March 7, 2017

A Companion to Digital Art (Blackwell Companions to Art

Reflecting the dynamic creativity of its topic, this definitive consultant spans the evolution, aesthetics, and perform of today's electronic artwork, combining clean, rising views with the nuanced insights of top theorists.

• Showcases the serious and theoretical techniques during this fast-moving self-discipline
• Explores the heritage and evolution of electronic paintings; its aesthetics and politics; in addition to its usually turbulent relationships with confirmed associations
• offers 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 useful demanding situations - find out how to current, rfile, and shield items which may be erased without end by means of speedily accelerating technological obsolescence

Up-to-date, forward-looking, and seriously reflective, this authoritative new assortment is expert all through via a deep appreciation of the technical intricacies of electronic artwork

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Extra info for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)

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Convergence Culture: Where Old and New Media Collide. Cambridge, MA: The MIT Press. Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art. Cambridge, MA: The MIT Press. Manovich, Lev. 2001. The Language of New Media. Cambridge, MA: The MIT Press. Steyerl, Hito. 2009. ” e‐flux journal #10. e‐flux. com/journal/in‐defense‐of‐the‐poor‐image/ (accessed September 24, 2015). 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.

Given the deep connections between the digital medium and the military‐­industrial‐ entertainment complex, as well as the multiple ways in which digital technologies are shaping the social fabric of our societies—to a point where political action is named after the social media platform supporting it, as in “Twitter Revolution”—it does not come as a surprise that many digital artworks critically engage with their roots, and digital (art) activism has been an important field of engagement. In his essay on “Shockwaves in the New World Order of Information and Communication,” Armin Medosch weaves a comprehensive narrative of political digital art practices as they have changed over time along with advances in technology and developments in the political economy.

Moles, who took a slightly different approach to the field—proved to be influential for digital art in that it outlined a computational aesthetics. 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.

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