Oliver Grau, Professor for Bildwissenschaft and Dean of the Department for Cultural Studies at the Danube University Krems, researches the histories of media art, and immersion of emotions, as well as the history, notion, and culture of telepresence, genetic art, and artificial intelligence. He is also head of the German Science Foundation’s Immersive Art project. In 2000 this team developed the first international Database of Virtual Art.
This book subsumes “the history of media art within the interdisciplinary and intercultural contexts of the histories of art” (1). His and his collaborators’ express goal is to widen the scope of art history scholarship to include digital art and its concomitantly diverse practitioners. Grau’s separated the book into four sections: “Origins: Evolution versus Revolution,” “Machine–Media–Exhibition,” “Pop Meets Science,” and “Image Science.” As is the case with many edited volumes, certain essays speak louder, more relevant truths than others. This is especially the case here, given that my objective is linking media arts practices to planning, so not all readings will be summarized.