Difference between revisions of "Media art and culture"

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==Definitions==
 
==Definitions==
  
'''Stephen Wilson''' v ''Information Arts'' klasifikuje prace na zaklade
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'''Stephen Wilson''' v ''Information Arts''<ref>Stephen Wilson, Information Arts: intersections of art, science, and technology, MIT Press, 2003, [http://userwww.sfsu.edu/%7Eswilson/book/infoartsbook.html (online)], [http://books.google.com/books?vid=ISBN0262731584 (google books)]</ref> klasifikuje prace na zaklade
pouzitych technologii (v knihe spred 6 rokov ich naratal vyse 80). <ref>Stephen Wilson, Information Arts: intersections of art, science, and technology, MIT Press, 2003, [http://userwww.sfsu.edu/%7Eswilson/book/infoartsbook.html (online)], [http://books.google.com/books?vid=ISBN0262731584 (google books)]</ref>
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pouzitych technologii (v knihe spred 6 rokov ich naratal vyse 80).
  
'''Christiane Paul''' v ''Digital Art'' rozlisuje medzi umenim, ktore
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'''Christiane Paul''' v ''Digital Art''<ref>Christiane Paul, Digital Art, Thames and Hudson, 2003, [http://www.thameshudson.co.uk/books/Digital_Art/9780500203675.mxs/37/36/ (online)], [http://kyberia.sk/id/2928865 (commentary)]</ref> rozlisuje medzi umenim, ktore
 
pouziva digitalne technologie ako nastroje pre tvorbu tradicnych
 
pouziva digitalne technologie ako nastroje pre tvorbu tradicnych
 
umeleckych objektov (fotografia, tlac, socha, hudba) a umenim,
 
umeleckych objektov (fotografia, tlac, socha, hudba) a umenim,
 
pre ktore su tieto technologie jeho vlastnym mediom, v ktorom
 
pre ktore su tieto technologie jeho vlastnym mediom, v ktorom
 
je produkovane, zaznamenavane a prezentovane a ktoreho
 
je produkovane, zaznamenavane a prezentovane a ktoreho
interaktivne a participativne vlastnosti taketo umenie vyuziva.<ref>Christiane Paul, Digital Art, Thames and Hudson, 2003, [http://www.thameshudson.co.uk/books/Digital_Art/9780500203675.mxs/37/36/ (online)], [http://kyberia.sk/id/2928865 (commentary)]</ref>
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interaktivne a participativne vlastnosti taketo umenie vyuziva.
  
'''Peter Weibel''' claims "Futurism, Cubism, Cubofuturism, Suprematism, Dadaism, Surrealism, etc."
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'''Peter Weibel'''<ref>Peter Weibel, On the History and Aesthetics of the Digital Image, 1984, [http://www.aec.at/en/archives/festival_archive/festival_catalogs/festival_artikel.asp?iProjectID=9369 (full text)], [http://kyberia.sk/id/2928852 (excerpt)]</ref> claims "Futurism, Cubism, Cubofuturism, Suprematism, Dadaism, Surrealism, etc."
 
to be conceptual precursors of media art. New art forms emerging after
 
to be conceptual precursors of media art. New art forms emerging after
 
WW2 such as "action painting, Fluxus, Happening, Pop Art, Kinetism, Op-Art, Ambiente, Arte
 
WW2 such as "action painting, Fluxus, Happening, Pop Art, Kinetism, Op-Art, Ambiente, Arte
 
Povera, actions, performances, etc.," are enlisted to the cause of preparing the ground for the
 
Povera, actions, performances, etc.," are enlisted to the cause of preparing the ground for the
'liberated' digital image.<ref>Peter Weibel, On the History and Aesthetics of the Digital Image, 1984, [http://www.aec.at/en/archives/festival_archive/festival_catalogs/festival_artikel.asp?iProjectID=9369 (full text)], [http://kyberia.sk/id/2928852 (excerpt)]</ref>
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'liberated' digital image.
  
'''Lev Manovich''' v ''The Language of New Media'' postupuje od materialnych
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'''Lev Manovich''' v ''The Language of New Media''<ref>Lev Manovich, The Language of New Media, MIT Press, 2001, [http://www.manovich.net/LNM/ (online)], [http://books.google.com/books?vid=ISBN0262632551 (google books)], [http://kyberia.sk/id/2928844 (excerpt)]</ref> postupuje od materialnych
zakladov novych medii k ich formam.<ref>Lev Manovich, The Language of New Media, MIT Press, 2001, [http://www.manovich.net/LNM/ (online)], [http://books.google.com/books?vid=ISBN0262632551 (google books)], [http://kyberia.sk/id/2928844 (excerpt)]</ref>
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zakladov novych medii k ich formam.
  
'''Simon Penny''' v texte ''Consumer Culture and the Technological Imperative: The Artist in Dataspace'' hovori o digitalnom, pocitacovom a elektronickom
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'''Simon Penny''' v texte ''Consumer Culture and the Technological Imperative: The Artist in Dataspace''<ref>Simon Penny (ed.), Critical issues in electronic media, SUNY Press, 1995, [http://books.google.com/books?id=vzFJnyBjaLMC (google books)]</ref> hovori o digitalnom, pocitacovom a elektronickom
 
umeni (pouziva ich ako synonyma) ako o spojnici troch historickych
 
umeni (pouziva ich ako synonyma) ako o spojnici troch historickych
 
prudov: techniky (engineering), transnacionalneho komoditneho
 
prudov: techniky (engineering), transnacionalneho komoditneho
 
kapitalizmu, a tradicneho vytvarneho umenia. kedy digitalni
 
kapitalizmu, a tradicneho vytvarneho umenia. kedy digitalni
 
medialni umelci pracuju s estetikou technologii, ktore su
 
medialni umelci pracuju s estetikou technologii, ktore su
v kulture technologiami moci.<ref>Simon Penny (ed.), Critical issues in electronic media, SUNY Press, 1995, [http://books.google.com/books?id=vzFJnyBjaLMC (google books)]</ref>
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v kulture technologiami moci.
  
'''Armin Medosch''' k Pennyho trom prudom pridava este dva:
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'''Armin Medosch'''<ref>Armin Medosch, Technological Determinism in Media Art, 2005, [http://theoriebild.ung.at/view/Main/TechnologicalDeterminismInMediaArt (full text)], [http://kyberia.sk/id/2927577 (excerpt)]</ref> k Pennyho trom prudom pridava este dva:
 
kulturny priemysel (frankfurtska skola) a socio-politicke hnutia
 
kulturny priemysel (frankfurtska skola) a socio-politicke hnutia
 
(aktivizmus). Pojem "media art" chape ako stresny pojem,
 
(aktivizmus). Pojem "media art" chape ako stresny pojem,
analogicky k vyssie spominanym pojmom.<ref>Armin Medosch, Technological Determinism in Media Art, 2005, [http://theoriebild.ung.at/view/Main/TechnologicalDeterminismInMediaArt (full text)], [http://kyberia.sk/id/2927577 (excerpt)]</ref>
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analogicky k vyssie spominanym pojmom.
 +
 
 +
'''Mark Tribe''' and Reena in ''New Media Art''<ref>Mark Tribe and Reena Jena, New Media Art - Introduction. New Media Art, Taschen/Brown, [https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art+-+Introduction (full text)]</ref>: ''New Media art and older categorical names like "Digital art," "Computer art," "Multimedia art," and "Interactive art" are often used interchangeably, but for the purposes of this book we use the term New Media art to describe projects that make use of emerging media technologies and are concerned with the cultural, political, and aesthetic possibilities of these tools. We locate New Media art as a subset of two broader categories: Art and Technology and Media art. Art and Technology refers to practices, such as Electronic art, Robotic art, and Genomic art, that involve technologies which are new but not necessarily media-related. Media art includes Video art, Transmission art, and Experimental Film -- art forms that incorporate media technologies which by the 1990s were no longer new. New Media art is thus the intersection of these two domains. We chose to limit the scope of this book to work that was made after the term New Media art was broadly adopted in 1994, and to focus on works that are particularly influential, that exemplify an important domain of New Media art practice, and that display an exceptional degree of conceptual sophistication, technological innovation, or social relevance. Deciding what counts as media technology is a difficult task. The Internet, which is central to many New Media art projects, is itself composed of a heterogeneous and constantly changing assortment of computer hardware and software?servers, routers, personal computers, database applications, scripts, and files?all governed by arcane protocols, such as HTTP, TCP/IP, and DNS. Other technologies that play a significant role in New Media art include video and computer games, surveillance cameras, wireless phones, hand-held computers, and Global Positioning System (GPS) devices. But New Media art is not defined by the technologies discussed here; on the contrary, by deploying these technologies for critical or experimental purposes, New Media artists redefine them as art media. In the hands of Radical Software Group (RSG), for example, data surveillance software, similar to that used by the United States' Federal Bureau of Investigation (FBI), becomes a tool for artistic data visualization. In addition to exploring the creative possibilities of this software, RSG develops a critique of surveillance technology and its uses.'' According to the authors, contemporary new media art pieces tend to deal with themes such as collaboration, identity, appropriation and open sourcing, telepresence and surveillance, corporate parody, as well as intervention and hactivism.
  
 
==Issues==
 
==Issues==

Revision as of 12:46, 6 June 2008

The term media art is useful and used for projects bringing up the technological, aesthetical, social, cultural, legal and political issues that come along with the emergence of new media. Since 1990s the new media have included internet, web, mobiles, wireless, GPS, and others. Media culture in this regard uses and is used by new media.


Definitions

Stephen Wilson v Information Arts[1] klasifikuje prace na zaklade pouzitych technologii (v knihe spred 6 rokov ich naratal vyse 80).

Christiane Paul v Digital Art[2] rozlisuje medzi umenim, ktore pouziva digitalne technologie ako nastroje pre tvorbu tradicnych umeleckych objektov (fotografia, tlac, socha, hudba) a umenim, pre ktore su tieto technologie jeho vlastnym mediom, v ktorom je produkovane, zaznamenavane a prezentovane a ktoreho interaktivne a participativne vlastnosti taketo umenie vyuziva.

Peter Weibel[3] claims "Futurism, Cubism, Cubofuturism, Suprematism, Dadaism, Surrealism, etc." to be conceptual precursors of media art. New art forms emerging after WW2 such as "action painting, Fluxus, Happening, Pop Art, Kinetism, Op-Art, Ambiente, Arte Povera, actions, performances, etc.," are enlisted to the cause of preparing the ground for the 'liberated' digital image.

Lev Manovich v The Language of New Media[4] postupuje od materialnych zakladov novych medii k ich formam.

Simon Penny v texte Consumer Culture and the Technological Imperative: The Artist in Dataspace[5] hovori o digitalnom, pocitacovom a elektronickom umeni (pouziva ich ako synonyma) ako o spojnici troch historickych prudov: techniky (engineering), transnacionalneho komoditneho kapitalizmu, a tradicneho vytvarneho umenia. kedy digitalni medialni umelci pracuju s estetikou technologii, ktore su v kulture technologiami moci.

Armin Medosch[6] k Pennyho trom prudom pridava este dva: kulturny priemysel (frankfurtska skola) a socio-politicke hnutia (aktivizmus). Pojem "media art" chape ako stresny pojem, analogicky k vyssie spominanym pojmom.

Mark Tribe and Reena in New Media Art[7]: New Media art and older categorical names like "Digital art," "Computer art," "Multimedia art," and "Interactive art" are often used interchangeably, but for the purposes of this book we use the term New Media art to describe projects that make use of emerging media technologies and are concerned with the cultural, political, and aesthetic possibilities of these tools. We locate New Media art as a subset of two broader categories: Art and Technology and Media art. Art and Technology refers to practices, such as Electronic art, Robotic art, and Genomic art, that involve technologies which are new but not necessarily media-related. Media art includes Video art, Transmission art, and Experimental Film -- art forms that incorporate media technologies which by the 1990s were no longer new. New Media art is thus the intersection of these two domains. We chose to limit the scope of this book to work that was made after the term New Media art was broadly adopted in 1994, and to focus on works that are particularly influential, that exemplify an important domain of New Media art practice, and that display an exceptional degree of conceptual sophistication, technological innovation, or social relevance. Deciding what counts as media technology is a difficult task. The Internet, which is central to many New Media art projects, is itself composed of a heterogeneous and constantly changing assortment of computer hardware and software?servers, routers, personal computers, database applications, scripts, and files?all governed by arcane protocols, such as HTTP, TCP/IP, and DNS. Other technologies that play a significant role in New Media art include video and computer games, surveillance cameras, wireless phones, hand-held computers, and Global Positioning System (GPS) devices. But New Media art is not defined by the technologies discussed here; on the contrary, by deploying these technologies for critical or experimental purposes, New Media artists redefine them as art media. In the hands of Radical Software Group (RSG), for example, data surveillance software, similar to that used by the United States' Federal Bureau of Investigation (FBI), becomes a tool for artistic data visualization. In addition to exploring the creative possibilities of this software, RSG develops a critique of surveillance technology and its uses. According to the authors, contemporary new media art pieces tend to deal with themes such as collaboration, identity, appropriation and open sourcing, telepresence and surveillance, corporate parody, as well as intervention and hactivism.

Issues

Media art includes projects exploring technological issues of emerging tools - devices (video, computer, mobile devices), software and technological standards (internet, software, code, computer games, streaming, GPS) and their mixtures (sound, robotics). These projects usually focus on the manuevre limitations, stereotypes of perception, or aesthetics of these tools.

Looking at the media art and culture mailing lists, conferences and festivals, the current discussions are held on accessibility of data/software/devices, protection of identity, democratization of electromagnetic spectrum, social web and responsibility in world affairs. Projects dealing with such social, cultural, legal and political issues stemmed from media art discourse and still can be considered as a part of it.


References

  1. Stephen Wilson, Information Arts: intersections of art, science, and technology, MIT Press, 2003, (online), (google books)
  2. Christiane Paul, Digital Art, Thames and Hudson, 2003, (online), (commentary)
  3. Peter Weibel, On the History and Aesthetics of the Digital Image, 1984, (full text), (excerpt)
  4. Lev Manovich, The Language of New Media, MIT Press, 2001, (online), (google books), (excerpt)
  5. Simon Penny (ed.), Critical issues in electronic media, SUNY Press, 1995, (google books)
  6. Armin Medosch, Technological Determinism in Media Art, 2005, (full text), (excerpt)
  7. Mark Tribe and Reena Jena, New Media Art - Introduction. New Media Art, Taschen/Brown, (full text)


Resources


  1. REDIRECT Template:Artists cultures