Documenting Media Art: An Archive and Bridging Thesaurus for MediaArtHistories

Leonardo ◽  
2019 ◽  
Vol 52 (5) ◽  
pp. 435-441
Author(s):  
Oliver Grau ◽  
Sebastian Haller ◽  
Janina Hoth ◽  
Viola Rühse ◽  
Devon Schiller ◽  
...  
Keyword(s):  
Art History ◽  
Significant Loss ◽  
Digital Art ◽  
Media Art ◽  
Innovative Strategy ◽  
International Media ◽  
Traditional Art ◽  
Art Form ◽  
Art Community ◽  
Art Research

While Media Art has evolved into a critical field at the intersection of art, science and technology, a significant loss threatens this art form due to rapid technological obsolescence and static documentation strategies. Addressing these challenges, the Interactive Archive and Meta-Thesaurus for Media Art Research was developed to advance an Archive of Digital Art. Through an innovative strategy of “collaborative archiving,” social Web 2.0 features foster the engagement of the international media art community and a “bridging thesaurus” linking the extended documentation of the Archive with other databases of “traditional” art history facilitates interdisciplinary and transhistorical comparative analyses.

scholarly journals Resisting a Total Loss of Digital Heritage Web 2.0 – Archiving & Bridging Thesaurus for Media Art Histories

2018 ◽  
pp. 119-126
Author(s):  
Oliver Grau
Keyword(s):  
Web 2.0 ◽  
Significant Loss ◽  
Media Art ◽  
Innovative Strategy ◽  
International Media ◽  
Traditional Art ◽  
Digital Heritage ◽  
Art Form ◽  
Art Community ◽  
Art Research

While Media Art has evolved into a critical field at the intersection of art, science and technology, a significant loss threatens this art form due to the rapid technological obsolescence and static documentation strategies. Addressing these challenges, the Interactive Archive and Meta-Thesaurus for Media Art Research is developed to advance the Archive of Digital Art. www.digitalartarchive.at Through an innovative strategy of ‘collaborative archiving,’ social Web 2.0, 3.0 features foster the engagement of the international Media Art community, and a ‘bridging thesaurus’ linking the extended documentation of the Archive with other databases of ‘traditional’ art history facilitates interdisciplinary and transhistorical comparative analyses.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

Exploration on the Man-Machine Relationship in Digital Art

2013 ◽  
Vol 321-324 ◽  
pp. 965-968
Author(s):  
Wei Min Du ◽  
Qian Gao
Keyword(s):  
Popular Culture ◽  
Digital Art ◽  
Unique Combination ◽  
Digital Form ◽  
Personal Privacy ◽  
Traditional Art ◽  
Science And Art ◽  
Art Form ◽  
Art Works ◽  
Technical Rules

As a unique combination of science and art, digital art is impacting on the traditional art form. Digital art is actively connected with popular culture and consuming culture by the use of television, computer, Internet and other means. Digital art also has a strong influence on public culture which is successfully avoided the defects such as personal privacy and narrow sense. Digital art is an art form which is built on some certain technology conditions. However, the artistic rules of digital art works should not be less than the technical rules. After all, artists should avoid changing and covering the shallow performance of the art concept by using the digital form of technology.

New Media Art Research Focused on Tactile Symbols

2019 ◽  
Vol 6 (2) ◽  
pp. 14-20
Author(s):  
Lu Jingqi ◽  
Su Dam Ku ◽  
Yeonu Ro ◽  
Hyung Gi Kim
Keyword(s):  
New Media ◽  
Media Art ◽  
New Media Art ◽  
Art Research

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

scholarly journals The rediscovery of an Adoration of the Shepherds by Jacques Jordaens: a multidisciplinary approach combining dendroarchaeology and art history

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Johannes Edvardsson ◽  
Andrea Seim ◽  
Justin Davies ◽  
Joost Vander Auwera
Keyword(s):  
Art History ◽  
Multidisciplinary Approach ◽  
Traditional Art ◽  
Secondary Sources ◽  
The Arts ◽  
Oak Trees ◽  
Dendrochronological Analysis ◽  
Religious Paintings ◽  
Production Period ◽  
Panel Paintings

AbstractThe implementation of multidisciplinary research approaches is an essential prerequisite to obtain comprehensive insights into the life and works of the old masters and their timeline in the production of the arts. In this study, traditional art history, cultural heritage, and natural science methods were combined to shed light on an Adoration of the Shepherds painting by Jacques Jordaens (1593–1678), which until now had been considered as a copy. From dendrochronological analysis of the wooden support, it was concluded that the planks in the panel painting were made from Baltic oak trees felled after 1608. An independent dating based on the panel maker’s mark, and the guild’s quality control marks suggests a production period of the panel between 1617 and 1627. Furthermore, the size of the panel corresponds to the dimension known as salvator, which was commonly used for religious paintings during the period 1615 to 1621. Finally, the interpretation of the stylistic elements of the painting suggests that it was made by Jordaens between 1616 and 1618. To conclude, from the synthesis of: (i) dendrochronological analysis, (ii) panel makers’ punch mark and Antwerp Guild brand marks, (iii) re-examination of secondary sources, and (iv) stylistic comparisons to other Jordaens paintings, we suggest that the examined Adoration of the Shepherds should be considered as an original by Jordaens and likely painted in the period 1617–1618. The study is a striking example of the effectiveness of a multidisciplinary approach to investigate panel paintings.

Ranking Artists: An Internet-Era Analysis

Leonardo ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 135-145
Author(s):  
Alan B. Oppenheimer
Keyword(s):  
Art History ◽  
Alternative Methods ◽  
The Internet ◽  
Art World ◽  
Traditional Art ◽  
Ranked List

To provide guidance to the vastly expanded, uncurated art world made available through the Internet, the author developed a methodology for objectively and repeatably rating artists. He then applied that methodology to Western painters in particular, creating a ranked list of the significance of nearly 10,000 of those painters. Analyzing the process, he observed that the Internet not only greatly broadens access to art but also provides the tools needed to curate that access in a meaningful, scientific manner. The analysis also exposes questions about both the methods used and more traditional art history sources, which can be explored through alternative methods.

Image in the Making

2021 ◽  
Author(s):  
Katherine Thomson-Jones
Keyword(s):  
Digital Technology ◽  
Digital Age ◽  
Digital Art ◽  
Digital Tools ◽  
Human Beings ◽  
Video Installation ◽  
Art Form ◽  
Fundamental Distinction ◽  
Net Art ◽  
Do So

Human beings have always made images, and to do so they have developed and refined an enormous range of artistic tools and materials. With the development of digital technology, the ways of making images—whether they are still or moving, 2D or 3D—have evolved at an unprecedented rate. At every stage of image making, artists now face a choice between using analog and using digital tools. Yet a digital image need not look digital; and likewise, a handmade image or traditional photograph need not look analog. If we do not see the artist’s choice between the analog and the digital, what difference can this choice make for our appreciation of images in the digital age? Image in the Making answers this question by accounting for the fundamental distinction between the analog and the digital; by explicating the technological realization of this distinction in image-making practice; and by exploring the creative possibilities that are distinctive of the digital. The case is made for a new kind of appreciation in the digital age. In appreciating the images involved in every digital art form—from digital video installation to net art to digital cinema—there is a basic truth that we cannot ignore: the nature and technology of the digital expands both what an image can be as an image and what an image can be for us.

Investigating Digital (Re)Mediation in the Performing Arts

2018 ◽  
Author(s):  
Dylan On
Keyword(s):  
New Media ◽  
Performing Arts ◽  
Interactive Media ◽  
Human Interaction ◽  
Sporting Events ◽  
Traditional Art ◽  
Theatrical Space ◽  
Art Form ◽  
Immersive Theatre ◽  
Video Calling

As digital technology progresses, it increasingly mediates human interaction. Simple discussion has shifted from occurring only in person to being mediated by telephone, texting, video calling, Twitter, Facebook and a myriad of other technologies and services. Likewise, theatre has been undergoing a similar shift from an art form that only occurs 'in person' to one in which technology often mediates presence. In his book Liveness, Philip Auslander traces the roots of digital mediation back to the advent of television and the resulting cycle of reinterpretation, or remediation as it is termed by Bolter and Grusin, of different art mediums within one another. Innovative Canadian artists Robert Lepage and Kim Collier are currently engaging in the remediation of traditional art mediums on the stage by taking a distinctly cinematic approach to theatre. This study intends to evaluate the remediation of these mediums both in the theatre and in live performances such as sporting events. It will then consider current trends in integrating interactive ‘new’ media into live and pre-recorded events, and how these ‘new’ media may already be manifesting themselves elsewhere via remediation. This discussion will give special consideration to immersive theatre, in which audiences are free to navigate theatrical space autonomously and observe as they wish. Key questions to be considered include: What are the tools of mediation, and what are their effects? How might digital (re)mediation be reinventing the way we tell and receive stories in the theatre? In what ways can the theatre further reinterpret ‘new’ interactive media?

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