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ART 430 Practices in Digital Arts: Books in the Library
Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today's digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions
This third, updated and expanded edition of Christiane Paul's acclaimed book investigates key areas of digital art practice that have gained in prominence in recent years, including the emergence and impact of location-based media, interactive public installation, augmentive and mixed reality, social networking and file-sharing and tablet technologies. It explores themes raised by digital 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. It also looks at the impact of digital techniques and media on traditional forms of art such as printing, painting, photography and sculpture, as well as exploring the ways in which entirely new forms such as internet and software art, digital installation and virtual reality have emerged as recognized artistic practices.
Moving Image by Omar Kholeif
Call Number: NX650.M64 M68 2015
Publication Date: 2015
This anthology examines the expanded field of the moving image in recent art, tracing the genealogies of contemporary moving image work in performance, body art, experimental film, installation, and site-specific art from the 1960s to the present day.
Screen Ecologies examines the relationship of media, art, and climate change in the Asia-Pacific region -- a key site of both environmental degradation and the production and consumption of climate-aware screen art and media. Screen Ecologies shows how new media and visual artists provide alternative ways for understanding the entanglements of media and the environment in the Asia-Pacific. It investigates such topics as artists' exploration of alternative ways to represent the environment; regional stories of media innovation and climate change; the tensions between amateur and professional art; the emergence of biennials, triennials, and new arts organizations; the theme of water in regional art; new models for networked collaboration; and social media's move from private to public realms. A generous selection of illustrations shows a range of artist's projects.
Radical Presence: black performance in contemporary art by Bill Arning (Foreword by); Valerie Cassel Oliver (Editor); Naomi Beckwith (Text by); Yona Backer (Text by)
Call Number: NX456.5.P38 R33 2013
Publication Date: 2013
"Radical Presence" chronicles the emergence of black performance practices in contemporary art. Where hegemony has tended to define black performance art as an extension of theater, this publication provides a critical framework for discussing the history of black performance within the visual arts over the last 50 years. Over five decades of performance art practices by such artists as Benjamin Patterson, David Hammons, Senga Nengudi, Lorraine O'Grady, Adrian Piper and Ulysses Jenkins are presented along representatives of subsequent generations such as Carrie Mae Weems, William Pope.L, Terry Adkins, Sherman Fleming, Danny Tisdale, Lyle Ashton Harris, Clifford Owens, Kalup Linzy and Adam Pendleton, among others.
New Art by Roxana Marcoci; Diana Murphy; Eve Sinaiko
Call Number: Oversize N6493 1990 .N48 1997
Publication Date: 1997
New Art includes work by more than 100 artists from around the globe. Most but not all of the artists are under the age of 50, and all of the works were made since 1990. Painting, sculpture, photography, drawing, installation and video are featured.
Call Number: N6494.I57 K89 2015 (also available online)
Publication Date: 2013
Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms.
This vibrantly illustrated introduction to the emerging field of the preservation and presentation of media art brings together the contributions of authors from all over Europe and the United States. A potent combination of incisive scholarly articles and focused case studies, Preserving and Exhibiting Media Art offers a comprehensive overview of the history, theory, and practical skills of preserving media art.
In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a confident and spirited argument for the use of digital art in support of ameliorating human engagement with the environment and suggests a four-part framework for analyzing and discussing such applications.
Generations and Geographies in the Visual Arts by Griselda Pollock (Editor)
Call Number: N72.F45 G46 1996
Publication Date: 1996-12-24
Generations and Geographies collects a unique assembly of artists, curators, critics and researchers to consider the question of sexual difference and its significance in the production and reception of visual representation by women artists.Generations indicates a sense of awareness of the historical and political positioning of women, whereas Geographies calls attention to their location in terms of nationality, imperialism, migration, exile, diaspora and social difference.
Information Arts: intersections of art, science, and technology by Stephen Wilson
Call Number: N72.S3 W55 2002
Publication Date: 2001
A new breed of contemporary artist engages science and technology - not just to adopt the vocabulary and gizmos, but to explore and comment on the content, agendas, and possibilities
In an era of fast-paced technological progress and with the impact of humans on the environment increasing, the concept of "nature" itself seems called into question. A contextual introduction traces the roots of bio artistic practice, followed by four thematic chapters: Altering Nature, Experimental Identity and Mediums, Visualizing Scale and Scope, and Redefining Life.
In Biopolitical Screens, Pasi Valiaho charts and conceptualizes the imagery that composes our affective and conceptual reality under twenty-first-century capitalism. He investigates the role screen media play in the networks that today harness human minds and bodies -- the ways that images animated on console game platforms, virtual reality technologies, and computer screens capture human potential by plugging it into arrangements of finance, war, and the consumption of entertainment. Drawing on current neuroscience and political and economic thought, Valiaho argues that these images work to shape the atomistic individuals who populate the neoliberal world of accumulation and war. Valiaho bases his argument on a broad notion of the image as something both visible and sayable, detectable in various screen platforms but also in scientific perception and theoretical ideas. After laying out the conceptual foundations of the book, Valiaho offers focused and detailed investigations of the current visual economy. He considers the imagery of first-person shooter video games as tools of "neuropower"; explores the design and construction of virtual reality technologies to treat post-traumatic stress disorder in veterans of Iraq and Afghanistan; and examines three instances of video installation art that have the power to disrupt the dominant regime of sensibility rather than reinforce it.
The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals.
Media screens—film, video, and computer screens—have increasingly pervaded both artistic production and everyday life since the 1960s. Examining a range of installations created over the past fifty years that investigate the rich terrain between the sculptural and the cinematic, including works by artists such as Eija-Liisa Ahtila, Doug Aitken, Peter Campus, Dan Graham, VALIE EXPORT, Bruce Nauman, and Michael Snow, Kate Mondloch traces the construction of screen spectatorship in art from the seminal film and video installations of the 1960s and 1970s to the new media artworks of today’s digital culture.
In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Digital Art and Meaning offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture.