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What happens when a drone enters a gallery or appears on screen? What thresholds are crossed as this weapon of war occupies everyday visual culture? These questions have appeared with increasing regularity since the advent of the War on Terror, when drones began migrating into civilian platforms of film, photography, installation, sculpture, performance art, and theater. In this groundbreaking study, Thomas Stubblefield attempts not only to define the emerging genre of "drone art" but to outline its primary features, identify its historical lineages, and assess its political aspirations. Richly detailed and politically salient, this book is the first comprehensive analysis of the intersections between drones, art, technology, and power.
"Big Science" is a broad epithet that can be associated with research projects that involve huge budgets, big facilities, complex instrumentation, years of planning, and large multidisciplinary teams of researchers. "Legitimizing the ESS" examines the complexity of the cultural, social, and political processes from which and in which Big Science develops by focusing on the planning and development of the European Spallation Source, ESS, that is to be located in Lund in southern Sweden. Together, the chapters represent a variety of perspectives to highlight the complexity of the processes that are integral to Big Science. Thus, this volume examines the very different roles Big Science may be given in different contexts: locally, regionally, nationally, internationally, as well as historically.
"Awakening: The Art of Halo 4[registered]" is a very special collection of concept art, sketches, and artists' commentary that highlights the imagination and creative vision of 343 Industries. With a unique behind-the-scenes view of the creation of new worlds, new enemies, and new heroes, "Awakening: The Art of Halo 4[registered]" reveals every spectacular element of the game.
Digitization is the animating force of everyday life. Rather than defining it as a technology or a medium, Contemporary Art and the Digitization of Everyday Life argues that digitization is a socio-historical process that is contributing to the erosion of democracy and an increase in political inequality, specifically along racial, ethnic, and gender lines. Taking a historical approach, Janet Kraynak finds that the seeds of these developments are paradoxically related to the ideology of digital utopianism that emerged in the late 1960s with the rise of a social model of computing, a set of beliefs furthered by the neo-liberal tech ideology in the 1990s, and the popularization of networked computing. The result of this ongoing cultural worldview, which dovetails with the principles of progressive artistic strategies of the past, is a critical blindness in art historical discourse that ultimately compromises art's historically important role in furthering radical democratic aims.
This publication presents unusual projects in photography, video, painting, and installation, each one with the sky as its theme. The goal of this presentation is to map, measure, and chart the firmament. Using stars, sunsets, and even satellites, artists attempt to understand the skies, well knowing that it can never really be encompassed. These works of art reflect our desire to fathom the vaults of the heavens, their physical conditions, and their unique visual fascination. Out of the fundamental futility of this human effort the artists derive a sense of the mystical and sublime, while the art itself manifests the romantic aspects of a seemingly completely rational world.
An ambitious new video/sound installation work by the artist Sophy Rickett. In the project, provisionally entitled 'To the River', she continues to develop her interest in photography and film's role as a mediator between people and the natural world. The starting point and inspiration is the Severn bore, the tidal wave that famously runs along the River Severn during the moon's equinox.
Presenting an ambitious new project by Rachel Rose (b. 1986) commissioned jointly by the Philadelphia Museum of Art and the Fondazione Sandretto Re Rebaudengo in Turin, this book offers a rare behind-the-scenes perspective on one of the most striking emerging voices in contemporary art. In the commissioned work, titled Wil-o-Wisp, Rose has created a fictional narrative set in 16th-century agrarian England. Following the life of a healer-whose fate is marked by love and loss, the practice of magic, and the consequence of persecution-the work ruminates on the ways that perception and coincidence affect our experience in the world. This intimate look into Rose's creative process highlights the artist's interest in storytelling, scene-setting, and visual effects by including storyboards, production stills, script excerpts, and on-set photography. In a new interview, Rose discusses the core concepts behind this work and offers a revelatory firsthand account of how the commission evolved from conception to realization.
Resolutions 3 explores the wide-ranging implications of video art and video-based production in contemporary media culture. It is the third volume in a series composed of Resolution: A Critique of Video Art (1986) and Resolutions: Contemporary Video Practices (1996). While Resolution was one of the first critical texts on video art in the United States, Resolutions was one of the first books to address video as a medium across disciplines from theoretical, activist, and transnational perspectives.Resolutions 3 articulates this legacy as a challenge to reengage with the explosive viral reach of moving image-based content and its infiltration into and impact on culture and everyday life. The contributors to this work analyze what is now a fourth decade of video practices as marked within and outside the margins of art production, networked interventions, projected spectacle, museum entombment, or 24/7 streaming. Intending to broaden, contest, and amplify the mediated space that was defined by its two predecessors, this volume investigates the ever-changing state of video's deployment as examiner, tool, journal reportage, improvisation, witness, riff, leverage, and document.Contributors: Kathleen Ash-Milby, Smithsonian National Museum of the American Indian; Myriam-Odile Blin, Rouen U, France; Nancy Buchanan, California Institute of the Arts; Derek A. Burrill, U of California, Riverside; Sean Cubitt, U of Melbourne; Faisal Devji, New York U; Jennifer Doyle, U of California, Riverside; Jennifer Friedlander, Pomona College; Kathy High, Rensselaer Polytechnic Institute; Lucas Hilderbrand, U of California, Irvine; Nguyen Tan Hoang, Bryn Mawr College; Kathy Rae Huffman; Amelia Jones, McGill U; David Joselit, Yale U; Alexandra Juhasz, Pitzer College; Jessica Lawless, Santa Fe Community College; Hea Jeong Lee; Jesse Lerner, Pitzer College; Akira Mizuta Lippit, U of Southern California; Lionel Manga; Laurence A. Rickels, U of California, Santa Barbara; Kenneth Rogers, U of California, Riverside; Michael Rush, Eli and Edythe Broad Art Museum, Michigan State U; Freya Schiwy, U of California, Riverside; Beverly R. Singer, U of New Mexico; Yvonne Spielmann, U of the West of Scotland; Catherine Taft, Getty Research Institute; Holly Willis, U of Southern California.
Contemporary artist Michael Rees is an acknowledged leader in the field of cutting-edge digital art. This volume documents a compelling group of Rees's colourful inflatable sculptures that incorporate brilliant structural elements and dynamic interventions of augmented reality. Commissioned for an exhibition at Grounds For Sculpture in Hamilton, New Jersey (open until January 2021), these objects, alongside augment works by six other contemporary artists, illuminate how digital thinking and its rich visual vocabulary are at the forefront of the future of art. Synthetic Cells features augmented reality artworks by Michael Rees, Claudia Hart, Chris Manzione, Will Pappenheimer, John Craig Freeman, Carla Gannis and Tamiko Thiel.
Now in its eighth year, Digital Painting Techniques: Volume 8 continues the tradition of showcasing the latest digital painting trends and techniques from industry experts. This volume presents detailed tutorials on how to create custom brushes and illustrate scenes from differing points of view; how to design characters, costumes, and machines; as well as techniques used for matte painting.
A phenomenological investigation into new media artwork and its relationship to history What does it mean to live in an era of emerging digital technologies? Are computers really as antihistorical as they often seem? Drawing on phenomenology's investigation of time and history, Sensations of History uses encounters with new media art to inject more life into these questions, making profound contributions to our understanding of the digital age in the larger scope of history. Sensations of History combines close textual analysis of experimental new media artworks with in-depth discussions of key texts from the philosophical tradition of phenomenology. Through this inquiry, author James J. Hodge argues for the immense significance of new media art in examining just what historical experience means in a digital age. His beautiful, aphoristic style demystifies complex theories and ideas, making perplexing issues feel both graspable and intimate. Highlighting underappreciated, vibrant work in the fields of digital art and video, Sensations of History explores artists like Paul Chan, Phil Solomon, John F. Simon, and Barbara Lattanzi. Hodge's provocative interpretations, which bring these artists into dialogue with well-known works, are perfect for scholars of cinema, media studies, art history, and literary studies. Ultimately, Sensations of History presents the compelling case that we are not witnessing the end of history-we are instead seeing its rejuvenation in a surprising variety of new media art.
Originating as an installation of three simultaneous projections, this trio of migrant tales conjures up a reality that is far more complex and unnerving than the realities gleaned from newspaper and television reports. Collins places us directly in front of the daily lives of African migrants. Her three protagonists - Pamela, Dewa and Constantine - are people, not symbols, uprooted from a culture that cannot sustain them on new soil. This book consists of stills and dialogues taken from the film, following their thoughts, memories and daily lives as they adapt to their new surroundings in spite of diverse origins and destinations.
The new edition of an introduction to computer programming within the context of the visual arts, using the open-source programming language Processing; thoroughly updated throughout. The visual arts are rapidly changing as media moves into the web, mobile devices, and architecture. When designers and artists learn the basics of writing software, they develop a new form of literacy that enables them to create new media for the present, and to imagine future media that are beyond the capacities of current software tools. This book introduces this new literacy by teaching computer programming within the context of the visual arts. It offers a comprehensive reference and text for Processing (www.processing.org), an open-source programming language that can be used by students, artists, designers, architects, researchers, and anyone who wants to program images, animation, and interactivity. Written by Processing's cofounders, the book offers a definitive reference for students and professionals. Tutorial chapters make up the bulk of the book; advanced professional projects from such domains as animation, performance, and installation are discussed in interviews with their creators. This second edition has been thoroughly updated. It is the first book to offer in-depth coverage of Processing 2.0 and 3.0, and all examples have been updated for the new syntax. Every chapter has been revised, and new chapters introduce new ways to work with data and geometry. New "synthesis" chapters offer discussion and worked examples of such topics as sketching with code, modularity, and algorithms. New interviews have been added that cover a wider range of projects. "Extension" chapters are now offered online so they can be updated to keep pace with technological developments in such fields as computer vision and electronics. Interviews SUE.C, Larry Cuba, Mark Hansen, Lynn Hershman Leeson, Jurg Lehni, LettError, Golan Levin and Zachary Lieberman, Benjamin Maus, Manfred Mohr, Ash Nehru, Josh On, Bob Sabiston, Jennifer Steinkamp, Jared Tarbell, Steph Thirion, Robert Winter
"The Right to Play Oneself" collects for the first time Thomas
Waugh's essays on the politics, history, and aesthetics of
documentary film, written between 1974 and 2008. The title,
inspired by Walter Benjamin's and Joris Ivens's manifestos of
"committed" documentary from the 19 0s, reflects the book's theme
of the political potential of documentary for representing the
democratic performance of citizens and artists.
Documentary has once again emerged as one of the most vital
cultural forms, whether seen in cinemas or inside the home, as
digital, film, or video. In "Recording Reality, Desiring the Real,"
Elizabeth Cowie looks at the history of documentary and its
contemporary forms, showing how it has been simultaneously
understood as factual, as story, as art, and as political,
addressing the seeming paradox between the pleasures of spectacle
in the documentary and its project of informing and educating.
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