Global InformationMedia art history information
Media art history is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of new media art, digital art, and electronic art.[1][2][3] On the one hand, media art histories addresses the contemporary interplay of art, technology, and science.[4][5][6] On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ (Aby Warburg) in new media art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes,[7] as well as those of iconography and the history of ideas. Moreover, one of the main agendas of media art histories is to point out the role of digital technologies for contemporary, post-industrial societies and to counteract the marginalization of according art practices and art objects: ″Digital technology has fundamentally changed the way art is made. Over the last forty years, media art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, media art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.″[8]
The term new media art itself is of great importance to the field.[9][10][11][12] New media art is an umbrella term that encompasses art forms that are produced, modified and transmitted by means of digital technologies or, in a broader sense, make use of ‘new’ and emerging technologies that originate from a scientific, military or industrial context. The majority of authors that try to ‘delineate’ the aesthetic object of new media art emphasize aspects of interactivity, processuality, multimedia, and real time. The focus of new media art lies in the cultural, political, and social implications as well as the aesthetic possibilities – more or less its ‘media-specificity’ – of digital media. Consequently, scholars recognize the function of media technologies in New Media Art not only as a ‘carrier’ of meaning, but instead as a means that fundamentally shapes the very meaning of the artwork itself.
Furthermore, the field of new media art is increasingly influenced by new technologies that surmount a traditional understanding of (art) media. This becomes apparent in regards to technologies that originate from the field of biotechnology and life science and that are employed in artistic practices such as bio art, genetic art, and transgenic art. Consequently, the term new media art does not imply a steady ‘genre’ of art production. Instead, it is a field that emphasizes new technologies (in order to establish an explicit difference with traditional art media and genres). The list of genres that are commonly subsumed under the label of new media art illustrates its broad scope and includes, among others, virtual art.[7][13] Software Art,[14][15][16][17] Internet Art,[18][19] Game Art,[20][21] Glitch Art,[22][23] Telematic Art,[24][25][26][27] Bio Art / Genetic Art,[28][29][30][31] Interactive Art,[32] computer animation[33][34] and graphics, and Hacktivism and Tactical Media. These latter two ‘genres’ in particular have a strong focus on the interplay of art and (political) activism.[35][36]
- ^ Cubitt, Sean and Paul Thomas. eds. 2013. Relive: Media Art Histories. Cambridge/Mass.: MIT-Press.
- ^ Grau, Oliver. ed. 2007. MediaArtHistories. Cambridge: MIT-Press.
- ^ Frieling, Rudolf and Dieter Daniels. eds. 2004. Media Art Net 1: Survey of Media Art. New York/Vienna: Springer.
- ^ Wilson, Stephen. 2002. Information Arts. Intersections of Art, Science, and Technology Cambridge: MIT Press.
- ^ Wilson, Stephen. 2010. Art + Science Now. London: Thames & Hudson.
- ^ Henderson, Linda. 1983. The Fourth Dimension and Non - Euclidean Geometry in Modern Art . Princeton: Princeton University Press.
- ^ a b Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
- ^ "Media Art History » Declaration". Retrieved 7 December 2022.
- ^ Rush, Michael. 2005. New Media in Art. London: Thames & Hudson
- ^ Tribe, Mark, Reena Jana and Uta Grosenick. 2006. New Media Art. Köln: Taschen.
- ^ Shanken, Edward A. 2009. Art and Electronic Media. London: Phaidon Press.
- ^ Paul, Christiane. 2003. Digital Art. New York: Thames and Hudson.
- ^ Popper, Frank. 2007. From Technological to Virtual Art. Cambridge: MIT Press.
- ^ Broeckmann, Andreas. “Software Art Aesthetics.” In Mono 1, edited by FBAUP Porto (July 2007), 158-167.
- ^ Gere, Charlie. ed. 2006. White Heat, Cold Logic: Early British Computer Art. Cambridge: MIT Press/Leonardo Books.
- ^ Higgins, Hannah and Douglas Kahn. eds. 2012. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.
- ^ Taylor, Grant D. 2014. When the Machine Made Art: The Troubled History of Computer Art. New York: Bloomsbury.
- ^ Greene, Rachel. 2004. Internet Art. London: Thames & Hudson.
- ^ Stallabrass, Julian. 2003. Internet Art: The Online Clash of Culture and Commerce. London: Tate.
- ^ Schwingeler, Stephan. 2014. Kunstwerk Computerspiel – digitale Spiele als künstlerisches Material: eine bildwissenschaftliche und medientheoretische Analyse. Bielefeld: transcript.
- ^ Sharp, John. 2015. Works of Game. On the Aesthetics of Games and Art. Cambridge: MIT Press.
- ^ Cates, Jon. “Re: Copying-IT-RIGHT-AGAIN.” In Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas, 337–345. Cambridge: MIT Press, 2013.
- ^ Menkman, Rosa. 2011. The Glitch Moment(um). Amsterdam: Institute of Network Cultures.
- ^ Ascott, Roy. 2003. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (edited by Edward A. Shanken). Berkeley: University of California Press.
- ^ Grau, Oliver. “Telepräsenz. Zu Genealogie und Epistemologie von Interaktion und Simulation.” In Formen interaktiver Medienkunst. Geschichte, Tendenzen, Utopien, edited by Peter Gendolla, 19-38. Frankfurt am Main : Suhrkamp, 2001.
- ^ Kac, Eduardo. 2005. Telepresence and Bio Art. Ann Arbor: University of Michigan Press Press.
- ^ Goldberg, Ken. Ed. 2000. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge: MIT Press.
- ^ Anker, Suzanne and Dorothy Nelkin. 2004. The Molecular Gaze: Art in the Genetic Age. Cold Spring Harbor, N.Y.: Cold Spring Harbor Laboratory Press.
- ^ Gessert, George. 2010. Green Light: Toward an Art of Evolution. Cambridge: MIT Press.
- ^ Hauser, Jens. “Bioart – Taxonomy of an Etymological Monster.” In Hybrid: Living in a Paradox. (Ars Electronica 2005), edited by Gerfried Stocker and Christiane Schöpf, 181-192. Ostfildern-Ruit: Hatje Cantz, 2005.
- ^ Kac, Eduardo. ed. 2007. Signs of Life: Bio Art and Beyond. Cambridge: MIT Press.
- ^ Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art. Cambridge: MIT Press.
- ^ Klütsch, Christoph. 2007. Computer Grafik: Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge der Computerkunst in den 1960er Jahren. Vienna: Springer.
- ^ Stocker, Gerfried and Christiane Schöpf. 2003. Code: The Language of Our Time: code=law Code=Art Code=Life (Ars Electronica Catalogue). Ostfildern-Ruit: hatje Cantz.
- ^ Raley, Rita. 2009. Tactical Media. Minneapolis: University of Minneapolis Press.
- ^ Bazzichelli, Tatiana. 2013. Networked Disruption. Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking. Aarhus: Digital Aesthetics Research Center.