The transition from an object-oriented to a systems-oriented approach in art, leading to a redefinition of the concept of sculpture

[摘要] ENGLISH ABSTRACT:In this thesis I look at the impact of technology on the concept of sculpture.However, I am more concerned with the principles behind technologicalchange as influence, than looking at high-technology advances. A key issuethat I address is the consideration of changes in society and art, and I ask thequestion, to what extent does three-dimensional art remain in any traditionalsense 'sculpture'?It is my objective to show these changes, indicated by the transition from anobject-oriented to a systems-oriented approach in art leading to a redefinitionof the concept of sculpture. Although I deal with my practical work as aseparate part in the thesis, there is a close integration and mutual objectivesbetween the practical and theoretical components.The transition occurring in sculpture can directly be traced to the technologicaladvances in society. Scientific knowledge in any period of history reflects theway people understand their world, thus affecting human perceptions of thenatural world and in turn influencing artistic creation. In Chapter One, attentionis given in general to some of these scientific discoveries, for example theshift from classical science to an organismic approach with its focus on theinterconnectedness of all things. Also of importance is the beginning of ChaosTheory, introducing the element of chance.In Chapter Two, more specific changes in the concept of art and sculpture aredealt with. Referring to some important predecessors earlier in the zocentury. I look at art becoming an interactive system, and find theinterrelationship between sculpture and architecture useful in illustrating this,because of the foregrounding of the concept of space.In Chapter Three, I examine the different way that artists deal with the issuesof urbanity', for example, the Minimalists putting emphasis on the idea ofsculpture as an infinitely malleable category. Shifting definitions of urbanitywere responses to specific new conditions in the environment, for example, as seen in the changing features of the city. Chapter Four deals withcontemporary artists' response to these conditions, starting with examples ofan object-oriented approach to sculpture, moving step by step towards adifferent systems-oriented approach.To conclude, I speculate on all the possibilities that the virtual environmentsthat modern computers allow us to create may for the first time open up. Weare at the beginning of a new century full of promise to artists in all fields.

[发布机构] Stellenbosch University