Details

A Companion to Digital Art


A Companion to Digital Art


Blackwell Companions to Art History 1. Aufl.

von: Christiane Paul, Dana Arnold

42,99 €

Verlag: Wiley-Blackwell
Format: PDF
Veröffentl.: 02.03.2016
ISBN/EAN: 9781118475188
Sprache: englisch
Anzahl Seiten: 640

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Beschreibungen

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today’s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists.<br /><br /> <ul> <li>Showcases the critical and theoretical approaches in this fast-moving discipline</li> <li>Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions</li> <li>Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists</li> <li>Tackles digital art’s primary practical challenges – how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence</li> <li>Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art</li> </ul>
<p>List of Figures viii</p> <p>Notes on Contributors xi</p> <p>Acknowledgments xix</p> <p>Introduction: From Digital to Post‐Digital—Evolutions of an Art Form 1<br /> <i>Christiane Paul</i></p> <p><b>Part I Histories of Digital Art 21</b></p> <p>1 The Complex and Multifarious Expressions of Digital Art and Its Impact on Archives and Humanities 23<br /> <i>Oliver Grau</i></p> <p>2 International Networks of Early Digital Arts 46<br /> <i>Darko Fritz</i></p> <p>3 Art in the Rear‐View Mirror: The Media‐Archaeological Tradition in Art 69<br /> <i>Erkki Huhtamo Copyrighted Material</i></p> <p>4 Proto‐Media Art: Revisiting Japanese Postwar Avant‐garde Art 111<br /> <i>Machiko Kusahara</i></p> <p>5 Generative Art Theory 146<br /> <i>Philip Galanter</i></p> <p>6 Digital Art at the Interface of Technology and Feminism 181<br /> <i>Jennifer Way</i></p> <p>7 The Hauntology of the Digital Image 203<br /> <i>Charlie Gere</i></p> <p>8 Participatory Art: Histories and Experiences of Display 226<br /> <i>Rudolf Frieling</i></p> <p><b>Part II Aesthetics of Digital Art 247</b></p> <p>9 Small Abstract Aesthetics 249<br /> <i>Max Bense</i></p> <p>10 Aesthetics of the Digital 265<br /> <i>Sean Cubitt</i></p> <p>11 Computational Aesthetics 281<br /> <i>M. Beatrice Fazi and Matthew Fuller</i></p> <p>12 Participatory Platforms and the Emergence of Art 297<br /> <i>Olga Goriunova</i></p> <p>13 Interactive Art: Interventions in/to Process 310<br /> <i>Nathaniel Stern</i></p> <p>14 The Cultural Work of Public Interactives 330<br /> <i>Anne Balsamo</i></p> <p><b>Part III Network Cultures: The Politics of Digital Art 353</b></p> <p>15 Shockwaves in the New World Order of Information and Communication 355<br /> <i>Armin Medosch</i></p> <p>16 Critical Intelligence in Art and Digital Media 384<br /> <i>Konrad Becker</i></p> <p>17 The Silver Age of Social Media: Nettime.org and the Avant‐Garde of the ’90s 400<br /> <i>McKenzie Wark</i></p> <p>18 Art in the Corporatized Sphere: The Impact of Commercial Social Media on Online Artistic Practice 413<br /> <i>Kyle Chayka</i></p> <p>19 Artistic Visualization 426<br /> <i>Lev Manovich</i></p> <p>20 Critical Play: The Productive Paradox 445<b><br /> </b><i>Mary Flanagan</i></p> <p><b>Part IV Digital Art and the Institution 461</b></p> <p>21 Contemporary Art and New Media: Digital Divide or Hybrid Discourse? 463<br /> <i>Edward A. Shanken</i></p> <p>22 One of Us!: On the Coupling of New Media Art and Art Institutions 482<br /> <i>Richard Rinehart</i></p> <p>23 The Digital Arts In and Out of the Institution—Where to Now? 494<br /> <i>Sarah Cook with Aneta Krzemień Barkley</i></p> <p>24 The Nuts and Bolts of Handling Digital Art 516<br /> <i>Ben Fino‐Radin</i></p> <p>25 Trusting Amateurs with Our Future 537<br /> <i>Jon Ippolito</i></p> <p>26 Enabling the Future, or How to Survive FOREVER 553<br /> <i>Annet Dekker</i></p> <p>27 Exhibition Histories and Futures: The Importance of Participation and Audiences 575<br /> <i>Beryl Graham</i></p> <p>Index 597</p>
<b>Christiane Paul</b> is Associate Professor in the School of Media Studies at the New School, New York, USA, and also Adjunct Curator of New Media Arts at the Whitney Museum of American Art. Prof. Paul is a noted curator who oversees the Whitney’s <i>artport</i> website and has for more than a decade conceived and administered the museum’s new media exhibitions, including Data Dynamics (2001), Profiling (2007), and Cory Arcangel: Pro Tools (2011). Other curatorial work includes The Public Private (Kellen Gallery, The New School, 2013); Biennale Quadrilaterale (Rijeka, Croatia, 2009-10); Feedforward - The Angel of History (LABoral, Spain, 2009); and INDAF Digital Art Festival (Incheon, Korea, 2009). She is the author of <i>Digital Art</i> (2003), <i>New Media in the White Cube and Beyond</i> (2008), and co-editor with Margot Lovejoy and Victoria Vesna of <i>Context Providers – Conditions of Meaning in Media Arts</i> (2011).
<p>Digital art is a complex and vibrantly dynamic form whose diversity reflects the exponential growth curve in computing power. This new companion to the genre gives readers an inclusive, in-depth understanding of digital art, covering its history and evolution, aesthetics, and politics, as well as its often turbulent relationships with established institutions. The volume provides a platform for the most influential voices shaping the current discourse surrounding digital art. Their nuanced insights afford a robust and coherent appreciation of the current state of the field – and the possible paths its future development may follow.</p> <p>Combining the seasoned perspectives of leading international experts with fresh work by emerging scholars, the companion tackles key issues in digital art. It showcases critical and theoretical approaches from across the spectrum, taking in art-historical, philosophical, political, and gendered perspectives, among many others. The volume also covers digital art’s primary practical challenges – how to present, document, and preserve pieces that could be erased forever by  rapidly accelerating technological obsolescence. Up-to-date, forward-looking, and critically reflective, this authoritative new  collection is informed throughout by a deep appreciation of the technical intricacies of digital art.</p>

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