This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Department of Textiles, Faculty of Natural Sciences and Engineering, University of Ljubljana , Ljubljana , Slovenia
The reinterpretation of classical art into digital art was taken as the basic framework within which I moving with using two concepts: classic and digital. Both terms represent different epochs, in which the notion of classical art implies a much longer period of time, making it more difficult to use without opting for a shorter period of time in which the visual cue is imposed as dominant over some other iconographies of the wider classical heritage. Old terminology became unusable, so one can logically conclude that the inheritance of the old visuality can be more difficult to use. My research is based on classic beauty that doesn't showman as he is, but portrays him as some special ideal that aligns with what is outside and what is inside, but I am particularly interested in the aesthetics of classical art and possibility of its transfer into digital. The term appropriation can be better used here, basically, how the aesthetics of the classical are used in the digital age. We define appropriation as the instrument of transferring elements from one to another a system of meaning or artistic discourse, respectively as an act of creation that strategically reaches for existing, artistic or not artistic, creations as a material for the constitution of a new art of creations. Appropriation is a creative procedure that involves a heterogeneous set of languages, genres, techniques, media as well as cultural ones requirements in the creation of new works of art. The term appropriation is new in the artistic vocabulary, it was introduced through postmodernism, when digital platforms were already being built, and also networks, and the expansion of the internet. Our body and body of art began to settle within new platforms. The apparent similarity of the term appropriation and interpretation in this text is intentional, therefore that the text builds on the alignment of two historical epochs, one based on Pigment and the other defined as Pixel. Idea of the alignment of Pixel and Pigment and the invention of flaxseed oil, which enabled a triumph the painting aesthetics and the Amiga, which is the machine that created the Pigment, exhibits complex processes of appropriation, reinterpretation, politics of using aesthetic material of old art in today's post-consumerist era, where art is emancipated through screen images.
The statements, opinions and data contained in the journal are solely those of the individual authors and contributors and not of the publisher and the editor(s). We stay neutral with regard to jurisdictional claims in published maps and institutional affiliations.
