Mediale Emotionen

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.

MediaArtHistories edited by Oliver Grau
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.		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 collaboration in new media art studies and practice.
*Contents and Contributors - MediaArtHistories*		Bibliography of MediaArtHistories (click for full list) Overview Neurobiologie Behavioral Psychology Cognitive Film Theory Gefühl Communication and Emotion Psycholinguistics Kulturwissenschaftliche- Emotionsforschung Philosophy Startle Effect Macrosociology Human Sensory Research Perception of Emotion Nonverbal Behavior Bild und Kult Anthropology of Emotion "Boderline Syndroms" " Multiple Personality Disorders" Sprach- und Kognitionspsychologie Passion Audience Effector Patterns Pleasure, Music, Emotion Atmosphäre Neuropsychology Fiction Identity Melodrama Music/Arts Survivor Identity Facial expression Postmodernism Morality US Masculinity Embodiment Psychophysiology Consciousness Computational Theory Inotation Ancient Moral psychology Emotion and Religion Evolutionary Psychology Pathos Observer Primary Visual Cortex Cognativism Descartes Culture Meaning Systems Sentiment Appropriateness Emotion in Man and Animals R ationality Biopsychologie Artificial Intelligencce Language Neurology Gender Figur und Affekt Human face Seeing Tears Addiction Metaphor Cross-Cultural Semantic analysis Cross-lingistic Studies Platons Symposion Neuronales Selbst Ausdrucksbild Aristotle Neurosociology
Oliver GRAU - Introduction - MediaArtHistories	Rudolf ARNHEIM - The Coming and Going of Images
I. Origins: Evolution vs. Revolution
Peter WEIBEL - It is forbidden not to touch. Some remarks on the (forgotten parts of the) history of interactivity and virtuality	Edward SHANKEN - Historicizing Art and Technology: Forging a Method and Firing a Canon
Erkki Huhtamo - Twin-Touch-Test-Redux: Media Archeological Approach to Art, Interactivity and Tactility	Dieter DANIELS - Duchamp : Interface : Turing. A Hypothetical Encounter between the Bachelor Machine and the Universal Machine
Oliver GRAU - Remember the Phantasmagoria! Illusion politics of the 18th century and its multimedia after life	Gunalan NADARAJAN - Islamic Automation: A Reading of al-Jazari’s “The Book of Knowledge of Ingenious Mechanical Devices” (1206)
II. Machine-Media-Exhibition
Edmond Couchot - The Automatization of figurative Techniques: Towards the Autonomous Image	Andreas Broeckmann - Image, Process, Performance, Machine. Aspects of a Machinic Aesthetics.
Ryszard W. Kluszczynski - From Film to Interactive Art. Transformations in Media Art.	Louise Poissant - The Passage from Material to Interface
Christiane Paul - The Myth of Immateriality – Presenting & Preserving New Media
III. Pop & Science
Machiko Kusahara - Device Art: A New Approach in Understanding Japanese Contemporary Media Art	Ron Burnett - Projecting Minds
Lev Manovich - Abstraction and Complexity	Timothy Lenoir - Making Studies in New Media Critical
IV. Image Science
Felice Frankel - Image, Meaning and Discovery	W.J.T. Mitchell - There are No Visual Media
Sean Cubitt - Projection. Vanishing and Becoming	Douglas Kahn - Between a Bach and a Bard Place: Productive Constraint in Early Computer Arts
Barbara Maria Stafford - Picturing Uncertainty: From Representation to Mental Representation