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 major theorists.
- Showcases the serious and theoretical methods during this fast-moving discipline
- Explores the historical past 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 artwork, combining clean, rising views with the nuanced insights of top theorists
- Tackles electronic art’s basic sensible demanding situations – easy methods to current, rfile, and guard items that may be erased ceaselessly by means of quickly accelerating technological obsolescence
- Up-to-date, forward-looking, and seriously reflective, this authoritative new assortment is knowledgeable all through via a deep appreciation of the technical intricacies of electronic art
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Additional info for A Companion to Digital Art
This process relates not only to delivery mechanisms 16 ◼ ◼ ◼ C h r i s t i a n e Pa u l but also to exchanges between the curator, artwork, and audience. The white cube creates a “sacred” space and a blank slate for contemplating objects. Most new media art is inherently performative and contextual —networked and connected to the “outside”—and often feels decontextualized in a white space. Curators have to accom modate the specific requirements of the different forms of new media art, ranging from (networked) installations and software art, virtual reality and augmented reality, to net art and locative media art distributed via smartphones, tablets, and other mech anisms.
The previously critically distanced relationship toward the object—the precondition of the aesthetic experience and scientific insight in general, as described by Cassirer (1954, 1963), Adorno (1973), or Serres (1981, 152)—now changes to become a field of participatory experience. Media Art and the Humanities It is essential to create an understanding of the fact that the present “image revolution,” which uses new technologies and has also developed a large number of so far unknown visual expressions, cannot be conceptualized without our image history.
Medosch also outlines how activist engagement shifted from tactical media to the notion of the commons in the 2000s, both due to the rising importance of intellectual property that needed protection in the digital domain and artists’ realization that free and open source software (FOSS) was crucial in achieving sustainability. The essay examines these developments across a wide geographical range, from Eastern and Central Europe to the United States, Brazil, and India, providing an account of the ways in which digital activist/art practices created shockwaves in the new world order of information and communication.
A Companion to Digital Art by Christiane Paul