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Dead Media-Art-Institutions Kapitel 12 Viele Gründungen der 1990er Jahre, die sich programmatisch der Medien- kunst widmeten, erwiesen sich in der Praxis als vergleichsweise kurzlebige institutionelle Phänomene. Das betrifft vor allem zahlreiche festivalartige Events, die unter Berücksichtigung je aktueller Fördertrends konzipiert wurden und – direkt oder indirekt – politische Interessen der involvierten Akteure bedienen sollten. In Analogie zum „Dead Media Project“1 könnte man eine Art „Dead Media Art Institutions Project“ initiieren, das alle

III Media Art and the Future “We enter a new era”, Norman Bel Geddes, 1932 “We are entering a new age here on Earth”, directors’ remark, Ars Electronica Festival 2009 “Are we ready for the changes that are coming?”1 Norman Bel Geddes’ question immediately following the above-quoted opening sentence in his seminal publication Horizons from 1932 spans a vector space for both, a vision of the future and a reflection of art’s and design’s role in it. More than seventy years later, after another world war, after reconstruction in Europe and Japan, the economic

141 »NOT JUST ART« – FROM MEDIA ART TO ARTWARE CHRISTIANE PAUL Software always has to be seen as cultural construct, and the creation of artware addresses this construct from various angles, including the enhancement or re–engineering of existing software products; the crea- tion of alternative, community–driven platforms of exchange; and the examination of agency, autonomy, or political agendas in software. Obviously, artists today are working with different technologies than they did 30 or 40 years ago, but one still has to ask the question, is there anything

ON IC M US IC M US IC TO N EW M ED IA A RT FR OM IN TE RA CT IV E LI VE EL EL EC TR ON IC M US IC T M US IC TO N EW FROM INTERACTIVE LIVE ELECTRO C MUSIC TO NEW MEDIA ART Jin Hyun Kim M IN TE RA CT IV E LI VE O NE W M ED IA A RT FR OM IN TE RA CT IV E IC TO N EW M ED IA A RT FR OM IN TE RA CT IV E C TO N EW M ED IA A RT FR OM IN TE RA CT IV E EW M ED IA A RT FR OM IN TE RA CT IV E LI VE IN TE RA CT IV E LI VE EL EC TR ON IC M US IC TO CT RO NI C M US IC TO N EW M ED IA A RT FR OM M ED IA A RT FR OM IN TE RA CT IV E LI VE EL EC TR

165 RESEARCH OF THE MOTIFS IN INTERACTIVE MEDIA ART CONCERNING THE VISUAL ASPECT PENESTA DIKA The visual aspect has a long tradition and historically we are a part of this tradition, we are developing it further. But for creating the future we have to think of the contemporary in the context of the past. This is one reason why one should research the visual motifs in interactive media art not just in the context of interactive media art globally, but also in the context of traditional art. This would produce at least one direction of development (or several

2 Manipulation der Medienkunst 53 illusionistischen Möglichkeiten von und mit Interfaces, aber auch der Simulation, Mimesis und der Repräsentation am Interface. 2.1 Eine haptisch interaktive Medienkunst zwischen participatory art, new media art und touching art Die Tautologie des Begriffs »Medienkunst« und die weite Fächerung der Berei- che, die unter »Medien« und »Kunst« eingeordnet werden können, zeigen sich in der Historie einer exakteren Namensgebung. Kacunko verweist dabei auf die noch genauer auszuführende, technikkonzentrierte Position von R.F. Malina und

RF AC E TE CH NO LO GY O F M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY AN D OP AC IT Y: IN TE RF AC E TE CH NO LO GY O F M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY AN D OP AC IT Y: IN TE RF AC E TE CH NO LO GY OF M ED IA TI ON IN NE W M ED IA A RT TR AN SP AR EN CY 45 Mediality of artistic computer-human interfaces In recent decades, computer-human interfaces (CHIs) have increasingly served as a technological condition for New Media Art and at the same time as an artistic subject. The design of experimental CHIs, with help of which

mine, and Maremoto Hörspiel-Pop, Radio opera, Media Art: on the Reinvention of the Hörspiel by Andreas Ammer and FM Einheit Ania Mauruschat 269 tells the story of a ship sinking in the ocean, desperately trying to wire for help. Zauberei auf dem Sender is a self-reflexive story of a broadcasting disturbance by a magician who returns to plague the direc- tor of a radio station who did not allow him to present his conjuring tricks on air. A decade later, coverage of two catastrophes in the United States also shaped radio history: the authentic report of the

197 WORKING ON AND WITH EIGENSINN A NEGLECTED CONCEPT AND ITS IMPACT ON MEDIA, ART AND ART EDUCATION1 GIACO SCHIESSER TRANSLATED BY TOM MORRISON Eigens inn – Meaning and Potential of a Concept At a time when the major narratives to which we had bid conclusively farewell have become possible once more, I wish to begin with a small but magnificent story: »Once upon a time there was a child who was wilful, and would not do as her mother wished. For this reason God had no pleasure in her, and let her become ill, and no doctor could do her any good, and in a short