By Christiane Paul
Reflecting the dynamic creativity of its topic, this definitive advisor spans the evolution, aesthetics, and perform of today’s electronic paintings, combining clean, rising views with the nuanced insights of major theorists.
- Showcases the severe and theoretical techniques during this fast-moving discipline
- Explores the background and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with demonstrated 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 prime theorists
- Tackles electronic art’s fundamental functional demanding situations – the best way to current, record, and defend items that may be erased perpetually via swiftly accelerating technological obsolescence
- Up-to-date, forward-looking, and significantly reflective, this authoritative new assortment is trained all through by means of a deep appreciation of the technical intricacies of electronic art
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Extra info for A Companion to Digital Art
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.
Furthermore, art‐historical methods may strengthen our political‐aesthetic analysis of the present through image analyses. Last but not least, the development and significance of new media should be illuminated, since the first utopian expressions of a new medium often take place in artworks. The evolution of media art has a long history and by now a new technological variety has appeared. Today’s media art cannot be fully understood without its history. In 2005, the Database for Virtual Art, the Banff New Media Institute, and Leonardo produced the first international MediaArtHistories conference.
This intangibility in turn is tied to an asymmetric invisibility in which classification and analysis of data are not visible or accessible to society at large and create a non‐information society for the majority. 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.
A Companion to Digital Art by Christiane Paul