By Christiane Paul
Reflecting the dynamic creativity of its topic, this definitive consultant spans the evolution, aesthetics, and perform of today’s electronic artwork, combining clean, rising views with the nuanced insights of top theorists.
- Showcases the severe and theoretical methods during this fast-moving discipline
- Explores the heritage and evolution of electronic paintings; its aesthetics and politics; in addition to its frequently turbulent relationships with proven 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 prime theorists
- Tackles electronic art’s basic useful demanding situations – the best way to current, rfile, and protect items that may be erased without end through speedily accelerating technological obsolescence
- Up-to-date, forward-looking, and severely 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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Extra info for A Companion to Digital Art
The atlas, which has survived only as “photographed clusters,” fundamentally is an attempt to combine the philosophical with the image‐historical approach. Warburg arranged his visual material by thematic areas. He considered himself an image scientist and reflected upon the image propa ganda of World War I through examination of the image wars during the Reformation. 15 Therefore every reflection on the complexity of digital imagery and its multifarious potential could start with Warburg’s research.
Org is evolving with future conferences under the guidance of an advisory board including Sean Cubitt, Douglas Kahn, Martin Kemp, Timothy Lenoir, Machiko Kusahara, and Paul Thomas. Image Science: From the Image Atlas to the Virtual Museum The integration of a “new” image form into image history does not constitute a new method; there have been different historic forerunners. Inspired by Darwin’s work The Expression of the Emotions (1872), Aby Warburg began a project outlining an art‐ historical psychology of human expression.
They give insight into the histories, aesthetics, politics, and social context of digital art as well as its relationship to institutions and its historicization, which is enabled by presentation, collection and preservation. Most importantly, the Companion to Digital Art points to the future of digital art, illustrating where it has been, where it might go, and what needs to be accomplished to support the art practice that plays the most vital role in opening up new perspectives—from critical to poetic—on today’s technologically medi ated environment.