| dc.description.abstract | In the recent decades, artists and researchers have shown an
increased interest in applying new technologies to traditional arts in
Japan, especially in the field of calligraphy art, painting, and the Zen
culture. In one hand, modern calligraphers begin to use different media
to create ‘digital calligraphy’ and collaborate with programmers to
produce new experiences. In the other hand, media artists have been
utilising audiovisual
media to reinterpret the traditional aesthetics
through emerging technologies, such as employing virtual reality
technology to write the ‘spatial calligraphy’.Besides, concerning the
menace of losing traditional skills, researchers have developed the
motion copying system which can record the calligrapher’s movement
precisely and reproduce faithfully as the original piece. They intend to
use this technology to educate the young generation. However, following
the rapid advance of technology and the permeation of digital media,
there are several issues arose, such as : How can we evaluate ‘digital
calligraphy’ and in which aesthetic standard? Without the mediacy of
real brush and ink, can we express ourselves more directly by using
fingers to write calligraphy on screens? How will the motioncopying
system influence the relationships between masters, teachers, and
students?
By delving into threes dimensions—aesthetics, technology, and social
institution, this thesis points out the lurking jeopardy of substituting
new technology for traditional pedagogy. Meanwhile, it also analyses the
irreplaceable core of traditional aesthetics and the dilemma of
interactive media artworks to show how the emerging technologies
transform the traditional culture value from the analog to the digital,
and suggest the new interpretation of ‘aura’ to retain in the postmodern
age of ubiquitous media. | |
