Internet & New Media Art

This book looks at the transformation that Art and Art history is undergoing through engagement with the digital revolution. Since its initiation in 1985, CHArt (Computers and the History of Art) has set out to promote interaction between the rapidly developing new Information Technology and the study and practice of Art. It has become increasingly clear in recent years that this interaction has led, not just to the provision of new tools for the carrying out of existing practices, but to the evolution of unprecedented activities and modes of thought. This collection of papers represents the variety, innovation and richness of significant presentations made at the CHArt Conferences of 2001 and 2002. Some show new methods of teaching being employed, making clear in particular the huge advantages that IT can provide for engaging students in learning and interactive discussion.

How to interpret and critique digital arts, in theory and in practice.

This text formally appraises the innovative ways new media artists engage urban ecology. Highlighting the role of artists as agents of technological change, the work reviews new modes of seeing, representing and connecting within the urban setting. The book describes how technology can be exploited in order to create artworks that transcend the technology's original purpose, thus expanding the language of environmental engagement whilst also demonstrating a clear understanding of the societal issues and values being addressed. Features: assesses how data from smart cities may be used to create artworks that can recast residents' understanding of urban space; examines transformations of urban space through the reimagining of urban information; discusses the engagement of urban residents with street art, including collaborative community art projects and public digital media installations; presents perspectives from a diverse range of practicing artists, architects, urban planners and critical theorists.

This book explores digital artists' articulations of globalization. Digital artworks from around the world are examined in terms of how they both express and simulate globalization's impacts through immersive, participatory and interactive technologies.

For 30 years, the interconnections of art, technology and society have been at the center of the activities of the extraordinary organization known as Ars Electronica.

These days, we take for granted that our computer screens--and even our phones--will show us images in vibrant full color. Digital color is a fundamental part of how we use our devices, but we never give a thought to how it is produced or how it came about.

Digital technology has revolutionized the way we produce and experience art today. Not only have traditional forms of art such as printing, painting, photography, and sculpture been transformed by digital techniques and media, but the emergence of entirely new forms such as internet and software art, digital installation, and virtual reality has forever changed the way we define art.

Digital Arts presents an introduction to new media art through key debates and theories. The volume begins with the historical contexts of the digital arts, discusses contemporary forms, and concludes with current and future trends in distribution and archival processes.

In 1959, the electronics manufacturer Stromberg-Carlson produced the S-C 4020, a device that allowed mainframe computers to present and preserve images. In the mainframe era, the output of text and image was quite literally peripheral; the S-C 4020 -- a strange and elaborate apparatus, with a cathode ray screen, a tape deck, a buffer unit, a film camera, and a photo-paper camera -- produced most of the computer graphics of the late 1950s and early 1960s. At Bell Laboratories in Murray Hill, New Jersey, the S-C 4020 became a crucial part of ongoing encounters among art, science, and technology.