Image, Time and Motion: New Media Critique from Turkey (2011)

This reader is a collection of essays written by Turkish graduate students between 2003 and 2010 for Andreas Treske’s seminar ‘Image, Time and Motion’ at Bilkent University in Ankara, revised and actualized in 2010. Coming from a wide range of disciplines they had studied before, very rarely media or cultural studies, these students brought in their various viewpoints and methods, and tried to integrate their observations and understandings in a seminar related to cinema and new media to discuss and sometimes just to describe the influences of digital media technologies for themselves and their colleagues. Starting from the premise that digital technology redefines our moving image culture, the authors reflect in their essays various kind of approaches and methods, experiences and practices, descriptive, critical and interdisciplinary.

Contributors: Pelin Aytemiz, Bestem Büyüm, I. Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk Önen, Didem Özkul, Segah Sak, Ayda Sevin, Umut Sumnu, Andreas Treske and Funda Senova Tunali.

Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev Degim
Publisher: Institute of Network Cultures, Amsterdam 2011
Theory on Demand series, No 7
ISBN: 978-90-816021-5-0
146 pages

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Oliver Grau (ed.): MediaArtHistories (2007)

“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.”

With texts by Rudolf Arnheim, Andreas Broeckmann, Ron Burnett, Edmond Couchot, Sean Cubitt, Dieter Daniels, Felice Frankel, Oliver Grau, Erkki Huhtamo, Douglas Kahn, Ryszard W. Kluszczynski, Machiko Kusahara, Timothy Lenoir, Lev Manovich, W.J.T. Mitchell, Gunalan Nadarajan, Christiane Paul, Louise Poissant, Edward A. Shanken, Barbara Maria Stafford, and Peter Weibel.

Publisher MIT Press, 2007
Leonardo series
ISBN 0262072793, 9780262072793
475 pages

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Stuart Mealing (ed.): Computers and Art (1997-)

“Computers & Art gathers together contributions from a broad, international spectrum of experts concerned with the computer as a tool for artists.

The approaches vary, with contributors looking at the historical, philosophical and practical implications of the use of computer technology in art practice. The variety of their approaches is matched by the diversity of backgrounds of the contributors who are artists, critics, educators, philosophers and researchers. Following the success of the first edition, this revised version includes three new chapters.”

Publisher Intellect Books, Exeter, 1997
ISBN 058520246X, 9780585202464
188 pages

Second edition, 2002
ISBN 1841500623, 9781841500621
159 pages

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PDF (80 MB, added on 2023-7-8)
PDF (2nd ed., updated on 2012-9-17)