By Christiane Paul
Reflecting the dynamic creativity of its topic, this definitive advisor spans the evolution, aesthetics, and perform of today’s electronic artwork, combining clean, rising views with the nuanced insights of best theorists.
- Showcases the severe and theoretical techniques during this fast-moving discipline
- Explores the heritage and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with proven institutions
- Provides a platform for the main influential voices shaping the present discourse surrounding electronic paintings, combining clean, rising views with the nuanced insights of best theorists
- Tackles electronic art’s fundamental functional demanding situations – tips to current, rfile, and safeguard items which may be erased endlessly by way of speedily accelerating technological obsolescence
- Up-to-date, forward-looking, and seriously reflective, this authoritative new assortment is expert all through by means of a deep appreciation of the technical intricacies of electronic art
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Extra resources for A Companion to Digital Art
Since the academic institutionalization of art history at around 1800, different discourses emerged that dealt with the autonomy of art as well as with questions of the complexity of the image (Wind 1994): that is, art as a (rationalized) expression of diverse cultural expressions; questions of art history in the means of a history of style; the style of a certain epoch as a manifestation of the “Kunstwollen” (Alois Riegl)—an appropriate translation would be “artistic will”—that fades away the differentiation of high and low artistic expressions by emphasizing the (hedonist) will to create art.
He addresses “unofficial” preservation practices and illustrates why they can sometimes be more effective than professional endeavors. As Ippolito points out, only a tiny portion of new media artworks created since 1980 has been preserved, while a massive portion of video games has been restored and kept alive by a global community of dispersed amateurs. Ippolito proposes to keep multilayered technological culture alive through “proliferative preservation” that writes new versions of a work into the “cultural niche” formerly occupied by a single version and employs the benefits of crowdsourcing to offset the range of quality that amateur contributions yield.
Cambridge, MA: The MIT Press. Manovich, Lev. 2001. The Language of New Media. Cambridge, MA: The MIT Press. Steyerl, Hito. 2009. ” e‐flux journal #10. e‐flux. com/journal/in‐defense‐of‐the‐poor‐image/ (accessed September 24, 2015). Youngblood, Gene. 1970. Expanded Cinema. Toronto and Vancouver: Clarke, Irwin & Company. Part I Histories of Digital Art 1 The Complex and Multifarious Expressions of Digital Art and Its Impact on Archives and Humanities Oliver Grau Introduction Compared to traditional art forms—such as painting or sculpture—media art has more multifarious potential for expression and visualization; although underrepre sented on the art market, which is driven by economic interests, it has become “the art of our time,” thematizing complex challenges for our life and societies, like genetic engineering (Anker and Nelkin 2003; Reichle 2005; Hauser 2008; Kac 2007), the rise of post‐human bodies (Hershman‐Leeson 2007), ecological crises1 (Cubitt 2005; Himmelsbach and Volkart 2007; Demos 2009; Borries 2011), the image and media revolution (Grau 2011; Mitchell 2011) and with it the explosion of human knowledge (Vesna 2007; Manovich 2011), the move toward virtual financial economies,2 and the processes of globalization3 and surveillance, to name just a few.
A Companion to Digital Art by Christiane Paul
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