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Part III: Network Cultures: The Politics of Digital Art
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Part III: Network Cultures: The Politics of Digital Art
by Christiane Paul
A Companion to Digital Art
Cover
Title Page
List of Figures
Notes on Contributors
Acknowledgments
Introduction
Histories of Digital Art
Aesthetics of Digital Art
Network Cultures: The Politics of Digital Art
Digital Art and the Institution
References
Part I: Histories of Digital Art
1 The Complex and Multifarious Expressions of Digital Art and Its Impact on Archives and Humanities
Introduction
Media Art’s Revolution?
Media Art’s Multifarious Potential for Complex Expression
Media Art and the Humanities
Image Science: From the Image Atlas to the Virtual Museum
Art History—Visual Studies—Image Science
Complex Imagery
Collective Strategies: New Tools for the Humanities
The Archive of Digital Art (formerly Database of Virtual Art)
Bridging the Gap: New Developments in Thesaurus Research
Media Art Education
The Problem of Media Art Documentation Today—Future Needs
A New Structure for Media Art Research
References
Further Reading
2 International Networks of Early Digital Arts
The IT Sector as Capitalist Dream of Growth
The Emergence of Digital Arts and Related Networks
Bridging Analog and Digital Art in New Tendencies
Digital Art Networks of the 1980s
Is It Possible to Organize a Meta-Network?
Conclusion
References
Further Reading
3 Art in the Rear-View Mirror
Artists and Media Archaeology—Before the Beginnings
Art, Technology, and the Past in the 1950s and 1960s
Avant-Garde Cinema, New Film Historicism, and Archaeologies of Projection
New Media Art, Media Archaeology, and Female Media Artists
Alternative Archaeologies of Moving Images and Sounds: Toshio Iwai and Paul DeMarinis
Conclusion: The Media-Archaeological Turn
References
Further Reading
4 Proto-Media Art
An Overview of Postwar Avant-garde Art
Collectives, Exhibitions, and Organizations
East Asian Avant-garde Art after World War II
From Experimental Art to Digital Media Art
References
5 Generative Art Theory
Introduction
What Is Generative Art?
Complexity, Systems, and Generative Art
The Future of Generative Art
References
6 Digital Art at the Interface of Technology and Feminism
Exclusions and Exceptions
Inclusions
Cyberfeminist Critique
Networking Communities
Hacktivist Pedagogy
Representation, Change, and Fabriculture
References
Further Reading
7 The Hauntology of the Digital Image
References
8 Participatory Art
A First Thesis
A Second Thesis
A Third Thesis
Four Case Studies of Dynamic Displays
Conclusion: Toward an Art of Participation
References
Part II: Aesthetics of Digital Art
9 Small Abstract Aesthetics
Aesthetics
Aesthetic Condition
Aesthetic Carriers
Material Aesthetics
Aesthetic Repertory
The First Definition of an Aesthetic Condition
Processes
Aesthetic Distribution
Aesthetic Information
Reality Themes
Creative and Communication Pattern
Common Signs
Signal and Sign
Categories of Signs
Semioses
Numeric and Semiotic Aesthetics
Micro- and Macroaesthetics
General Numerical Aesthetics
Numerical Macroaesthetics
Numerical Microaesthetics
Semiotic Macroaesthetics
Semiotic Microaesthetics
Nuclear Aesthetics
Numerical Nuclear Aesthetics
Semiotic Nuclear Aesthetics
The System of Semiotic Aesthetic
Crude and Subtle Aesthetics
General Conclusion
Acknowledgment
10 Aesthetics of the Digital
References
11 Computational Aesthetics
Medium Specificity
Computational Construction
Ten Aspects of Computational Aesthetics
If – then
References
12 Participatory Platforms and the Emergence of Art
Archives, Art Platforms, and Web Communities
Total Creativity and Social Media
References
13 Interactive Art
Introduction: Bodies in Process
Bodies and Spaces
Interaction and Relation
Bodies and Signs
Processing Interventions
Bodies and Communities
Strategies of Engagement
Interactive Futures
References
Further Reading
14 The Cultural Work of Public Interactives
Defining Public Interactives
Importance of History
The Cultural Impact of Public Interactives
The Art and Design of Public Interactives
Genres of Public Interactives
Conclusion: Augmented Public Spaces, Experience Design, and the Technological Literacies of the Future
References
Further Reading
Part III: Network Cultures: The Politics of Digital Art
15 Shockwaves in the New World Order of Information and Communication
Introduction
The Need for a New Political Economy of Communications
“The Last Free Media of the West”
The New New World Order
Tactical Media
Neoliberalism and Its Discontents
Art of the Digital Commons
Conclusion
Acknowledgments
References
16 Critical Intelligence in Art and Digital Media
Digital Communication
Interactive Media
Intangible Materials
Asymmetric Invisibility
The Creative Empire
Cultural Economies
Imagineering Work
A New Spirit of Art
Smoke and Mirrors
Phantoms in the City
Operative Interventions
From Tactics to Strategy
Forgotten Futures
Cultural Intelligence
Fiction and Agency
References
17 The Silver Age of Social Media
References
18 Art in the Corporatized Sphere
From Open Fields to Walled Gardens
The Aesthetic Mechanics of Social Networks
Trading Independence for Audience
Appropriating the Platform
Asserting Authorship
What Defines Ownership Online?
The Persistence of the Poor Image
Building Critical Economies
Acknowledgment
References
Further Reading
19 Artistic Visualization
Defining Data Visualization
Reduction and Space
Visualization without Reduction
Media Visualization: Examples
Conclusion
References
20 Critical Play
Thinking “Critical Play”
A Concise History of “Critical Play”
Proposition 1: Critical Play Exposes and Examines Dominant Values
Proposition 2: Critical Play Can Mean Toying with the Notion of Goals, Making Games with Problematic, Impossible, or Unusual Endings
Proposition 3: Criticality Can Lead to Extreme New Kinds of Play, and Make Familiar Types of Play Unfamiliar
The Future of Critical Play
References
Further Reading
Part IV: Digital Art and the Institution
21 Contemporary Art and New Media
Artworlds
Bridging the Gap: Implicit vs. Explicit Influence and Medium Injustice
The Post-Medium Condition and Its Discontents
Further Provocations
The $34.2 Million Question
Acknowledgments
References
22 One of Us!
References
23 The Digital Arts In and Out of the Institution—Where to Now?
What?
Who?
When?
Where?
How?
Why?
References
24 The Nuts and Bolts of Handling Digital Art
Introduction
Fundamental Concepts
Learning the Work—Initial Conservation Assessment and Interview
Collection and Capture
When a Disk Image is Overkill
Post-Capture Preparation for Long-term Storage
Beyond the File System: Digital Repositories
Intervention and Exhibition: Fundamental Treatment Concepts
Intervention and Exhibition: The Magnavox Odyssey
Documentation Practices
Conclusion
References
25 Trusting Amateurs with Our Future
The Oldest Human Record
What Are Professional Archivists to Make of This?
The Amateurs Arrive
The Amateurs Take Control
Outperforming the Professionals: Emulation
Learning from the Amateurs: Crowdsourcing
Challenges of Proliferative Preservation
Conclusion
References
26 Enabling the Future, or How to Survive FOREVER
Conservation Practice
Authentic Alliances
Identifying Authentic Alliances and the Use of Documentation
Acknowledgments
References
Further Reading
27 Exhibition Histories and Futures
New Media Systems—Databases, Taxonomies, and Methods
Behaviors—Live, Social, Participative
Exhibitions for Behaviors
Documenting Exhibitions … and Audiences?
Futures—Connected Modes of Documenting, Curating, and Historicizing?
References
Index
End User License Agreement
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14 The Cultural Work of Public Interactives
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15 Shockwaves in the New World Order of Information and Communication
Part III
Network Cultures: The Politics of Digital Art
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