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"New Media in the White Cube and Beyond perceptively addresses the challenges inherent in the digital arts. The book will be a great asset to the study and practice of presenting media art for many years to come."--Barbara London, curator, Museum of Modern Art, New York "Provocative and original, New Media in the White Cube and Beyond represents an important contribution to the fields of new media, museum studies, and contemporary art."--Alexander Alberro, author of Conceptual Art and the Politics of Publicity
Beyond New Media: Discourse and Critique in a Polymediated Age examines a host of differing positions on media in order to explore how those positions can inform one another and build a basis for future engagements with media theory, research, and practice. Herbig, Herrmann, and Tyma have brought together a number of media scholars with differing paradigmatic backgrounds to debate the relative applicability of existing theories and in doing so develop a new approach: polymediation. Each contributor’s disciplinary background is diverse, spanning interpersonal communication, media studies, organizational communication, instructional design, rhetoric, mass communication, gender studies, popular culture studies, informatics, and persuasion. Although each of these scholars brings with them a unique perspective on media’s role in people’s lives, what binds them together is the belief that meaningful discourse about media must be an ongoing conversation that is open to critique and revision in a rapidly changing mediated culture. By studying media in a polymediated way, Beyond New Media addresses more completely our complex relationship to media(tion) in our everyday lives.
Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.
"'Beyond New Media Art' is an attempt to analyze the current positioning of so-called New Media Art in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history. On the other hand, this book is also an attempt to suggest new critical and curatorial strategies to turn this marginalization into a thing of the past, and to stress the topicality of art addressing the media and the issues of the information age"--Publisher.
This beautiful four-colour book is chocked full of techniques for creating paintings from photographs using Photoshop and Painter.
"New Media in the White Cube and Beyond perceptively addresses the challenges inherent in the digital arts. The book will be a great asset to the study and practice of presenting media art for many years to come."--Barbara London, curator, Museum of Modern Art, New York "Provocative and original, New Media in the White Cube and Beyond represents an important contribution to the fields of new media, museum studies, and contemporary art."--Alexander Alberro, author of Conceptual Art and the Politics of Publicity
Digital technology has interfered in all the spheres, private, public and professional, of our society and shaped them. Artists have always used the techniques or technologies of their time to express themselves. Yet, it takes time for the art world to integrate new practices and new media. Impatient, the most fervent advocates of digital art have structured themselves into international communities by organizing dedicated events. Their practices have now matured and the public is culturally ready to welcome their creations as it already does in festivals. At the same time, we notice the first signs of digital acceptance in art, both in institutions and in the contemporary art market. The purpose of this book is to study the works of current practices without focusing on their shared use of digital technology, and to demonstrate that digital technology is a medium of contemporary art, but that it is important to consider specificities.
Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today’s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. Showcases the critical and theoretical approaches in this fast-moving discipline Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists Tackles digital art’s primary practical challenges – how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art
The first book on the philosophy and aesthetics of digital preservation examines the challenge posed by new media to our long-term social memory. How will our increasingly digital civilization persist beyond our lifetimes? Audio and videotapes demagnetize; CDs delaminate; Internet art links to websites that no longer exist; Amiga software doesn't run on iMacs. In Re-collection, Richard Rinehart and Jon Ippolito argue that the vulnerability of new media art illustrates a larger crisis for social memory. They describe a variable media approach to rescuing new media, distributed across producers and consumers who can choose appropriate strategies for each endangered work. New media art poses novel preservation and conservation dilemmas. Given the ephemerality of their mediums, software art, installation art, and interactive games may be heading to obsolescence and oblivion. Rinehart and Ippolito, both museum professionals, examine the preservation of new media art from both practical and theoretical perspectives, offering concrete examples that range from Nam June Paik to Danger Mouse. They investigate three threats to twenty-first-century creativity: technology, because much new media art depends on rapidly changing software or hardware; institutions, which may rely on preservation methods developed for older mediums; and law, which complicates access with intellectual property constraints such as copyright and licensing. Technology, institutions, and law, however, can be enlisted as allies rather than enemies of ephemeral artifacts and their preservation. The variable media approach that Rinehart and Ippolito propose asks to what extent works to be preserved might be medium-independent, translatable into new mediums when their original formats are obsolete.
New media/digital art is a genre that contains references to 'traditional' forms of visual art but also extends far beyond the solely visual because it combines moving images, sound, and installed elements that contribute to a multi-sensory experience that engages the viewer in ways that visual art does not. New media/digital art also utilizes complex computer programs to create virtual reality spaces as well as network structures that can reach across the globe. Therefore, I think it is necessary to deliberately set new media/digital art apart from the contemporary visual arts by addressing its hybrid nature.