Media art research

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The media art research (English and Media Art Histories ) is an interdisciplinary research direction that the history of media art , the digital art and the electronic arts of interest within the art, media, technology and science historical framework. On the one hand, it traces the cultural-historical specific interaction between art, science and technology, i. H. various research projects focus on the intersection of art, science and (modern) technology; On the other hand, the representatives who can be assigned to this research perspective pursue the goal of revealing historical references and forms of "afterlife" ( Aby Warburg ) in media art in a historically comparative way, for example on the basis of questions of perception and media history or certain archetypes , iconography and the history of ideas .

The concept of media art (New Media Art) plays a central role here. In general, New Media Art is about art forms that make use of new media and, in particular, are produced, modified and / or conveyed using digital technologies. The majority of the authors particularly emphasize the aspects of interactivity, processuality, multimedia and real-time. Following Christiane Paul , the focus is on artistic practices that place their technological and media requirements - keyword self-referentiality - and their cultural, political and aesthetic possibilities in the foreground of the artistic debate. Thus, the media that are used here are not carriers of meaning, but constitutive for the meaning of the work itself - in contrast, according to Paul, to artistic works that use digital technologies solely as a tool or 'tool'. In addition, the area of ​​New Media Art is now increasingly influenced by so-called "new" technologies, which can only be described as media in a broader sense, such as biotechnology, which complies with the paradigm of New Media Art as a primarily immaterial, objectless and process-like art form oppose. Accordingly, the term New Media Art does not designate a homogeneous field, but an area of ​​art production that is based on an (explicit) differentiation from traditional media by emphasizing what is technologically new. A list of the genres that are commonly assigned to New Media Art illustrates their heterogeneity and range. B. Virtual Art , Software Art , Internet Art , Game Art , Glitch Art , Telematic Art , Bio Art , Interactive Art , computer animation and graphics , as well as the interplay of art and activism is becoming more and more prominent. B. in hacktivism and tactical media .

Research resources, projects and forums

Institutionally, media art research extends across various organizations, archives, research institutions and private initiatives. The actors involved were already involved in the exchange via digital communication channels, above all mailing lists , which are still an important platform, such as nettime or tubular mail.

The first online databases were founded in the mid-1990s, including the Scientific Archive for Digital Art (formerly Database for Digital Art) now located at Danube University Krems , the New York platform Rhizome and (until 2005) Netzspannung. Also worth mentioning are the Compart database project in Bremen, which specializes in the early days of computer art, and the collaborative text platform Monoskop. Also of interest are (physical) archives that collect artifacts from the history of media, art and technology, such as the Werner Nekes Collection, or special art-historical collection areas such as Chambers of Wonder and Cabinets, such as in the Museum of Art History or the Museum of Photography in Tokyo .

Numerous important research initiatives and projects, many of them externally funded, have already ceased their activities due to a limited project duration or limited financial resources, including the Ludwig Boltzmann Institute - Media.Art.Research, the Daniel Langlois Foundation for Art, Science, and Technology, and , associated with The DOCAM Research Alliance and Media Art Net / Media Art Net. The Liverpool Declaration drew attention to this problem and called for greater cooperation between cultural and state institutions as well as an increase in financial and institutional resources for research into media art.

Museums and research institutions that specialize in New Media Art are still an exception in the exhibition business, such as the ZKM - Center for Art and Media Karlsruhe or special collection and exhibition focuses in the Whitney Museum , the New York Museum of Modern Art or the Walker Art Center . In addition, more and more smaller museums and galleries emerged that are increasingly turning to New Media Art in whole or in part, such as the Berlin DAM - Digital Art Museum .

In recent years there has been a significant increase in festivals and conference series that are dedicated to New Media Art and that stand alongside high-profile festivals such as Linz Ars Electronica , Berlin Transmediale , ISEA (Inter-Society for the Electronic Arts) and SIGGRAPH (Special Interest Group on Graphics and Interactive Techniques) try to establish.

In order to accelerate the intellectual exchange between the individual disciplines and scientific actors, a series of conferences has been held since 2005, which is held every two years under the title Media Art History - International Conference on the Histories of Media Art, Science and Technology and changes international organizers and venues Has. With the various institutions that organize the event, there are also changing topics, e.g. B. Refresh (Banff 2005), Replace (Berlin 2007), Relive (Melbourne 2009), Rewire (Liverpool 2011), Renew (Riga 2013), Recreate (Montreal 2015).

Research perspective

Although there is a constant effort to promote media and image skills in the field of cultural policy, there is still a lack of knowledge about the origins of audio-visual media, because even research on the new media is characterized by a loss of memory partially ignores the beginnings of current media developments and their genealogy.

Accordingly, it is a concern of media art research to create an awareness that the current changes in media and art research, which uses completely new technology and has also developed a multitude of previously new visual, haptic and auditory forms of expression, without knowledge of art -, media and scientific history cannot be adequately captured. Media art research advocates historically sound knowledge of contemporary phenomena in media culture as well as competencies in the field of current art theory, media studies and media technologies. This approach can make a decisive contribution to the understanding of current media cultures in their function to guide and shape society. Art history, in particular, offers sub-stories of current media innovations with the history of illusion and immersion media, the history of ideas and images of artificial life, or the tradition of telepresence. From a cultural-historical perspective, it should also be emphasized that the media are closely related to (individual) perception and to political and social issues.

Due to the interdisciplinary orientation of media art research, the field is characterized by a large number of actors who are anchored in various scientific disciplines. Contributions that are commonly attributed to media art research come from the history of science ( Lorraine Daston , Timothy Lenoir ), art and image studies ( Oliver Grau , Barbara Stafford , Dieter Daniels , Slavko Kacunko , Edward Shanken , Gunalan Nadarajan , Linda Henderson Andreas Broeckmann , Jonathan Crary , Horst Bredekamp , Peter Weibel , Hans Belting ), media research and archeology ( Friedrich Kittler , Erkki Huhtamo , Jussi Parikka , Wolfgang Ernst , Siegfried Zielinski , Stephan Oettermann , Lew Manowitsch ), sound studies ( Douglas Kahn ), film studies ( Sean Cubitt , Ryszard Kluszczyński ), as well as computer science ( Frieder Nake ).

literature

  • Grau, O. (2019). Resisting a Total Loss of Digital Heritage Web 2.0-archiving & bridging thesaurus for media art. In: Oliver Grau, Janina Hoth and Eveline Wandl-Vogt, Digital Art through the Looking Glas New strategies for archiving, collecting and preserving in Digital Humanities: 193-204, Edition Donau Universität, Krems an der Donau
  • Grau, O .; Hoth, J. (2019). Digital Art through the Looking Glass: New strategies for archiving, collecting and preserving in Digital Humanities. Edition Danube University, Krems an der Donau
  • Gray, Oliver. Museum and Archive on the Move - Changing Cultural Institutions on the Digital Era. DE GRUYTER, Berlin, 2017

Individual evidence

  1. ↑ Cubitt, Sean and Paul Thomas. eds. 2013. Relive: Media Art Histories. Cambridge / Mass .: MIT-Press.
  2. ↑ Grau, Oliver. ed. 2007. MediaArtHistories. Cambridge: MIT-Press.
  3. ^ Frieling, Rudolf and Dieter Daniels. eds. 2004. Media Art Net 1: Survey of Media Art. New York / Vienna: Springer.
  4. ↑ Wilson, Stephen. 2002. Information Arts. Intersections of Art, Science, and Technology Cambridge: MIT Press.
  5. ↑ Wilson, Stephen. 2010. Art + Science Now. London: Thames & Hudson.
  6. ↑ Henderson, Linda. 1983. The Fourth Dimension and Non - Euclidean Geometry in Modern Art. Princeton: Princeton University Press.
  7. ↑ Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
  8. ↑ Rush, Michael. 2005. New Media in Art. London: Thames & Hudson
  9. ↑ Tribe, Mark, Reena Jana and Uta Grosenick. 2006. New Media Art. Cologne: Bags.
  10. ↑ Shanken, Edward A. 2009. Art and Electronic Media. London: Phaidon Press.
  11. ^ Paul, Christiane. 2003. Digital Art. New York: Thames and Hudson.
  12. ↑ Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.
  13. ↑ Popper, Frank. 2007. From Technological to Virtual Art. Cambridge: MIT Press.
  14. ↑ Broeckmann, Andreas. "Software Art Aesthetics." In Mono 1, edited by FBAUP Porto (July 2007), 158-167.
  15. ↑ Gere, Charlie. ed. 2006. White Heat, Cold Logic: Early British Computer Art. Cambridge: MIT Press / Leonardo Books.
  16. ↑ Higgins, Hannah and Douglas Kahn. eds. 2012. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.
  17. ↑ Taylor, Grant D. 2014. When the Machine Made Art: The Troubled History of Computer Art. New York: Bloomsbury.
  18. ↑ Greene, Rachel. 2004. Internet Art. London: Thames & Hudson.
  19. ↑ Stallabrass, Julian. 2003. Internet Art: The Online Clash of Culture and Commerce. London: Tate.
  20. ↑ Schwingeler, Stephan. 2014. Computer game work of art - digital games as artistic material: an image-scientific and media-theoretical analysis. Bielefeld: transcript.
  21. ↑ Sharp, John. 2015. Works of Game. On the Aesthetics of Games and Art. Cambridge: MIT Press.
  22. ↑ Cates, Jon. "Re: Copying-IT-RIGHT-AGAIN." In Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas, 337-345. Cambridge: MIT Press, 2013.
  23. ↑ Menkman, Rosa. 2011. The Glitch Moment (um). Amsterdam: Institute of Network Cultures.
  24. ↑ Ascott, Roy. 2003. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (edited by Edward A. Shanken). Berkeley: University of California Press.
  25. ↑ Grau, Oliver. “Telepresence. On genealogy and epistemology of interaction and simulation. " In forms of interactive media art. History, tendencies, utopias, edited by Peter Gendolla, 19-38. Frankfurt am Main: Suhrkamp, ​​2001.
  26. ↑ Kac, Eduardo. 2005. Telepresence and Bio Art. Ann Arbor: University of Michigan Press Press.
  27. ↑ Goldberg, Ken. Ed. 2000. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge: MIT Press.
  28. ↑ Anker, Suzanne and Dorothy Nelkin. 2004. The Molecular Gaze: Art in the Genetic Age. Cold Spring Harbor, NY: Cold Spring Harbor Laboratory Press.
  29. ↑ Gessert, George. 2010. Green Light: Toward an Art of Evolution. Cambridge: MIT Press.
  30. ↑ Hauser, Jens. "Bioart - Taxonomy of an Etymological Monster." In Hybrid: Living in a Paradox. (Ars Electronica 2005), edited by Gerfried Stocker and Christiane Schöpf, 181-192. Ostfildern-Ruit: Hatje Cantz, 2005.
  31. ↑ Kac, Eduardo. ed. 2007. Signs of Life: Bio Art and Beyond. Cambridge: MIT Press.
  32. ↑ Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art. Cambridge: MIT Press.
  33. ↑ Klütsch, Christoph. 2007. Computer graphics: aesthetic experiments between two cultures. The beginnings of computer art in the 1960s. Vienna: Springer.
  34. ^ Stocker, Gerfried and Christiane Schöpf. 2003. Code: The Language of Our Time: code = law Code = Art Code = Life (Ars Electronica Catalog). Ostfildern-Ruit: hatje Cantz.
  35. ↑ Raley, Rita. 2009. Tactical Media. Minneapolis: University of Minneapolis Press.
  36. ↑ Bazzichelli, Tatiana. 2013. Networked Disruption. Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking. Aarhus: Digital Aesthetics Research Center.
  37. ↑ http://www.fondation-langlois.org/html/e/
  38. ↑ http://www.medienkunstnetz.de/
  39. ↑ http://www.isea-web.org/
  40. ↑ http://www.mediaarthistory.org/
  41. ↑ Grau, Oliver. Introduction. In MediaArtHistories, edited by Oliver Grau, 1-14. Cambridge: MIT Press, 2005.