MediaArtHistories

edited by Oliver Grau - available from MIT Press 2007

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.

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.

click on cover to order

Contents

Biographies of Authors

Bibliography of
MediaArtHistories

Overview
After-Images
Algorithmic
Ars Combinatoria
Ars Electronica
Art and Illusion
Art and Technology
Art ex Machina
Artificial Life
Biotelematics
Cinematic Apparatus
Collage or E-Collage
Computer Animation
Computer Music
Computer Sculpture
Consciousness
Counterculture
Cyberarts
Cybernetics
Digital Art
Digital Creativity
Digital Sound Synthesis
Dot-Coms
Electronic Art
Electronic Presence
Entwendete Elektrizität
Expanded Cinema
Filmic Apparatus
Fluxus Codex
Fraktales Subjekt
Gedächtnistheater
Genealogy of Morals
Gramatologie
Hamlet\Maschine
Hypertext
Illuminations
Immateriality
Immersive Virtual Space
Individuum und Kosmos
“Influencing Machine”
Information Age
Information Arts
Information Design
Information Society
Information Space
Interactive Art
Internet Art
Junggesellenmaschinen
Kinetische Kunst/Kinetic Art
Markoffsche Ketten
Mechanical Reproduction
Mediale Emotionen
Musique Algorithmique
Nanotechnology
Neural Darwinism
Non-linear History
Optische Medien
Popular Culture
Post-Formalist Art
Phantasmagoria
Robotopia
Semantic Web Primer
Simulacra & Simulation
Soft Cinema
Telematics
Telepistemology
Transgenic Art
Understanding Media
Videowelt
Virtual Reality
Visual Education
Visualisations

OLIVER GRAU
Introduction - MediaArtHistories

RUDOLF ARNHEIM
The Coming and Going of Images

I Origins: Evolution Versus 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 Multimedial Afterlife

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 an Aesthetics of the Machinic

RYSZARD W. KLUSZCZYNSKI
From Film to Interactive Art: Transformation in Media Art

LOUISE POISSANT
The Passage from Material to Interface

CHRISTIANE PAUL
The Myth of Immateriality: Presenting and Preserving New Media

III Pop Meets Science

MACHINKO 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. MITCHEL
There are No Visual Media

SEAN CUBITT
Projection: Vanishing and Becoming

DOUGLAS KAHN
Between a Bach and a Hard Place: Productive Contraint in Early Computer Arts

BARBARA MARIA STAFFORD
Picturing Uncertainty: From Representation to Mental Representation

MediaArtHistories edited by Oliver Grau - available from MIT Press 2007 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.
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.
		click on cover to order
	*Contents*	Biographies of Authors Bibliography of MediaArtHistories Overview After-Images Algorithmic Ars Combinatoria Ars Electronica Art and Illusion Art and Technology Art ex Machina Artificial Life Biotelematics Cinematic Apparatus Collage or E-Collage Computer Animation Computer Music Computer Sculpture Consciousness Counterculture Cyberarts Cybernetics Digital Art Digital Creativity Digital Sound Synthesis Dot-Coms Electronic Art Electronic Presence Entwendete Elektrizität Expanded Cinema Filmic Apparatus Fluxus Codex Fraktales Subjekt Gedächtnistheater Genealogy of Morals Gramatologie Hamlet\Maschine Hypertext Illuminations Immateriality Immersive Virtual Space Individuum und Kosmos “Influencing Machine” Information Age Information Arts Information Design Information Society Information Space Interactive Art Internet Art Junggesellenmaschinen Kinetische Kunst/Kinetic Art Markoffsche Ketten Mechanical Reproduction Mediale Emotionen Musique Algorithmique Nanotechnology Neural Darwinism Non-linear History Optische Medien Popular Culture Post-Formalist Art Phantasmagoria Robotopia Semantic Web Primer Simulacra & Simulation Soft Cinema Telematics Telepistemology Transgenic Art Understanding Media Videowelt Virtual Reality Visual Education Visualisations
OLIVER GRAU Introduction - MediaArtHistories RUDOLF ARNHEIM The Coming and Going of Images
I Origins: Evolution Versus 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 Multimedial Afterlife 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 an Aesthetics of the Machinic RYSZARD W. KLUSZCZYNSKI From Film to Interactive Art: Transformation in Media Art LOUISE POISSANT The Passage from Material to Interface CHRISTIANE PAUL The Myth of Immateriality: Presenting and Preserving New Media
III Pop Meets Science
MACHINKO 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. MITCHEL There are No Visual Media SEAN CUBITT Projection: Vanishing and Becoming DOUGLAS KAHN Between a Bach and a Hard Place: Productive Contraint in Early Computer Arts BARBARA MARIA STAFFORD Picturing Uncertainty: From Representation to Mental Representation