Synopses & Reviews
Digital art has become a major contemporary art form, but it has yet to achieve acceptance from mainstream cultural institutions; it is rarely collected, and seldom included in the study of art history or other academic disciplines. In
MediaArtHistories, leading scholars seek to change this. They take a wider view of media art, placing it against the backdrop of art history. Their essays demonstrate that today's media art cannot be understood by technological details alone; it cannot be understood without its history, and it must be understood in proximity to other disciplines -- film, cultural and media studies, computer science, philosophy, and sciences dealing with images.
Contributors trace the evolution of digital art, from thirteenth-century Islamic mechanical devices and eighteenth-century phantasmagoria, magic lanterns, and other multimedia illusions, to Marcel Duchamp's inventions and 1960s kinetic and op art. They reexamine and redefine key media art theory terms -- machine, media, exhibition -- and consider the blurred dividing lines between art products and consumer products and between art images and science images. Finally, MediaArtHistories offers an approach for an interdisciplinary, expanded image science, which needs the "trained eye" of art history.
ContributorsRudlof Arnheim, Andreas Broeckmann, Ron Burnett, Edmond Couchot, Sean Cubitt, Dieter Daniels, Felice Frankel, Oliver Grau, Erkki Huhtamo, Douglas Kahn, Ryszard W. Kluszczynski, Machiko Kusahara, Timothy Lenoir, Lev Manovich, W.J.T. Mitchell, Gunalan Nadarajan, Christiane Paul, Louise Poissant, Edward A. Shanken, Barbara Maria Stafford, and Peter Weibel.
Review
"Hmmm. That looks pretty handy." Bruce Sterling Beyond the Beyond The MIT Press
Review
A rich selection of important texts by some of the most noteworthy figures in media art history, and together they will do much to shape the content of this new discipline. The MIT Press
Review
The essays presented in MediaArtHistories comprise a compelling addition to the bookshelf of any academic interested in art history. New media art histories need to be positioned with the growing range of books that are coming to terms with technological, scientific, philosophical and social comprehension of art practice. < b=""> Horea Avram <> - - < -="" i="" -=""> - Rhizome.org - < -="" -="">
Review
With the growth of media art (and media art programs), MediaArtHistories is an importantand timelybook. Scholars, teachers, and artists all have much to gain from reading it. < b=""> Paul Thomas <> - - < -="" i="" -=""> - realtime +onscreen - < -="" -="">
Review
MediaArtHistories provides a wide view on the complex, in-progress field of media art, in which this volume intends to stand as one of the main bibliographical reference points. Bruce Sterling - Beyond the Beyond
Review
andlt;Pandgt;"A rich selection of important texts by some of the most noteworthy figures in media art history, and together they will do much to shape the content of this new discipline." andlt;Bandgt;Charlie Gere andlt;/Bandgt; andlt;Iandgt;The Art Bookandlt;/Iandgt;andlt;/Pandgt; The MIT Press The MIT Press
Review
andlt;Pandgt;"Hmmm. That looks pretty handy." andlt;Bandgt;Bruce Sterling andlt;/Bandgt; andlt;Iandgt;Beyond the Beyondandlt;/Iandgt;andlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;" andlt;Iandgt;MediaArtHistoriesandlt;/Iandgt; provides a wide view on the complex, in-progress field of media art, in which this volume intends to stand as one of the main bibliographical reference points." andlt;Bandgt;Horea Avram andlt;/Bandgt; andlt;Iandgt;Rhizome.organdlt;/Iandgt;andlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"The essays presented in andlt;Iandgt;MediaArtHistoriesandlt;/Iandgt; comprise a compelling addition to the bookshelf of any academic interested in art history. New media art histories need to be positioned with the growing range of books that are coming to terms with technological, scientific, philosophical and social comprehension of art practice." andlt;Bandgt;Paul Thomas andlt;/Bandgt; andlt;Iandgt;realtime +onscreenandlt;/Iandgt;andlt;/Pandgt; The MIT Press
Review
andlt;Pandgt;"With the growth of media art (and media art programs), andlt;Iandgt;MediaArtHistoriesandlt;/Iandgt; is an importantand timelybook. Scholars, teachers, and artists all have much to gain from reading it." andlt;Bandgt;Dene Grigar andlt;/Bandgt; andlt;Iandgt;Leonardo Reviewsandlt;/Iandgt;andlt;/Pandgt; The MIT Press
Review
Hmmm. That looks pretty handy. Charlie Gere - the Art Book
Review
With the growth of media art (and media art programs), MediaArtHistories is an importantand timelybook. Scholars, teachers, and artists all have much to gain from reading it. < b=""> Paul Thomas <> - - < -="" i="" -=""> - realtime +onscreen - < -="" -="">
Synopsis
Digital art has become a major contemporary art form, but it has yet to achieve acceptance from mainstream cultural institutions; it is rarely collected, and seldom included in the study of art history or other academic disciplines. In
Synopsis
Leading scholars take a wider view of new media, placing it in the context of art history and acknowledging the necessity of an interdisciplinary approach in new media art studies and practice.
Synopsis
andlt;Pandgt;Leading scholars take a wider view of new media, placing it in the context of art history and acknowledging the necessity of an interdisciplinary approach in new media art studies and practice.andlt;/Pandgt;
Synopsis
andlt;Pandgt;Digital art has become a major contemporary art form, but it has yet to achieve acceptance from mainstream cultural institutions; it is rarely collected, and seldom included in the study of art history or other academic disciplines. In MediaArtHistories, leading scholars seek to change this. They take a wider view of media art, placing it against the backdrop of art history. Their essays demonstrate that today's media art cannot be understood by technological details alone; it cannot be understood without its history, and it must be understood in proximity to other disciplines--film, cultural and media studies, computer science, philosophy, and sciences dealing with images.Contributors trace the evolution of digital art, from thirteenth-century Islamic mechanical devices and eighteenth-century phantasmagoria, magic lanterns, and other multimedia illusions, to Marcel Duchamp's inventions and 1960s kinetic and op art. They reexamine and redefine key media art theory terms--machine, media, exhibition--and consider the blurred dividing lines between art products and consumer products and between art images and science images. Finally, MediaArtHistories offers an approach for an interdisciplinary, expanded image science, which needs the "trained eye" of art history.andlt;/Pandgt;
Synopsis
The Emergence of Video Processing Toolsand#160;presents stories of the and#160;development of early video tools and systems designed and built by and#160;artists and technologists during the late 1960s and and#8217;70s.and#160;Split over two volumes, the contributors examineand#160;the intersection of art and science and look at collaborations among inventors, designers, and artists trying to create new tools to and#160;capture and manipulate images in revolutionary ways. The contributors and#160;include and#8220;video pioneers,and#8221; who have been active and#160;since the and#160;emergence of the aesthetic, and technologists, who continue to design, and#160;build, and hack media tools. The book also looks at contemporary toolmakers and the relationship between and#160;these new tools and the past. Video and media production is a growing and#160;area of interest in art and this collection will be an indispensable and#160;guide to its origins and its and#160;future.
About the Author
Kathy High is associate professor in the Department of Arts at Rensselaer Polytechnic Institute and an interdisciplinary artist working with science- and time-based arts.
Sherry Miller Hocking is assistant director at the Experimental Television Center.
Mona Jimenez is an associate professor and associate director in the Moving Image Archiving and Preservation Program at New York University.