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 best theorists.
- Showcases the severe and theoretical techniques during this fast-moving discipline
- Explores the background and evolution of electronic artwork; its aesthetics and politics; in addition to its usually turbulent relationships with confirmed 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 major theorists
- Tackles electronic art’s fundamental sensible demanding situations – tips to current, rfile, and safeguard items which may be erased without end by means of swiftly accelerating technological obsolescence
- Up-to-date, forward-looking, and significantly reflective, this authoritative new assortment is expert all through by means of a deep appreciation of the technical intricacies of electronic art
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Additional resources for A Companion to Digital Art
References Bishop, Claire. 2004. ” October 110: 51–79. Bourriaud, Nicolas. 2002. Relational Aesthetics. Dijon: Les presses du réel. Bourriaud, Nicolas. 2006. ” In Claire Bishop, Participation. Cambridge, MA: Whitechapel Gallery, The MIT Press. Bridle, James. 2011. ” Date accessed January 5, 2015. com/ (accessed September 24, 2015). Burnham, Jack. 1968a. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century. New York: George Braziller. Burnham, Jack. 1968b.
A viewer who spends only a minute or two with a digital artwork might see only one configuration of an essentially non‐linear project. The context and logic of a particular sequence may remain unclear. Every art project is embedded in a context, but audiences of digital art might require layers of contextual information, both relating to the materiality of the work and the logic behind its process, and tran scending the work itself. The characteristics of digital art require an understanding of computational processes that cannot be taken for granted among an art audience at large.
Ben Fino‐Radin’s chapter on tools, methods, and strategies of digital conservation gives an introduction to the nuts and bolts of this emerging field of practice. Grounded in the theory and ethics of conservation, his text provides hands‐on technical guidance and uses case studies to illustrate how tools and methods can be applied. He surveys the process of “learning the work” through the initial conservation assessment and artist interview; the capture and storage of the piece; and the role of emulation, virtualization, as well as recreation, reinterpretation, and replacement as preservation strategies.