ISBN-10: 1118475186

ISBN-13: 9781118475188

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 prime theorists.

• Showcases the severe and theoretical techniques during this fast-moving self-discipline
• Explores the heritage and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with tested associations
• offers a platform for the main influential voices shaping the present discourse surrounding electronic paintings, combining clean, rising views with the nuanced insights of major theorists
• Tackles electronic art's fundamental useful demanding situations - easy methods to current, rfile, and protect items which may be erased ceaselessly by means of quickly accelerating technological obsolescence

Up-to-date, forward-looking, and significantly reflective, this authoritative new assortment is knowledgeable all through by means of a deep appreciation of the technical intricacies of electronic artwork

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Extra info for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)

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Bourriaud, Nicolas. 2006. ” 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.

As we know, the interconnection “artist—original,” which was still apparent in the age of craftsmanship, became complicated through machinization and multiplication in the post‐industrial era. Today, the software ­supporting digital artwork by definition exists in a multiplied state. Intensifying this condition are the complicated iterations generated by the interactive interventions of users within the framework of a piece enabled by the degrees of freedom that the artist offers—a multiplication of the expressions of the work.

Balsamo ­proposes three broad definitions of public interactives: as an art form evoking new perceptions; as devices shaping new technological literacies; and as a form of public communication for the purposes of exchange, education, entertainment, and cultural memory. Her aesthetic exploration focuses on the dynamics of cultural reproduction, the cultural values and experiences that are replicated in the development of public interactives and the ones that are newly created as technologies are developed for commercial purposes.

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