Mathematical forms rendered visually can give aesthetic pleasure; certain works of art—Max Bill's Moebius band sculpture, for example—can seem to be mathematics made visible. This collection of essays by artists and mathematicians continues the discussion of the connections between art and mathematics begun in the widely read first volume of The Visual Mind in 1993.
New media poetry—poetry composed, disseminated, and read on computers—exists in various configurations, from electronic documents that can be navigated and/or rearranged by their "users" to kinetic, visual, and sound materials through online journals and archives like UbuWeb, PennSound, and the Electronic Poetry Center. Unlike mainstream print poetry, which assumes a bounded, coherent, and self-conscious speaker, new media poetry assumes a synergy between human beings and intelligent machines.
In Aesthetic Computing, key scholars and practitioners from art, design, computer science, and mathematics lay the foundations for a discipline that applies the theory and practice of art to computing. Aesthetic computing explores the way art and aesthetics can play a role in different areas of computer science. One of its goals is to modify computer science by the application of the wide range of definitions and categories normally associated with making art. For example, structures in computing might be represented using the style of Gaudi or the Bauhaus school.
Is the Internet a vast arena of unrestricted communication and freely exchanged information or a regulated, highly structured virtual bureaucracy? In Protocol, Alexander Galloway argues that the founding principle of the Net is control, not freedom, and that the controlling power lies in the technical protocols that make network connections (and disconnections) possible. He does this by treating the computer as a textual medium that is based on a technological language, code.
In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or elements in a composition as much as "things"—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multiplicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible.
In the age of global biotechnology, DNA can exist as biological material in a test tube, as a sequence in a computer database, and as economically valuable information in a patent. In The Global Genome, Eugene Thacker asks us to consider the relationship of these three entities and argues that—by their existence and their interrelationships—they are fundamentally redefining the notion of biological "life itself."
Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance—geographical, temporal, or emotional—theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s.
For Geert Lovink, interviews are imaginative texts that can help to create global, networked discourses not only among different professions but also among different cultures and social groups. Conducting interviews online, over a period of weeks or months, allows the participants to compose documents of depth and breadth, rather than simply snapshots of timely references.
In Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, Jay David Bolter and Diane Gromala argue that, contrary to Donald Norman's famous dictum, we do not always want our computers to be invisible "information appliances." They say that a computer does not feel like a toaster or a vacuum cleaner; it feels like a medium that is now taking its place beside other media like printing, film, radio, and television.
Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice.
A new breed of contemporary artist engages science and technology—not just to adopt the vocabulary and gizmos, but to explore and comment on the content, agendas, and possibilities. Indeed, proposes Stephen Wilson, the role of the artist is not only to interpret and to spread scientific knowledge, but to be an active partner in determining the direction of research. Years ago, C. P.
Although many people view virtual reality as a totally new phenomenon, it has its foundations in an unrecognized history of immersive images. Indeed, the search for illusionary visual space can be traced back to antiquity. In this book, Oliver Grau shows how virtual art fits into the art history of illusion and immersion. He describes the metamorphosis of the concepts of art and the image and relates those concepts to interactive art, interface design, agents, telepresence, and image evolution.
In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database.
For more than 3,000 years, humans have explored uncharted geographic and spiritual realms. Present-day explorers face new territories born from the coupling of living tissue and metal, strange lifeforms that are intelligent but unconscious, neither completely alive nor dead. Our bodies are now made of machines, images, and information. We are becoming cultural bodies in a world inhabited by cyborgs, clones, genetically modified animals, and innumerable species of human/information symbionts.
This book explores the spectrum of romantic narrative that pervades the digital age, from McLuhan's utopian vision of social reintegration by electronic communication to claims that cyberspace creates new realities.Technoromanticism pits itself against a hard-headed rationalism, but its most potent antagonists are contemporary pragmatism, phenomenology, hermeneutics, surrealism, and deconstruction--all of which subvert the romantic legacy and provoke new narratives of computing.
The Robot in the Garden initiates a critical theory of telerobotics and introduces telepistemology, the study of knowledge acquired at a distance. Many of our most influential technologies, the telescope, telephone, and television, were developed to provide knowledge at a distance. Telerobots, remotely controlled robots, facilitate action at a distance. Specialists use telerobots to explore actively environments such as Mars, the Titanic, and Chernobyl. Military personnel increasingly employ reconnaissance drones and telerobotic missiles.
The Digital Dialectic is an interdisciplinary jam session about our visual and intellectual cultures as the computer recodes technologies, media, and art forms. Unlike purely academic texts on new media, the book includes contributions by scholars, artists, and entrepreneurs, who combine theoretical investigations with hands-on analysis of the possibilities (and limitations) of new technology. The key concept is the digital dialectic: a method to ground the insights of theory in the constraints of practice.
The idea behind Xerox's interdisciplinary Palo Alto Research Center (PARC) is simple: if you put creative people in a hothouse setting, innovation will naturally emerge. PARC's Artist-in-Residence Program (PAIR) brings artists who use new media to PARC and pairs them with researchers who often use the same media, though in different contexts. This is radically different from most corporate support of the arts, where there is little intersection between the disciplines. The result is both interesting art and new scientific innovations.
The Banff Centre for the Arts has become synonymous for what's hot in the electronic arts, a place where professional artists come to produce new work and develop new skills. This book brings together critical essays along with artists' projects to explore the many issues raised by the creation of virtual environments and to provide a glimpse into worlds that have been much discussed but rarely seen.
Designing Information Technology in the Postmodern Age puts the theoretical discussion of computer systems and information technology on a new footing. Shifting the discourse from its usual rationalistic framework, Richard Coyne shows how the conception, development, and application of computer systems is challenged and enhanced by postmodern philosophical thought. He places particular emphasis on the theory of metaphor, showing how it has more to offer than notions of method and models appropriated from science.
How will our increasingly digital civilization persist beyond our lifetimes? Audio and videotapes demagnetize; CDs delaminate; Internet art links to websites that no longer exist; Amiga software doesn’t run on iMacs. In Re-collection, Richard Rinehart and Jon Ippolito argue that the vulnerability of new media art illustrates a larger crisis for social memory. They describe a variable media approach to rescuing new media, distributed across producers and consumers who can choose appropriate strategies for each endangered work.