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.
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Editorial Reviews
Review
"A rich selection of important texts by some of the most noteworthy figures in media art history, and together they will do much to shape the content of this new discipline." Charlie Gere The Art Book
"Hmmm. That looks pretty handy." Bruce Sterling Beyond the Beyond
" MediaArtHistories provides a wide view on the complex, in-progress field of media art, in which this volume intends to stand as one of the main bibliographical reference points." Horea Avram Rhizome.org
"The essays presented in MediaArtHistories comprise a compelling addition to the bookshelf of any academic interested in art history. New media art histories need to be positioned with the growing range of books that are coming to terms with technological, scientific, philosophical and social comprehension of art practice." Paul Thomas realtime +onscreen
"With the growth of media art (and media art programs), MediaArtHistories is an importantand timelybook. Scholars, teachers, and artists all have much to gain from reading it." Dene Grigar Leonardo Reviews
About the Author
Barbara Stafford is the William B. Ogden Distinguished Service Professor of Art History at the University of Chicago. She is the author of Good Looking, Artful Science, Body Criticism, and Voyage into Substance (all published by MIT Press).
Douglas KAHN is founding Director of Technocultural Studies at University of California at Davis. He is the author of Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999).
Peter Weibel is Director of ZKM Center for Art and Media Technology, Karlsruhe, and coeditor of other ZKM books, including Making Things Public: Atmospheres of Democracy (MIT Press).
Louise POISSANT is Dean of the Faculty of Arts at Université du Québec at Montreal where she directs the Groupe de recherche en arts médiatiques since 1989. She is internationally published.
Oliver Grau is Professor for Image Science and Dean of the Department for Cultural Studies, Danube University Krems. He is the author of Virtual Art: From Illusion to Immersion (MIT Press, 2003), editor of Mediale Emotionen (2005) and founder of the pioneering international digital art archive.
Sean CUBITT is Director of the Media and Communications Program at The University of Melbourne, Australia, he is author of The Cinema Effect (MIT-Press 2005).
Christiane PAUL is Adjunct Curator of New Media Arts at the Whitney Museum of American Art and Director of Intelligent Agent, a service organization dedicated to digital art. She has written extensively on new media arts and her book Digital Art was published in 2003.
Rudolf ARNHEIM is Professor Emeritus of Psychology of Art at Harvard University. His books include Film as Art (1957), Art and Visual Perception: A Psychology of the Creative Eye (1974) and The Dynamics of Architectural Form (1977).
Edward SHANKEN is Professor of Art History and Media Theory at the Savannah College of Art & Design. Among other publications he edited a collection of essays by Roy Ascott, entitled Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (2003).
W.J.T. MITCHEL is Professor of English and Art History at the University of Chicago, and editor of Critical Inquiry. His publications include Iconology (1986), Picture Theory (1994), and The Last Dinosaur Book (1998). His latest book is What Do Pictures Want?
Andreas BROECKMANN has been since 2000 the Artistic Director of transmediale, one of the major media art festivals.
Machiko KUSAHARA is Professor at Waseda University and a Visiting Professor at UCLA. She has curated digital art internationally since 1985, and was involved in founding the Tokyo Metropolitan Museum of Photography and ICC. Her recent publications include analyses of Japanese mobile phone culture, game culture, and visual media.
Carmen M. Reinhart is Professor of Economics at the University of Maryland and a Research Associate at the National Bureau of Economic Research.
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.
Science photographer Felice Frankel is a Senior Research Fellow at Harvard, as part of the Initiative in Innovative Computing (IIC). She was a 2005 Honorary Fellow of the Society for Technical Communication, and has won the Lennart Nilsson Award for Medical, Technical and Scientific Photography given by the Karolinska Institutet in Stockholm, Sweden.
Ryszard KLUSZCZYNSKI is professor of cultural and media studies at Lodz University, where he is Head of the Electronic Media Department. His publications include: Information Society. Cyberculture. Multimedia Arts (2001) and Film--Video --Multimedia: Art of the Moving Picture in the Era of Electronics (1999).
Gunalan NADARAJAN, currently Associate Dean for Research and Graduate Studies in the College of Arts and Architecture at Penn State University, is an art theorist and curator and widely published.
Edmond COUCHOT was head of the Department of Arts and Technologies of Image at the University Paris 8. He is the author of Image: De l'optique au numérique (1988); La technologie dans l'art: De la photographie a` la réalite virtuelle (1998); and L'art numérique (2003--2005) and was involved in about twenty international exhibitions.
Timothy LENOIR is the Kimberly Jenkins Chair for New Technologies and Society at Duke University. He has published several books and articles on the history of biomedical science from the nineteenth century to the present, and is currently engaged in an investigation of the introduction of computers into biomedical research from the early 1960s to the present.
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