By Christiane Paul
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 top theorists.
- Showcases the serious and theoretical ways during this fast-moving discipline
- Explores the historical past and evolution of electronic artwork; its aesthetics and politics; in addition to its frequently turbulent relationships with validated institutions
- Provides a platform for the main influential voices shaping the present discourse surrounding electronic artwork, combining clean, rising views with the nuanced insights of prime theorists
- Tackles electronic art’s fundamental useful demanding situations – the best way to current, record, and look after items that may be erased without end by way of quickly accelerating technological obsolescence
- Up-to-date, forward-looking, and severely reflective, this authoritative new assortment is trained all through by means of a deep appreciation of the technical intricacies of electronic art
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Additional info for A Companion to Digital Art
The challenges of this endeavor are nicely illustrated in Philip Galanter’s text on theories of generative art in the historical section of this volume. Galanter outlines the complexities of understanding just a single feature of the digital—in this case generativity—in its intersection with non‐digital art forms. The texts brought together in Part II of this volume offer an array of approaches to defining an aesthetics of the digital, ranging from the attempt to develop a medium‐ independent vocabulary that still highlights specificities of the digital to an analysis of characteristics such as interactivity and the computational.
Most importantly, the Companion to Digital Art points to the future of digital art, illustrating where it has been, where it might go, and what needs to be accomplished to support the art practice that plays the most vital role in opening up new perspectives—from critical to poetic—on today’s technologically medi ated environment. Note 1 The New Aesthetic: Seeing Like Digital Devices, SXSW, March 12, 2012. http://schedule. com/2012/events/event_IAP11102 (accessed September 24, 2015). References Bishop, Claire.
Given the deep connections between the digital medium and the military‐industrial‐ entertainment complex, as well as the multiple ways in which digital technologies are shaping the social fabric of our societies—to a point where political action is named after the social media platform supporting it, as in “Twitter Revolution”—it does not come as a surprise that many digital artworks critically engage with their roots, and digital (art) activism has been an important field of engagement. In his essay on “Shockwaves in the New World Order of Information and Communication,” Armin Medosch weaves a comprehensive narrative of political digital art practices as they have changed over time along with advances in technology and developments in the political economy.