Tag Archives: art & technology

West, R.G. (2011). Working with Wetware. In _Context Providers_, M. Lovejoy, C. Paul, and V. Vesna, eds. Bristol and Chicago: intellect.

Ruth West is an interdisciplinary artist, designer, and researcher of emerging technologies. Her expertise is broad: new media arts, design, molecular genetics, information aesthetics/visualization, virtual/immersive environments, psychology, and mobile technologies. She works and has worked with UCSD Center for Research in Computing and the Arts, UCLA CENS (NSF Center for Embedded Networked Sensing), and NCMIR (National Center for Microscopy and Imaging Research).

San Francisco Art Institute’s Area Head of Conceptual Information Art Stephen Wilson (2002) submits four classifications for art-science praxis: (1) “Exploration” (researching and developing), (2) “Cultural implications” (using technology to consider narratives and conceptual frameworks), (3) “Unrelated themes” (using technology to study non-technological topics), and (4) “Incidental use of technology” (using images and materials strictly for aesthetic purposes).

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Vesna, V. (2011). Shifting Media Contexts: When Scientific Labs Become Art Studios. In _Context Providers_, M. Lovejoy, C. Paul, and V. Vesna, eds. Bristol and Chicago: intellect.

Victoria Vesna is a media artist and Professor at the UCLA Department of Design | Media Arts and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI).  As of 2011, she was Visiting Professor and Director of Research at Parsons, Media + Technology, the New School for Design in New York, and a senior researcher at IMéRA – Institut Méditerranéen de Recherches Avancées in Marseille and Artist in Residence at the Insitute of Advanced Studies, University of Bristol.

Both artists and scientists observe changes in people resulting from new environments/media: “this new culture emerges from an entirely different context that at once intensifies the relationship between art and science and raises many new issues for both sides” (234). Their shared interests in technology, academia, invention, however can’t obscure the fact that they are radically different worlds.

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Lovejoy, M., Paul, C., & Vesna, V., eds. (2011). Introduction. In _Context Providers: Conditions of Meaning in Media Arts_, M. Lovejoy, C. Paul, and V. Vesna, eds. Bristol and Chicago: intellect.

Context Providers explores the ways in which media art and culture — specifically digital and art/science collaborations–are challenging and changing the creative process and our ways of constructing meaning” (7).

Margot Lovejoy is Professor Emerita of Visual Arts at the State University of New York, Purchase, and author of Digital Currents: Art in the Electronic Age (2004). She’s received a Guggenheim Fellowship, an Arts International Grant in India, multiple NYSCA grants, NYFA’s Gregory Millard Fellowship, and the 2007 CAA Award for Distinguished Teaching of Art.

Christiane Paul is the Director of Media Studies Graduate Programs and Associate Professor of Media Studies at The New School, NY, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. She writes widely on new media arts and lectures internationally on art and technology.

Victoria Vesna is a media artist and Professor at the UCLA Department of Design | Media Arts and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI).  As of 2011, she was Visiting Professor and Director of Research at Parsons, Media + Technology, the New School for Design in New York, and a senior researcher at IMéRA – Institut Méditerranéen de Recherches Avancées in Marseille and Artist in Residence at the Insitute of Advanced Studies, University of Bristol.

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Rush, M. (2005). _New Media in Art_, 2nd. Ed. London: Thames of London.

Michael Rush, PhD in Theology and Psychology from Harvard University, is the founding director of the Eli and Edythe Broad Art Museum at Michigan State University. Most recently he was director of the Rose Art Museum at Brandeis University. He contributes regularly art world publications and scholarship. His books include Video Art, New Media in Art, New Media in Late 20th-Century Art, Marjetica Potrc: Urgent Architecture, and he’s written monographs on Gunther Brus, Steve Miller, and Alexis Rockman.

This book is a well-organized, beautifully illustrated (124 of 267 illustrations are in full color) and straightforward history of new media in art. Rush organizes the text quasi-chronologically, but emphasizes modes of practice, with chapters entitled, “Media and Performance,” “Video Art,” “Video Installation Art,” and The Digital in Art.” Suffice it to say, Muybridge and Marey, and Duchamp are the technological and conceptual benefactors, respectively, whose ideas are experimented with and added to over the next century, first by artists migrating from other disciplines and eventually by first-generation artists.

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Tribe, M., Jana, R., & Grosenick, U., eds. (2006). _New Media Art_. Cologne: TASCHEN GmbH.

American artist and Rhizome founder, Mark Tribe is Assistant Professor of Modern Culture and Media Studies at Brown University. He’s authored The Port Huron Project: Reenactments of Historic Protest Speeches (2010), as well as co-authored this book. He received his MFA in Visual Art from UC, San Diego. His interest in new media art is not so much the technologies but the way these technologies can engage cultural engagement, aesthetic awareness, and political engagement.

Reena Jana is a New York-based writer, editor, and consultant whose work focuses on culture, innovation, and business. She’s now a contributing editor and blogger at SmartPlanet, and has written for the New York Times, Wired, Fast Company, to name a very few. She attended Columbia University’s Graduate School of Arts and Sciences where she was a National Arts Journalism Program Fellow at Columbia Journalism School.

Uta Grosenick is a Cologne-based freelance author and editor. Her work for TASCHEN includes several books from the Basic Genre Series, Women Artists (2001), ART NOW (2002), Büttner (2003), and ART NOW II (2005).

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