In 1985, Jean-François Liotta curated the seminal exhibition Immateriality at the Centre Pompidou in Paris, which conceived of a new paradigm of matter in response to advances in telecommunications (Ferguson, Greenberg, and Nairne 2005). The theme of this study, "rematerial", is both a tribute to Jean-François Liotta's "Immaterial" exhibition and an exploration of the broad horizons and philosophical roots of computer art to show that it is not only a new medium but also a new form of aesthetic expression (Lopes 2005). our project also aims to explore the well-known relationship between the 'material' and the 'immaterial' and the discussion of whether computer art can produce 'rematerial' interventions. Finally, it is hoped that a new chapter will be written in the history of the computer art medium.
Firstly, computer code is a language (Hayles 2006), a technical and technological language, which means that technology is also a linguistic representation, and we want to show you a non-human perspective of computers. Secondly, every day we talk about "immateriality", and "virtuality". The "immaterial" is another form of matter, but the "rematerial" approach we show in this project is a kind of experimental art that explores the "material" and "immaterial" in computer language. The "immaterial" and the "immaterial" are discussed in the language of computers and the new era. Thirdly, as the world as a whole becomes increasingly international, we need to rename and rename digital art (Reichardt 2015). What is the identity of computer art? How does it convey the identity of the artist? How does it convey to us a new artistic perspective?
Materiality focuses not on the opposition of 'Immaterial' but on the unity of 'In-material', not on whether it is material or immaterial, but on the fact that we are in between substances (Den 2014). "'rematerial' cannot simply be defined as a material vehicle and a material 'spirit'-'immaterial' intervention, but rather as a recognition of an already existing and established 'immaterial' stage, and an exploration of what sense of 'matter' can be a part of the current 'immaterial' intervention. It is, rather, a recognition of the existence and establishment of an 'immaterial' stage, and an exploration of what sense of 'matter' can be an outlet for the problems that 'immaterial' cannot solve at the moment, and support and explain the creation of the future period. This is perhaps a question that needs to be considered in all fields of art creation related to technology.
We don't want to show just how computerisation works in society, nor do we in any way try to predict the future; rather, we want to imagine a new type of knowledge, something that has arrived but has not yet been interrogated or presented. It is worth noting that Rematerial is not a project that only explores technology; through this project, we want to explore these intertwined conceptual networks of computer languages, objects and perceptual systems (Bringsjord 2019). In a sense, Re-Matter is about how language, information and abstract systems observe the relationship between the 'material' and the 'immaterial' to construct an interrogation of the 'real'.
Finally, we use our 're-material' experimental artwork to express, through the analysis of changes in material properties in the context of computers, that the progress of technological rationality, while bringing comfort and convenience to mankind, also lurks in deep crisis. Our aim is not to complete a specific work of computer art, but to evoke the perceptiveness of new scientific discoveries and technological inventions (Altshuler 1994).
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