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 prime theorists.
- Showcases the serious and theoretical ways during this fast-moving discipline
- Explores the heritage and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with tested 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 major theorists
- Tackles electronic art’s fundamental functional demanding situations – the way to current, rfile, and shield items that may be erased perpetually via quickly accelerating technological obsolescence
- Up-to-date, forward-looking, and severely reflective, this authoritative new assortment is trained all through through a deep appreciation of the technical intricacies of electronic art
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Extra resources for A Companion to Digital Art
Goriunova treats art platforms as an environment for work that, while existing within an aesthetic register, has not yet become art but promises new forms and aesthetic concepts, and approaches digital aesthetics as a perceptual and affective register of life. ◼◼◼ Introduction 11 The propositions made by Cubitt, Fazi and Fuller, as well as Goriunova, are comple mented by Nathaniel Stern’s examination of interactive artworks as interventions in and into process. Stern argues that these works create situations that enhance, disrupt, and alter experience and action by staging embodiment as moving‐thinking‐feeling— as the body’s potential to vary and its articulation of both the actual and virtual.
Curators have to accom modate the specific requirements of the different forms of new media art, ranging from (networked) installations and software art, virtual reality and augmented reality, to net art and locative media art distributed via smartphones, tablets, and other mech anisms. The variability and modularity of new media works implies that there usually are various possible presentation scenarios: artworks are often reconfigured for the specific space and presented in very different ways from venue to venue.
While different in their scope and strategies, the new media arts of the 1960s and 1970s and today faced similar resistances and challenges that led to their separation from the mainstream artworld, respectively. Charlie Gere has argued that the idealism and techno‐futurism of early computer arts at some point were replaced with the irony and critique of conceptual art ◼◼◼ Introduction 15 (Gere 2008), and Darko Fritz’s discussion of the New Tendencies exhibitions and networks in this volume also shows the tension between digital and conceptual art.