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Media Art Histories is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of New Media Art, Digital Art, and Electronic Art.〔Cubitt, Sean and Paul Thomas. eds. 2013. Relive: Media Art Histories. Cambridge/Mass.: MIT-Press.〕〔Grau, Oliver. ed. 2007. MediaArtHistories. Cambridge: MIT-Press.〕〔Frieling, Rudolf and Dieter Daniels. eds. 2004. Media Art Net 1: Survey of Media Art. New York/Vienna: Springer.〕 On the one hand, Media Art Histories addresses the contemporary interplay of art, technology, and science.〔Wilson, Stephen. 2002. Information Arts. Intersections of Art, Science, and Technology Cambridge: MIT Press.〕〔Wilson, Stephen. 2010. Art + Science Now. London: Thames & Hudson.〕〔Henderson, Linda. 1983. The Fourth Dimension and Non - Euclidean Geometry in Modern Art . Princeton: Princeton University Press.〕 On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ (Aby Warburg) in New Media Art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes and topoi,〔Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.〕 as well as those of iconography and the history of ideas. The term New Media Art itself is of great importance to the field.〔Rush, Michael. 2005. New Media in Art. London: Thames & Hudson〕〔Tribe, Mark, Reena Jana and Uta Grosenick. 2006. New Media Art. Köln: Taschen.〕〔Shanken, Edward A. 2009. Art and Electronic Media. London: Phaidon Press.〕〔Paul, Christiane. 2003. Digital Art. New York: Thames and Hudson.〕 New Media Art is an umbrella term that encompasses art forms that are produced, modified and transmitted by means of digital technologies or, in a broader sense, make use of ‘new’ and emerging technologies that originate from a scientific, military or industrial context. The majority of authors that try to ‘delineate’ the aesthetic object of New Media Art emphasize aspects of interactivity, processuality, multimedia, and real-time. The focus of New Media Art lies in the cultural, political, and social implications as well as the aesthetic possibilities – more or less its ‘media-specificity’ – of digital media. Consequently, scholars recognize the function of media technologies in New Media Art not only as a ‘carrier’ of meaning, but instead as a means that fundamentally shapes the very meaning of the artwork itself. Furthermore, the field of New Media Art is increasingly influenced by ‘new’ technologies that surmount a traditional understanding of (art) media. This becomes apparent in regards to technologies that originate from the field of biotechnology and life science and that are employed in artistic practices such as Bio Art, Genetic Art, and Transgenic Art. Consequently, the term New Media Art does not imply a steady ‘genre’ of art production. Instead, it is a field that emphasizes ‘new’ technologies (in order to establish an explicit difference with traditional art media and genres). The list of genres that are commonly subsumed under the label of New Media Art illustrates its broad scope and includes, among others, Virtual Art,〔Grau, Oliver. 2003. Virtual Art: From Illusion to Immersion. Cambridge: MIT Press.〕〔Popper, Frank. 2007. From Technological to Virtual Art. Cambridge: MIT Press.〕 Software Art,〔Broeckmann, Andreas. “Software Art Aesthetics.” In Mono 1, edited by FBAUP Porto (July 2007), 158-167.〕〔Gere, Charlie. ed. 2006. White Heat, Cold Logic: Early British Computer Art. Cambridge: MIT Press/Leonardo Books.〕〔Higgins, Hannah and Douglas Kahn. eds. 2012. Mainframe Experimentalism: Early Computing and the Foundations of the Digital Arts. Berkeley: University of California Press.〕〔Taylor, Grant D. 2014. When the Machine Made Art: The Troubled History of Computer Art. New York: Bloomsbury.〕 Internet Art,〔Greene, Rachel. 2004. Internet Art. London: Thames & Hudson.〕〔Stallabrass, Julian. 2003. Internet Art: The Online Clash of Culture and Commerce. London: Tate.〕 Game Art,〔Schwingeler, Stephan. 2014. Kunstwerk Computerspiel – digitale Spiele als künstlerisches Material: eine bildwissenschaftliche und medientheoretische Analyse. Bielefeld: transcript.〕〔Sharp, John. 2015. Works of Game. On the Aesthetics of Games and Art. Cambridge: MIT Press.〕 Glitch Art,〔Cates, Jon. “Re: Copying-IT-RIGHT-AGAIN.” In Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas, 337–345. Cambridge: MIT Press, 2013.〕〔Menkman, Rosa. 2011. The Glitch Moment(um). Amsterdam: Institute of Network Cultures.〕 Telematic Art,〔Ascott, Roy. 2003. Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness (edited by Edward A. Shanken). Berkeley: University of California Press.〕〔Grau, Oliver. “Telepräsenz. Zu Genealogie und Epistemologie von Interaktion und Simulation.” In Formen interaktiver Medienkunst. Geschichte, Tendenzen, Utopien, edited by Peter Gendolla, 19-38. Frankfurt am Main : Suhrkamp, 2001.〕〔Kac, Eduardo. 2005. Telepresence and Bio Art. Ann Arbor: University of Michigan Press Press.〕〔Goldberg, Ken. Ed. 2000. The Robot in the Garden: Telerobotics and Telepistemology in the Age of the Internet. Cambridge: MIT Press.〕 Bio Art / Genetic Art,〔Anker, Suzanne and Dorothy Nelkin. 2004. The Molecular Gaze: Art in the Genetic Age. Cold Spring Harbor, N.Y.: Cold Spring Harbor Laboratory Press.〕〔Gessert, George. 2010. Green Light: Toward an Art of Evolution. Cambridge: MIT Press.〕〔Hauser, Jens. “Bioart – Taxonomy of an Etymological Monster.” In Hybrid: Living in a Paradox. (Ars Electronica 2005), edited by Gerfried Stocker and Christiane Schöpf, 181-192. Ostfildern-Ruit: Hatje Cantz, 2005.〕〔Kac, Eduardo. ed. 2007. Signs of Life: Bio Art and Beyond. Cambridge: MIT Press.〕 Interactive Art,〔Kwastek, Katja. 2013. Aesthetics of Interaction in Digital Art. Cambridge: MIT Press.〕 computer animation〔Klütsch, Christoph. 2007. Computer Grafik: Ästhetische Experimente zwischen zwei Kulturen. Die Anfänge der Computerkunst in den 1960er Jahren. Vienna: Springer.〕〔Stocker, Gerfried and Christiane Schöpf. 2003. Code: The Language of Our Time: code=law Code=Art Code=Life (Ars Electronica Catalogue). Ostfildern-Ruit: hatje Cantz.〕 and graphics, and Hacktivism and Tactical Media. These latter two ‘genres’ in particular have a strong focus on the interplay of art and (political) activism.〔Raley, Rita. 2009. Tactical Media. Minneapolis: University of Minneapolis Press.〕〔Bazzichelli, Tatiana. 2013. Networked Disruption. Rethinking Oppositions in Art, Hacktivism and the Business of Social Networking. Aarhus: Digital Aesthetics Research Center.〕 == Resources and research projects == Since the end of the 1990s, the first online databases came into being, as exemplified by the university-based Archive of Digital Art,〔http://www.digitalartarchive.at/nc/home.html〕 Rhizome〔http://rhizome.org/〕 platform located in New York, Netzspannung〔http://netzspannung.org/〕 (until 2005), the database project Compart〔http://dada.compart-bremen.de/〕 in which early phase of Digital Art is addressed, and the collaborative online platform Monoskop.〔http://monoskop.org/Monoskop〕 In terms of institutional resources, Media Art Histories spans diverse organisations, archives, research centres as well as private initiatives. Already at this early stage in the development of the field, the actors of Media Art Histories were connected by way of digital communication, especially by so-called mailing lists such as NetTime or Rohrpost, both channels of communication that remain prime resources for the New Media Art community. In the last few years, there was a significant increase of festivals and conferences dedicated to New Media Art, though the dominant festivals in the field continue to be the Ars Electronica, the Transmediale, the ISEA (Inter-Society for the Electronic Arts), and SIGGRAPH (Special Interest Group on Graphics and Interactive Techniques). To this day, museums and research facilities specializing in New Media Art are the exception. Nevertheless, ZKM (Zentrum für Kunst und Medientechnologie) or specific focuses in collections (including the Whitney Museum, the New York Museum of Modern Art, or the Walker Art Center) serve as important spaces for exchange. Beyond museums that reach a wider audience, there are more and more smaller museums and galleries that focus on New Media Art (such as the Berlin-based DAM – Digital Art Museum). Additionally, archives in which are exhibited artefacts situated at the intersection of the histories of media, art, and technology are important resources, including collections such as that of Werner Nekes or those cabinets of wonder and curiosity incorporated in art history museums. Even given this increase in festivals, however, a variety of significant research initiatives have been discontinued. These include the Ludwig Boltzmann Institute for Media.Art.Research, the Daniel Langlois Foundation for Art, Science and Technology,〔http://www.fondation-langlois.org/html/e/〕 and Media Art Net. This difficulty in establishing sustainable funding structures as well as support for access to shared data for the scientific research of New Media Art was made public and addressed by the (Liverpool Declaration ). Scholars and artists based at institutions all over the globe signed the Declaration in a call to develop systematic strategies to fulfill the task that digital culture and its research demands in the 21st Century. Emerging from the Liverpool Declaration, the biannual conference series Media Art History – International Conference on the Histories of Media Art, Science and Technology (established in 2005) attempts to foster the exchange between these different disciplines and their various actors. To date, the conference took place six times with Re-fresh (Banff 2005), Re-place (Berlin 2007), Re-live (Melbourne 2009), Re-wire (Liverpool 2011), Re-new (Riga 2013), Re-create (Montreal 2015). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Media Art Histories」の詳細全文を読む スポンサード リンク
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