Digital Art (Third edition) (World of Art)
Format: PDF / Kindle (mobi) / ePub
“Paul does an impressive job of compressing the activity of a huge field, in which there are no obvious heroes and no single aesthetic line.” ―Publishers Weekly
Digital technology has revolutionized the way we produce and experience art today. Not only have traditional forms of art such as printing, painting, photography, and sculpture been transformed by digital techniques and media, but the emergence of entirely new forms such as internet and software art, digital installation, and virtual reality has forever changed the way we define art.
Christiane Paul surveys the developments in digital art from its appearance in the 1980s to the present day and looks ahead to what the future may hold. She discusses the key artists and works in the genre, drawing a distinction between work that uses digital practices as tools to produce traditional forms and work that uses them to create new kinds of art. She explores the broader themes and questions raised by these artworks such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, and issues surrounding the collection, presentation, and preservation of digital art.
This third, expanded edition of the popular resource investigates key areas of digital art practice that have gained prominence in recent years, including interactive public installation, augmented and mixed reality, social networking, and file-sharing technologies. 338 illustrations, 270 in color
and Wojciech Matusik. Photo Takashi Otaka. 136 Eduardo Kac, Teleporting an Unknown State, 1994–6. Interactive biotelematic work on the internet. Courtesy Julia Friedman Gallery, Chicago. 137 Masaki Fujihata, Light on the Net, 1996. Interactive digital sculpture and website. Masaki Fujihata, Keio University and Softopia, Gifu. 138 Eduardo Kac, Uirapuru, 1996–9. Interactive telepresence work on the internet. Courtesy Julia Friedman Gallery, Chicago. 139 Eduardo Kac, Rara Avis, 1996. Interactive
also increasingly employed in various stages of the creation and production of sculptural objects, ranging from modelling software to manufacturing machines. While some sculptors make use of the technologies both in the initial design process and in the output of the physical objects, others create sculptures that exist only exclusively in the virtual realm and can take the form of a CAD (computer-aided design) model or a digital animation. There are different types of computer-controlled
numerous studies in the field of ‘dimensionalized movies’ and played an instrumental role in the creation of the first interactive videodiscs, and Jeffrey Shaw. Both Naimark’s Be Now Here (1995)  and Shaw’s installation Place, a user’s manual (1995) combine various media forms, from landscape photography to panorama and immersive cinema, and redefine the basic spatial characteristics of cinema as a projection onto a flat screen in a darkened room. A more intimate panoramic insertion of the
bio- and information technology, belief systems, ethics, and the Internet, which literally becomes a life-shaping force. --> 186. Natalie Jeremijenko, OneTrees, 2000. The clones, exhibited together as plantlets at the Yerba Buena Center for the Arts in San Francisco, have been planted in public sites, and the development of these biologically identical life-forms will reveal the interdependency of genetics and different environmental conditions. --> Yet another area that is likely to undergo
effectively. PDPal is inspired by the idea of emotional geographies and the concept of psychogeography – the study of the effects of the geographical environment on individuals’ emotions and behaviours – which was developed by the Situationists, a political and artistic movement that emerged in the late 1950s. A different form of mapping and an early example of a public interactive is Q.S. Serafijn and Lars Spuybroek’s D-tower (1998–2004), an art piece commissioned by the Dutch city of Doetinchem