Title: Future of Art World Introduction Art stems from visualisation of unique ideas which is in turn derived from various inspirational sources. The aesthetic sense varies from one person to another, such that each artist shall have different intellectual levels while each spectator shall have a different imaginary eye for a certain piece of art…
– (Baudrillard, 1993) Baudrillard was of the view that the art world, in recent years, has moved into dark insight for future, with creativity significantly stifled by lack of curiosity and aesthetic sense. The artistic intellect of people has been largely paralysed, leading the art world into anarchy and blindness. It is same as a biological system being affected by disorder in its internal genetics and inherent rules that govern it. Similarly, art world has faced turmoil due to collapse of the underlying components that establish its foundation. The above quoted statement suggests that currently, the field of telematics has suffered largely from its own backfired initiative taken for promoting transparency and candidness. To make it worse, eventually technology came into role-play which focused primarily on creating mobility and connectivity. In due course of achieving these goals, technology led the society into a scenario where face-to-face communication is no longer valued or considered (Baudrillard, 1993). Although, the whole propaganda of art has been observed to flourish across the globe in recent decades, this enhancement is not in real terms. The true spirit and obsession that was embedded in art forms in previous times has diminished largely. The innovation, that once led artists and spectators into an imaginary world and generated serenity and ecstasy for them, no longer exists in the modern world. Consequently, art has lost its cultural significance, emotional attachments and extrinsic value in our societies. Now, the masses have gone astray in absence of aesthetic sense for artistic objects and primarily focus on their materialistic values and religious implications (Gane, 1995). “Artists and ordinary Web surfers alike will have to determine whether cyberspace truly is a new form of absence and ‘transparent evil’, or whether, instead, it is a place for creative, intelligent, and beneficial sensory exploration and communal connection.” - C. Freeland Previously known merely as a network of computer terminals, cyberspace is no longer restricted to this simple and technical definition. Freeland claimed that the internet has embedded into our communities and lives to an extent where survival without it is not possible anymore. He stated that it has promoted transparency to unacceptable levels, thereby allowing social evils to be easily acknowledged by masses as part of the evolution process. It is only fair to state here that the global village is on the verge of entering an information and technology age where spatial creations shall be more valued than natural beauty. In context of art, internet has caused a major transition of people from appreciating reality and originality to accepting the virtual forms of art. Simulation discards the craving for an aesthetic eye to be pleased with some real piece of art; instead, it develops recognition for ‘hyperreal’ content which is limited only to screens that displays cyberspace interface. Transparency here refers to the increasing proximity of ...
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