Atemporal Miscellany
| dc.contributor.author | Kripper, Kevin | |
| dc.date.accessioned | 2023-08-31T19:32:16Z | |
| dc.date.available | 2023-08-31T19:32:16Z | |
| dc.date.issued | 2023 | |
| dc.description | Thesis completed in partial fulfillment of the requirements for the Master of Fine Arts degree in the School of Art and Design at the New York State College of Ceramics at Alfred University, Alfred, NY. | en_US |
| dc.description.abstract | I was introduced to personal computers, game consoles, and the Internet at a very early age. I belong to one of the first generations in Argentina with such technology available in those first years of life. By the age of eight, there was already a desktop computer, a Sega Genesis, and a dial-up connection at home. Even younger, my parents enrolled me in Futurekids, an after school computer camp to learn about, and produce with, emerging new technologies. Back then, computer courses were not offered at school, so it was there, where I first experimented with creating digital drawings, animations, recording, editing digital audio and video, and more. This probably sparked my interest in all processes involving different technologies, and sent me into an eclectic journey that eventually led me into computer-assisted art and craftsmanship, and creative software development. In other words, for the past ten years, I have been going back and forth (and trying to merge all together) fine arts, creative programming, product design, advertising and education. That is why I ended up calling myself a “media researcher” rather than an artist, as I approach the different mediums I work with from a broad perspective that not only includes the arts, but also toolmaking and teaching. Part of my work emerges from my interest in media itself. Using self developed tools, found material from art and technology history, and speculative futures/pasts, I engage with topics that explore notions of appropriation, authorship, techno-phobias, glitch (in it’s pure form), new media art conservation, and media archeology. These pieces are generally presented as interactive installations, sculptures and mixed reality experiences. This path I took made me explore a wide range of technologies from the present and the past, and experiment combining them into hybrid systems as a way to change the future. Sometimes, these explorations take the shape of a conceptual art piece, and other times, as tools to assist myself (and others) in the creative process and art practice. The mutual symbiotic relationship I established with technology to create art, while departing from it to comment on, challenge and develop technology, albeit beautiful, made my body of work very complex since it explore a wide variety of topics and aesthetics, even making it seems to be done by different artists. So, for clarity, I tend to split my artistic practice in two: My other body of work relates to Vsynth, a self developed digital lab of modular video synthesis, image processing and video-tool design inspired by the video culture of the late 60’s and 70’s where artists, engineers and programmers worked together co-creating new technologies for the art but also for liberating the spirit and expand consciousness. I was deeply inspired by the visual fantasies Eric Siegel had in mind when he wondered... | en_US |
| dc.format.extent | 138 Pages | |
| dc.identifier.uri | https://hdl.handle.net/10829/30788 | |
| dc.language.iso | en_US | en_US |
| dc.publisher | Alfred University | |
| dc.relation.ispartof | Scholes Library | en_US |
| dc.rights | The author has granted Alfred University a limited, non-exclusive right to make this publication available to the public. The author retains all other rights. | en_US |
| dc.rights.uri | https://libraries.alfred.edu/AURA/termsofuse | en_US |
| dc.subject | MFA thesis | en_US |
| dc.subject | Electronic Integrated Arts | en_US |
| dc.subject | Digital Art | en_US |
| dc.subject | Video Art | en_US |
| dc.title | Atemporal Miscellany | |
| dc.type | Thesis | en_US |