Session 5a media art history re create 2015 11 07
Media art history is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of new media art, digital art, and electronic art. On the one hand, media art histories addresses the contemporary interplay of art, technology, and science. On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ (Aby Warburg) in new media art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes, as well as those of iconography and the history of ideas. Morever, one of the main agendas of media art histories is to point out the role of digital technologies for contemporary, post-industrial societies and to counteract the marginalization of according art practices and art objects: ″Digital technology has fundamentally changed the way art is made. Over the last forty years, media art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, media art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.″
Contents
- Session 5a media art history re create 2015 11 07
- Opening address media art history re create 2015 11 05
- Focus of research
- References
The term new media art itself is of great importance to the field. New media art is an umbrella term that encompasses art forms that are produced, modified and transmitted by means of digital technologies or, in a broader sense, make use of ‘new’ and emerging technologies that originate from a scientific, military or industrial context. The majority of authors that try to ‘delineate’ the aesthetic object of new media art emphasize aspects of interactivity, processuality, multimedia, and real time. The focus of new media art lies in the cultural, political, and social implications as well as the aesthetic possibilities – more or less its ‘media-specificity’ – of digital media. Consequently, scholars recognize the function of media technologies in New Media Art not only as a ‘carrier’ of meaning, but instead as a means that fundamentally shapes the very meaning of the artwork itself.
Furthermore, the field of new media art is increasingly influenced by new technologies that surmount a traditional understanding of (art) media. This becomes apparent in regards to technologies that originate from the field of biotechnology and life science and that are employed in artistic practices such as bio art, genetic art, and transgenic art. Consequently, the term new media art does not imply a steady ‘genre’ of art production. Instead, it is a field that emphasizes new technologies (in order to establish an explicit difference with traditional art media and genres). The list of genres that are commonly subsumed under the label of new media art illustrates its broad scope and includes, among others, virtual art. Software Art, Internet Art, Game Art, Glitch Art, Telematic Art, Bio Art / Genetic Art, Interactive Art, computer animation and graphics, and Hacktivism and Tactical Media. These latter two ‘genres’ in particular have a strong focus on the interplay of art and (political) activism.
Opening address media art history re create 2015 11 05
Focus of research
Several scholars in the field of media art history claim that there is still a considerable lack of knowledge regarding the origins of visual and audio-visual media. Consequently, it is the objective of media art histories to expand the historically informed knowledge of current media cultures with its developments and detours – the field is driven by the idea of a ‘deep time of the media’ (S. Zielinski).
Hence, scholars stress that the technological advances in current media cultures are best understood on the backdrop of an extensive media and art history. Contributions to this field are widespread and include, among others, researchers who have disciplinary focuses such as the history of science (Lorraine Daston, Timothy Lenoir), art history and image science (Oliver Grau, Barbara Stafford, Dieter Daniels, Slavko Kacunko, Edward A. Shanken, Gunalan Nadarajan, Linda Henderson, Andreas Broeckmann, Jonathan Crary, Horst Bredekamp, Peter Weibel, Hans Belting), media studies and media archaeology (Friedrich Kittler, Erkki Huhtamo, Jussi Parikka, Wolfgang Ernst, Siegfried Zielinski, Stephan Oettermann, Lev Manovich), sound studies (Douglas Kahn), film studies (Sean Cubitt, Ryszard Kluszczyński), as well as computer science (Frieder Nake).