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A Companion to Digital Art WILEY BLACKWELL COMPANIONS to ART HISTORY A Companion to Digital Art WILEY BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state‐ of‐the‐art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett 6 A Companion to Modern African Art edited by Gitti Salami and Monica Blackmun Visonà 7 A Companion to Chinese Art edited by Martin J. Powers and Katherine R. Tsiang 8 A Companion to American Art edited by John Davis, Jennifer A. Greenhill and Jason D. LaFountain 9 A Companion to Digital Art edited by Christiane Paul 10 A Companion to Public Art edited by Cher Krause Knight and Harriet F. Senie A Companion to Digital Art Edited by Christiane Paul This edition first published 2016 © 2016 John Wiley & Sons, Inc, except Chapter 9 © Max Bense Registered Office John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK Editorial Offices 350 Main Street, Malden, MA 02148‐5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley‐blackwell. The right of Christiane Paul to be identified as the author of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Designations used by companies to distinguish their products are often claimed as trademarks. All brand names and product names used in this book are trade names, service marks, trademarks or registered trademarks of their respective owners. The publisher is not associated with any product or vendor mentioned in this book. Limit of Liability/Disclaimer of Warranty: While the publisher and authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. It is sold on the understanding that the publisher is not engaged in rendering professional services and neither the publisher nor the author shall be liable for damages arising herefrom. If professional advice or other expert assistance is required, the services of a competent professional should be sought. Library of Congress Cataloging‐in‐Publication Data Names: Paul, Christiane, editor. Title: A companion to digital art / Edited by Christiane Paul. Description: Hoboken : John Wiley & Sons Inc., 2016. | Includes bibliographical references and index. Identifiers: LCCN 2015039613 (print) | LCCN 2015040809 (ebook) | ISBN 9781118475201 (cloth) | ISBN 9781118475188 (Adobe PDF) | ISBN 9781118475218 (ePub) Subjects: LCSH: Computer art. Classification: LCC N7433.8 .C615 2016 (print) | LCC N7433.8 (ebook) | DDC 776–dc23 LC record available at http://lccn.loc.gov/2015039613 A catalogue record for this book is available from the British Library. Cover image: Scott Snibbe, Deep Walls, interactive video installation, San Francisco Museum of Modern Art, 2002. Reproduced by permission of Scott Snibbe. Set in 10/12pt Galliard by SPi Global, Pondicherry, India 1 2016 Contents List of Figures viii Notes on Contributors xi Acknowledgments xix Introduction: From Digital to Post‐Digital—Evolutions of an Art Form 1 Christiane Paul Part I Histories of Digital Art 21 1 The Complex and Multifarious Expressions of Digital Art and Its Impact on Archives and Humanities 23 Oliver Grau 2 International Networks of Early Digital Arts 46 Darko Fritz 3 Art in the Rear‐View Mirror: The Media‐Archaeological Tradition in Art 69 Erkki Huhtamo 4 Proto‐Media Art: Revisiting Japanese Postwar Avant‐garde Art 111 Machiko Kusahara 5 Generative Art Theory 146 Philip Galanter 6 Digital Art at the Interface of Technology and Feminism 181 Jennifer Way 7 The Hauntology of the Digital Image 203 Charlie Gere vi ◼ ◼ ◼ CONTENTS 8 Participatory Art: Histories and Experiences of Display 226 Rudolf Frieling Part II Aesthetics of Digital Art 247 9 Small Abstract Aesthetics 249 Max Bense 10 Aesthetics of the Digital 265 Sean Cubitt 11 Computational Aesthetics 281 M. Beatrice Fazi and Matthew Fuller 12 Participatory Platforms and the Emergence of Art 297 Olga Goriunova 13 Interactive Art: Interventions in/to Process 310 Nathaniel Stern 14 The Cultural Work of Public Interactives 330 Anne Balsamo Part III Network Cultures: The Politics of Digital Art 353 15 Shockwaves in the New World Order of Information and Communication 355 Armin Medosch 16 Critical Intelligence in Art and Digital Media 384 Konrad Becker 17 The Silver Age of Social Media: Nettime.org and the Avant‐Garde of the ’90s 400 McKenzie Wark 18 Art in the Corporatized Sphere: The Impact of Commercial Social Media on Online Artistic Practice 413 Kyle Chayka 19 Artistic Visualization 426 Lev Manovich 20 Critical Play: The Productive Paradox 445 Mary Flanagan CONTENTS ◼ ◼ ◼ vii Part IV Digital Art and the Institution 461 21 Contemporary Art and New Media: Digital Divide or Hybrid Discourse? 463 Edward A. Shanken 22 One of Us!: On the Coupling of New Media Art and Art Institutions 482 Richard Rinehart 23 The Digital Arts In and Out of the Institution—Where to Now? 494 Sarah Cook with Aneta Krzemień Barkley 24 The Nuts and Bolts of Handling Digital Art 516 Ben Fino‐Radin 25 Trusting Amateurs with Our Future 537 Jon Ippolito 26 Enabling the Future, or How to Survive FOREVER 553 Annet Dekker 27 Exhibition Histories and Futures: The Importance of Participation and Audiences 575 Beryl Graham Index 597 List of Figures 1.1 Archive of Digital Art (ADA). Screenshot. 32 1.2 Göttweig Print Collection Online. Screenshot. 34 2.1 Experiments in Art and Technology (E.A.T.) at the annual meeting of the Institute of Electrical and Electronics Engineers (IEEE), March 20–24, 1967, Coliseum and Hilton Hotel, New York. Artists Tom Gormley and Hans Haacke are talking to an engineer. 49 2.2 Jonathan Benthall from the Computer Arts Society, London, at the symposium at tendencies 4 “Computers and Visual Research,” RANS Moša Pijade, Zagreb, 1969. 57 3.1 Toshio Iwai portrait. 89 3.2 Toshio Iwai, Piano – As Image Media, 1995, installation shot. 91 3.3 Paul DeMarinis, Firebirds, 2004, installation shot. 97 4.1 Katsuhiro Yamaguchi, Vitrine Blueplanet, 1955. 119 4.2 Atsuko Tanaka, Work (Bell), 1955/2005. 123 5.1 Order/disorder relationships for information complexity and effective complexity. 158 5.2 Systems used in generative art identified by effective complexity. 158 5.3 77,000‐year‐old generative art etched in red ocher. 159 5.4 Michael Noll, Gaussian Quadratic, 1963. 161 6.1 Joan Truckenbrod, Oblique Wave, 1979. 188 6.2 Ericka Beckman, Hiatus, 1999. 16 mm film. Screenshot. 190 6.3 subRosa, SmartMom sensate dress, 1999. 195 7.1 Leon Harmon and Ken Knowlton, Studies in Perception No. 1, 1966. 207 7.2 Leon Harmon and Ken Knowlton, Telephone, 1967. 211 8.1 Lynn Hershman Leeson: The Agent Ruby Files, SFMOMA (2013). 234 8.2 Julia Scher, Predictive Engineering, 1993. SFMOMA installation view. Multi‐channel video installation with sound, dimensions variable. 239 LIST OF FIGURES ◼ ◼ ◼ ix 8.3 Julia Scher, Predictive Engineering, 1998. SFMOMA installation view. Multi‐channel video installation with sound, dimensions variable. 239 8.4 Julia Scher, Predictive Engineering, 1998 (screenshot). Web project. 240 9.1 Diagram 1 252 9.2 Diagram 2 252 10.1 John F. Simon, Jr., Every Icon (1997), screenshot. 269 10.2 Peter Campus, phantom, 2011. 272 10.3 Corby & Bailey, cyclone.soc, 2006. Installation view. 276 13.1 Camille Utterback, Untitled 6. Installation view. Milwaukee Art Museum, 2008. 317 13.2 Scott Snibbe, Deep Walls. Interactive video installation. San Francisco Museum of Modern Art, 2002. 321 14.1 Rafael Lozano‐Hemmer, Body Movies, Relational Architecture 6, 2001. 342 14.2 The AIDS Quilt Touch Table created by Anne Balsamo and Dale MacDonald, in collaboration with the LADS research team at Brown University, 2012. 345 15.1 June 18, 1999, Carnival against Capitalism, City of London. 370 16.1 Urban interventions and tactical media. Karlsplatz, Vienna, 2003–2004. 391 16.2 Urban interventions and tactical media. Karlsplatz, Vienna 2003–2004. Examples of a strategic series of tactical operations in a central public space. 392 18.1 Joe Hamilton, Hyper Geography, 2011. Screenshot. 418 19.1 Charles Joseph Minard, Map of the Tonnage of the Major Ports and Principal Rivers of Europe, 1859.
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