Reflecting the dynamic creativity of its topic, this definitive advisor 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 self-discipline
• Explores the heritage and evolution of electronic artwork; its aesthetics and politics; in addition to its frequently turbulent relationships with verified associations
• presents 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 basic functional demanding situations - the right way to current, record, and look after items that may be erased without end through speedily accelerating technological obsolescence
Up-to-date, forward-looking, and severely reflective, this authoritative new assortment is proficient all through by way of a deep appreciation of the technical intricacies of electronic artwork
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Extra resources for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)
Nicolas Bourriaud has described these artists’ practice with the term “relational aesthetics,” which he first used in 1996—in the catalogue for his exhibition Traffic at CAPC musée d’art contemporain de Bordeaux—and further discussed in his 1998 essay and 2002 book of the same name. He defines the relational aesthetics approach as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space” (Bourriaud 2006, 163).
Through its expressive potential—visually, aurally, and beyond—all senses can be addressed, an ability which exceeds technically that of traditional art media from earlier centuries such as painting and sculpture; thus digital media art attains a key role in the reflection of our information societies. 6 Contemporary media art installations can include digital stills and video, 3D objects and animation, digital texts and music, sound objects, noises and textures, whereby different meanings may be inscribed and combined with each other.
In Claire Bishop, Participation. Cambridge, MA: Whitechapel Gallery, The MIT Press. Bridle, James. 2011. ” Date accessed January 5, 2015. com/ (accessed September 24, 2015). Burnham, Jack. 1968a. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century. New York: George Braziller. Burnham, Jack. 1968b. ” Artforum. Burnham, Jack. 1969. ” Artforum. ◼◼◼ Introduction 19 Giannetti, Claudia. 2014. Ästhetik des Digitalen: Ein intermediärer Beitrag zu Wissenschaft, Medien‐ und Kunstsystem.