Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of todays 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 arts 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
| List of Figures |
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viii | |
| Notes on Contributors |
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xi | |
| Acknowledgments |
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xix | |
| Introduction: From Digital to Post-Digital-Evolutions of an Art Form |
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1 | (20) |
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| Part I Histories of Digital Art |
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21 | (226) |
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1 The Complex and Multifarious Expressions of Digital Art and Its Impact on Archives and Humanities |
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23 | (23) |
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2 International Networks of Early Digital Arts |
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46 | (23) |
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3 Art in the Rear-View Mirror: The Media-Archaeological Tradition in Art |
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69 | (42) |
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4 Proto-Media Art: Revisiting Japanese Postwar Avant-garde Art |
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111 | (35) |
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146 | (35) |
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6 Digital Art at the Interface of Technology and Feminism |
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181 | (22) |
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7 The Hauntology of the Digital Image |
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203 | (23) |
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8 Participatory Art: Histories and Experiences of Display |
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226 | (21) |
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| Part II Aesthetics of Digital Art |
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247 | (106) |
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9 Small Abstract Aesthetics |
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249 | (16) |
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10 Aesthetics of the Digital |
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265 | (16) |
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11 Computational Aesthetics |
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281 | (16) |
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12 Participatory Platforms and the Emergence of Art |
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297 | (13) |
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13 Interactive Art: Interventions in/to Process |
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310 | (20) |
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14 The Cultural Work of Public Interactives |
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330 | (23) |
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| Part III Network Cultures: The Politics of Digital Art |
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353 | (108) |
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15 Shockwaves in the New World Order of Information and Communication |
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355 | (29) |
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16 Critical Intelligence in Art and Digital Media |
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384 | (16) |
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17 The Silver Age of Social Media: Nettime.org and the Avant-Garde of the '90s |
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400 | (13) |
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18 Art in the Corporatized Sphere: The Impact of Commercial Social Media on Online Artistic Practice |
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413 | (13) |
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19 Artistic Visualization |
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426 | (19) |
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20 Critical Play: The Productive Paradox |
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445 | (16) |
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| Part IV Digital Art and the Institution |
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461 | (136) |
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21 Contemporary Art and New Media: Digital Divide or Hybrid Discourse? |
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463 | (19) |
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22 One of Us!: On the Coupling of New Media Art and Art Institutions |
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482 | (12) |
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23 The Digital Arts In and Out of the Institution-Where to Now? |
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494 | (22) |
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24 The Nuts and Bolts of Handling Digital Art |
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516 | (21) |
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25 Trusting Amateurs with Our Future |
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537 | (16) |
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26 Enabling the Future, or How to Survive Forever |
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553 | (22) |
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27 Exhibition Histories and Futures: The Importance of Participation and Audiences |
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575 | (22) |
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| Index |
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597 | |
Christiane Paul is Associate Professor in the School of Media Studies at the New School, New York, USA, and also Adjunct Curator of New Media Arts at the Whitney Museum of American Art. Prof. Paul is a noted curator who oversees the Whitneys artport website and has for more than a decade conceived and administered the museums new media exhibitions, including Data Dynamics (2001), Profiling (2007), and Cory Arcangel: Pro Tools (2011). Other curatorial work includes The Public Private (Kellen Gallery, The New School, 2013); Biennale Quadrilaterale (Rijeka, Croatia, 2009-10); Feedforward - The Angel of History (LABoral, Spain, 2009); and INDAF Digital Art Festival (Incheon, Korea, 2009). She is the author of Digital Art (2003), New Media in the White Cube and Beyond (2008), and co-editor with Margot Lovejoy and Victoria Vesna of Context Providers Conditions of Meaning in Media Arts (2011).
