Art and Art History

Digital Art by Christiane Paul The fourth edition of the essential introduction to digital art, one of contemporary art's most exciting and dynamic forms of practice. Digital art, along with the technological developments of its medium, has rapidly evolved from the 'digital revolution' into the social media era and to the postdigital and post-Internet landscape. This new, expanded edition of this invaluable overview of the medium traces the emergence of artificial intelligence, augmented and mixed realities, and Non-Fungible Tokens (NFTs), and surveys themes explored by digital artworks in the areas of activism, networks and telepresence, and ecological art and the Anthropocene. Christiane Paul considers all forms of digital art, focusing on the basic characteristics of their aesthetic language and their technological and art-historical evolution. By looking at the ways in which internet art, digital installation, software art, AR and VR have emerged as recognized artistic practices, Digital Art is an essential critical guide.

Coded: Art Enters the Computer Age, 1952-1982 by Jennifer King Artists, writers, musicians, choreographers and filmmakers explore the possibilities of data, digitization and algorithms at the dawn of computer technology Coded: Art Enters the Computer Age, 1952-1982explores how the rise of computer technology, together with its emergence in popular consciousness, impacted the making of art in the age of the mainframe. International and interdisciplinary in scope, Codedexamines the origins of what we now call digital art, featuring artists, writers, musicians, choreographers and filmmakers working directly with computers as well as those using algorithms and other systems to produce their work. Whether computer-generated or not, the many artworks considered here reflect the simultaneous wonder and alienation that was characteristic of the 1960s and '70s, along with the utopian and dystopian possibilities of these new machines. Today, with digital technology having been fully integrated into our lives, Coded's examination of the years leading up to the advent of the personal computer is relevant, even imperative, to fully appreciating art and culture in the age of the computer--both then and now. Artists include: Rebecca Allen, Siah Armajani, Richard Baily, Colette Stuebe Bangert, Charles Jeffries Bangert, Jennifer Bartlett, Jonathan Borofsky, Stanley Brouwn, Henri Cartier-Bresson, Thomas Chimes, Harold Cohen, Computer Technique Group, Analivia Cordeiro, Waldemar Cordeiro, Charles Csuri, Agnes Denes, herman de vries, Juan Downey, Charles Eames, Ray Eames, Charles Gaines, Brion Gysin, Hans Haacke, Frederick Hammersley, Leon D. Harmon, June Harwood, Jean-Pierre Hébert, Desmond Paul Henry, Channa Horwitz, Hervé Huitric, Toshi Ichiyanagi, Donald Judd, Hiroshi Kawano, Edward Kienholz, Alison Knowles, Kenneth C. Knowlton, Beryl Korot, Gerald Laing, Ben F. Laposky, Sol LeWitt, Jackson Mac Low, Aaron Marcus, Jean-Claude Marquette, Hansjörg Mayer, Edward Meneeley, Manfred Mohr, Vera Molnár, François Morellet, N.E. Thing Co. Ltd (Iain and Ingrid Baxter), Monique Nahas, Frieder Nake, Lowell Nesbitt, A. Michael Noll, Nam June Paik, Eduardo Paolozzi, Peter Phillips, Sheila Pinkel, Paul Rand, Sonya Rapoport, Bridget Riley, Lillian F. Schwartz, Barbara T. Smith, John Stehura, Peter Struycken, Calvin Sumsion, Angelo Testa, Joan Truckenbrod, Stan VanDerBeek, Victor Vasarely, Gary Viskupic, Lawrence Weiner, Dennis Wheeler, John Whitney Sr, Stephen Willats and Emmett Williams.

Sight As Site in the Digital Age by Kwok-kan Tam (Editor) This volume presents a broad coverage of theoretical issues that deal with digital culture, representation and ideology in art and museums, and other cultural sites, offering new insights into issues of representation in the digitization of art. It critically examines the roles of museum and archives in the digital age and reexamines the intricate relations between sight and site in art, museums, exhibitions, theme parks, theatre performances, music videos, and films. The collection represents a multidisciplinary approach to the complex issues underlying the advent of technologies and digital culture. The rise of visual culture since the twentieth century can be accounted for by the advent of technology in film, TV, museum exhibitions, and the wide use of websites, but it can also be understood as a paradigmatic shift toward representation as a visual means to interpret culture, with new understandings of the site-sight dilemma and the co-implications in related tensions. Complicating the issue of representation is the rise of digital culture, as digital sites replace actual physical sites. This book explores how the virtual has replaced the actual, and in what ways, and to what effects, the digital has displaced the physical. With contributions by museum curators, communications scholars, visual artists, theatre artists, filmmakers, literary critics, and historians, this volume is of appeal to academics and graduate students in information science, art, media, performance, literary and cultural studies, and history. "The book binds together different concepts such as site, sight and digitalization in a very original way. It convincingly gathers contributions from academics and practitioners, artists and museum specialists. The chapters are theoretically well-founded, show an interesting breadth of content and are also dealing with current developments." -- Monika Gänssbauer, Professor of Chinese and Head of the Institute of Asian, Middle Eastern and Turkish Studies, Stockholm University, Sweden "The chapters raise important and latest questions and discussions on the impact of digital technology has on art, culture, creativity, representation and innovation. They are original in dealing with latest examples in recent years, especially during the pandemic, with reflections and philosophical discussions on the transformation digital culture undergoes in relation to human and posthuman contexts, with examinations of art works, archives and museum collections, exhibitions, theme parks, theatre performances, films and music videos that encompass cultures from ancient to contemporary, from the West to the East, and from physical to digital." -- Jack Leong, Associate Dean of Research and Open Scholarship, York University Libraries, Toronto, Canada

Station Rose 30. 0 In 2018, the artist Elisa Rose and the musician Gary Danner will have been involved in digital art for 30 years as STATION ROSE/STR. During that time, there was a transformation from a purely analog to a new, irretrievably interwoven digital/analog world. Back in 1988, STR posited: "The outcome of this history will take place everywhere". Now it really is taking place everywhere - the world is permanently networked and monitored, it is more transparent, but also more controlled. How have art and music changed? On the subject of "30.0", STR - who for years were abroad and are now back in Vienna - unfold their topics of recent years: exhibitions, installations, performances, the Net, nature, compositions, TV and radio productions. STATION ROSE 30.0 is an AUGMENTED BOOK and contains texts by Angela Stief, Katharina Gsöllpointner, Nate Hitchcock, Lucas Gehrmann, and others.

Fluxus At 50 by Alexander Klar

Digital Art Aesthetic Creation by Paul Crowther Is art created with computers really art? This book answers 'yes.' Computers can generate visual art with unique aesthetic effects based on innovations in computer technology and a Postmodern naturalization of technology wherein technology becomes something we live in as well as use. The present study establishes these claims by looking at digital art's historical emergence from the 1960s to the start of the present century. Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.