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New Media and Light Alphabet Art New Media and Light Art

Artworks designed and produced by means of electronic media technologies

Newskool ASCII Screenshot with the words "Closed Society II"

New media fine art includes artworks designed and produced by ways of electronic media technologies, comprising virtual fine art, estimator graphics, computer blitheness, digital art, interactive art, sound art, Internet fine art, video games, robotics, 3D printing, and cyborg art. The term defines itself past the thereby created artwork, which differentiates itself from that deriving from conventional visual arts (i.e. architecture, painting, sculpture, etc.). New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media fine art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The accent on medium is a defining characteristic of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally.[one] New media fine art may involve degrees of interaction between artwork and observer or between the creative person and the public, as is the case in operation art. Yet, every bit several theorists and curators have noted, such forms of interaction, social commutation, participation, and transformation do non distinguish new media art merely rather serve as a common basis that has parallels in other strands of gimmicky art practice.[2] Such insights emphasize the forms of cultural practice that ascend concurrently with emerging technological platforms, and question the focus on technological media per se. New Media fine art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums.[three] Many cultural centers and museums take been established to cater to the avant-garde needs of new media fine art.

History [edit]

The origins of new media fine art can exist traced to the moving epitome inventions of the 19th century such as the phenakistiscope (1833), the praxinoscope (1877) and Eadweard Muybridge's zoopraxiscope (1879). From the 1900s through the 1960s, various forms of kinetic and light art, from Thomas Wilfred's 'Lumia' (1919) and 'Clavilux' light organs[4] to Jean Tinguely'southward self-destructing sculpture Homage to New York (1960) can be seen as progenitors of new media art.[five]

Steve Dixon in his book Digital Performance: New Technologies in Theatre, Trip the light fantastic toe and Performance Art argues that the early on twentieth century avant-garde fine art movement Futurism was the birthplace of the merging of technology and functioning fine art. Some early on examples of performance artists who experimented with then land-of-the-art lighting, film, and projection include dancers Loïe Fuller and Valentine de Saint-Bespeak. Cartoonist Winsor McCay performed in sync with an animated Gertie the Dinosaur on tour in 1914. Past the 1920s many Cabaret acts began incorporating moving picture projection into performances.[half dozen]

Robert Rauschenberg's piece Circulate (1959), composed of three interactive re-tunable radios and a painting, is considered one of the beginning examples of interactive art. German language artist Wolf Vostell experimented with television set sets in his (1958) installation Idiot box De-collages. Vostell'south piece of work influenced Nam June Paik, who created sculptural installations featuring hundreds of television sets that displayed distorted and abstract footage.[6]

Starting time in Chicago during the 1970s, at that place was a surge of artists experimenting with video fine art and combining recent figurer technology with their traditional mediums, including sculpture, photography, and graphic design. Many of the artists involved were grad students at The Schoolhouse of the Fine art Found of Chicago, including Kate Horsfield and Lyn Blumenthal, who co-founded the Video Data Banking concern in 1976.[7] Some other artists involved was Donna Cox, she collaborated with mathematician George Francis and calculator scientist Ray Idaszak on the project Venus in Fourth dimension which depicted mathematical data as 3D digital sculptures named for their similarities to paleolithic Venus statues.[viii] In 1982 creative person Ellen Sandor and her squad called (fine art)n Laboratory created the medium called PHSCologram, which stands for photography, holography, sculpture, and calculator graphics. Her visualization of the AIDS virus was depicted on the cover of IEEE Reckoner Graphics and Applications in November 1988.[7] At the University of Illinois in 1989, members of the Electronic Visualization Laboratory Carolina Cruz-Neira, Thomas DeFanti, and Daniel J. Sandin collaborated to create what is known every bit Cavern or Cave Automatic Virtual Surroundings an early virtual reality immersion using rear project.[9]

In 1983, Roy Ascott introduced the concept of "distributed authorship" in his worldwide telematic projection La Plissure du Texte[10] for Frank Popper's "Electra" at the Musée d'Art Moderne de la Ville de Paris. The development of calculator graphics at the end of the 1980s and real fourth dimension technologies in the 1990s combined with the spreading of the Web and the Cyberspace favored the emergence of new and various forms of interactive art by Ken Feingold, Lynn Hershman Leeson, David Rokeby, Ken Rinaldo, Perry Hoberman, Tamas Waliczky; telematic art past Roy Ascott, Paul Sermon, Michael Bielický; Cyberspace art by Vuk Ćosić, Jodi; virtual and immersive art by Jeffrey Shaw, Maurice Benayoun, Monika Fleischmann, and large scale urban installation by Rafael Lozano-Hemmer. In Geneva, the Centre cascade fifty'Image Contemporaine or CIC coproduced with Centre Georges Pompidou from Paris and the Museum Ludwig in Cologne the first internet video archive of new media art.[11]

Maurizio Bolognini, Sealed Computers (Nice, French republic, 1992–1998). This installation uses computer codes to create endless flows of random images that nobody would meet. (Images are continuously generated just they are prevented from becoming a concrete artwork).[12]

Earth Skin (1997), Maurice Benayoun's Virtual Reality Interactive Installation (Photograph Safari in the Land of State of war)

Simultaneously advances in biotechnology accept also allowed artists like Eduardo Kac to begin exploring Dna and genetics as a new fine art medium.[13]

Influences on new media art accept been the theories developed around interaction, hypertext, databases, and networks. Important thinkers in this regard take been Vannevar Bush-league and Theodor Nelson, whereas comparable ideas can exist plant in the literary works of Jorge Luis Borges, Italo Calvino, and Julio Cortázar.

Themes [edit]

In the volume New Media Art, Marking Tribe and Reena Jana named several themes that contemporary new media art addresses, including reckoner art, collaboration, identity, appropriation, open sourcing, telepresence, surveillance, corporate parody, every bit well as intervention and hacktivism.[fourteen] In the volume Postdigitale,[15] Maurizio Bolognini suggested that new media artists have i common denominator, which is a self-referential relationship with the new technologies, the issue of finding oneself inside an epoch-making transformation determined by technological development.

New media art does non announced as a gear up of homogeneous practices, but as a complex field converging effectually 3 main elements: 1) the fine art organization, 2) scientific and industrial research, and 3) political-cultural media activism.[16] In that location are pregnant differences between scientist-artists, activist-artists and technological artists closer to the fine art system, who not but have different training and technocultures, but have different creative production.[17] This should be taken into account in examining the several themes addressed by new media art.

Non-linearity can be seen every bit an important topic to new media fine art past artists developing interactive, generative, collaborative, immersive artworks like Jeffrey Shaw or Maurice Benayoun who explored the term equally an approach to looking at varying forms of digital projects where the content relays on the user's feel. This is a primal concept since people acquired the notion that they were conditioned to view everything in a linear and articulate-cut fashion. Now, fine art is stepping out of that form and allowing for people to build their own experiences with the slice. Non-linearity describes a project that escape from the conventional linear narrative coming from novels, theater plays and movies. Non-linear art usually requires audience participation or at least, the fact that the "visitor" is taken into consideration by the representation, altering the displayed content. The participatory attribute of new media art, which for some artists has become integral, emerged from Allan Kaprow'south Happenings and became with Internet, a significant component of gimmicky fine art.

The inter-connectivity and interactivity of the net, too equally the fight between corporate interests, governmental interests, and public interests that gave nativity to the web today, inspire a lot of current new media art.

Databases [edit]

One of the central themes in new media art is to create visual views of databases. Pioneers in this surface area include Lisa Strausfeld, Martin Wattenberg[eighteen] and Alberto Frigo.[xix] From 2004-2014 George Legrady's piece "Making Visible the Invisible" displayed the normally unseen library metadata of items recently checked out at the Seattle Public Library on half dozen LCD monitors behind the circulation desk.[20] Database aesthetics holds at to the lowest degree ii attractions to new media artists: formally, as a new variation on non-linear narratives; and politically as a ways to subvert what is fast becoming a class of command and authority.

Political and social activism [edit]

Many new media art projects too piece of work with themes like politics and social consciousness, allowing for social activism through the interactive nature of the media. New media art includes "explorations of code and user interface; interrogations of archives, databases, and networks; product via automated scraping, filtering, cloning, and recombinatory techniques; applications of user-generated content (UGC) layers; crowdsourcing ideas on social- media platforms; narrowcasting digital selves on "complimentary" websites that claim copyright; and provocative performances that implicate audiences as participants".[21]

Afrofuturism [edit]

Afrofuturism is an interdisciplinary genre that explores the African diaspora experience, predominantly in the U.s., by deconstructing the past and imagining the future through the themes of technology, scientific discipline fiction, and fantasy. Musician Sun Ra, believed to be one of the founders of Afrofuturism, idea a alloy of technology and music could help humanity overcome the ills of lodge.[22] His band, The Lord's day Ra Arkestra, combined traditional Jazz with sound and performance art and were among the first musicians to perform with a synthesizer.[23] The twenty-first century has seen a resurgence of Afrofuturism aesthetics and themes with artists and cooperation's like Jessi Jumanji and Black Quantum Futurism and art educational centers like Black Space in Durham, N Carolina.[24]

Feminism and the female experience [edit]

Japanese artist Mariko Mori's multimedia installation piece Wave UFO (1999-2003) sought to examine the science and perceptions behind the written report of consciousness and neuroscience. Exploring the ways that these fields undertake inquiry in a materially reductionist manner. Mori'south piece of work emphasized the need for these fields to go more holistic and incorporate incites and understanding of the world from philosophy and the humanities.[25] Swiss artist Pipilotti Rist'southward (2008) immersive video installation Cascade Your Body Out explores the dichotomy of dazzler and the grotesque in the natural world and their relation to the female person experience. The large-scale 360-caste installation featured breast-shaped projectors and circular pink pillows that invited viewers to relax and immerse themselves in the vibrant colors, psychedelic music, and partake in meditation and yoga.[25] American filmmaker and artist Lynn Hersman Leeson explores in her films the themes of identity, engineering and the erasure of women's roles and contributions to technology. Her (1999) picture show Conceiving Ada depicts a computer scientist and new media artist named Emmy equally she attempts and succeeds at creating a way to communicate through internet with Ada Lovelace, an Englishwoman who created the first computer plan in the 1840s via a form of artificial intelligence.[26]

Identity [edit]

With its roots in outsider art, New Media has been an ideal medium for an creative person to explore the topics of identity and representation. In Canada, Ethnic multidisciplinary artists like Cheryl 50'Hirondelle and Kent Monkman have incorporated themes almost gender, identity, activism, and colonization in their work.[27] Monkman, a Cree creative person, performs and appears equally their change ego Miss Chief Eagle Testickle, in film, photography, painting, installation, and performance art. Monkman describes Miss Chief as a representation of a two-spirit or non-binary persona that does not fall under the traditional description of elevate.[28]

Future of new media art [edit]

The emergence of 3D press has introduced a new span to new media art, joining the virtual and the concrete worlds. The ascent of this technology has allowed artists to blend the computational base of new media art with the traditional physical class of sculpture. A pioneer in this field was artist Jonty Hurwitz who created the get-go known anamorphosis sculpture using this technique.

Longevity [edit]

As the technologies used to evangelize works of new media fine art such as film, tapes, web browsers, software and operating systems become obsolete, New Media art faces serious bug effectually the challenge to preserve artwork beyond the fourth dimension of its gimmicky product. Currently, research projects into New media fine art preservation are underway to improve the preservation and documentation of the fragile media arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).

Methods of preservation be, including the translation of a work from an obsolete medium into a related new medium,[29] the digital archiving of media (meet the Rhizome ArtBase, which holds over 2000 works, and the Internet Archive), and the use of emulators to preserve work dependent on obsolete software or operating organisation environments.[thirty] [31]

Around the mid-90s, the upshot of storing works in digital form became a business organization. Digital fine art such equally moving images, multimedia, interactive programs, and computer-generated art has different properties than concrete artwork such equally oil paintings and sculptures. Unlike analog technologies, a digital file tin can exist recopied onto a new medium without any deterioration of content. One of the problems with preserving digital fine art is that the formats continuously change over time. Sometime examples of transitions include that from eight-inch floppy disks to 5.25-inch floppies, 3-inch diskettes to CD-ROMs, and DVDs to wink drives. On the horizon is the obsolescence of flash drives and portable hard drives, as data is increasingly held in online cloud storage.[32]

Museums and galleries thrive off of being able to accommodate the presentation and preservation of physical artwork. New media fine art challenges the original methods of the fine art world when it comes to documentation, its approach to collection and preservation. Engineering science continues to advance, and the nature and structure of art organizations and institutions volition remain in jeopardy. The traditional roles of curators and artist are continually irresolute, and a shift to new collaborative models of production and presentation is needed.[33]

Preservation [edit]

see also Conservation and restoration of new media fine art

New media fine art encompasses various mediums all which require their own preservation approaches.[3] Due to the vast technical aspects involved no established digital preservation guidelines fully encompass the spectrum of new media art.[34] New media fine art falls under the category of "complex digital object" in the Digital Curation Eye's digital curation lifecycle model which involves specialized or totally unique preservation techniques.  Complex digital objects preservation has an emphasis on the inherent connexion of the components of the piece.[35]

Teaching [edit]

In New Media programs, students are able to get acquainted with the newest forms of creation and communication. New Media students larn to identify what is or isn't "new" about certain technologies.[36] Scientific discipline and the market will always nowadays new tools and platforms for artists and designers. Students learn how to sort through new emerging technological platforms and identify them in a larger context of sensation, communication, production, and consumption.

When obtaining a bachelor's caste in New Media, students will primarily work through practise of building experiences that apply new and old technologies and narrative. Through the construction of projects in various media, they acquire technical skills, exercise vocabularies of critique and analysis, and gain familiarity with historical and contemporary precedents.[36]

In the The states, many Bachelor'southward and Master'south level programs exist with concentrations on Media Art, New Media, Media Design, Digital Media and Interactive Arts.[37]

Leading fine art theorists and historians [edit]

Leading art theorists and historians in this field include Roy Ascott, Lev Manovich, Maurice Benayoun, Christine Buci-Glucksmann, Jack Burnham, Mario Costa, Edmond Couchot, Fred Forest, Oliver Grau, Margot Lovejoy, Robert C. Morgan, Dominique Moulon, Christiane Paul, Catherine Perret, Frank Popper, and Edward A. Shanken.

Types [edit]

The term New Media Fine art is generally applied to disciplines such equally:

  • Artistic computer game modification
  • ASCII art
  • Bio Art
  • Cyberformance
  • Estimator art
  • Disquisitional making
  • Digital art
  • Demoscene
  • Digital poetry
  • Tradigital fine art
  • Electronic art
  • Experimental musical instrument building
  • Evolutionary art
  • Fax art
  • Generative fine art
  • Glitch art
  • Hypertext
  • Information art
  • Interactive art
  • Kinetic art
  • Lite art
  • Motion graphics
  • Net fine art
  • Performance art
  • Radio art
  • Robotic art
  • Software art
  • Sound art
  • Systems art
  • Telematic art
  • Video art
  • Video games
  • Virtual art

Artists [edit]

Cultural centres [edit]

  • Australian Network for Fine art and Engineering science
  • Center for Art and Media Karlsruhe
  • Centre pour 50'Image Contemporaine
  • Eyebeam Art and Applied science Center
  • Foundation for Art and Creative Technology
  • Gray Area Foundation for the Arts
  • Harvestworks
  • InterAccess
  • Los Angeles Centre for Digital Fine art (LACDA)
  • Netherlands Media Art Institute
  • NTT InterCommunication Center
  • Rhizome (organization)
  • RIXC
  • School for Poetic Computation (SFPC)
  • School of the Fine art Institute of Chicago
  • Squeaky Bike: Film and Media Arts Center
  • V2 Institute for the Unstable Media
  • WORM

Encounter also [edit]

  • Art/MEDIA
  • Artmedia
  • Aspect magazine
  • Culture jamming
  • Digital media
  • Digital puppetry
  • Electronic Linguistic communication International Festival
  • Expanded Cinema
  • Experiments in Fine art and Technology
  • Interactive film
  • Interactive media
  • Intermedia
  • LA Freewaves
  • Cyberspace.art
  • New media art festivals
  • New media creative person
  • New media art journals
  • New media fine art preservation
  • Perpetual Art Machine
  • Remix civilization
  • VJing

References [edit]

  1. ^ Shanken, Edward A. "Artists in Industry and the Academy: Collaborative Inquiry, Interdisciplinary Scholarship, and the Creation and Interpretation of Hybrid Forms" (PDF). Leonardo 38:5 (2005). pp. 415–18.
  2. ^ "Contemporary Art and New Media: Toward a Hybrid Discourse?". 15 Feb 2011.
  3. ^ a b Paul, C. (2012). The myth of immateriality – presenting new media art. Technoetic Arts: A Journal of Speculative Enquiry, 10(2/3) 167-172 https://doi.org/10.1386/tear.10.2-3.167_7
  4. ^ Eskilson, South. (2003). Thomas wilfred and intermedia: seeking a framework for lumia. Leonardo, 36(1) 65-68.
  5. ^ Dixon, Southward. (2007). Digital performance: A history of new media in theater, trip the light fantastic, performance art, and installation. MIT Press.
  6. ^ a b Dixon, S. (2007). Digital performance: A history of new media in theater, dance, operation fine art, and installation. MIT Press
  7. ^ a b Sandor, E. (2018). Ellen Sandor. In D.J. Cox, E. Sandor & J. Fron (Eds.), New media futures: The rise of women in the digital arts (pp.fifty-70). Academy of Illinois Press.
  8. ^ Horsfield, Chiliad., & Blumenthal, L. (2018). An interview with abina manning. In D.J. Cox, E. Sandor & J. Fron (Eds.), New media futures: The rising of women in the digital arts (pp.165-169). University of Illinois Press.
  9. ^ Cruz-Neira, C. (2018). Carolina Cruz-Neira. In D.J. Cox, East. Sandor & J. Fron (Eds.), New media futures: The ascent of women in the digital arts (pp.85-91). University of Illinois Press.
  10. ^ "La Plissure du Texte". 1904.cc. Archived from the original on 2015-04-02.
  11. ^ "Nouveaux Media - New Media - Neue Medien". www.newmedia-art.org.
  12. ^ Andreas Broeckmann, "Image, Process, Performance, Car: Aspects of an Aesthetics of the Machinic", in Oliver Grau, ed. (2007), Media Art Histories, Cambridge: MIT Press, ISBN978-0-262-07279-3 , pp. 204-205.
  13. ^ Kac, Eastward. (2007). Art that looks you in the middle: hybrids, clones, mutants, synthetics, and transgenics. In Due east. Kac (Ed.), Signs of life: Bio art and beyond. (pp.1-27). MIT Press
  14. ^ Mark Tribe, Reena Jana (2007), New Media Art, Introduction, Rome: Taschen, ISBN978-3-8228-2537-2
  15. ^ Maurizio Bolognini (2008), Postdigitale (in Italian), Rome: Carocci Editore, ISBN978-88-430-4739-0
  16. ^ Catricalà, Valentino (2015). Media Art. Toward a new Definition of Arts in the Age of Technology. Gli Ori. ISBN978-88-7336-564-8.
  17. ^ Encounter also Maurizio Bolognini, "From interactivity to commonwealth. Towards a postal service-digital generative art", Artmedia 10 Proceedings. Paris, 2010.
  18. ^ Bulajic, Viktorija Vesna (2007). Database aesthetics: art in the age of information overflow. Academy of Minnesota Press.
  19. ^ Moulon, Dominique (2013). Contemporary new media art. Nouvelles éditions Scala.
  20. ^ Van Der Meulen, S. (2017). A strong couple: new media and socially engaged art. Leonardo, 50(2) 170-176. https://doi.org/10.1162/LEON_a_00963
  21. ^ Dale Hudson and Patricia R. Zimmermann. (2015). Thinking Through Digital Media Transnational Environments and Locative Places. New York: Palgrave Macmillan. P. 1. ISBN 978-1137433626
  22. ^ Womack, Y.L. (2013). Afrofuturism: the globe of blackness sci-fi and fantasy civilisation. Chicago.
  23. ^ Youngquist, P. (2016). A pure solar globe: Sun ra and the nascence of afrofuturism. University of Texas Press.
  24. ^ Peattie, P. (2021). Afrofuturism revelation and revolution; voices of the digital generation. Journal of Advice Enquiry, 0(0) 1-24. https://doi.org/x.1177/01968599211041117
  25. ^ a b Mondloch, K. (2018). A capsule aesthetic: Feminist materialisms in new media fine art. University of Minnesota Printing.
  26. ^ Kinder, Thousand. (2005). A cinema of intelligent agents: conceiving ada and teknolust. In Yard. Tromble (Ed.), The art and films of lynn Hershman leeson: Secret agents, private I (pp.167-181). University of California Press.
  27. ^ Nagam, N., & Swanson, K. (2014). Decolonial interventions in functioning and new media art: in conversation with Cheryl l'hirondelle and kent monkman. Canadian Theater Review, (159) Summer 2014, 30-37
  28. ^ Scudeler, J. (2015). "Indians on top": kent monkman's sovereign erotics. American Indian Culture and Inquiry Journal, 34(4) 19-32. https://doi.org/10.17953/aicrj.39.4.scudeler
  29. ^ "Digital Rosetta Rock" (PDF). ercim.org.
  30. ^ Rinehart, Richard. "Preserving the Rhizome ArtBase (study)". rhizome.org. Archived from the original on 2005-01-16.
  31. ^ Rose, Frank (2016-10-21). "The Mission to Save Vanishing Net Fine art". The New York Times. ISSN 0362-4331. Retrieved 2016-xi-fourteen .
  32. ^ "Longevity of Electronic Art". besser.tsoa.nyu.edu . Retrieved 2017-12-07 .
  33. ^ New media in the white cube and beyond : curatorial models for digital art. Paul, Christiane. Berkeley: University of California Press. 2008. ISBN9780520255975. OCLC 225871513. {{cite book}}: CS1 maint: others (link)
  34. ^ Almeida, N. (2012). Dismantling the monolith: post-media art and the civilisation of instability. Art Documentation: Journal of the Art Libraries Society of N America, 31, two-11. https://world wide web.jstor.org/stable/10.1086/664932
  35. ^ Mail service, C. (2017). Preservation practices of new media artists: challenges, strategies, and attitudes in the personal management of artworks. Journal of Documentation, 73(iv) 716-732 https://doi.org/10.1108/JD-09-2016-0116
  36. ^ a b "The Schoolhouse of Art and Blueprint - Academy of Illinois at Urbana-Champaign". illinois.edu. Archived from the original on 2016-03-02. Retrieved 2013-04-30 .
  37. ^ "New Media Programs in the United States — Dr. Edgar Huang". www.iupui.edu.

Farther reading [edit]

  • Wardrip-Fruin, Noah and Nick Montfort, ed. (2003). The New Media Reader. The MIT Printing. ISBN0-262-23227-8.
  • Maurice Benayoun, The Dump, 207 Hypotheses for Committing Fine art, bilingual (English/French) Fyp éditions, France, July 2011, ISBN 978-2-916571-64-five
  • Timothy Murray, Derrick de Kerckhove, Oliver Grau, Kristine Stiles, Jean-Baptiste Barrière, Dominique Moulon, Jean-Pierre Balpe, Maurice Benayoun Open Art, Nouvelles éditions Scala, 2011, French version, ISBN 978-2-35988-046-5
  • Vannevar Bush-league (1945). "As We May Think" online at As We May Think – The Atlantic Monthly
  • Roy Ascott (2003). Telematic Cover: Visionary Theories of Art, Technology, and Consciousness (Ed.) Edward A. Shanken. Berkeley: University of California Printing. ISBN 978-0-520-21803-i
  • Barreto, Ricardo and Perissinotto, Paula "the_culture_of_immanence", in Cyberspace Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN 85-7060-038-0.
  • Jorge Luis Borges (1941). "The Garden of Forking Paths." Editorial Sur.
  • Nicolas Bourriaud, (1997) Relational Aesthetics, Dijon: Les Presses du Réel, 2002, orig. 1997
  • Christine Buci-Glucksmann, "L'art à l'époque virtuel", in Frontières esthétiques de l'art, Arts 8, Paris: Fifty'Harmattan, 2004
  • Christine Buci-Glucksmann, La folie du voir: Une esthétique du virtuel, Galilée, 2002
  • Valentino Catricalà, Media Art. Towards a New Definition of Arts in the Historic period of Engineering science. Siena: Gli Ori, 2015
  • Sarah Melt & Beryl Graham, Rethinking Curating: Fine art Later New Media, Cambridge, Mass.: MIT Press, 2010. ISBN 978-0-262-01388-8.
  • Sarah Cook & Beryl Graham, "Curating New Media", Art Monthly 261, November 2002. online at Art Monthly
  • Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Curating New Media Art - Conversations with Curators, Berlin: The Green Box, 2010. ISBN 978-3-941644-xx-5.
  • Sarah Cook, Verina Gfader, Beryl Graham & Axel Lapp, A Brief History of Working with New Media Fine art - Conversations with Artists, Berlin: The Green Box, 2010. ISBN 978-3-941644-21-2.
  • Fleischmann, Monika and Reinhard, Ulrike (eds.). Digital Transformations - Media Art as at the Interface betwixt Fine art, Science, Economic system and Society online at netzspannung.org, 2004, ISBN 3-934013-38-4
  • Monika Fleischmann / Wolfgang Strauss (eds.) (2001). Proceedings of »CAST01//Living in Mixed Realities« Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401. ISSN 1618-1379 (Print), ISSN 1618-1387 (Internet).
  • Gatti, Gianna Maria. (2010) The Technological Herbarium. Avinus Printing, Berlin, 2010 (edited, translated from the Italian, and with a preface by Alan N. Shapiro). online at alan-shapiro.com
  • Charlie Gere, (2002) Digital Civilisation, Reaktion ISBN 978-ane-86189-143-three
  • Charlie Gere, (2006) White Heat, Cold Logic: Early British Reckoner Art, co-edited with Paul Brown, Catherine Mason and Nicholas Lambert, MIT Printing/Leonardo Books
  • Graham, Philip Mitchell, New Epoch Art, InterACTA: Journal of the Art Teachers Association of Victoria, Published by ACTA, Parkville, Victoria, No 4, 1990, ISSN 0159-9135, Cited In APAIS. This database is available on the, Informit Online Internet Service or on CD-ROM, or on Australian Public Affairs - Full Text
  • Oliver Grau (2003). Virtual Art: From Illusion to Immersion (Leonardo Volume Serial). Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07241-6.
  • Oliver Grau (2007). (Ed.) MediaArtHistories. Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-07279-3.
  • Mark Hansen, (2004) New Philosophy for New Media (Cambridge, MA: MIT Press)
  • Dick Higgins, 'Intermedia' (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970, London: Tate Publishing, 2005
  • Lopes, Dominic McIver. (2009). A Philosophy of Calculator Art. London: Routledge
  • Lev Manovich (2001). The Linguistic communication of New Media Cambridge, Massachusetts: The MIT Press/Leonardo Books. ISBN 0-262-63255-ane
  • Lev Manovich, Ten Key Texts on Digital Art: 1970-2000 Leonardo - Volume 35, Number 5, October 2002, pp. 567–569
  • Christiane Paul, Challenges for a Ubiquitous Museum: Presenting and Preserving New Media
  • Lev Manovich (2003. "New Media from Borges to HTML", The New Media Reader. MIT Printing.
  • Mondloch, Kate. Screens: Viewing Media Installation Fine art. Minneapolis: University of Minnesota Press, 2010. ISBN 978-0-8166-6522-8
  • Dominique Moulon, Tim Murray, Kristine Stiles, Derrick de Kerckhove, Oliver Grau Open Art, Maurice Benayoun, Nouvelles editions Scala, 2011, ISBN 978-2-35988-046-5
  • Paul, Christiane (2003). Digital Art (World of Fine art series). London: Thames & Hudson. ISBN 0-500-20367-9.
  • Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992
  • Janet Murray (2003). "Inventing the Medium", The New Media Reader. MIT Press.
  • Frank Popper (2007) From Technological to Virtual Art, MIT Press/Leonardo Books
  • Frank Popper (1997) Art of the Electronic Age, Thames & Hudson
  • Edward A. Shanken "Selected Writings on Art and Technology"
  • Edward A. Shanken Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5
  • Mark Tribe and Reena Jana. New Media Art [ permanent dead link ]
  • Rainer Usselmann, (2003) (PDF) "The Dilemma of Media Art: Cybernetic Serendipity at the ICA London", Cambridge, Massachusetts: The MIT Printing/Leonardo Journal - Volume 36, Number 5, pp. 389–396
  • Rainer Usselmann, (2002) "Nearly Interface: Actualisation and Totality", Academy of Southampton
  • Wands, Bruce (2006). Art of the Digital Age, London: Thames & Hudson. ISBN 0-500-23817-0.
  • Whitelaw, Mitchell (2004). Metacreation: Art and Artificial Life Cambridge, Massachusetts: The MIT Press. ISBN 0-262-73176-2.
  • Steve Dietz, Collecting New Media Art: But Like Annihilation Else, But Different
  • Anne-Cécile Worms, (2008) Arts Numériques: Tendances, Artistes, Lieux et Festivals M21 Editions 2008 ISBN 2-916260-33-1.
  • Youngblood, Cistron (1970). Expanded Movie theatre. New York. E.P. Dutton & Company.
  • (in Spanish) Juan Martín Prada, Prácticas artísticas e Internet en la época de las redes sociales, Editorial AKAL, Madrid, 2012, ISBN 978-84-460-3517-vi
  • New Media Faculty, (2011). "New Media", University of Illinois at Urbana-Champaign
  • Hiekel, Jörn Peter (2009). Vernetzungen: Neue Musik im Spannungsfeld von Wissenschaft und Technik. Institut für Neue Musik und Musikerziehung Darmstadt. OCLC 320198124.
  • Bailey, Chris & Hazel Gardiner. (2010). Revisualizing Visual Culture. Surrey, U.k.: Ashgate Publishing.
  • Jana, Reena and Mark Tribe. (2009). New Media Art. New York: Taschen.
  • Dale Hudson and Patricia R. Zimmermann. (2009). "Taking Things Apart: Migratory Archives, Locative Media, and Micropublics." Afterimage vol. 36 no. four (January/February), pp. xiv–19.
  • artists-with-/ Moss, Ceci. (2008). Thoughts on "New Media Artists v. Artists with Computers". Rhizome [ permanent dead link ]
  • Nechvatal, Joseph. (2013). Whither Art? David Joselit's Digital Fine art Trouble. "Hyperallergic: Sensitive to Fine art & its Discontents."
  • Joselit, David. (2012). After Art. Princeton: Princeton University Press. ISBN 9780691150444.
  • Guertin, C. (2012). Digital prohibition: Piracy and authorship in new media fine art. London: Continuum International Pub. Group. ISBN 9781441106100.
  • Catricalà, Valentino (2013). "Come l'avanguardia inventò il futuro. 50'Optofono di Raoul Hausman, la 'visione elettromeccanica' di Lissitzky e le forme dell'energia", in "Imago. Rivista di studi sul cinema due east i media", n. seven-8. (pp. 277–294). ISSN 2038-5536 [1]
  • Dale Hudson and Patricia R. Zimmermann. (2015). Thinking Through Digital Media Transnational Environments and Locative Places. New York: Palgrave Macmillan. ISBN 978-1137433626 companion website with links to projects
  • Janez Strehovec (2016). Text every bit Ride. Electronic Literature and New Media Art. Morgentown: Due west Virginia University Press (Computing Literature book series)-

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Source: https://en.wikipedia.org/wiki/New_media_art