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Reflecting the dynamic creativity of its topic, this definitive consultant spans the evolution, aesthetics, and perform of today's electronic artwork, combining clean, rising views with the nuanced insights of major theorists.

• Showcases the serious and theoretical techniques during this fast-moving self-discipline
• Explores the historical past and evolution of electronic artwork; its aesthetics and politics; in addition to its frequently turbulent relationships with demonstrated associations
• offers a platform for the main influential voices shaping the present discourse surrounding electronic artwork, combining clean, rising views with the nuanced insights of prime theorists
• Tackles electronic art's fundamental functional demanding situations - find out how to current, rfile, and defend items which may be erased without end through quickly accelerating technological obsolescence

Up-to-date, forward-looking, and severely reflective, this authoritative new assortment is expert all through via a deep appreciation of the technical intricacies of electronic paintings

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Additional resources for A Companion to Digital Art (Blackwell Companions to Art History, Volume 9)

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In her writings on digital aesthetics, Claudia Giannetti (2004) has pointed out that a digital aesthetics requires models that are largely process‐based, contextual, and inter­ relational, and has analyzed digital aesthetics in its embeddedness in the larger context of art, science, and technology, as well as cybernetics and communication. Katja Kwastek, in her book Aesthetics of Interaction in Digital Art (2013), uses theories of aesthetics based on process, play, and performance as a starting point for developing a model around real and data space, temporal structures, and relationships between materiality and interpretability.

He employed an M‐5 anti‐aircraft gun director as the basic machinery for his first mechanical, analog computer in the late 1950s. Whitney would later use the more sophisticated M‐7 to hybridize both machines into a 12‐foot‐high device, which he used for his experiments in motion graphics. The machine consists of multiple rotating tables, camera systems, and facilitated 12 ◼ ◼ ◼ C h r i s t i a n e Pa u l the pre‐programming of image and motion sequences in a multiple‐axis environ­ ment (Youngblood 1970, 208–210).

Many of the challenges surrounding the curation and preservation of new media art are related to its fusion of materiality and immateriality. Probably more than any other medium of art, the digital is embedded in various layers of commercial systems and technological indus­ try that continuously define standards for the materialities of any kind of hardware components. The curation of new media works in the gallery environment requires a process of interfacing the digital. This process relates not only to delivery mechanisms 16 ◼ ◼ ◼ C h r i s t i a n e Pa u l but also to exchanges between the curator, artwork, and audience.

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