just as nice. But if you
still have your digits. Okay. It can still be nice art. That you make. Like take me for example. | am still
funky. Even after all these years. Even after a bath okay. Now let's turn to analogous art. Now if you find
your art looking very similar to everyone else. Don't worry. Too much. When things are parallel. Take a
parallelogram. There is nothing wrong with that. What is so wrong with a parallelogram. Exactly my point.
Don't try too hard. To be different. To be a different bad assed version of yourself. Even though bad asses
are still nice okay. Good asses are still better. Now you can't say you don't know. Because that’s what |
said before. Lot's of times. But now you know. How to tell the difference. Because there really is no differ-
ence. What is the difference. If you look at it that way.

comfort in the unwashable smell of photographic chemicals on my fingertips.
Though | can patch together an amp, speakers and a guitar, | am easily moved
by digital sound production equipment, and love the integration of techno in
21st century music.

| am no purist. | am eager for change. | relish in the soon to be antiquity of
be my thousands of 35mm slides and negatives, and will miss the familiar smell
of darkroomchemicals, when the final transition is made to competing digital
labs. | will always cherish the memory of my grandfather's 8mm projections of
our childhood vacations, when digital video projections and DVD's become the
standard. | am nostalgic about the labor-intensive creation of the perfect mixed
tape, in an age when you can burn a two-hour mixed CD in under an hour.
And | can still enjoy a great guitar rock song without abandoning my love of
techno.

All in all, | think the changes we will witness in our lifetime cannot yet be
speculated on today. Certainly every year will bring exponential rates of change.
Though | am only twenty-four, | can remember vividly the invention of the vir-
tually archaic VCR and microwave. Our only option is to embrace the transition
into a digital age, holding on tight to the memories passed down from our par-
ents and grandparents of our analog era. We are lucky to have been pupils in
both schools of thought, likely the last generation with such an education.

And, if the prime of my life passes without me enjoying success in the digital
evolution of art, | can always hold out for fifty years or so, and sell my Nikon
35mm SLR as a post-analog antique. Perhaps it will be as much a symbol of the
past for my grandchildren as that old Remington Standard is for me.

Art, Antiquity and the Digital Revolution

by Kristina Bumphrey

In this ever-changing, speed-infused culture, it’s easy to see our future as
bleak. Drugs and guns are prevalent, global superpowers posses everything
from nuclear to biochemical warfare, the media has become a new form of reli-
gion, and we are in the eve of technological advances which wil allow us to
clone and duplicate human beings.

From the artists’ perspective, this could be enough to either push us further
into an embryonic, reclusive state of depression—from which many of us
already exist—or inspire us to change and force our intensely creative and aes-
thetically obsessive will on a world which holds the Survivor series in higher
regard than the complex thought exhibited through poetry, music, film or visual
art

Though we'd like to think that we live outside the perimeter of this violent,
selfish, money-driven and thoughtless culture; that we perhaps find solace from
these things in art, the fact remains that itis not only our market, but also our
influence, our inspiration and the one thing that will give context to our work
for generations to come. Many people I know, even those who are not artists,
are fearful of our future. Many people in our generation are suspicious of the
changes we have witnessed, and those we will continue to witness throughout
our lifetime. | prefer to greet these transitions with optimism.

| feel lucky, because I have one foot ascending into the digital revolution, but
the other is still firmly planted in an analog world. Though | am literate in com-
puter software, hardware and the internet, | still recall the sound of my grand-
mother’s old Remington Standard, and appreciate the look of a design created
in the not-so-long-ago method of cut-and-paste. Though I can operate a digital
‘camera or a digital-8 camcorder, | can stil manually edit 8mm film, and find

by Janet Glover

Digital Analog

comfort in the unwashable smell of photographic chemicals on my fingertips.
Though I can patch together an amp, speakers and a guitar, | am easily moved
by digital sound production equipment, and love the integration of techno in
2st century music.

1am no purist. | am eager for change. | relish in the soon to be antiquity of
be my thousands of 35mm slides and negatives, and will miss the familiar smell
of darkroomchemicals, when the final transition is made to competing digital
labs. | will always cherish the memory of my grandfather's 8mm projections of
‘our childhood vacations, when digital video projections and DVD's become the
standard. | am nostalgic about the labor-intensive creation of the perfect mixed
tape, in an age when you can burn a two-hour mixed CD in under an hour.
‘And I can stil enjoy a great guitar rock song without abandoning my love of
techno.

Allin all, | think the changes we will witness in our lifetime cannot yet be
speculated on today. Certainly every year will bring exponential rates of change.
Though | am only twenty-four, | can remember vividly the invention of the vir-
tually archaic VCR and microwave. Our only option is to embrace the transition
into a digital age, holding on tight to the memories passed down from our par-
ents and grandparents of our analog era. We are lucky to have been pupils in
both schools of thought, likely the last generation with such an education.

‘And, if the prime of my life passes without me enjoying success in the digital
evolution of art, can always hold out for fifty years or so, and sell my Nikon
35mm SLR as a post-analog antique. Perhaps it will be as much a symbol of the
past for my grandchildren as that old Remington Standard is for me.

This isa brief explanation. Of digital/analog. For you who don't know. Or may be wondering. First of
all. If you lose all your digits. In an accident. Or some personal reason. That's okay. Because you can still
make art. Some nice kinds of art. Like with holding a pencil or brush in your mouth. Or if you are trying
to talk at the same time. Perhaps the crook of your elbow. We've all seen it done before. Let's admit it.
On tv. And it is good. Or by pressing buttons. Why do you need fingers to press buttons. You do not
need fingers for this "pressing buttons". Depending on their size. Plus your art might be likely to turn out
different. Than you expected. So we have established that non-digital art. Might be just as nice. But if you
stil have your digits. Okay. It can still be nice art. That you make. Like take me for example. | am stil
funky. Even after all these years. Even after a bath okay. Now let's turn to analogous art. Now if you find
your art looking very similar to everyone else. Don't worry. Too much. When things are parallel. Take a
parallelogram. There is nothing wrong with that. What is so wrong with a parallelogram. Exactly my point.
Don't try too hard. To be different. To be a different bad assed version of yourself. Even though bad asses
are still nice okay. Good asses are stil better. Now you can't say you don't know. Because that’s what |
said before. Lot's of times. But now you know. How to tell the difference. Because there really is no differ-
ence. What is the difference. If you look at it that way.