Inadvertent - Ars Accidentalis

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The Eurographics Association
Even though art is the product of an intentional act of fabrication, the serendipitous spill of an ink or paint, the unforeseen slip of a pen or brush, sudden shake of a camera in the analog realm have the potential of generating an unconscious lead in the planned course of action. The consequential shift in direction may completely change the aesthetics and content of an artwork. An artist should always be open to such 'accidental' dimension which will help him / her to take the original idea out of its initial framework and recontextualize it for a new conception. The outcomes of software "failures" in digital technology made a similar type of aesthetics emerge: Glitch aesthetics. The "dirty" and sometimes "chaotic" nature of glitches made things look much more organic and human, as opposed to mechanically computerized. This unrefined aesthetics has recently become so popular among designers that some of them have made specific websites as tributes to the process. Despite the fact that the accidental dimension in art looks more compatible with analog practices, there are various instances it finds its niche in the digital world as well. Mystifying benefits like freedom from preconceptions, momentary skepticism about planned course of action, avoiding mechanical thinking / prejudices, reaching a more natural / authentic result, discovering unusual and unique aesthetical domains, etc. will always make 'ars accidentalis' an indispensable part of art practice.

, booktitle = {
Computational Aesthetics in Graphics, Visualization, and Imaging
}, editor = {
Douglas W. Cunningham and Victoria Interrante and Paul Brown and Jon McCormack
}, title = {{
Inadvertent - Ars Accidentalis
}}, author = {
Germen, Murat
}, year = {
}, publisher = {
The Eurographics Association
}, ISSN = {
}, ISBN = {
}, DOI = {
} }