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Digital technology has had a major impact on the production and experience of art during the past... more Digital technology has had a major impact on the production and experience of art during the past decade and a half. Not only have traditional forms of art such as printing, painting, photography, and sculpture been transformed by digital techniques and media, but ...
... Many of the digital media projects focusing on the combination of visuals and sound stand in ... more ... Many of the digital media projects focusing on the combination of visuals and sound stand in the tradition of kinetic light performance or the 'visual music' of the German abstract animator and painter Oskar Fischin ger (b. 1900). ...
Routledge eBooks, Sep 22, 2022
xix, 608 p. ; ill. ; 25 cm
The process-oriented nature of the digital medium poses numerous challenges to the traditional ar... more The process-oriented nature of the digital medium poses numerous challenges to the traditional art world, ranging from presentation to collection and preservation. The standards for presenting, collecting and preserving art have been tailored to objects for the longest time and few of them are applicable to new media works, which constitute a shift from object to process and substantially differ from previous process-oriented or dematerialized art forms. New media art in its multiple manifestations has become an important part of contemporary artistic practice that the art world cannot afford to ignore, but accommodating this art form within the institution and "art system" raises numerous conceptual, philosophical, as well as practical issues. New media art seems to call for a distributed, "living" information space that is open to artistic interference-a space for exchange, collaborative creation, and presentation that is transparent and flexible. The latter certainly does not describe the framework of the average museum today, and in order to make a commitment to new media art, institutions need to develop alternative approaches to presentation, collection, documentation and preservation. Among the issues that will be
Leonardo, 2002
Maciej Wisniewski, United States netomatTM, 1999-present Martin Wattenberg and Marek Walczak, Uni... more Maciej Wisniewski, United States netomatTM, 1999-present Martin Wattenberg and Marek Walczak, United States Apartment, 2001 John Klima, United States Glasbead, 1999-2000 01.org 0100101110101101.org, 2000 Alex Galloway and RSG, United States Carnivore, 2001-present Christa Sommerer and Laurent Mignonneau A-Volve, 1994-1995 Eduardo Kac, United States Genesis, 1999 Perry Hoberman, United States Timetable, 1999 George Legrady, United States Pockets Full of Memories, 2001 David Rokeby, Canada Giver of Names, 1991-present
Museum of American Art The characteristics of the digital medium pose numerous challenges to the ... more Museum of American Art The characteristics of the digital medium pose numerous challenges to the traditional art world, ranging from presentation to collection and preservation. For the longest time, museums, galleries and the art world and art market in general have been mostly "objectoriented" and have configured their framework and infrastructure to accommodate the presentation and preservation of the static art object. The characteristics of so-called new media art have introduced a shift from the object to process: as an inherently time-based, dynamic, interactive, collaborative, customizable and variable art form, digital art resists "objectification" and has changed traditional notions of the "art object." The one thing everyone seems to agree upon when it comes to this art form is that the term now commonly used to describe it-"new media"-is an extremely unfortunate choice. This umbrella term is not at all helpful when it comes to describing characteristics or aesthetics of the extremely hybrid digital medium. The qualifier of choice here, "new," points to the fleeting nature of terminology: in the late 20th century, the term "new media"-previously used mostly for film / video-made a fluid transition from analogue to digital media. Within the category of digital art, one needs to distinguish art that uses digital technologies as a tool as opposed to a medium. There are artists who use the technologies as a tool for production of a more traditional art form, such as a sculpture or print, or as tool for storage and delivery. Digital print, photography, and sculpture represent the objectoriented work museums are equipped for and do not necessarily require completely new models of presentation and preservation. The use of digital technologies as a medium implies that the work is produced, stored, and presented in digital format and makes use of the inherent possibilities of its medium. However, art that uses digital technologies as a medium can manifest itself as everything ranging from an interactive installation (networked or not), purely Internet-based art, virtual reality projects, art for mobile devices (such as cell phones and Palm Pilots) and other forms. Each of the distinguishing characteristics of the digital medium (which do not necessarily all surface in one work and are often used in varying combinations)-timebased / dynamic, interactive / participatory, customizable, variable-poses its own set of challenges. The fact that new media projects are time-based and require an extended viewing time isn't necessarily medium-specific but equally applies to video works or performances. It is noteworthy that the latter have for the longest time been an exception to the mostly object-based art world rather than the rule. After approximately three decades, video now seems to have found an established, safe place in the art world but the museums relationship to performance or sound as art forms remains a problematic one. While an artwork that needs to be experienced over an extended period of time poses a challenge per se, the time-based nature of new media art is far more problematic than that of film / video,
Choice Reviews Online, 2012
One of the main goals of this book is to provide context for an understanding of art that uses cu... more One of the main goals of this book is to provide context for an understanding of art that uses current technologies as a medium and to examine the multiple contexts that inform conditions of meaning in this medium. Using the term context providers as the title for a ...
The multifaceted history of digital art has also entailed an evolution of understanding the compl... more The multifaceted history of digital art has also entailed an evolution of understanding the complex relationships between the material and immaterial in the digital medium. This text traces the histories of digital objects and systems from the 1960s to the so-called 'post-digital' era, which finds its artistic expression in works shaped by digital technologies and networks, yet taking the material form of objects such as paintings, sculptures, or photographs. The term neomateriality is used here to capture an objecthood that reflects back the data of humans and the environment, or reveals the way in which digital processes perceive and shape our world. Digital materialities are considered in relation to network cultures and politics, as well as art institutions.
A Companion to Public Art
Closing panel discussion of the Art History of Games Symposium. Presented at 3:15 pm on February ... more Closing panel discussion of the Art History of Games Symposium. Presented at 3:15 pm on February 6, 2010 in the High Museum of Art’s Rich Auditorium on the campus of the Woodruff Arts Center, in midtown Atlanta.
The process-oriented nature of the digital medium poses numerous challenges to the traditional ar... more The process-oriented nature of the digital medium poses numerous challenges to the traditional art world, ranging from presentation to collection and preservation. The standards for presenting, collecting and preserving art have been tailored to objects for the longest time and few of them are applicable to new media works, which constitute a shift from object to process and substantially differ from previous process-oriented or dematerialized art forms. New media art in its multiple manifestations has become an important part of contemporary artistic practice that the art world cannot afford to ignore, but accommodating this art form within the institution and "art system" raises numerous conceptual, philosophical, as well as practical issues. New media art seems to call for a distributed, "living" information space that is open to artistic interference-a space for exchange, collaborative creation, and presentation that is transparent and flexible. The latter certainly does not describe the framework of the average museum today, and in order to make a commitment to new media art, institutions need to develop alternative approaches to presentation, collection, documentation and preservation. Among the issues that will be
Digital technology has had a major impact on the production and experience of art during the past... more Digital technology has had a major impact on the production and experience of art during the past decade and a half. Not only have traditional forms of art such as printing, painting, photography, and sculpture been transformed by digital techniques and media, but ...
... Many of the digital media projects focusing on the combination of visuals and sound stand in ... more ... Many of the digital media projects focusing on the combination of visuals and sound stand in the tradition of kinetic light performance or the 'visual music' of the German abstract animator and painter Oskar Fischin ger (b. 1900). ...
Routledge eBooks, Sep 22, 2022
xix, 608 p. ; ill. ; 25 cm
The process-oriented nature of the digital medium poses numerous challenges to the traditional ar... more The process-oriented nature of the digital medium poses numerous challenges to the traditional art world, ranging from presentation to collection and preservation. The standards for presenting, collecting and preserving art have been tailored to objects for the longest time and few of them are applicable to new media works, which constitute a shift from object to process and substantially differ from previous process-oriented or dematerialized art forms. New media art in its multiple manifestations has become an important part of contemporary artistic practice that the art world cannot afford to ignore, but accommodating this art form within the institution and "art system" raises numerous conceptual, philosophical, as well as practical issues. New media art seems to call for a distributed, "living" information space that is open to artistic interference-a space for exchange, collaborative creation, and presentation that is transparent and flexible. The latter certainly does not describe the framework of the average museum today, and in order to make a commitment to new media art, institutions need to develop alternative approaches to presentation, collection, documentation and preservation. Among the issues that will be
Leonardo, 2002
Maciej Wisniewski, United States netomatTM, 1999-present Martin Wattenberg and Marek Walczak, Uni... more Maciej Wisniewski, United States netomatTM, 1999-present Martin Wattenberg and Marek Walczak, United States Apartment, 2001 John Klima, United States Glasbead, 1999-2000 01.org 0100101110101101.org, 2000 Alex Galloway and RSG, United States Carnivore, 2001-present Christa Sommerer and Laurent Mignonneau A-Volve, 1994-1995 Eduardo Kac, United States Genesis, 1999 Perry Hoberman, United States Timetable, 1999 George Legrady, United States Pockets Full of Memories, 2001 David Rokeby, Canada Giver of Names, 1991-present
Museum of American Art The characteristics of the digital medium pose numerous challenges to the ... more Museum of American Art The characteristics of the digital medium pose numerous challenges to the traditional art world, ranging from presentation to collection and preservation. For the longest time, museums, galleries and the art world and art market in general have been mostly "objectoriented" and have configured their framework and infrastructure to accommodate the presentation and preservation of the static art object. The characteristics of so-called new media art have introduced a shift from the object to process: as an inherently time-based, dynamic, interactive, collaborative, customizable and variable art form, digital art resists "objectification" and has changed traditional notions of the "art object." The one thing everyone seems to agree upon when it comes to this art form is that the term now commonly used to describe it-"new media"-is an extremely unfortunate choice. This umbrella term is not at all helpful when it comes to describing characteristics or aesthetics of the extremely hybrid digital medium. The qualifier of choice here, "new," points to the fleeting nature of terminology: in the late 20th century, the term "new media"-previously used mostly for film / video-made a fluid transition from analogue to digital media. Within the category of digital art, one needs to distinguish art that uses digital technologies as a tool as opposed to a medium. There are artists who use the technologies as a tool for production of a more traditional art form, such as a sculpture or print, or as tool for storage and delivery. Digital print, photography, and sculpture represent the objectoriented work museums are equipped for and do not necessarily require completely new models of presentation and preservation. The use of digital technologies as a medium implies that the work is produced, stored, and presented in digital format and makes use of the inherent possibilities of its medium. However, art that uses digital technologies as a medium can manifest itself as everything ranging from an interactive installation (networked or not), purely Internet-based art, virtual reality projects, art for mobile devices (such as cell phones and Palm Pilots) and other forms. Each of the distinguishing characteristics of the digital medium (which do not necessarily all surface in one work and are often used in varying combinations)-timebased / dynamic, interactive / participatory, customizable, variable-poses its own set of challenges. The fact that new media projects are time-based and require an extended viewing time isn't necessarily medium-specific but equally applies to video works or performances. It is noteworthy that the latter have for the longest time been an exception to the mostly object-based art world rather than the rule. After approximately three decades, video now seems to have found an established, safe place in the art world but the museums relationship to performance or sound as art forms remains a problematic one. While an artwork that needs to be experienced over an extended period of time poses a challenge per se, the time-based nature of new media art is far more problematic than that of film / video,
Choice Reviews Online, 2012
One of the main goals of this book is to provide context for an understanding of art that uses cu... more One of the main goals of this book is to provide context for an understanding of art that uses current technologies as a medium and to examine the multiple contexts that inform conditions of meaning in this medium. Using the term context providers as the title for a ...
The multifaceted history of digital art has also entailed an evolution of understanding the compl... more The multifaceted history of digital art has also entailed an evolution of understanding the complex relationships between the material and immaterial in the digital medium. This text traces the histories of digital objects and systems from the 1960s to the so-called 'post-digital' era, which finds its artistic expression in works shaped by digital technologies and networks, yet taking the material form of objects such as paintings, sculptures, or photographs. The term neomateriality is used here to capture an objecthood that reflects back the data of humans and the environment, or reveals the way in which digital processes perceive and shape our world. Digital materialities are considered in relation to network cultures and politics, as well as art institutions.
A Companion to Public Art
Closing panel discussion of the Art History of Games Symposium. Presented at 3:15 pm on February ... more Closing panel discussion of the Art History of Games Symposium. Presented at 3:15 pm on February 6, 2010 in the High Museum of Art’s Rich Auditorium on the campus of the Woodruff Arts Center, in midtown Atlanta.
The process-oriented nature of the digital medium poses numerous challenges to the traditional ar... more The process-oriented nature of the digital medium poses numerous challenges to the traditional art world, ranging from presentation to collection and preservation. The standards for presenting, collecting and preserving art have been tailored to objects for the longest time and few of them are applicable to new media works, which constitute a shift from object to process and substantially differ from previous process-oriented or dematerialized art forms. New media art in its multiple manifestations has become an important part of contemporary artistic practice that the art world cannot afford to ignore, but accommodating this art form within the institution and "art system" raises numerous conceptual, philosophical, as well as practical issues. New media art seems to call for a distributed, "living" information space that is open to artistic interference-a space for exchange, collaborative creation, and presentation that is transparent and flexible. The latter certainly does not describe the framework of the average museum today, and in order to make a commitment to new media art, institutions need to develop alternative approaches to presentation, collection, documentation and preservation. Among the issues that will be