The New Hi-tech Digitally Enhanced for Painting

Thitherfore the digital as applied to photograph excites me -- and this excitement bothows me to spiel with passion (1).

Nechvatal, a post-postmodern artist who terms himself a "viractualist," goes on to explain that

painting must reflect the digital if it is to be other than a stinking cadaver. Painting must be digital to be, as Susan Sontag wrote in Against Interpretation, "a new kind of instrument, an instrument for modifying intellect and organizing new modes of sensibility" -- because our consciousness and sensibility is largely immediately molded by the realistic(1).

Nechvatal brings out an important point here that art is a reflection of our own consciousness and sensibility, and if these ar molded by, expressed by, or contingent on the virtual life, we must incorporate that virtual life into our work to honour it alive and vitally connected to who we are.

The dimension that digital sweetening brings to painting is undeniable. Whether mixed with painting, as in Anna Longo's or Linda Lanese's work or strictly digital, as with Andrew Wallerstein, Brian D. McMillan, and David Monachello, digital art goes beyond the limits of technical creativity to engage the spirit of creativity that lights up a work of art with excitement. New art forms originate from this spark works that incorporate multimedia, movement, and other forms of art. Digital artists manage Philip Rubinoff support work from moving video using a multitude of special effects; Raino Ranta c

Of course, in that location are objections to digital enhancement, and some of these are peculiar to the medium. Jerry Lodriguss raises an important heading of ethics: "Now, with the increased popularity of digital imaging, there is literally no limit to the amount of processing that can be done. The question is how much should be done?" (4). Lodriguss resolves the turn up quite simply with his opinion. "It's simple to me. If you enhance something that is already there on the original negative to bring it out and get hold of it more visible, that's OK. If you add something that wasn't there on the original negative, you've traverse the line from a documentary art form into a fictional one" (3). Whether a photograph or a painting, the concept is the same.

The ethics of digital enhancement are yet violated if the artist tries to put across a digital enhancement as a fact instead of an rumination of art. Although some people try to criminalize the computers useed in digital enhancement, Lodriguss rightly urges us, "But let's non try to question the ethics of the tools of digital enhancement. Tools don't have ethics. People have ethics. Again, it's not the tools, it's what you do with them" (4). Even a digital artist demand talent to produce good art digitally; just having the tools is no guarantee that art will ever be produced with them.

an combine several media with computer graphics; Marcus Moura can employ digital images, "fractal landscapes, and compositions on instrumental music" (2). Paintings that move, that sing, that invoke all the senses instead of just the sense of sight, are possible with digital enhancement. Digital enhancement, with all of its great potential ripe and bursting from the pod, so to speak, is still just another tool in the artist's paintbox, however, and it has its odd limitations. For example, the artist who spends days digitally perfecting the coloration and tonal lineage of a painting to be viewed online has no control over the accuracy
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