Ronit Ghosh
Aalborg University, Denmark. Email: gronit79@gmail.com. ORCID: 0000-0002-8668-1286.
Volume 9, Number 2, 2017 I Full Text PDF
DOI: 10.21659/rupkatha.v9n2.16
Received May 15, 2017; Revised July 21, 2017; Accepted July 25, 2017; Published August 10, 2017.
Abstract
In the present era binaries like poesis/techne or art/non-art are becoming increasingly tenuous with the emergence of New Media art cultures, where technology becomes an integral part of artworks. A spurt of commentaries regarding how New Media has redefined the cognitive, perceptual and artistic limits of what is traditionally regarded as art has resulted. However, there is a dearth of literature on how the conceptual vocabulary of contemporary or traditional art/literary practice has seeped into the precincts of the New Media art world. This, unfortunately, accounts for the current disconnect between contemporary art (which is conceived as conceptual art that is self-reflexive and meta-critical in character) and New Media art discourse (whose distinguishing feature is its tryst with technological implements). In an effort to bridge the conversational lacuna between the literary and the new media art disciplines, this paper indicates formal/structural tendencies in James Joyces’s novel Ulysses and Samuel Beckett’s short story Ping that evince receptive/interpretive tactics which significantly anticipate trends in Media art of the current times.
Keywords: New Media art, perception, Beckett, Joyce, transmedial
