Reflecting the dynamic creativity of its topic, this definitive advisor spans the evolution, aesthetics, and perform of today's electronic artwork, combining clean, rising views with the nuanced insights of best theorists.
• Showcases the severe and theoretical ways during this fast-moving self-discipline
• Explores the historical past and evolution of electronic paintings; its aesthetics and politics; in addition to its usually turbulent relationships with verified associations
• offers a platform for the main influential voices shaping the present discourse surrounding electronic artwork, combining clean, rising views with the nuanced insights of best theorists
• Tackles electronic art's fundamental useful demanding situations - easy methods to current, rfile, and protect items that may be erased eternally by way of speedily accelerating technological obsolescence
Up-to-date, forward-looking, and severely reflective, this authoritative new assortment is expert all through through a deep appreciation of the technical intricacies of electronic paintings
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Additional resources for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)
The context and logic of a particular sequence may remain unclear. Every art project is embedded in a context, but audiences of digital art might require layers of contextual information, both relating to the materiality of the work and the logic behind its process, and tran scending the work itself. The characteristics of digital art require an understanding of computational processes that cannot be taken for granted among an art audience at large. In her writings on digital aesthetics, Claudia Giannetti (2004) has pointed out that a digital aesthetics requires models that are largely process‐based, contextual, and inter relational, and has analyzed digital aesthetics in its embeddedness in the larger context of art, science, and technology, as well as cybernetics and communication.
His text provides a close analysis of the watershed moment for new media art exhibitions in the United States that occurred when major museums mounted digital art shows in the early 2000s. Rinehart also raises the question why, even today, new media art is not collected by museums and private collectors on the scale at which it is exhibited and talked about. He ponders how the partnership between new media art and art institutions helps or hinders collection and preservation, and whether art museums are indeed the best places for these operations.
Art history might be considered a reservoir in which contemporary processes are embedded—an anthropologic narra tion, on the one hand, and the political battleground where the clash of images is analyzed, on the other. Furthermore, art‐historical methods may strengthen our political‐aesthetic analysis of the present through image analyses. Last but not least, the development and significance of new media should be illuminated, since the first utopian expressions of a new medium often take place in artworks.
A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)