In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of “new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history—the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history.
Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike.
Today almost every aspect of life for which data exists can be rendered as a network. Financial data, social networks, biological ecologies: all are visualized in links and nodes, lines connecting dots. A network visualization of a corporate infrastructure could look remarkably similar to that of a terrorist organization. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our experience of networks as active and relational processes and assemblages.
Contemporary artists beginning with Guy Debord and Richard Long have returned again and again to the walking motif. Debord and his friends tracked the urban flows of Paris; Long trampled a path in the grass and snapped a picture of the result (A Line Made by Walking). Mapping is a way for us to locate ourselves in the world physically, culturally, or psychologically; Debord produced maps like collages that traced the “psychogeography” of Paris.
Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system.
In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception‚ÄĒthe curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space‚ÄĒwere central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence.
This book grew out of Yvonne Spielmann’s 2005–2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art--which was known for pioneering interactive and virtual media applications in the 1990s.
Ubiquitous computing and our cultural life promise to become completely interwoven: technical currents feed into our screen culture of digital television, video, home computers, movies, and high-resolution advertising displays. Technology has become at once larger and smaller, mobile and ambient. In Throughout, leading writers on new media--including Jay David Bolter, Mark Hansen, N. Katherine Hayles, and Lev Manovich--take on the crucial challenges that ubiquitous and pervasive computing pose for cultural theory and criticism.
Working at the cutting edge of live performance, an emerging generation of artists is employing digital technologies to create distinctive forms of interactive, distributed, and often deeply subjective theatrical performance. The work of these artists is not only fundamentally transforming the experience of theater, it is also reshaping the nature of human interaction with computers.