Media art and culture

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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.


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

Christiane Paul v Digital Art 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.[2]

Peter Weibel 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.[3]

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

Simon Penny v texte Consumer Culture and the Technological Imperative: The Artist in Dataspace 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.[5]

Armin Medosch 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.[6]


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.


  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)


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