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Aesthetics of interaction in digital art
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.
eBook
Spiritual journey : sacred art from Musee Guimet
Spiritual Journey: Sacred Art from the Musâee Guimet is a splendid book that presents a thoughtful selection of the treasures housed in what French President Jacques Chirac calls in his preface \"one of the most prestigious museums of Asian art in the world.\" The core of the museum was created from works that âEmile Guimet, the museum's founder, brought back from his numerous journeys. The museum's continued to be enriched over the years with additions from other expeditions and thanks also to an ambitious and judicious acquisition policy.
Book
The Power and the Glorification
Focusing on a turbulent time in the history of the Roman Catholic Church, The Power and the Glorification considers how, in the fifteenth and sixteenth centuries, the papacy employed the visual arts to help reinforce Catholic power structures. All means of propaganda were deployed to counter the papacy’s eroding authority in the wake of the Great Schism of 1378 and in response to the upheaval surrounding the Protestant Reformation a century later. In the Vatican and elsewhere in Rome, extensive decorative cycles were commissioned to represent the strength of the church and historical justifications for its supreme authority. Replicating the contemporary viewer’s experience is central to De Jong’s approach, and he encourages readers to consider the works through fifteenth- and sixteenth-century eyes. De Jong argues that most visitors would only have had a limited knowledge of the historical events represented in these works, and would likely have accepted (or been intended to accept) what they saw at face value. With that end in mind, the painters’ advisors did their best to “manipulate” the viewer accordingly, and De Jong discusses their strategies and methods.
eBook
Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions
Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors (N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s (Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship (r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m (M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research (M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
Journal Article
Earliest hunting scene in prehistoric art
Humans seem to have an adaptive predisposition for inventing, telling and consuming stories
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. Prehistoric cave art provides the most direct insight that we have into the earliest storytelling
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–
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, in the form of narrative compositions or ‘scenes’
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,
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that feature clear figurative depictions of sets of figures in spatial proximity to each other, and from which one can infer actions taking place among the figures
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. The Upper Palaeolithic cave art of Europe hosts the oldest previously known images of humans and animals interacting in recognizable scenes
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,
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, and of therianthropes
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,
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—abstract beings that combine qualities of both people and animals, and which arguably communicated narrative fiction of some kind (folklore, religious myths, spiritual beliefs and so on). In this record of creative expression (spanning from about 40 thousand years ago (ka) until the beginning of the Holocene epoch at around 10 ka), scenes in cave art are generally rare and chronologically late (dating to about 21–14 ka)
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, and clear representations of therianthropes are uncommon
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—the oldest such image is a carved figurine from Germany of a human with a feline head (dated to about 40–39 ka)
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. Here we describe an elaborate rock art panel from the limestone cave of Leang Bulu’ Sipong 4 (Sulawesi, Indonesia) that portrays several figures that appear to represent therianthropes hunting wild pigs and dwarf bovids; this painting has been dated to at least 43.9 ka on the basis of uranium-series analysis of overlying speleothems. This hunting scene is—to our knowledge—currently the oldest pictorial record of storytelling and the earliest figurative artwork in the world.
A rock art panel from Sulawesi—dated to at least 43.9 thousand years ago—represents the oldest currently known figurative art in the world, and provides evidence of early storytelling through narrative hunting scenes.
Journal Article
100 works of art that will define our age
Just as Picasso's 'Guernica' or Gericault's 'Raft of the Medusa' survive as powerful cultural documents of their time, there will be works from our own era that will endure for generations to come. But which ones? Which contemporary artworks best capture the zeitgeist of the late 20th and early 21st centuries? This book, written by one of the new voices in cultural criticism, predicts which artists and artworks from the past two decades will come to define our age through their power to question, provoke and inspire.
Book
Wisdom or Madness? Comparing Crowds with Expert Evaluation in Funding the Arts
In fields as diverse as technology entrepreneurship and the arts, crowds of interested stakeholders are increasingly responsible for deciding which innovations to fund, a privilege that was previously reserved for a few experts, such as venture capitalists and grant-making bodies. Little is known about the degree to which the crowd differs from experts in judging which ideas to fund, and, indeed, whether the crowd is even rational in making funding decisions. Drawing on a panel of national experts and comprehensive data from the largest crowdfunding site, we examine funding decisions for proposed theater projects, a category where expert and crowd preferences might be expected to differ greatly. We instead find significant agreement between the funding decisions of crowds and experts. Where crowds and experts disagree, it is far more likely to be a case where the crowd is willing to fund projects that experts may not. Examining the outcomes of these projects, we find no quantitative or qualitative differences between projects funded by the crowd alone and those that were selected by both the crowd and experts. Our findings suggest that crowdfunding can play an important role in complementing expert decisions, particularly in sectors where the crowds are end users, by allowing projects the option to receive multiple evaluations and thereby lowering the incidence of “false negatives.”
This paper was accepted by Lee Fleming, entrepreneurship and innovation
.
Journal Article