The Ars Electronica has been accompanying and analyzing the digital revolution and its manifold implications since 1979, consistently focusing on processes and trends at the interface between art, technology, and society. This artistic, scientific research is presented annually in Linz in the form of a festival whose five-day program includes conferences, panel discussions, workshops, exhibitions, performances, interventions, and concerts. It is planned, organized, and implemented in collaboration with international artists and scientists and always addresses a different volatile future issue.00Exhibition: Ars Electronica Festival, Linz, Austria (07.-11.09.2017).
This book reflects on the phenomenon of biotechnology and how it affects the body and discusses a number of related issues, including visualization, mediation, and epistemology. The author offers a compelling thesis, arguing that the exploration of the human body has one ultimate aim: to gain knowledge of it and to conquer it. Exploration of body has an intrinsic link to power, since knowledge is constitutive for the power over the body. Ultimately the conquest of body means the power to intervene into life processes. The book breaks new ground with its study of body visualizations, from the Renaissance drawings to the medical imaging. In particular, it investigates their complex mediality. It also considers the extension and the reach of biopower that is now possible thanks to a wide range of engineering applications. The author originally questions the research approach by rethinking the relationship between mental and sensual examination. She takes into consideration the epistemological problem of the two modes of exploration: obtaining knowledge from empirical exploration and projecting that knowledge to the object of exploration.
Julian Stubbe aims at characterizing what novelty is in the becoming of objects and how the new becomes part of a shared reality. The study’s method is comparative and concerned with technological practice in science as well as in art. It draws on a detailed comparison of two cases: the becoming of a robotic hand made from silicone, and the genesis of a media art installation that renders visible changes in the earth’s magnetic field. In contrast to the canon of sociological innovation studies, which regard novelty as what actors in the field label as new or innovation, the author attempts to delineate certain shifts in an object’s becoming that individuate an object and render its difference visible. This entails attending the enactment of novelty through cultural imaginaries and narratives about technologies, as well as acknowledging the shifts in technical forms that make loose elements enter a new kind of circularity. From this perspective, novelty is an articulation: when differences are not contradicting, but when differing characteristics are aligned, fitted, and click in so as to appear and behave as a distinct entity.
The digital economy is a main driver of change, innovation, and competitiveness for various companies and entrepreneurs. Exploring developments in these initiatives can be used as vital tools for future business success. User Innovation and the Entrepreneurship Phenomenon in the Digital Economy is an essential reference source for emerging scholarly research on innovative aspects of design, development, and implementation of digital economy initiatives, highlighting the relationship and interaction between humans and technology in modern society. Featuring coverage on a broad range of topics such as electronic commerce, brand promotion, and customer loyalty, this book is ideally designed for academicians, researchers, students, and managers seeking current research on the digital economy.
Artists who work with new media generally adopt a critical media approach in contrast to artists who work with traditional art media. Where does the difference lie between media artists and artists who produce modern art? Which key art objects illustrate this trend? The author investigates the relationship between art and technology on the basis of work produced by Edward Ihnatowicz and Harald Cohen, and on the basis of the pioneering computer art exhibition at Dokumenta X in 1997. His line of argument counters the generally held view that computer art straddles the gap between art and technology. Instead, he is seeking a genuine interpretation of the origin of media art, and to develop new perspectives for it.
The digital revolution fundamentally changed how cultural heritage is created, documented, analyzed, and preserved. The book focuses on this transformation’s impact. How must museums and archives meet the challenges of digitally generated cultures and how does the digital revolution influence traditional object collection, research, and education? How do digital technologies and digital art and culture affect our interaction with images? Leading international experts from various disciplines break new ground. Pioneering interdisciplinary research results collected in this book are relevant to education, curators and archivists in the arts and culture sector and in the digital humanities.
Seit nunmehr fast zwei Jahrzehnten hat sich die Ars Electronica als Festival fA1/4r "Kunst, Technologie und Gesellschafta zu einem international maAgeblichen Forum fA1/4r die Auseinandersetzung mit den sozio-kulturellen Dimensionen der digitalen Revolution etabliert. "FleshFactor a " Informationsmaschine Menscha a " unter diesem Titel wird bei der Ars Electronica 97 der Mensch zum Thema. Angesichts der aktuellen Erkenntnisse, Ideen und Leistungen von Gentechnologie, Neuroscience und Netzwerk-Intelligenz, geht es um den Stellenwert des Individuums in diesen vernetzten kA1/4nstlichen Systemen, um den menschlichen KArper als letztes Original, um Beziehungs- und Orientierungsstrategien der Antipoden Mensch und Maschine im wechselseitigen ProzeA von Adaption und Assimilation. Die Publikation ist geprAgt von einem interdisziplinAren Diskurs zwischen Wissenschaftlern, Philosophen und KA1/4nstlern.
Beyond the scope of the defining non-material characteristics of sound, sound becomes a formal material, a kind of audible sculpture accompanied by discourse on its constructive, societal, philosophical, and emotional aspects. At least, it does for the contemporary artists represented in Frequencies [HZ], each of whom works with sound within the context of visual art--Angela Bulloch, Farmersmanual, Ryoji Ikeda, Daniel Pflumm, Ultra-red, Mika Vainio, and others. With an audio CD ingeniously integrated into the book's cover design, and reproductions of sculptural and visual art, as well as specific, often minimalistic installations and interventions which employ sound or electronic experiments with sound, Frequencies [HZ]explores how sound impacts upon the perception of architecture and otherwise influences the components of individual experience. Participating artists reflect on the institutional context and the situation that evolves between the work of art and the viewer.
This follow-up to the first very successful net-art book documents developments in net art from 1999 to the present. A large portion of the thematically-designed book consists of interviews with artists such as Julia Scher, Peter Halley, Blank & Jeron, Jodi, etoy and Lisa Jevbratt, who have recently created major projects using the internet. The conversations are supplemented by a documentary appendix and an essay by Tilman Baumgartel describing the specifics of net art and its place in current artistic discourse. Interspersed with the text components are images of more than 130 net-based works.