By Christiane Paul
Reflecting the dynamic creativity of its topic, this definitive consultant 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 discipline
- Explores the heritage and evolution of electronic paintings; 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 paintings, combining clean, rising views with the nuanced insights of prime theorists
- Tackles electronic art’s basic useful demanding situations – how one can current, rfile, and defend items which may be erased endlessly by way of speedily accelerating technological obsolescence
- Up-to-date, forward-looking, and significantly reflective, this authoritative new assortment is educated all through by means of a deep appreciation of the technical intricacies of electronic art
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Extra info for A Companion to Digital Art
0: the rise of “big data”—the massive data sets that cannot be easily understood by using previous approaches to data analysis—and developments in data visualization as artistic practice. As Manovich points out, data visualization had not been part of the vernacular visual culture before the end of the 1990s, although it already emerged as a strong artistic practice in the 1990s. Using examples he surveys the work of artists who have challenged fundamental principles of the data visualization field by pioneering what Manovich defines as “media visualization,” representations using visual media objects such as images and video instead rather than lines and graphs.
Probably more than any other medium of art, the digital is embedded in various layers of commercial systems and technological indus try that continuously define standards for the materialities of any kind of hardware components. The curation of new media works in the gallery environment requires a process of interfacing the digital. This process relates not only to delivery mechanisms 16 ◼ ◼ ◼ C h r i s t i a n e Pa u l but also to exchanges between the curator, artwork, and audience. The white cube creates a “sacred” space and a blank slate for contemplating objects.
Cirio and Ludovico’s mission was to give all these virtual identities a new shared place to expose themselves freely, breaking Facebook’s con straints and boring social rules. The project is a form of artistic activism that also is meant to explore the contested space of ownership rights to personal data from multi ple perspectives, crossing boundaries between personal and corporate spaces and open ing them up for controversy and dispute, and exposing the simplifying aspects of face recognition.
A Companion to Digital Art by Christiane Paul