By Christiane Paul
Reflecting the dynamic creativity of its topic, this definitive consultant spans the evolution, aesthetics, and perform of today’s electronic paintings, combining clean, rising views with the nuanced insights of best theorists.
- Showcases the serious and theoretical methods during this fast-moving discipline
- Explores the historical past and evolution of electronic paintings; its aesthetics and politics; in addition to its usually turbulent relationships with validated 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 – tips on how to current, record, and safeguard items which may be erased eternally through 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
Ippolito’s text shows how a symbiotic arrangement between amateurs and professionals might provide an injection of creativity and vitality to traditional preservation. In her essay, Annet Dekker uses work by the artist duo JODI as a case study for rethinking the relationship between preservation and documentation. Over a period of roughly a decade, JODI created a series of projects based on the computer game Jet Set Willy—Jet Set Willy ©1984, Jet Set Willy Variations, and Jet Set Willy FOREVER— that incorporated documentation of its own process in interesting ways.
Throughout the site, references are made to identity politics and other concepts used to separate and identify bodies (Vesna 1998; Gonzales 2010). The Golden Nica winner Murmuring Fields (1998–2000) by Fleischmann and Strauss is yet another example of a work largely ignored by museums. Here, interact ing users maneuver through a virtual space of media philosophy in which statements by Flusser, Virilio, Minsky, and Weizenbaum can be heard—a new type of Denkraum, or sphere of thought (Fleischmann and Strauss 2000, 2008), and an early prefigura tion of web‐based knowledge exchange.
Cubitt strives to develop a meta‐vocabulary that both does justice to the specificity of digital aesthetics and connects it to other artistic practices, acknowledging that digital art covers a spectrum from the deeply conceptual to “retinal art” that stands in the tradition of visual pleasure. Referencing Žižek’s notion of “unknown knowns” as the unconscious of our time, Cubitt analyzes aspects of the digital as unknown knowledge, an approach that becomes a starting point for Beatrice Fazi and Matthew Fuller’s proposal for a computational aesthetics that discovers and invents the unfamiliar and nameless, and that which is yet to be known.
A Companion to Digital Art by Christiane Paul