New Media Art Is the Place Where What Overlaps?

Artworks designed and produced by means of electronic media technologies

Newskool ASCII Screenshot with the words "Airtight Society 2"

New media art includes artworks designed and produced by ways of electronic media technologies, comprising virtual fine art, computer graphics, figurer animation, digital fine art, interactive art, sound art, Internet art, video games, robotics, 3D printing, and cyborg fine art. The term defines itself past the thereby created artwork, which differentiates itself from that deriving from conventional visual arts (i.east. architecture, painting, sculpture, etc.). New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The accent on medium is a defining feature of much gimmicky art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally.^[one] New media art may involve degrees of interaction between artwork and observer or between the artist and the public, equally is the instance in functioning art. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice.^[2] Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that brand collecting, installing, and exhibiting the works harder than nigh other mediums.^[3] Many cultural centers and museums have been established to cater to the advanced needs of new media art.

History [edit]

The origins of new media fine art can exist traced to the moving prototype inventions of the 19th century such as the phenakistiscope (1833), the praxinoscope (1877) and Eadweard Muybridge'south zoopraxiscope (1879). From the 1900s through the 1960s, various forms of kinetic and light fine art, from Thomas Wilfred'due south 'Lumia' (1919) and 'Clavilux' light organs^[4] to Jean Tinguely's self-destructing sculpture Homage to New York (1960) tin can be seen as progenitors of new media art.^[v]

Steve Dixon in his book Digital Performance: New Technologies in Theatre, Dance and Performance Fine art argues that the early on twentieth century advanced art move Futurism was the birthplace of the merging of technology and performance fine art. Some early on examples of performance artists who experimented with then state-of-the-fine art lighting, film, and projection include dancers Loïe Fuller and Valentine de Saint-Point. Cartoonist Winsor McCay performed in sync with an animated Gertie the Dinosaur on tour in 1914. By the 1920s many Cabaret acts began incorporating film projection into performances.^[6]

Robert Rauschenberg'south piece Broadcast (1959), composed of 3 interactive re-tunable radios and a painting, is considered ane of the showtime examples of interactive art. German artist Wolf Vostell experimented with tv sets in his (1958) installation Idiot box De-collages. Vostell'southward work influenced Nam June Paik, who created sculptural installations featuring hundreds of tv sets that displayed distorted and abstract footage.^[half-dozen]

Beginning in Chicago during the 1970s, at that place was a surge of artists experimenting with video fine art and combining recent computer technology with their traditional mediums, including sculpture, photography, and graphic blueprint. Many of the artists involved were grad students at The School of the Art Found of Chicago, including Kate Horsfield and Lyn Blumenthal, who co-founded the Video Data Bank in 1976.^[7] Some other artists involved was Donna Cox, she collaborated with mathematician George Francis and computer scientist Ray Idaszak on the projection Venus in Time which depicted mathematical data every bit 3D digital sculptures named for their similarities to paleolithic Venus statues.^[eight] In 1982 artist Ellen Sandor and her team chosen (fine art)n Laboratory created the medium chosen PHSCologram, which stands for photography, holography, sculpture, and computer graphics. Her visualization of the AIDS virus was depicted on the cover of IEEE Figurer Graphics and Applications in Nov 1988.^[seven] At the University of Illinois in 1989, members of the Electronic Visualization Laboratory Carolina Cruz-Neira, Thomas DeFanti, and Daniel J. Sandin collaborated to create what is known every bit Cave or Cave Automatic Virtual Environment an early virtual reality immersion using rear project.^[ix]

In 1983, Roy Ascott introduced the concept of "distributed authorship" in his worldwide telematic projection La Plissure du Texte^[ten] for Frank Popper'southward "Electra" at the Musée d'Art Moderne de la Ville de Paris. The development of computer graphics at the end of the 1980s and real time technologies in the 1990s combined with the spreading of the Spider web and the Internet favored the emergence of new and various forms of interactive art by Ken Feingold, Lynn Hershman Leeson, David Rokeby, Ken Rinaldo, Perry Hoberman, Tamas Waliczky; telematic fine art by Roy Ascott, Paul Sermon, Michael Bielický; Internet art by Vuk Ćosić, Jodi; virtual and immersive art by Jeffrey Shaw, Maurice Benayoun, Monika Fleischmann, and large scale urban installation past Rafael Lozano-Hemmer. In Geneva, the Centre pour l'Image Contemporaine or CIC coproduced with Centre Georges Pompidou from Paris and the Museum Ludwig in Cologne the first internet video archive of new media fine art.^[11]

Maurizio Bolognini, Sealed Computers (Overnice, France, 1992–1998). This installation uses computer codes to create endless flows of random images that nobody would see. (Images are continuously generated only they are prevented from becoming a physical artwork).^[12]

World Skin (1997), Maurice Benayoun's Virtual Reality Interactive Installation (Photo Safari in the State of War)

Simultaneously advances in biotechnology have also immune artists like Eduardo Kac to brainstorm exploring DNA and genetics as a new art medium.^[13]

Influences on new media art take been the theories developed effectually interaction, hypertext, databases, and networks. Important thinkers in this regard have been Vannevar Bush and Theodor Nelson, whereas comparable ideas can be found in the literary works of Jorge Luis Borges, Italo Calvino, and Julio Cortázar.

Themes [edit]

In the book New Media Art, Mark Tribe and Reena Jana named several themes that contemporary new media art addresses, including computer art, collaboration, identity, appropriation, open up sourcing, telepresence, surveillance, corporate parody, as well every bit intervention and hacktivism.^[14] In the volume Postdigitale,^[fifteen] Maurizio Bolognini suggested that new media artists have i common denominator, which is a self-referential human relationship with the new technologies, the outcome of finding oneself within an epoch-making transformation determined by technological development.

New media fine art does non appear as a set up of homogeneous practices, but equally a complex field converging around three main elements: 1) the art system, 2) scientific and industrial research, and 3) political-cultural media activism.^[16] In that location are significant differences between scientist-artists, activist-artists and technological artists closer to the fine art organisation, who not only have dissimilar training and technocultures, but accept different artistic production.^[17] This should be taken into business relationship in examining the several themes addressed by new media art.

Non-linearity can be seen every bit an of import topic to new media fine art by artists developing interactive, generative, collaborative, immersive artworks similar Jeffrey Shaw or Maurice Benayoun who explored the term as an approach to looking at varying forms of digital projects where the content relays on the user'due south feel. This is a key concept since people acquired the notion that they were conditioned to view everything in a linear and clear-cut fashion. Now, fine art is stepping out of that grade and assuasive for people to build their own experiences with the piece. Non-linearity describes a projection that escape from the conventional linear narrative coming from novels, theater plays and movies. Non-linear art usually requires audience participation or at least, the fact that the "company" is taken into consideration by the representation, altering the displayed content. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow's Happenings and became with Internet, a significant component of contemporary art.

The inter-connectivity and interactivity of the cyberspace, besides as the fight between corporate interests, governmental interests, and public interests that gave birth to the web today, inspire a lot of current new media art.

Databases [edit]

One of the key themes in new media fine art is to create visual views of databases. Pioneers in this area include Lisa Strausfeld, Martin Wattenberg^[18] and Alberto Frigo.^[19] From 2004-2014 George Legrady'south piece "Making Visible the Invisible" displayed the unremarkably unseen library metadata of items recently checked out at the Seattle Public Library on vi LCD monitors backside the circulation desk.^[20] Database aesthetics holds at least two attractions to new media artists: formally, as a new variation on non-linear narratives; and politically every bit a means to subvert what is fast becoming a course of control and authority.

Political and social activism [edit]

Many new media fine art projects also work with themes like politics and social consciousness, allowing for social activism through the interactive nature of the media. New media art includes "explorations of code and user interface; interrogations of archives, databases, and networks; production via automated scraping, filtering, cloning, and recombinatory techniques; applications of user-generated content (UGC) layers; crowdsourcing ideas on social- media platforms; narrowcasting digital selves on "gratis" websites that claim copyright; and provocative performances that implicate audiences equally participants".^[21]

Afrofuturism [edit]

Afrofuturism is an interdisciplinary genre that explores the African diaspora experience, predominantly in the United states of america, by deconstructing the past and imagining the futurity through the themes of engineering, scientific discipline fiction, and fantasy. Musician Sunday Ra, believed to exist one of the founders of Afrofuturism, thought a blend of engineering science and music could aid humanity overcome the ills of society.^[22] His ring, The Sun Ra Arkestra, combined traditional Jazz with sound and performance art and were among the first musicians to perform with a synthesizer.^[23] The xx-first century has seen a resurgence of Afrofuturism aesthetics and themes with artists and cooperation's similar Jessi Jumanji and Black Quantum Futurism and art educational centers like Blackness Space in Durham, North Carolina.^[24]

Feminism and the female experience [edit]

Japanese artist Mariko Mori's multimedia installation piece Wave UFO (1999-2003) sought to examine the science and perceptions behind the written report of consciousness and neuroscience. Exploring the ways that these fields undertake research in a materially reductionist manner. Mori's piece of work emphasized the need for these fields to get more holistic and incorporate incites and understanding of the world from philosophy and the humanities.^[25] Swiss artist Pipilotti Rist's (2008) immersive video installation Pour Your Body Out explores the dichotomy of beauty and the grotesque in the natural world and their relation to the female person experience. The big-scale 360-degree installation featured breast-shaped projectors and circular pinkish pillows that invited viewers to relax and immerse themselves in the vibrant colors, psychedelic music, and partake in meditation and yoga.^[25] American filmmaker and artist Lynn Hersman Leeson explores in her films the themes of identity, technology and the erasure of women's roles and contributions to technology. Her (1999) motion-picture show Conceiving Ada depicts a figurer scientist and new media artist named Emmy as she attempts and succeeds at creating a way to communicate through net with Ada Lovelace, an Englishwoman who created the beginning computer program in the 1840s via a form of artificial intelligence.^[26]

Identity [edit]

With its roots in outsider fine art, New Media has been an platonic medium for an creative person to explore the topics of identity and representation. In Canada, Indigenous multidisciplinary artists like Cheryl L'Hirondelle and Kent Monkman take incorporated themes about gender, identity, activism, and colonization in their work.^[27] Monkman, a Cree artist, performs and appears as their alter ego Miss Principal Eagle Testickle, in picture show, photography, painting, installation, and performance art. Monkman describes Miss Chief every bit a representation of a two-spirit or non-binary persona that does non fall under the traditional description of drag.^[28]

Future of new media art [edit]

The emergence of 3D printing has introduced a new bridge to new media art, joining the virtual and the physical worlds. The ascension of this technology has allowed artists to alloy the computational base of new media art with the traditional physical form of sculpture. A pioneer in this field was creative person Jonty Hurwitz who created the showtime known anamorphosis sculpture using this technique.

Longevity [edit]

Equally the technologies used to deliver works of new media fine art such as film, tapes, web browsers, software and operating systems go obsolete, New Media art faces serious bug around the challenge to preserve artwork across the fourth dimension of its gimmicky product. Currently, research projects into New media art preservation are underway to improve the preservation and documentation of the fragile media arts heritage (run across DOCAM - Documentation and Conservation of the Media Arts Heritage).

Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium,^[29] the digital archiving of media (see the Rhizome ArtBase, which holds over 2000 works, and the Internet Archive), and the utilize of emulators to preserve work dependent on obsolete software or operating organisation environments.^{[30] [31]}

Around the mid-90s, the outcome of storing works in digital grade became a business organization. Digital art such every bit moving images, multimedia, interactive programs, and computer-generated art has different properties than physical artwork such every bit oil paintings and sculptures. Unlike analog technologies, a digital file tin can exist recopied onto a new medium without whatsoever deterioration of content. One of the problems with preserving digital fine art is that the formats continuously change over time. Onetime examples of transitions include that from 8-inch floppy disks to 5.25-inch floppies, 3-inch diskettes to CD-ROMs, and DVDs to flash drives. On the horizon is the obsolescence of flash drives and portable hard drives, as data is increasingly held in online cloud storage.^[32]

Museums and galleries thrive off of being able to adapt the presentation and preservation of physical artwork. New media art challenges the original methods of the art earth when it comes to documentation, its approach to collection and preservation. Technology continues to accelerate, and the nature and structure of art organizations and institutions will remain in jeopardy. The traditional roles of curators and creative person are continually changing, and a shift to new collaborative models of product and presentation is needed.^[33]

Preservation [edit]

run into also Conservation and restoration of new media fine art

New media art encompasses diverse mediums all which require their own preservation approaches.^[iii] Due to the vast technical aspects involved no established digital preservation guidelines fully encompass the spectrum of new media fine art.^[34] New media fine art falls under the category of "complex digital object" in the Digital Curation Center'south digital curation lifecycle model which involves specialized or totally unique preservation techniques.  Complex digital objects preservation has an emphasis on the inherent connection of the components of the piece.^[35]

Education [edit]

In New Media programs, students are able to get acquainted with the newest forms of creation and communication. New Media students learn to identify what is or isn't "new" about certain technologies.^[36] Science and the market volition ever nowadays new tools and platforms for artists and designers. Students learn how to sort through new emerging technological platforms and place them in a larger context of sensation, communication, product, and consumption.

When obtaining a available's degree in New Media, students volition primarily work through practice of building experiences that use new and old technologies and narrative. Through the construction of projects in various media, they learn technical skills, practice vocabularies of critique and analysis, and gain familiarity with historical and gimmicky precedents.^[36]

In the United States, many Available's and Master's level programs exist with concentrations on Media Art, New Media, Media Design, Digital Media and Interactive Arts.^[37]

Leading art theorists and historians [edit]

Leading art theorists and historians in this field include Roy Ascott, Lev Manovich, Maurice Benayoun, Christine Buci-Glucksmann, Jack Burnham, Mario Costa, Edmond Couchot, Fred Forest, Oliver Grau, Margot Lovejoy, Robert C. Morgan, Dominique Moulon, Christiane Paul, Catherine Perret, Frank Popper, and Edward A. Shanken.

Types [edit]

The term New Media Art is by and large practical to disciplines such as:

• Artistic computer game modification
• ASCII fine art
• Bio Art
• Cyberformance
• Computer fine art
• Critical making
• Digital art
• Demoscene
• Digital poetry
• Tradigital art
• Electronic art
• Experimental musical instrument edifice
• Evolutionary art
• Fax art
• Generative art
• Glitch art
• Hypertext
• Data fine art
• Interactive art
• Kinetic art
• Light art
• Motion graphics
• Internet art
• Performance art
• Radio art
• Robotic art
• Software art
• Sound art
• Systems art
• Telematic art
• Video art
• Video games
• Virtual art

Artists [edit]

Cultural centres [edit]

• Australian Network for Art and Applied science
• Heart for Art and Media Karlsruhe
• Centre pour 50'Image Contemporaine
• Eyebeam Fine art and Engineering science Center
• Foundation for Fine art and Creative Technology
• Gray Area Foundation for the Arts
• Harvestworks
• InterAccess
• Los Angeles Center for Digital Art (LACDA)
• Netherlands Media Art Establish
• NTT InterCommunication Center
• Rhizome (system)
• RIXC
• Schoolhouse for Poetic Ciphering (SFPC)
• School of the Art Found of Chicago
• Squeaky Wheel: Moving-picture show and Media Arts Eye
• V2 Institute for the Unstable Media
• WORM

Come across also [edit]

• Fine art/MEDIA
• Artmedia
• Aspect magazine
• Culture jamming
• Digital media
• Digital puppetry
• Electronic Linguistic communication International Festival
• Expanded Cinema
• Experiments in Art and Engineering science
• Interactive flick
• Interactive media
• Intermedia
• LA Freewaves
• Cyberspace.fine art
• New media fine art festivals
• New media creative person
• New media fine art journals
• New media fine art preservation
• Perpetual Fine art Machine
• Remix culture
• VJing

References [edit]

1. ^ Shanken, Edward A. "Artists in Industry and the Academy: Collaborative Research, Interdisciplinary Scholarship, and the Creation and Interpretation of Hybrid Forms" (PDF). Leonardo 38:five (2005). pp. 415–xviii.
2. ^ "Contemporary Art and New Media: Toward a Hybrid Discourse?". 15 February 2011.
3. ^ ^{a b} Paul, C. (2012). The myth of immateriality – presenting new media fine art. Technoetic Arts: A Journal of Speculative Research, 10(2/3) 167-172 https://doi.org/10.1386/tear.ten.ii-3.167_7
4. ^ Eskilson, S. (2003). Thomas wilfred and intermedia: seeking a framework for lumia. Leonardo, 36(1) 65-68.
5. ^ Dixon, S. (2007). Digital performance: A history of new media in theater, dance, performance art, and installation. MIT Printing.
6. ^ ^{a b} Dixon, South. (2007). Digital operation: A history of new media in theater, dance, performance art, and installation. MIT Press
7. ^ ^{a b} Sandor, E. (2018). Ellen Sandor. In D.J. Cox, Due east. Sandor & J. Fron (Eds.), New media futures: The rise of women in the digital arts (pp.50-lxx). Academy of Illinois Press.
8. ^ Horsfield, Chiliad., & Blumenthal, L. (2018). An interview with abina manning. In D.J. Cox, E. Sandor & J. Fron (Eds.), New media futures: The rise of women in the digital arts (pp.165-169). University of Illinois Printing.
9. ^ Cruz-Neira, C. (2018). Carolina Cruz-Neira. In D.J. Cox, E. Sandor & J. Fron (Eds.), New media futures: The rise of women in the digital arts (pp.85-91). University of Illinois Printing.
10. ^ "La Plissure du Texte". 1904.cc. Archived from the original on 2015-04-02.
11. ^ "Nouveaux Media - New Media - Neue Medien". www.newmedia-fine art.org.
12. ^ Andreas Broeckmann, "Image, Procedure, Operation, Machine: Aspects of an Aesthetics of the Machinic", in Oliver Grau, ed. (2007), Media Art Histories, Cambridge: MIT Press, ISBN978-0-262-07279-3 , pp. 204-205.
13. ^ Kac, Due east. (2007). Art that looks you in the eye: hybrids, clones, mutants, synthetics, and transgenics. In E. Kac (Ed.), Signs of life: Bio art and beyond. (pp.1-27). MIT Press
14. ^ Marking Tribe, Reena Jana (2007), New Media Fine art, Introduction, Rome: Taschen, ISBN978-three-8228-2537-two
15. ^ Maurizio Bolognini (2008), Postdigitale (in Italian), Rome: Carocci Editore, ISBN978-88-430-4739-0
16. ^ Catricalà, Valentino (2015). Media Art. Toward a new Definition of Arts in the Age of Engineering science. Gli Ori. ISBN978-88-7336-564-viii.
17. ^ Run across also Maurizio Bolognini, "From interactivity to commonwealth. Towards a post-digital generative fine art", Artmedia Ten Proceedings. Paris, 2010.
18. ^ Bulajic, Viktorija Vesna (2007). Database aesthetics: art in the historic period of information overflow. University of Minnesota Press.
19. ^ Moulon, Dominique (2013). Gimmicky new media art. Nouvelles éditions Scala.
20. ^ Van Der Meulen, South. (2017). A stiff couple: new media and socially engaged fine art. Leonardo, 50(2) 170-176. https://doi.org/10.1162/LEON_a_00963
21. ^ Dale Hudson and Patricia R. Zimmermann. (2015). Thinking Through Digital Media Transnational Environments and Locative Places. New York: Palgrave Macmillan. P. 1. ISBN 978-1137433626
22. ^ Womack, Y.L. (2013). Afrofuturism: the world of black sci-fi and fantasy civilization. Chicago.
23. ^ Youngquist, P. (2016). A pure solar earth: Sun ra and the nativity of afrofuturism. Academy of Texas Press.
24. ^ Peattie, P. (2021). Afrofuturism revelation and revolution; voices of the digital generation. Journal of Communication Research, 0(0) 1-24. https://doi.org/10.1177/01968599211041117
25. ^ ^{a b} Mondloch, K. (2018). A capsule aesthetic: Feminist materialisms in new media art. University of Minnesota Press.
26. ^ Kinder, M. (2005). A movie house of intelligent agents: conceiving ada and teknolust. In 1000. Tromble (Ed.), The art and films of lynn Hershman leeson: Hole-and-corner agents, private I (pp.167-181). University of California Press.
27. ^ Nagam, N., & Swanson, Yard. (2014). Decolonial interventions in functioning and new media fine art: in conversation with Cheryl fifty'hirondelle and kent monkman. Canadian Theater Review, (159) Summer 2014, 30-37
28. ^ Scudeler, J. (2015). "Indians on tiptop": kent monkman's sovereign erotics. American Indian Civilisation and Research Journal, 34(4) 19-32. https://doi.org/10.17953/aicrj.39.4.scudeler
29. ^ "Digital Rosetta Stone" (PDF). ercim.org.
30. ^ Rinehart, Richard. "Preserving the Rhizome ArtBase (report)". rhizome.org. Archived from the original on 2005-01-16.
31. ^ Rose, Frank (2016-10-21). "The Mission to Save Vanishing Cyberspace Fine art". The New York Times. ISSN 0362-4331. Retrieved 2016-xi-14 .
32. ^ "Longevity of Electronic Art". besser.tsoa.nyu.edu . Retrieved 2017-12-07 .
33. ^ New media in the white cube and beyond : curatorial models for digital fine art. Paul, Christiane. Berkeley: University of California Press. 2008. ISBN9780520255975. OCLC 225871513. {{cite volume}}: CS1 maint: others (link)
34. ^ Almeida, North. (2012). Dismantling the monolith: post-media art and the culture of instability. Art Documentation: Journal of the Art Libraries Society of North America, 31, ii-eleven. https://world wide web.jstor.org/stable/ten.1086/664932
35. ^ Postal service, C. (2017). Preservation practices of new media artists: challenges, strategies, and attitudes in the personal direction of artworks. Periodical of Documentation, 73(4) 716-732 https://doi.org/10.1108/JD-09-2016-0116
36. ^ ^{a b} "The School of Art and Design - University of Illinois at Urbana-Champaign". illinois.edu. Archived from the original on 2016-03-02. Retrieved 2013-04-xxx .
37. ^ "New Media Programs in the United states of america — Dr. Edgar Huang". www.iupui.edu.

Farther reading [edit]

• Wardrip-Fruin, Noah and Nick Montfort, ed. (2003). The New Media Reader. The MIT Printing. ISBN0-262-23227-8.
• Maurice Benayoun, The Dump, 207 Hypotheses for Committing Art, bilingual (English language/French) Fyp éditions, France, July 2011, ISBN 978-2-916571-64-5
• Timothy Murray, Derrick de Kerckhove, Oliver Grau, Kristine Stiles, Jean-Baptiste Barrière, Dominique Moulon, Jean-Pierre Balpe, Maurice Benayoun Open Art, Nouvelles éditions Scala, 2011, French version, ISBN 978-two-35988-046-5
• Vannevar Bush-league (1945). "Equally We May Call up" online at As We May Retrieve – The Atlantic Monthly
• Roy Ascott (2003). Telematic Cover: Visionary Theories of Art, Technology, and Consciousness (Ed.) Edward A. Shanken. Berkeley: Academy of California Printing. ISBN 978-0-520-21803-1
• Barreto, Ricardo and Perissinotto, Paula "the_culture_of_immanence", in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN 85-7060-038-0.
• Jorge Luis Borges (1941). "The Garden of Forking Paths." Editorial Sur.
• Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Réel, 2002, orig. 1997
• Christine Buci-Glucksmann, "L'fine art à l'époque virtuel", in Frontières esthétiques de l'art, Arts viii, Paris: L'Harmattan, 2004
• Christine Buci-Glucksmann, La folie du voir: Une esthétique du virtuel, Galilée, 2002
• Valentino Catricalà, Media Art. Towards a New Definition of Arts in the Age of Technology. Siena: Gli Ori, 2015
• Sarah Cook & Beryl Graham, Rethinking Curating: Fine art After New Media, Cambridge, Mass.: MIT Printing, 2010. ISBN 978-0-262-01388-8.
• Sarah Cook & Beryl Graham, "Curating New Media", Art Monthly 261, Nov 2002. online at Art Monthly
• Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Curating New Media Fine art - Conversations with Curators, Berlin: The Green Box, 2010. ISBN 978-iii-941644-xx-v.
• Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Working with New Media Art - Conversations with Artists, Berlin: The Green Box, 2010. ISBN 978-3-941644-21-2.
• Fleischmann, Monika and Reinhard, Ulrike (eds.). Digital Transformations - Media Art equally at the Interface between Art, Scientific discipline, Economy and Society online at netzspannung.org, 2004, ISBN iii-934013-38-4
• Monika Fleischmann / Wolfgang Strauss (eds.) (2001). Proceedings of »CAST01//Living in Mixed Realities« Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401. ISSN 1618-1379 (Print), ISSN 1618-1387 (Internet).
• Gatti, Gianna Maria. (2010) The Technological Herbarium. Avinus Press, Berlin, 2010 (edited, translated from the Italian, and with a preface by Alan N. Shapiro). online at alan-shapiro.com
• Charlie Gere, (2002) Digital Culture, Reaktion ISBN 978-ane-86189-143-3
• Charlie Gere, (2006) White Heat, Cold Logic: Early British Computer Art, co-edited with Paul Brownish, Catherine Mason and Nicholas Lambert, MIT Press/Leonardo Books
• Graham, Philip Mitchell, New Epoch Art, InterACTA: Journal of the Art Teachers Association of Victoria, Published past ACTA, Parkville, Victoria, No 4, 1990, ISSN 0159-9135, Cited In APAIS. This database is available on the, Informit Online Internet Service or on CD-ROM, or on Australian Public Diplomacy - Full Text
• Oliver Grau (2003). Virtual Fine art: From Illusion to Immersion (Leonardo Book Serial). Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07241-6.
• Oliver Grau (2007). (Ed.) MediaArtHistories. Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07279-3.
• Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Printing)
• Dick Higgins, 'Intermedia' (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Fine art c. 1970, London: Tate Publishing, 2005
• Lopes, Dominic McIver. (2009). A Philosophy of Estimator Art. London: Routledge
• Lev Manovich (2001). The Language of New Media Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-63255-i
• Lev Manovich, Ten Fundamental Texts on Digital Art: 1970-2000 Leonardo - Volume 35, Number five, October 2002, pp. 567–569
• Christiane Paul, Challenges for a Ubiquitous Museum: Presenting and Preserving New Media
• Lev Manovich (2003. "New Media from Borges to HTML", The New Media Reader. MIT Press.
• Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: University of Minnesota Press, 2010. ISBN 978-0-8166-6522-eight
• Dominique Moulon, Tim Murray, Kristine Stiles, Derrick de Kerckhove, Oliver Grau Open up Fine art, Maurice Benayoun, Nouvelles editions Scala, 2011, ISBN 978-2-35988-046-five
• Paul, Christiane (2003). Digital Fine art (World of Fine art series). London: Thames & Hudson. ISBN 0-500-20367-9.
• Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992
• Janet Murray (2003). "Inventing the Medium", The New Media Reader. MIT Press.
• Frank Popper (2007) From Technological to Virtual Art, MIT Printing/Leonardo Books
• Frank Popper (1997) Fine art of the Electronic Age, Thames & Hudson
• Edward A. Shanken "Selected Writings on Art and Applied science"
• Edward A. Shanken Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-five
• Mark Tribe and Reena Jana. New Media Art ^{[ permanent dead link ]}
• Rainer Usselmann, (2003) (PDF) "The Dilemma of Media Art: Cybernetic Serendipity at the ICA London", Cambridge, Massachusetts: The MIT Press/Leonardo Journal - Volume 36, Number five, pp. 389–396
• Rainer Usselmann, (2002) "Nigh Interface: Actualisation and Totality", University of Southampton
• Wands, Bruce (2006). Art of the Digital Historic period, London: Thames & Hudson. ISBN 0-500-23817-0.
• Whitelaw, Mitchell (2004). Metacreation: Art and Artificial Life Cambridge, Massachusetts: The MIT Press. ISBN 0-262-73176-two.
• Steve Dietz, Collecting New Media Art: But Like Anything Else, Only Dissimilar
• Anne-Cécile Worms, (2008) Arts Numériques: Tendances, Artistes, Lieux et Festivals M21 Editions 2008 ISBN ii-916260-33-1.
• Youngblood, Gene (1970). Expanded Cinema. New York. Due east.P. Dutton & Company.
• (in Castilian) Juan Martín Prada, Prácticas artísticas east Internet en la época de las redes sociales, Editorial AKAL, Madrid, 2012, ISBN 978-84-460-3517-6
• New Media Faculty, (2011). "New Media", University of Illinois at Urbana-Champaign
• Hiekel, Jörn Peter (2009). Vernetzungen: Neue Musik im Spannungsfeld von Wissenschaft und Technik. Institut für Neue Musik und Musikerziehung Darmstadt. OCLC 320198124.
• Bailey, Chris & Hazel Gardiner. (2010). Revisualizing Visual Culture. Surrey, UK: Ashgate Publishing.
• Jana, Reena and Marking Tribe. (2009). New Media Art. New York: Taschen.
• Dale Hudson and Patricia R. Zimmermann. (2009). "Taking Things Apart: Migratory Archives, Locative Media, and Micropublics." Afterimage vol. 36 no. 4 (January/February), pp. 14–19.
• artists-with-/ Moss, Ceci. (2008). Thoughts on "New Media Artists v. Artists with Computers". Rhizome ^{[ permanent dead link ]}
• Nechvatal, Joseph. (2013). Whither Art? David Joselit'due south Digital Art Problem. "Hyperallergic: Sensitive to Fine art & its Discontents."
• Joselit, David. (2012). Later on Art. Princeton: Princeton University Press. ISBN 9780691150444.
• Guertin, C. (2012). Digital prohibition: Piracy and authorship in new media fine art. London: Continuum International Pub. Grouping. ISBN 9781441106100.
• Catricalà, Valentino (2013). "Come l'avanguardia inventò il futuro. 50'Optofono di Raoul Hausman, la 'visione elettromeccanica' di Lissitzky due east le forme dell'energia", in "Imago. Rivista di studi sul cinema e i media", n. 7-viii. (pp. 277–294). ISSN 2038-5536 [1]
• Dale Hudson and Patricia R. Zimmermann. (2015). Thinking Through Digital Media Transnational Environments and Locative Places. New York: Palgrave Macmillan. ISBN 978-1137433626 companion website with links to projects
• Janez Strehovec (2016). Text equally Ride. Electronic Literature and New Media Art. Morgentown: Westward Virginia University Press (Calculating Literature volume series)-

chiltonthartat.blogspot.com

Source: https://en.wikipedia.org/wiki/New_media_art

Share this post