MediaArtHistories, Edited by Oliver Grau; with contributions 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 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. MediaArtHistories, Cambridge/Mass. MIT-Press 2007 http://www.mediaarthistories.org/pub/mediaarthistories.html OLIVER GRAU Introduction - MediaArtHistories RUDOLF ARNHEIM The Coming and Going of Images I Origins: Evolution Versus Revolution PETER WEIBEL It is Forbidden Not to Touch: Some Remarks on the (Forgotten Parts of the) History of Interactivity and Virtuality EDWARD SHANKEN Historicizing Art and Technology: Forging a Method and Firing a Canon ERKKI HUHTAMO Twin-Touch-Test-Redux: Media Archeological Approach to Art, Interactivity, and Tactility DIETER DANIELS Duchamp: Interface: Turing: A Hypothetical Encounter Between the Bachelor Machine and the Universal Machine OLIVER GRAU Remember the Phantasmagoria! Illusion Politics of the 18th Century and its Multimedial Afterlife GUNALAN NADARAJAN Islamic Automation: A Reading of Al-Jazari's The Book of Knowledge of Ingenious Mechanical Devices (1206) II Machine-Media-Exhibition EDMOND COUCHOT The Automatization of Figurative Techniques: Towards the Autonomous Image ANDREAS BROECKMANN Image, Process, Performance, Machine: Aspects of an Aesthetics of the Machinic RYSZARD W. KLUSZCZYNSKI From Film to Interactive Art: Transformation in Media Art LOUISE POISSANT The Passage from Material to Interface CHRISTIANE PAUL The Myth of Immateriality: Presenting and Preserving New Media III Pop Meets Science MACHIKO KUSAHARA Device Art: A New Approach in Understanding Japanese Contemporary Media Art RON BURNETT Projecting Minds LEV MANOVICH Abstraction and Complexity TIMOTHY LENOIR Making Studies in New Media Critical IV Image Science FELICE FRANKEL Image, Meaning, and Discovery W. J. T. MITCHEL There are No Visual Media SEAN CUBITT Projection: Vanishing and Becoming DOUGLAS KAHN Between a Bach and a Hard Place: Productive Contraint in Early Computer Arts BARBARA MARIA STAFFORD Picturing Uncertainty: From Representation to Mental Representation Oliver Grau is Professor for Image Science at Danube University Krems. He is the author of Virtual Art: >From Illusion to Immersion (MIT Press, 2003), editor of Mediale Emotionen (2005) and founder of the international digital art archive www.virtualart.at. ______________________________________________ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
