1. Refresh! 2005: Recent submissions
Now showing items 21-40 of 128
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The Myth of Immateriality - Presenting & Preserving New Media
The process-oriented nature of the digital medium -- which is inherently interactive, customizable, variable, and participatory -- poses numerous challenges to the traditional art world, ranging from presentation to ... -
'The Fourth Dimension', the History of Science, and New Media
To write the history of new media, historians must have a solid grasp of the cultural field in which such artists were operating. The popular "fourth dimension" and its vicissitudes during the 20th century serve as an ... -
The Demise of the Identical Architectural Standardization in the Age of Digital Reproducibility
(2005-10)The theory of non-standard architecture is the latest avatar to date of the digital revolution in architecture, now early in its second decade. In its simplest technical definition, non standard seriality means the mass ... -
The Computer in Art
Computers entered the world of art by the back door. They emerged as art instruments in two guises: as machines for making pictures and as tools in the building of responsive sculptures and environments. During the 1960s, ... -
Technophilia, Vietnam, and the Rise and Fall of 'Art and Technology' in the United States, 1965-1971
This paper examines the common omission of the Art and Technology movement of the 1960s from histories of the period by tracing shifting attitudes on the part of artists and critics toward technology. In the early 1960s ... -
Technology as Art: 'Device Art' as a New Japanese Paradigm
Device art is a proposal to re-examine art-science-technology relationship both from contemporary and historical aspects. The concept is derived from Japanese media art scene, but it has a universal nature reflecting what ... -
Slow Time in Contemporary Media Arts
Slow time is one of contemporary art's most persistent (although under-studied) modus operandi. It has been especially pivotal to the development of video art. In the 1970s, Nam June Paik claimed that video is essentially ... -
SAT-TEL-COMP (Satellite-Telephone-Computer): Beginnings of Multi-Dimensional Artist Networks through the Connectivity of (Technological) Telecommunication Devices and Human Dialogue
The history of SAT-TEL-COMP at Open Space (Victoria, British Columbia, Canada) and COLLABORATORY as a curatorial basis which set the groundwork for a communications network between artists, engineers. As well, the creation ... -
Richard Monkhouse & Peter Donebauer, and Development of the EMS Spectron and the Videokalos Image Processor
This paper discusses the background, origins and development, as well as the functions and operation, of two early British video synthesisers by the artist/engineers who designed and built them: the EMS “Spectron” by Richard ... -
RE-writing the History of Media Art: How Hypermedia Change our Vision of the Past (The Case of Artistic Collaboration)
When we discuss the issue of the collaborative practices in the context of the avant-garde art we have, first of all to say that the avant-garde has been always considered a phenomenon based on the idea of the artistic ... -
REMEMBER THE PHANTASMAGORIA! Virtual Art of the 19th century and its future
Virtual Art of the 19th century and its future The medium Phantasmagoria, developed from the Laterna Magica and part of the history of immersion, opened up the virtual depth of the image space for the first time as a ... -
MediaArtHistories: Times and Landscapes 2 (Q&A session)
The panel consisted of the following presentations: • ‘Towards a Comprehensive Technological History of Art’ by Edward Shanken; • ‘Early British Computer Art: the Findings of the CACHe Project’ by Charly Gere; • ‘How ... -
High Art/Low Culture – the Future of Media Art Sciences? (Q&A session)
The panel consisted of the following presentations: • ‘High Art/Low Culture - the Future of Media art Sciences?’ by Karin Bruns; • ‘Immersive and participative environments’ by Yara Rondon Guasque Araujo; • ‘Lowbrow, ... -
Art as Research / Artists as Inventors (Q&A session)
The panel consisted of the following presentations: • ‘Art as Research/ Artists as Inventors’ by Dieter Daniels; • ‘Richard Monkhouse & Peter Donebauer, and Development of the EMS Spectron and the Videokalos Image ... -
Image Science and ‘Representation’: From a Cognitive Point of View (Q&A session)
The panel consisted of the following presentations: • ‘Picturing Uncertainty: From Representation to Mental Representation’ by Barbara Stafford; • ‘Once upon a time there was a database: Database and narrative from a ... -
Methodologies (Q&A session)
The panel consisted of the following presentations: • ‘Between Media and Art, or Media Art with and against Art History’ by Mark Hansen; • ‘Media Arts and Media Archaeology – Collision or Convergence’ by Erkki Huhtamo; ... -
Rejuvenate: Film, Sound and Music in Media Arts History (Q&A session)
The panel consisted of the following presentations: • ‘Music: The First Digital Art’ by Douglas Kahn; • ‘Projection: Vanishing and Becoming’ by Sean Cubitt; • ‘Hollis Frampton’s Algorithmic Aesthetic’ by Keith Sanborn. -
Pop/Mass/Society (Q&A session)
The panel consisted of the following presentations: • ‘Technology as Art: ‘Device Art’ as a New Japanese Paradigm’ by Machiko Kusahara; • ‘Archiving of Computer Games’ by Andreas Lange; • ‘Computer Games: Art in the ... -
MediaArtHistories: Times & Landscapes 1 (Q&A session)
The panel consisted of the following presentations: • ‘Islamic Automation: A reading of al-Jazari’s The Book of Knowledge of Ingenious Mechanical Devices (1206)’ by Gunalan Nadarajan; • ‘REMEMBER THE PHANTASMAGORIA! ...