art history

This highly-anticipated volume has been extensively revised to reflect changes in technology, digital humanities methods and practices, and institutional culture surrounding the valuation and publication of digital scholarship. 

• A fully revised edition of a celebrated reference work, offering the most comprehensive and up-to-date collection of research currently available in this rapidly evolving discipline 
• Includes new articles addressing topical and provocative issues and ideas such as retro computing, desktop fabrication, gender dynamics, and globalization 
• Brings together a global team of authors who are pioneers of innovative research in the digital humanities 
• Accessibly structured into five sections exploring infrastructures, creation, analysis, dissemination, and the future of digital humanities
• Surveys the past, present, and future of the field, offering essential research for anyone interested in better understanding the theory, methods, and application of the digital humanities(Source: Publisher's website) 

Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.

(Source: Author's introduction)

Art and Electronic Media is part of the Themes and Movements series published by Phaidon Press. This book demonstrates the formidable history of artistic uses of electronic media, a history that parallels the growing pervasiveness of technology in all facets of life. Over 200 artists and institutions from more than 30 countries are represented. The centrality of artists as theorists and critics is reflected in the focus on artists’ writings. The goal is to enable the rich genealogy of art and electronic media to be understood and seen – literally and figuratively – as central to the histories of art and visual culture.

Like other volumes in the Themes and Movements series, the book is divided into three main sections: Survey, Works, and Documents. The richly illustrated Survey provides an overview of the field beginning in the early 20th century and focusing on the period from the 1950s to the present. The Works section includes nearly 200 additional color plates with extensive, descriptive captions. The Documents section consists of theoretical writings, primarily by artists, that played an important role in defining various electronic art practices.The book investigates the field of electronic adn digital art through the following themes:

Motion, Duration, IlluminationCoded Form and Electronic ProductionCharged EnvironmentsNetworks, Surveillance, Culture JammingBodies, Surrogates, Emergent SystemsSimulations and SimulacraExhibitions, Institutions, Communities, Collaborations

(Source: Publication website)

This essay attempts to answer a simple question: why did Francis Picabia stop publishing 391? By October 1924, when the final issue was published, 391 was the longest running magazine related to dada and the burgeoning surrealist movement, and Picabia was well established as one of the premiere avant-gardists in Paris and beyond, with literary, artistic and personal connections to all the major players in the movements that had turned the art world upside down for almost a decade. What caused him to suddenly cease publication of his provocative (but well respected) journal?

(Source: author's abstract.)

Roberto Simanowski demonstrates in a close reading of two interactive in- stallations that they do not simply create an event as “a period of time to be lived through” (Bourriaud 15). Looking at Still Standing by Bruno Nadeau and Jason Lewis and Zachary Booth Simpson’s Mondrian, Simanowski maintains that these pieces do not only offer two different concepts of the interactors’ actions and hence body experiences; they also engage in a very difficult way with the issues of inter- and transmediality and thereby refer to the history of the avant-garde movements of the early 20th century.

(Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)