By Christiane Paul
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 major theorists.
- Showcases the severe and theoretical techniques during this fast-moving discipline
- Explores the historical past and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with demonstrated institutions
- Provides a platform for the main influential voices shaping the present discourse surrounding electronic paintings, combining clean, rising views with the nuanced insights of best theorists
- Tackles electronic art’s basic useful demanding situations – easy methods to current, rfile, and shield items that may be erased endlessly by way of speedily accelerating technological obsolescence
- Up-to-date, forward-looking, and significantly reflective, this authoritative new assortment is knowledgeable all through by way of a deep appreciation of the technical intricacies of electronic art
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Additional resources for A Companion to Digital Art
Grounded in the theory and ethics of conservation, his text provides hands‐on technical guidance and uses case studies to illustrate how tools and methods can be applied. He surveys the process of “learning the work” through the initial conservation assessment and artist interview; the capture and storage of the piece; and the role of emulation, virtualization, as well as recreation, reinterpretation, and replacement as preservation strategies. Jon Ippolito’s “Trusting Amateurs with Our Future” shifts the focus of preservation to practices outside of the institution.
Image science, or Bildwissenschaft, now allows us to consider media from peep‐show to panorama, anamorphosis, D i g i ta l A rt a n d It s I m pac t o n A r c h i v e s a n d H u m a n it i e s ◼ ◼ ◼ 29 stereoscope, magic lantern, phantasmagoria, films with odors and colors, cinéorama, IMAX, and the virtual image spaces of computers (Grau 2003a). Since the academic institutionalization of art history at around 1800, different discourses emerged that dealt with the autonomy of art as well as with questions of the complexity of the image (Wind 1994): that is, art as a (rationalized) expression of diverse cultural expressions; questions of art history in the means of a history of style; the style of a certain epoch as a manifestation of the “Kunstwollen” (Alois Riegl)—an appropriate translation would be “artistic will”—that fades away the differentiation of high and low artistic expressions by emphasizing the (hedonist) will to create art.
His aim was to reveal the authentic position of an artwork and its visual complexity in order to understand images (Hofmann, Syamken, and Warnke 1980, 58) not only in the context of artistic mastery, but in their contemporary meaning which is informed by the “afterlife” of certain visual traditions (Didi‐Huberman 2010).