MediaArtHistories
- 其他作者: Grau, Oliver.
- 出版: Cambridge, Mass. : MIT Press c2007.
- 稽核項: xii, 475 p., [10] p. of plates :ill. (some col.) ;24 cm.
- 叢書名: Leonardo
- 標題: Art , Historiography. , Art and science. , Art Historiography. , Art and technology.
- ISBN: 0262514982 , 9780262514989
- 試查全文@TNUA:
- 附註: Includes bibliographical references. The coming and going of images / Rudolf Arnheim -- It is forbidden not to touch : some remarks on the (forgotten parts of the) history of interactivity and virtuality / Peter Weibel -- Historicizing art and technology : forging a method and firing a canon / Edward A. Shanken -- Twin-touch-test-redux : media archaeological approach to art, interactivity, and tactility / Erkki Huhtamo -- Duchamp : interface : Turing : a hypothetical encounter between the bachelor machine and the universal machine / Dieter Daniels -- Remember the phantasmagoria! Illusion politics of the eighteenth century and its multimedial afterlife / Oliver Grau -- Islamic automation : a reading of Al-Jazari's The book of knowledge of ingenious mechanical devices (1206) / Gunalan Nadarajan -- The automatization of figurative techniques : toward the autonomous image / Edmond Couchot -- Image, process, performance, machinic : aspects of the aesthetics of the machinic / Andreas Broeckmann -- From film to interactive art : transformations in media arts / Ryszard W. Kluszczynski -- The passage from material to interface / Louise Poissant -- The myth of immateriality : presenting and preserving new media / Christiane Paul -- Device art : a new approach in understanding Japanese contemporary media art / Machiko Kusahara -- Projecting minds / Ron Burnett -- Abstraction and complexity / Lev Manovich -- Making studies in new media critical / Timothy Lenoir -- Image, meaning, and discovery / Felice Frankel -- There are no visual media / W.J.T. Mitchell -- Projection : vanishing and becoming / Sean Cubitt -- Between a Bach and a bard place : productive constraint in early computer arts / Douglas Kahn -- Picturing uncertainty : from representation to mental representation / Barbara Maria Stafford.
- 摘要: 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.
- 電子資源: https://dbs.tnua.edu.tw/login?url=http://swbplus.bsz-bw.de/bsz262973235rez.htm https://dbs.tnua.edu.tw/login?url=http://swbplus.bsz-bw.de/bsz262973235inh.pdf
- 系統號: 005088997
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
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. 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. Contributors Rudlof 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
來源: Google Book
來源: Google Book
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