Art and the iPhone:
It is clearly understood that there are different varieties in colors, which make photos profoundly stand out. The most out right things such as photography continue to make art easier as compared to the past. Other artistic iPhone improvements, which have created much convenience to the society, include the measurement of paints gradients. In the past, artists had no option other than to make personal paints through processing such things as oil, which was hard to reproduce and time consuming. In addition, the iPhone technology continues to allow individuals learn more information relating to making things like buildings, bridges, as well as new ways of combining art with engineering. This aspect allow for a thorough improvement in the community art as well as opening doors to a number of ways that enhance the expression of an artist's feelings.
The iPhone technology has redirected many artistic forms completely. For instance, there exists more reliance today on various forms of graphic art designs and in new film making techniques than in the past (Das & Kolack, 2008). IPhone’s graphic design tools and aids are applied in marketing and advertising and can come in handy in editing other forms of art like photography or film. In this case, technology is clearly not value-free and does not exist on its own. This means that it requires a social basis-technology which receives much influence from the by society and at the same time, affects it. Society, values, and technology are vivid illustrations that this usage of cross-cultural examination on various case studies are accurate representations of simple, complex, and intermediate societies. Various forms of iPhone technology exist even as favorable values as well as structures struggle to sustain each of them.
However, the relationship that exists between art and the iPhone technology is not a one-way system. Most of its technological adjustments actually precipitate value and social changes. It becomes rather impossible to sustain a number of egalitarian values in the society, which have a high dependence on technology in generating hierarchical relationships. Understanding such a connection is crucial in keeping up with a level of control in the ways through which art affect the development of the iPhone technology. The iPhone as one of the leading and most prolific participant of the production art of in the modern day have plenty of aspects that it has to offer. In its ideals, they do not have blood and flesh as some of the distinguishing characteristics distancing them from being human. This is because they are machines and not humans nor beings (Snickers & Pondera, 2012).
Most people continue asking how the art world could influence the development of machines such as an iPhone, which is an active participant of the artistic production as well, as how much the machine participates in the generation of art in any given instance. It also explains why the same machines were not in existence in the past. There relevance of the first question finds its answer in the second question where the iPhone has been able to indulge as a participant in art production using its then natural state, which the participant needs to develop a certain level of influence in relation to the art world through their products. The fact that the iPhone continues to be an inclusion in art production makes it necessary that the individual ways through which human can perceive information more credible.
For the iPhone, there is entire capability of mimicking most of man’s movements. However, very few machines (including mobile phones), have been in a position to participate in art production previously. However, major distinction is drawn between the iPhone been a tool and a participant. Using the iPhone as a tool means that human beings manipulate artistic things that exist in the world making the participant appear to be a tool on similar grounds. On the other hand, they achieve enough in the exclusion of the direction given by humans who it is said to have the iPhone more of a servant and a slave as compared to a tool. In such cases, the iPhone as a tool needs to be micromanaged through those who drive them while at the same time if used as a participant; there is mere need to be directed in producing time for the art product or staging the final product.
In addition, since the development of iPhone computing as well as its subsequent modern technologies, there is a profound increment for artistic tools (Kelby & White, 2012). This discussion will focus on the lines blurring the understudying of the influence that art has on the development and sustainability of the iPhone through aspects like editing software as well as software with a capability of generating art. Interactive Art seeks to build on the fundamentals of participatory forms of art through allowing viewers to subsequently project intervention on all the actions therein. Unlike in most happenings however, in the iPhone continues to create an interaction that is not necessarily meant to attack the art audience that is previously established. Instead, the iPhone technology continually meets the requests and needs of an art-educated public.
Further, the implications of this go in detail as art offers a thorough reflection of the roles and responsibilities played by art as a field on the development of the iPhone (Leibowitz, 2012). This could essentially appear complicated as the connection between the two makes intense use of the same technology that it keeps commenting. This simply means that there is a general lack of distance. In a situation of iPhone interactive art, there is a comparable approach to with Video Art that gains various independence channels based on the mobile phone language. Both forms of art continue demonstrating that in the modern day, the responsibilities of an artist significantly continue changing. Other than being an express commentator who stands outside the society, an artist is now able to decide on the best ways to participate in these socio-technological changes as well as judge from within.
Most iPhone photos are forms of art that are representative in nature even though they are considered to be based on other factors like form, content, as well as miscellaneous features. Landscapes generated via iPhone are actually not representative of the comparative basis, as they do not have corollary in the real world other than their formalistic values. This means that even though they have powerful resemblance to the real world, they rarely represent its ideals and not in accuracy levels that compares to that of a photograph. The contents of the same are linked to a real world in a way that each of them contains standard elements even though they do not bear any correlation past that (DiPanfilo, 2010).
The process that an iPhone uses to capture a photograph in comparison to the generation of a landscape is profoundly. Beyond the element of resemblance, iPhone generated photos and landscapes do not have any similarity. iPhone generated landscapes cannot quite obviously be classified as paintings and with a level of obviousness remain not as photos even though they have a close resemblance. Most certainly, iPhone generated landscapes are considered forms of art on their own as they have no comparison to anything seen previously. However, it is notable that they fit under a broad category of digital art as they originate from stored digital formats.
Overall, the paper maintains that there is fundamental need for better guidance and evaluation of the conduct of the impacts of the iPhone development and its involvement in modern day art. This also needs particularly generate a relationship between the identification of the objectives and rationale of interactive assessment, and the link of the selection of methods and concepts that require fundamental inclusion of the art beneficiaries and audiences. This way, the paper continues to identify mobile phone development as a much contested area and takes stock of the experiences up to this far. It also seeks to bring to attention the debate levels that concern the relative suitability of the possible alternative approaches both methodological and conceptual (Volti, 2009).
With references to practicing artists and iPhone designers, the study provides a broad theoretical and practical introduction to Art and mobile design and application. The forms of integration therefore are delivered through means of contextual and theory studies, technical presentations, guided practice and group tutorials. Some of the distinguished implications of iPhone and art interactivity include power and play, participation versus interaction, proximity and manipulation, strategies of seduction, nonlinear narration as well as reconstructing, forgetting, and remembering.
References:
Das M., Kolack S., (2008) Technology, Values, and Society: Social Forces in Technological Change. New York: Peter Lang
DiPanfilo T., (2010) Mobile Technology Meets the Art Museum: The IPhone as an Art Educational Tool for Learning: a Thesis. New York: Rhode Island School of Design
Kelby S., White T., (2012) The iPhone Book: Covers iPhone 4S, iPhone 4, and iPhone 3GS. New York: Peachpit Press
Leibowitz D., (2012) Mobile Digital Art: Using the Ipad and Iphone As Creative Tools. New York: Taylor & Francis
Snickars P., Vonderau P., (2012) Moving Data: The Iphone and the Future of Media Columbia. New York: University Press
Volti R., (2009) Society and Technological Change. New York: Worth Publishers
