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An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art.Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art.Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance-with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

PurposeThe interpretation of any emerging form or period in art history was never a trivial task. However, in the case of digital art, technology, becoming an integral part, multiplied the complexity of describing, systematizing and evaluating it. This article investigates the most common metadata standards for the documentation of art as a broad category and suggests possible next steps toward an extended metadata standard for digital art.Design/methodology/approachDescribing several techno-cultural phenomena formed in the last decade, manifesting the extendibility of digital art (its ability to be easily extended across multiple modalities), the article, at first, points to the long overdue need to re-evaluate the standards around it. Then it suggests a deeper analysis through a comparative study. In the scope of the study three artworks, The Arnolfini Portrait (Jan van Eyck), an iconic example of the early Renaissance, The World's First Collaborative Sentence (Douglas Davis), a classic example of early Internet art and Fake It Till You Make It (Maya Man), a prominent example of the blockchain art, are examined following the structure of the VRA Core 4.0 standard.FindingsThe comparative study demonstrates that digital art is more multi-semantic than traditional physical art, and requires new taxonomies as well as approaches for data acquisition.Originality/valueAcknowledging that digital art simply has not yet evolved to the stage of being systematically collected by cultural institutions for documentation, curation and preservation, but otherwise, in the past few years, it has been at the front-center of social, economic and technological trends, the article suggests looking for hints on the future-proof extended metadata standard in some of those trends.

The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on transdisciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education.

Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today's digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. * Showcases the critical and theoretical approaches in this fast-moving discipline * Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions * Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists * Tackles digital art's primary practical challenges – how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence * Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

What do we do when we listen? The act of engagement with music in everyday life may seem simple on the surface but participation, interpretation, circulation and cultural production in the digital age are more complex and entangled than ever before. It is especially so in Japan, with its vast multimedia idol and vocaloid industries. This unique ethnographic work at the intersection of cultural, media and music studies covers a wide spectrum of music-related activities embedded in the daily lives of two Japanese cohorts. The varied case studies, including teen idol groups and virtual idols, aid the detailed examination of the relation between music, generation, and society.

Since the very first days of cinema, audiences have marveled at the special effects imagery presented on movie screens. While long relegated to the margins of film studies, special effects have recently become the object of a burgeoning field of scholarship. With the emergence of a digital cinema, and the development of computerized visual effects, film theorists and historians have been reconsidering the traditional accounts of cinematic representation, recognising the important role of special effects. Understood as a constituent part of the cinema, special effects are a major technical but also aesthetic component of filmmaking and an important part of the experience for the audience. In this volume, new directions are charted for the exploration of this indispensable aspect of the cinematic experience. Each of the essays in this collection offers new insight into the theoretical and historical study of special effects. The contributors address the many aspects of special effects, from a variety of perspectives, considering them as a conceptual problem, recounting the history of specific special effects techniques, and analysing notable effects films.

How does the constant presence of music in modern life - on iPods, in shops and elevators, on television - affect the way we listen? In this title, the author investigates many sounds that surround us and argues that this ubiquity has led to different kinds of listening.

In recent years, online transactions have been growing steadily in the art market, but scholarship on new marketing opportunities arising from this digital transformation remains scant. Adopting an empirical approach based on 16 interviews with experts from France, Germany, Italy, the United Kingdom, and the United States, the study develops innovative strategies to optimize the relationship between online art platforms, emerging artists, and other stakeholders through the Triadic Optimization Model (TOM). Results show potential managerial innovations with regard to market segmentation, re-intermediation without gatekeepers, exposure and visibility of emerging artists. The article advances knowledge in arts management research by offering a new stakeholder model for the promotion of emerging artists, the adaptation of marketing strategies to new collector segments, and the alignment with multiple stakeholder needs and market trends. Ultimately, it provides valuable digital strategies to reshape the online art market by fostering inclusivity and democratization through the empowerment of emerging artists and the optimization of stakeholder relationships.

Today designers often focus on making technology easy to use, sexy, and consumable. InSpeculative Everything, Anthony Dunne and Fiona Raby propose a kind of design that is used as a tool to create not only things but ideas. For them, design is a means of speculating about how things could be -- to imagine possible futures. This is not the usual sort of predicting or forecasting, spotting trends and extrapolating; these kinds of predictions have been proven wrong, again and again. Instead, Dunne and Raby pose \"what if\" questions that are intended to open debate and discussion about the kind of future people want (and do not want).Speculative Everythingoffers a tour through an emerging cultural landscape of design ideas, ideals, and approaches. Dunne and Raby cite examples from their own design and teaching and from other projects from fine art, design, architecture, cinema, and photography. They also draw on futurology, political theory, the philosophy of technology, and literary fiction. They show us, for example, ideas for a solar kitchen restaurant; a flypaper robotic clock; a menstruation machine; a cloud-seeding truck; a phantom-limb sensation recorder; and devices for food foraging that use the tools of synthetic biology. Dunne and Raby contend that if we speculate more -- about everything -- reality will become more malleable. The ideas freed by speculative design increase the odds of achieving desirable futures.

Digital art analysis is evolving rapidly, with intelligent systems playing a growing role in understanding aesthetic quality and artistic styles. In this work, we present the Hierarchical Multi-Stream Feature Network (HMSFN), a deep learning framework designed to improve the way visual features are extracted and classified across different styles and aesthetic levels. The study is based on a curated dataset of 213,000 digital artworks sourced from online galleries and collections, covering a wide range of creative expressions and thematic categories. To enhance data quality and balance, we applied specialized preprocessing techniques including Contrast-Balanced Normalization, Dominant Color Mapping, and Gradient-Symmetric Scaling. Additionally, Weighted Synthetic Feature Augmentation (WSFA) was introduced to address class imbalance, while an Adaptive Feature Filtering Framework (AFFF) was used to remove redundant features and retain the most informative ones. The model was trained using an 80:20 split and evaluated against several leading deep learning approaches. HMSFN, which combines DenseNet, ConvNeXt, and Vision Transformer in a multi-stream configuration, achieved outstanding results—99.0% accuracy, 98.6% F1-score, 97.5% LCCR, and an AUC of 99.3%. These findings highlight the effectiveness of our approach in capturing complex visual attributes and support its use in digital art classification and computational aesthetics.