Reflecting the dynamic creativity of its topic, this definitive consultant spans the evolution, aesthetics, and perform of today's electronic paintings, combining clean, rising views with the nuanced insights of major theorists.
• Showcases the serious and theoretical techniques during this fast-moving self-discipline
• Explores the heritage and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with tested associations
• presents a platform for the main influential voices shaping the present discourse surrounding electronic artwork, combining clean, rising views with the nuanced insights of top theorists
• Tackles electronic art's fundamental functional demanding situations - tips to current, record, and look after items that may be erased perpetually through quickly accelerating technological obsolescence
Up-to-date, forward-looking, and seriously reflective, this authoritative new assortment is proficient all through via a deep appreciation of the technical intricacies of electronic artwork
Read or Download A Companion to Digital Art (Blackwell Companions to Art History, Volume 9) PDF
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Additional info for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)
Becker’s asymmetric invisibility mirrors Cubitt’s concept of the unknown knowledge produced by the alienation of the data environment. Becker discusses the evolution of both the “creative empire” from the 19th century onwards and the anxieties about representations of reality that technological set‐ ups from the daguerrotype and phantasmagoria to the telegraph have produced. As Becker puts it, the history of communication machines is a ghost story. Sensors and software systems—supporting anything from biometrical passports to airline profiling and homing guidance systems—produce today’s phantoms in the city ◼◼◼ Introduction 13 and require that cultural intelligence address psycho‐geographical analysis and representation of multidimensional spaces.
The art system increasingly transforms itself into a type of organism comprising slices that organize themselves while the user has an opportunity to experience and produce combinatory meaning. Media Art’s Multifarious Potential for Complex Expression Thousands of artworks make use of and express the multifarious potential of media art. In the installations Osmose (1995) and Éphémère (1998) Charlotte Davies transports us into a visually powerful 3D simulation of a lush mineral‐vegetable sphere, which we can explore via a bodily interface consisting of a vest that monitors breathing; both works are classics of digital media art that generated more than 100 scientific and art‐ historical articles but were ignored by museum collections (Davis 2003; Davis and Harrison 1996).
Gere, Charlie. 2008. ” In New Media in the White Cube and Beyond, edited by Christiane Paul. Berkeley, CA: University of California Press. Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. The MIT Press. Huhtamo, Erkki. 2013. Illusions in Motion—Media Archaeology of the Moving Panorama and Related Spectacles. Cambridge, MA: The MIT Press. Jenkins, Henry. 2006. Convergence Culture: Where Old and New Media Collide. Cambridge, MA: The MIT Press. Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art.