In Biopolitical Screens, Pasi Väliaho charts and conceptualizes the imagery that composes our affective and conceptual reality under twenty-first-century capitalism. Väliaho investigates the role screen media play in the networks that today harness human minds and bodies—the ways that images animated on console game platforms, virtual reality technologies, and computer screens capture human potential by plugging it into arrangements of finance, war, and the consumption of entertainment.
The sonic has come to occupy center stage in the arts and humanities. In the age of computational media, sound and its subcultures can offer more dynamic ways of accounting for bodies, movements, and events. In The Rhythmic Event, Eleni Ikoniadou explores traces and potentialities prompted by the sonic but leading to contingent and unknowable forces outside the periphery of sound. She investigates the ways in which recent digital art experiments that mostly engage with the virtual dimensions of sound suggest alternate modes of perception, temporality, and experience.
In Relive, leading historians of the media arts grapple with this dilemma: how can we speak of “new media” and at the same time write the histories of these arts? These scholars and practitioners redefine the nature of the field, focusing on the materials of history—the materials through which the past is mediated. Drawing on the tools of media archaeology and the history and philosophy of media, they propose a new materialist media art history.
Thanks to advances in molecular science and microscopy, we can visualize matter on a nanoscale, and structures not visible to the naked eye can be visualized and characterized. The fact that technology allows us to transcend the limits of natural perception and see what was previously unseeable creates a new dimension of aesthetic experience and practice: molecular aesthetics. This book, drawing on an exhibit and symposium at ZKM | Center for Art and Media Karlsruhe, documents aesthetic developments in what Félix Guattari called the “molecular revolution.”
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.
Today almost every aspect of life for which data exists can be rendered as a network. Financial data, social networks, biological ecologies: all are visualized in links and nodes, lines connecting dots. A network visualization of a corporate infrastructure could look remarkably similar to that of a terrorist organization. In An Aesthesia of Networks, Anna Munster argues that this uniformity has flattened our experience of networks as active and relational processes and assemblages.
Contemporary artists beginning with Guy Debord and Richard Long have returned again and again to the walking motif. Debord and his friends tracked the urban flows of Paris; Long trampled a path in the grass and snapped a picture of the result (A Line Made by Walking). Mapping is a way for us to locate ourselves in the world physically, culturally, or psychologically; Debord produced maps like collages that traced the “psychogeography” of Paris.
Digital technologies offer the possibility of capturing, storing, and manipulating movement, abstracting it from the body and transforming it into numerical information. In Moving without a Body, Stamatia Portanova considers what really happens when the physicality of movement is translated into a numerical code by a technological system.
In this groundbreaking study, first published in 1983 and unavailable for over a decade, Linda Dalrymple Henderson demonstrates that two concepts of space beyond immediate perception—the curved spaces of non-Euclidean geometry and, most important, a higher, fourth dimension of space—were central to the development of modern art. The possibility of a spatial fourth dimension suggested that our world might be merely a shadow or section of a higher dimensional existence.
This book grew out of Yvonne Spielmann’s 2005–2006 and 2009 visits to Japan, where she explored the technological and aesthetic origins of Japanese new-media art--which was known for pioneering interactive and virtual media applications in the 1990s.