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 serious and theoretical techniques during this fast-moving self-discipline
• Explores the background and evolution of electronic paintings; its aesthetics and politics; in addition to its frequently turbulent relationships with proven associations
• presents 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 basic sensible demanding situations - easy methods to current, rfile, and defend items that may be erased ceaselessly by way of swiftly 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 paintings
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Additional resources for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)
Through a close reading of works by Rafael Lozano‐ Hemmer, Camille Utterback, and Scott Snibbe, Stern addresses the mutual emergence of bodies and space, as well as the ways in which signs and bodies require one another to materialize, and bodies form expressive communities. Interaction and the public in turn are the cornerstones of Anne Balsamo’s inves tigation of so‐called “public interactives,” interactive experiences in public settings. Balsamo proposes three broad definitions of public interactives: as an art form evoking new perceptions; as devices shaping new technological literacies; and as a form of public communication for the purposes of exchange, education, entertainment, and cultural memory.
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.
While Bense approached computational aesthetics in a quite literal sense—as the possibilities of mathematically calculating 10 ◼ ◼ ◼ C h r i s t i a n e Pa u l aesthetics—his theories nevertheless opened up new ways of thinking about the aesthetics of art forms that are coded and written as algorithms. Bense based his inves tigations of mathematical principles in the history of art on the investigations of the American mathematician George David Birkhoff (1884–1944) who made the first attempts at formalizing enjoyment of art as an unconscious calculation of proportions and introduced the concept of the Esthetic Measure, defined as the ratio between order and complexity.
A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)