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 top theorists.
- Showcases the severe and theoretical methods during this fast-moving discipline
- Explores the historical past and evolution of electronic paintings; its aesthetics and politics; in addition to its frequently turbulent relationships with proven institutions
- Provides 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 useful demanding situations – the way to current, rfile, and look after items that may be erased ceaselessly through speedily 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 art
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Extra info for A Companion to Digital Art
Richard Rinehart’s essay in this section takes a close look at the attention that digital art began to receive from mainstream art institutions around the turn of the millennium and the problems that surrounded the attempt to integrate it. From an art‐historical perspective, it seems difficult or dubious not to acknowledge that the participatory art of the 1960s and 1970s and the 1990s and 2000s were responses to cultural and technological developments—computer technologies, cybernetics, systems theory, and the original Internet/ARPANET from the mid‐ 1940s onwards; and the World Wide Web, ubiquitous computing, databasing/data mining, and social media from the 1990s onwards.
Introduction 19 Giannetti, Claudia. 2014. Ästhetik des Digitalen: Ein intermediärer Beitrag zu Wissenschaft, Medien‐ und Kunstsystem. Vienna, New York: Springer. 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.
Ingo Günther’s obsessive cartographic work Worldprocessor—an artwork that implicitly conveys the explosion, ubiquity, and the availability of data by the introduction and consoli dation of digital media on illuminated globes—multiplies more and more and appears as a clairvoyant prefiguration of the attempts of the growing visualization industries to make our complex time understood. 9 At least since the time of Edward Snowden’s release of documents we have known that Facebook also is systematically used for US National Security Agency surveillance, but many artists, like Seiko Mikami in her robotic installation Desire of Codes, 2011, were already dealing with this big issue of our time before the worldwide espionage became generally known10 (also see Levin 2002; Ozog 2008).