technology

[kaulnikhil]

Many argue that recent developments in electronic technology such as computers and videotape have enabled artists to vary their forms of expression. For example, video art can now achieve images whose effect is produced by "digitalization": breaking up the picture using computerized information processing. Such new technologies create new ways of seeing and hearing by adding different dimensions to older forms, rather than replacing those forms. Consider Locale, a film about a modern dance company. The camera operator wore a SteadicamTM, an uncomplicated device that allows a camera to be mounted on a person so that the camera remains steady no matter how the operator moves. The SteadicamTM captures the dance in ways impossible with traditional mounts. Such new equipment also allows for the preservation of previously unrecordable aspects of performances, thus enriching archives.
By Contrast, others claim that technology subverts the artistic enterprise: that artistic efforts achieved with machines preempt human creativity, rather than being inspired by it. The originality of musical performance, for example, might suffer, as musicians would be deprived of the opportunity to spontaneously change pieces of music before live audiences. Some even worry that technology will eliminate live performance altogether; performances will be recorded for home viewing, abolishing the relationship between performer and audience. But these negative views assume both that technology poses an unprecedented challenge to the arts and that we are not committed enough to the artistic enterprise to preserve the live performance, assumptions that seem unnecessarily cynical. In fact, technology has traditionally assisted our capacity for creative expression and can refine our notions of any give art form.
For example, the portable camera and the snapshot were developed at the same time as the rise of impressionist painting in the nineteenth century. These photographic technologies encouraged a new appreciation. In addition, impressionist artists like Degas studied the elements of light and movement captured by instantaneous photography and used their new understanding of the way our perceptions distort reality to try to more accurately capture realty in their work. Since photos can capture the "moments" of a movement, such as a hand partially raised in a gesture of greeting, Impressionist artists were inspired to paint such moments in order to more effectively convey the quality of spontaneous human action. Photography freed artists from the preconception that a subject should be painted in a static, artificial entirety, and inspired them to capture the random and fragmentary qualities of our world. Finally, since photography preempted painting as the means of obtaining portraits, painters had more freedom to vary their subject matter, thus giving rise to the abstract creations characteristic of modern art.



It can be inferred from the passage that the author would agree with which one of the following statements regarding changes in painting since the nineteenth century?
(A) The artistic experiments of the nineteenth century led painters to use a variety of methods in creating portraits, which they then applied to other subject matter.
(B) The nineteenth-century knowledge of light and movement provided by photography inspired the abstract works characteristic of modern art.
(C) Once painters no longer felt that they had to paint conventional portraits, they turned exclusively to abstract portraiture.
(D) Once painters were less limited to the impressionist style, they were able to experiment with a variety of styles of abstract art.
(E) Once painters painted fewer conventional portraits, they had greater opportunity to move beyond the literal depiction of objects.

[abhasjha]

IMO - E

Painting since the 19th century is the subject of the long example in Paragraph 3, the
support for the author's "thumbs up" on technology and art. Read long answer choices
carefully; often the wrong ones are only partly true, or repeat enticing words and
phrases from the passage. For example, Choice (A) is true right up until the "which"
clause, where an extraneous issue, how new methods were applied to subjects other than
portraits, pops in. Choice (B) makes a similar mistake, practically quoting lines 46-50, and
then suggesting that new ideas about light and movement resulted in abstract art.
Unfortunately, the author says that these new ideas resulted in efforts to make more realistic
art. (C) is more or less accurate but for that one unfortunate word, "exclusively." While
the author does say that photography "preempted" portrait painting, she doesn't say that
that traditional portrait painting stopped completely. (Common sense tells us that it did
no such thing anyhow.) (D) jumbles two ideas from Paragraph 3, that Impressionist artists
gradually broke away from stylistic limitations and that abstract creations resulted from
the meeting of technology and art. But the author doesn't connect these two ideas in the
passage, at least not in the cause-and-effect way this answer choice does. Rather, both
phenomena resulted from the collision of photography and portraiture. That leaves (E) -
which is similar to choice (D), but different in one important way. It's right. Here there
really is a cause-and-effect relationship; this choice is a concise paraphrase of lines 56-60.

[rookiez]

How about C

Passage states that camera's used to capture movement inspired painters to make these changes to portrait and then further inclination towards abstract art?