New Media Art
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Contemporary Art and New Media: Hybrid Discourse Or Digital Divide?
21 Contemporary Art and New Media Digital Divide or Hybrid Discourse? Edward A. Shanken Since the mid‐1990s, new media art (NMA) has become an important force for economic and cultural development internationally, establishing its own major institutions.1 Collaborative, transdisciplinary research at the intersections of art, science, and technology also has gained esteem and institutional support, with inter- disciplinary PhD programs proliferating around the world. During the same period, mainstream contemporary art (MCA) experienced dramatic growth in its market and popularity, propelled by economic prosperity and the propagation of interna- tional museums, art fairs, and biennial exhibitions. This dynamic environment has nurtured tremendous creativity and invention by artists, curators, theorists, and pedagogues operating in both domains. Yet rarely does the mainstream artworld converge with the new media artworld. As a result, their discourses have become increasingly divergent. MCA practice and writing are remarkably rich with ideas about the relationship between art and society. Indeed, they are frequently engaged with issues that pertain to global connectivity and sociability in digital, networked culture. Given the proliferation of computation and the Internet, it perhaps was inevitable that central discourses in MCA would employ, if not appropriate, key terms of digital culture, such as “interactivity,” “participation,” “programming,” and “networks.” But the use of these terms in MCA literature typically lacks a deep understanding of the scientific and technological mechanisms of new media, the critical discourses that theorize their implications, and the interdisciplinary artistic practices that are co‐extensive with them. Similarly, mainstream discourses typically dismiss NMA on the basis of its technological form or immateriality, without fully appreciating its theoretical richness, or the conceptual parallels it shares with MCA. -
New Media 10101 Art and Technology (Detail of Still), 2014-2020
New Media 10101 Art and Technology (detail of still), 2014-2020. RGB.VGA.VOLT James H. Connolly, James H. Connolly, AUGUST 15 – SEPTEMBER 26, 2020 PENINSULA SCHOOL OF ART ART AND TECHNOLOGY NEW MEDIA Technology is the application of scientific knowledge for New Media 10101 focuses on artists practical purposes, and art and science have a long history of using digital technologies in a ‘New Media art’ and ‘digital art’ are often used pushing each other forward. The camera obscura has been variety of ways. Some use software interchangeably, but New Media is best understood around for thousands of years, but it took an 1829 collaboration made for artists and designers in as an umbrella term that encompasses many narrower between French amateur scientist Nicéphore Niépce and the process of creating physical disciplines, including video, digital, computer, sound, artist Louise Deguarre to create a way to permanently works of art. Emily Scheider Berens interactive, bio-technical, virtual reality, installation, web, capture its images with a reasonable exposure time. The son describes herself as a ‘Tra-Digital’ artist. and 3-D printed art, to name a few. However, much of the work in New Media though the years is connected to one of a master weaver, Joseph Marie Jacquard invented the first She combines traditional drawing and or more of the following practices: programmable loom, which was operated using punched printmaking techniques with digital cards and led to the invention of early computers. imaging and collage processes to Collaboration create the intricately detailed works on For philosophical or practical reasons, New Media artists paper featured in the exhibition. -
New Media Art
New Media Art Gabriela Avram New Media Art p Older names like "Digital art," "Computer art," "Multimedia art," and "Interactive art" are often used interchangeably. p New Media art = a subset of two broader categories: Art and Technology and Media art. ■ Art and Technology refers to practices such as Electronic art, Robotic art, and Genomic art, that involve technologies which are new but not necessarily media-related. ■ Media art includes Video art, Transmission art, and Experimental Film -- art forms that incorporate media technologies which by the 1990s were no longer new. Banksy piece auction Historical roots p 1920’s -the Dada movement emerged in several European cities (Zürich, Berlin, Cologne, Paris, and New York). Artists were disturbed by what they perceived as the self-destructive bourgeois hubris that led to the First World War; they began to experiment with radically new artistic practices and ideas . p Dada was a reaction to the industrialization of warfare and the mechanical reproduction of texts and images; p New Media art can be seen as a response to the information technology revolution and the digitization of cultural forms. Old and new p Fragmented juxtapositions of borrowed images and texts in works like Shu Lea Cheang's Brandon and Diane Ludin's Genetic Response System 3.0 (2001) are reminiscent of the collages of Raoul Hausmann, Hannah Höch, and Francis Picabia. Old and new p New Media art works involving direct appropriation, e.g. Alexei Shulgin's WWWArt Award or RSG's Prepared PlayStation (2005) – inspired by Marcel Duchamp's readymades. Old and new p Activist New Media art projects like Electronic Disturbance Theater's FloodNet and Fran Illich's Borderhack- relate to the work of George Grosz, John Heartfield, and other Berlin Dadaists who blurred the boundaries between art and political action serve as important precedents for . -
Contemporary Art and New Media: Digital Divide Or Hybrid Discourse
Contemporary Art and New Media: Digital Divide or Hybrid Discourse? Edward A. Shanken DXARTS University of Washington, Washington-DC, United States [email protected] Since the mid-1990s, new media art (NMA) has become an important force for economic and cultural development internationally, establishing its own major institutions.1 Collaborative, transdisciplinary research at the intersections of art, science, and technology also has gained esteem and institutional support, with interdisciplinary Ph.D. programs proliferating around the world. During the same period, mainstream contemporary art (MCA) experienced dramatic growth in its market and popularity, propelled by economic prosperity and the propagation of international museums, art fairs, and biennial exhibitions. This dynamic environ- ment has nurtured tremendous creativity and invention by artists, curators, theo- rists and pedagogues operating in both domains. Yet rarely does the mainstream artworld converge with the new media artworld. As a result, their discourses have become increasingly divergent. MCA practice and writing are remarkably rich with ideas about the relationship between art and society. Indeed, they are frequently engaged with issues that per- tain to global connectivity and sociability in digital, networked culture. Given the proliferation of computation and the Internet, it perhaps was inevitable that central 1 This essay is forthcoming in Christiane Paul, ed. A Companion to Digital Art. London: Wiley-Bla- ckwell. Portions were previously published in the following: “Contemporary Art and New Media: Outli- ne for Developing a Hybrid Discourse” ISEA2010 Proceedings; “Alternative Nows and Thens To-Be” Alternative Now (online festival reader) Wroslaw: WRO2011 Biennial of Media Arts, 2011; reprinted in in Repasando el Futuro (English/Spanish) Barcelona: ArtFutura, 2011, 13-27; “Response to Do- menico Quaranta’s ‘The Postmedia Perspective’” Rhizome.org 26 Jan 2011; and “Edward Shanken on ‘Is New Media Accepted in the Artworld?’” Artfagcity, 6 Sep, 2011. -
Monika Fleischmann & Wolfgang Strauss
5th May Local Time UYT (UTC -3) 11:30 Opening 12:00 Inaugural Lecture “Imagine a space filled with data - the architecture of interactivity” Monika Fleischmann & Wolfgang Strauss (Germany) Special Invitee: Derrick de Kerckhove (Italy) Introduction & Moderation: Anja Pratschke (Brazil) Contributions: Margit Rosen, Daniel Becker (Germany), Karin Ohlenschlaeger (Spain) and Ryszard W. Kluszczyński (Poland) Resume In a retrospective Monika Fleischmann and Wolfgang Strauss discuss their participatory concepts and interactive artworks from the late 1980s to the time when participation became possible on the Internet in the 2000s. They do this with the concept of the ‚thinking space‘ (Denkraum, Aby Warburg, 1929), and understand it as an „evocative object in a culture of simulation“ (Sherry Turkle, 2004), or as ‚a space filled with data‘ that is intended to stimulate learning and thinking. Their artwork shows the development of the interface from a physical object like a table to a virtual environment like a mixed reality stage. With the advent of the Internet, the interface changes to an operative image (Sybille Krämer, 2009). In "Berlin, Cyber City" (1989), after the fall oft he Berlin wall, visitors dive into virtual Berlin with a sensor in their hands and gain new perspectives. They discuss the current situation around an interactive table and take on "a position in the world that is not their own" (Hannah Arendt, 1960). With "Home of the Brain" (1990), the artists not only reflect on the new medium, but the discourse itself is shown as a philosophical debate in a virtual exhibition, which the visitor accesses with head mounted display and data gloves. -
A Critical Inquiry: Paintbrush to Pixels; Developing Paradigms in the Production and Consumption of New Media Art
A Critical Inquiry: Paintbrush to Pixels; Developing Paradigms In The Production and Consumption of New Media Art. Brett Aggersberg, MA, PGCTLHE, BSc (Hons) DIRECTOR OF STUDIES (Dr Karen Ingham) SECOND SUPERVISOR (Dr Howard Riley) THIRD SUPERVISOR (Dr Paul Jeff) STATEMENT: This research was undertaken under the auspices of the University of Wales: Trinity Saint David and was submitted in partial fulfilment for the award of a Degree of PhD in the Faculty of Art and Design of the University of Wales. 2017 1 Abstract Art represents our culture, and our current culture is largely dependent on technology. However, artworks created and exhibited with digital technologies have not been as perceptible so far within contemporary arts institutions as traditional analogue art forms. This thesis instigates a critical investigation into the development and values of technology-based art works utilizing qualitative interpretations of the data. Whilst this rapidly changing field is problematic in terms of a conventional conclusion, the principle aim is to explore whether an improved understanding and awareness of new media art is required as a result of the paradigm shift caused via the permeation of digital technologies across art practices. The resulting new methods of production, distribution, and consumption within art require updated models of critical engagement. An appropriate paradigm shift in respect of institutions, curators, and artists will aid the integration and awareness of new media art into the broader art world. Whilst my hypothesis implies an argument for a greater presence of new media art in arts institutions, I conclude however that it is better suited to alternative modes of exhibition, such as festivals, craft labs, and workshops, as a shift from traditional art paradigms means they no longer require traditional structures of display. -
Variant Analyses Interro Gations of New Media Art and Culture
PATRICK LICHTY VARIANT ANALYSES INTERRO GATIONS OF NEW MEDIA ART AND CULTURE A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 12 PATRICK LICHTY VARIANT ANALYSES INTER- ROGATIONS OF NEW MEDIA ART AND CULTURE Theory on Demand #12 Variant Analyses: Interrogations of New Media Art and Culture Author: Patrick Lichty Editorial support: Morgan Currie Design: Katja van Stiphout DTP: Margreet Riphagen & Katja van Stiphout Printer: ‘Print on Demand’ Publisher: Institute of Network Cultures, Amsterdam 2013 ISBN: 978-90-818575-4-3 Contact Institute of Network Cultures phone: +3120 5951863 fax: +3120 5951840 email: [email protected] web: http://www.networkcultures.org This publication is available through various print on demand services. For more information, and a freely downloadable pdf: http://networkcultures.org/theoryondemand. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License. No article in this book may be reproduced in any form by any electronic or mechanical means without permission in writing from the author. VARIANT ANALYSES 3 CONTENTS Acknowledgements 4 Introduction 7 NEW MEDIA: CRITICAL MILIEUX 12 Haymarket RIOT’s Machine: Hacking Visual Sociology By Patrick Lichty and Jonathon S. Epstein Presentation/Intervention/Performance: A Theory of the Eclectic Crash Presentations: A Theory of the Eclectic NEW MEDIA AND ACTIVISM 33 Grasping at Bits: Art and Intellectual Control in the Digital Age An Alpha Revisionist Manifesto The Paralytic -
The Art of (Dis)Playing Video Games: Theory Meets Praxis by Christine
The Art of (Dis)Playing Video Games: Theory Meets Praxis By Christine Kim Submitted to OCAD University In partial fulfillment of the requirements for the degree of Master of Arts In Contemporary Art, Design, and New Media Art History September, 2012 Toronto, Ontario, Canada, April 2012 © Christine Kim, 2012 I hereby declare that I am the sole author of the MRP. This is a true copy of the MRP, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. I further authorize OCAD University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature _________________________________________________ ii Abstract Over the last two decades, public and academic discourse has concluded that video games are an art form. However, when video games are featured as exhibitions in public institutions of art – there is opposition. This essay explores the responses to this range of artistic activities by the art and game worlds. To this end I construct a typology that outlines three recognizable trends in the public exhibition of video games in art galleries and museums Blockbuster Exhibitions typically feature commercial games, while art galleries usually exhibit avant-garde Game Art or Art Games. Lastly, there is an emerging “new museum” that helps fund and foster “new arcade” games as well as independent production. -
Net. Aesthetics, Net. History, Net. Criticism: Introducing
NET.AESTHETICS, NET.HISTORY, NET.CRITICISM: INTRODUCING NET.ART INTO A COMPUTER ART AND GRAPHICS CURRICULUM DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alison R. Colman, B.F.A., M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Professor Vesta A. H. Daniel, Adviser Approved by: Professor Georgianna Short Professor Wayne Carlson ______________________________ Adviser Professor Brian Rotman Department of Art Education ABSTRACT Net.art is an art form that uses the Internet as a medium, and has been created specifically for viewing on the World Wide Web. For the art instructor whose curriculum includes art criticism, art history and aesthetics with studio activities, including net.art in such a way that encourages critical thinking and new perspectives on art as well as the Internet is a daunting challenge. The art instructor needs the computer skills necessary to assist students in creating net.art, as well as an understanding of the cultural, technological and theoretical underpinnings of net.art in order to demystify it for students. Net.art tends to be highly conceptual, strongly challenges commonly held notions regarding art, and often requires the viewer to have some knowledge of the history of the Internet. It also requires the viewer to understand the Internet as a cultural phenomenon rather than a technological tool. My primary empirical objective was to formulate effective pedagogical strategies for the high school art instructor incorporating net.art into their curriculum in such a way that would facilitate students’ critical thinking, meaning making, and deeper understanding of the cultural aspects of the Internet. -
Mixed Reality Art and the Graphical User Interface
mixed reality art and the graphical user interface Ian Gwilt A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy School of Art History and Theory University of New South Wales 2009 00_insidecover [A] abstract This hybrid (practice/thesis) examines the phenomenon of mixed-reality art through the form of the graphical user interface (GUI) as an emergent site of creative practice. Utilising three methodologies – the documentation of practice; a conceptual framing; and a series of personal experimental artworks – I will explore the creative manifestation of the GUI. This will be done using the following terms: as a computer-based interface; as material artefact; and as augmented reality construct. The thesis builds a position around the idea that differing manifestations of the GUI aesthetic as represented in virtual, physical and mixed-reality constructs can be used to examine the recent interest in the concept of ‘mixed-reality’ as a site of enquiry within creative digital media. The artworks that make up the documented practice element of this thesis represent an exploration into the visual language of the GUI through the above three terms. Through this practice/thesis I will establish the premise that by creatively repositioning the GUI, it is possible to challenge our understanding and expectations of the conventional computer interface wherein icons no longer function as navigational devices and can be removed from the context of the computer desktop interface by varying scale, media and configuration. Moreover, that shifts in representation and form allow for the (d)evolution of the computer desktop metaphor back into object-based artefacts and hybrid configurations. -
On New Media Art, Its Development and Achievements in China
On New Media Art, Its Development and Achievement in China | 168 On New Media Art, Its Development and Achievements in China El New Media Art, su desarrollo y logros en China Liu Guangyu Assistant Professor (Beijing Academy of Science and Technology) Li Qingben The Institute of Comparative Literature & Culture Studies (Beijing Language and Culture University) Translated by Lingling Zhao Inner (Mongolia University) Fecha de recepción: 19 de mayo de 2014 Fecha de revisión: 1 de julio de 2014 Para citar este artículo: Guangyu, L. (2014): On New Media Art Its Development and Achievements in China, Icono 14, volumen (12), pp. 168-180. doi: 10.7195/ri14.v12i2.718 DOI: ri14.v12i2.718 | ISSN: 1697-8293 | Año 2014 Volumen 12 Nº 2 | ICONO14 169 | Liu Guangyu Abstract This essay is aimed to introduce the development status of the new media art in China; the author gave its definition based on his own understanding and observa- tion, which included various forms. Moreover, the developing environment of the new media art in the world is presented systematically in the essay. The author combed the art history and technology history which are closely connected with the birth of the new media art. China has achieved many accomplishments in new media art forms, such as the successful hosting of 2008 World Olympic Games and 2010 World expo. In the opening ceremony of 2008 World Olympic Games, interactive art, instal- lation art and virtual space are in perfect use. Especially, “scroll” has combined all the above technological methods into display, which brought about stunning sensory impact to the audiences. -
New Media Art - Introduction
New Media Art - Introduction By Mark Tribe and Reena Jana Defining New Media art Jodi, 1995 In 1993, at the start of the "dot com" boom, two European artists, Joan Heemskerk and Dirk Paesmans, paid a visit to California's Silicon Valley. When they returned home, they created jodi.org, a Web-site-as-art-work whose scrambled green text and flashing images seem to deconstruct the visual language of the Web. Heemskerk and Paesmans remixed found images and HTML scripts much as Dada artists played with the photographic imagery and typography of magazines and newspapers. Jodi.org changed the way many people think about the Internet, demonstrating that it didn't just provide a new way to publish information; it could also be an art medium like oil painting, photography, or video. Like other works of New Media art, jodi.org exploited an emerging technology for artistic purposes. 1994 was a watershed year in the linked histories of media technology and digital culture. The Netscape Corporation introduced the first commercial Web browser, signaling the Internet's transformation from a computer network used primarily by computer enthusiasts and academic researchers into a popular medium for personal communication, publishing, and commerce. Terms like "the Net," "the Web," "cyberspace," and "dot com" soon became part of the international vernacular, and a major societal shift appeared to be underway from industrial production to information economies, from hierarchical organizations to distributed networks, from local markets to global ones. The Internet meant different things to different people: to entrepreneurs, it was a way to get rich quick; to activists, it was a means of building grassroots support for political causes; to media magnates, it represented a new channel for distributing content.