Ryszard W . Kluszczyński
The University of Lodz, New media and digital culture, Department Member
- New Media Art, Contemporary Art, Media and Cultural Studies, Experimental Film, Video Art, Communication, and 75 moreNew Media Theory and Design, Interactive Arts, Avant-Garde, Digital Media Art, Digital Humanities, Public Art, Multimedia and Art Design, Posthumanism, Expanded Cinema, Art and Science, Art and technology, Participatory Mobile Filmmaking, Critical Theory, Media Studies, New Media, Cultural Theory, Digital Media, Photography, Art Theory, Installation Art, Visual Culture, Performance Art, Media Arts, Experimental Media Arts, Cultural Studies, Media Art, Bioart, NanoArt, Transmedia, Digital Art, Generative Art, Contemporary Arts, Interactive Art, Electronic Art, Film Eksperymentalny, Film Installations, Video Sculpture, Social Media, Culture, Humanities, Aesthetics, Robotic Art, Multimedia, Conceptual Art, Avant-Garde Cinema, Virtual Art & Virtual Reality, Participatory Art, Hipermedia, History of Contemporary Art, Transgression in Art, Multimedia Art, Visual Arts, Digital Culture, Community Engagement & Participation, Digital Arts, Aesthetics and Politics, Game Art, Film Studies, Web 2.0, Performing Arts, Mobile and Locative Art, Interface, Media Convergence, Daniel Dennett, Eco Art, Ecocriticism, Art And Ecology, Ecocritical Theory, Curating contemporary art, Curating, Curating As Critical Practice, Museums and Curating, Curatorial Practice (Art), Gallery and Museum Management, curating, commercial galleries, and Curatorial Studies and Practiceedit
- Prof. Ryszard W. Kluszczyński, PhD, media art scholar, writer and curator. Full Professor of Media and Cultural Stu... moreProf. Ryszard W. Kluszczyński, PhD, media art scholar, writer and curator. Full Professor of Media and Cultural Studies at the University of Lodz, Poland, Chair of Department of New Media and Digital Culture. Full Professor at the Academy of Fine Arts in Lodz. Investigates the issues of new media arts and cyberculture, contemporary art theory, experimental cinema and video art, and recent art practices developing at the crossroads of art, science, technology and politics. Artistic Director of the Art and Science Meeting Program in the Center for Contemporary Art in Gdansk.edit
Research Interests: Aquatic Ecology, Installation Art, Contemporary Art, New Media Arts, Critical Animal Studies, and 15 moreTransdisciplinarity, Art and Climate Change, New Media Art & Emerging Practices, Acoustic Ecology, Ecological Art, Bruno Latour, Visual Arts, Land Art, Leonardo da Vinci, Ecocriticsm, Arts and Sciences, Anthropocene, Non-Anthropocentric Knowledge, Culture and the Anthropocene, and Art and the Anthropocene
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Research Interests: Contemporary Art, Interactive Arts, Digital Arts, New Media Art, Computer Art and Technocultures, and 11 moreAvant-Garde, Cybercultures, Artificial Intelligence (AI), Computer Art, Sztuka Współczesna, Sztuka Nowych Mediów, Awangarda, Multimedia Arts, Sztuka Multimedialna, Patrick Tresset, and Artificial Inteligence Art
Research Interests: Artificial Intelligence, Human Computer Interaction, Avant-Garde Cinema, Film Studies, Installation Art, and 29 moreContemporary Art, New Media Arts, Modern Art, Artificial Life, Video Art, Interactive and Digital Media, Interactive Arts, Sculpture, New Media Art, Avant-Garde, Experimental Theatre, 20th century Avant-Garde, Experimental Film, Film, Interactive Art, Multimedia and Art Design, Sztuka Współczesna, Rzeźba Współczesna I Nowoczesna, Sztuka Nowych Mediów, Awangarda, Film Eksperymentalny, Sztuka Wideo, Sztuka Interaktywna, Sztuka Multimedialna, Sztuka Instalacji, Robotic Art, Sztuka Filmowa, Ken Feingold, and Sztuka Robotyczna
Research Interests: Performing Arts, Performance Studies, Performance Art, Intermedia, Giorgio Agamben, and 46 moreMichel de Certeau, Expanded Cinema, Stelarc, Simon Biggs, Lynn Hershman Leeson, Sztuka Współczesna, Rozszerzona rzeczywistość, Krzysztof Wodiczko, Rzeczywistość Wirtualna, David Rokeby, Muzeum, Sztuka Nowych Mediów, Sztuka Mediów, Awangarda, Sztuka Wideo, Sztuka Interaktywna, Sztuka Awangardowa, Jeffrey Shaw, Sztuka Multimedialna, Sztuka Instalacji, Sztuka Wirtualna, Kino Rozszerzone, Sztuka Cyfrowa, Interaktywność, Rzeźba Wideo, Sztuka W Internecie, Interfejs, Przestrzeń Publiczna, Sztuka Intermedialna, Sztuka Kinetyczna, Sztuka Mediów Elektronicznych, Luc Courchesne, Hipertekst, Ken Feingold, Rzeczywistość Poszerzona, Sztuka Cybernetyczna, Sztuka w przestrzeni publicznej, Wideo Interaktywne, Grahame Weinbren, Sztuka hipertekstualna, Seiko Mikami, George Legrady, Baza Danych W Sztuce, Sztuczna Inteligencja W Sztuce, Rzeczywistość Mieszana, and Sztuka Performatyczna
Research Interests: Digital Humanities, Installation Art, Contemporary Art, Performance Art, Computer Arts, and 27 moreInteractive Arts, Digital Arts, New Media Art, Computer Art and Technocultures, Digital Art, Interactive Art, Robotics, Computer Vision, Artificial Intelligence, Robert Rauschenberg, Computer Art, Computer Art, Information Aesthetics, Performative Installation, Jean Tinguely, Sztuka Współczesna, Experiments in Art and Technology (E.A.T.), Performative Spaces, Sztuka Nowych Mediów, Sztuka Awangardowa, Sztuka Multimedialna, Sztuka Instalacji, Robotic Art, Sztuka Hybrydyczna, Sztuka Cyfrowa, Sztuka Komputerowa, Nicolas Schöffer, Sztuka Robotyczna, Billy Klüver, and Bill Vorn
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The book of papers on the work of Oron Catts and Ionat Zurr, artists forming the Tissue Culture & Art Project. Particular chapters analyses different issues, like artistic, ethical, philosophical of their art as well as problems related... more
The book of papers on the work of Oron Catts and Ionat Zurr, artists forming the Tissue Culture & Art Project. Particular chapters analyses different issues, like artistic, ethical, philosophical of their art as well as problems related to posthumanistic contexts of bio- and biotech art and the relationships between art and science.
Research Interests: Applied Ethics, Installation Art, Contemporary Art, Posthumanism, Biotechnology, and 20 moreNew Media Performance and Installation, Bioart, Art and Science, Etics, Bioetyka, Etyka, Sztuka Współczesna, The Tissue Culture and Art Project, Oron Catts, Ionat Zurr, Bioarts, Posthumanizm, Sztuka Nowych Mediów, Sztuka Awangardowa, Sztuka Instalacji, Biotechart, Rzeżba, SymbioticA, Semi-Living Art, and Etyka W Sztuce
Research Interests: Cultural Studies, Contemporary Art, Posthumanism, Cultural Theory, Digital Culture, and 14 moreCulture Studies, Art and Science, Transhumanism, New Media Art, Cybercultures, Art & Science, Third Culture, Cyberkultura, Sztuka Współczesna, Posthumanizm, Transhumanizm, Sztuka Nowych Mediów, Trzecia Kultura, and Sztuka I Nauka
Research Interests: Cultural Studies, Virtual Reality (Computer Graphics), Virtual Environments, Contemporary Art, Interactive Arts, and 11 moreVirtual Art & Virtual Reality, Augmented Reality Art, New Media Art, Wolfgang Strauss, Sztuka Współczesna, Rozszerzona rzeczywistość, Rzeczywistość Wirtualna, Sztuka Nowych Mediów, Sztuka Interaktywna, Monika Fleischmann, and Sztuka Cyfrowa
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Research Interests: Installation Art, Multimedia, Video Art, Interactive Arts, Internet Art, and 12 moreNew Media Art, Computer Art and Technocultures, Multimedia and Art Design, Multimedia Design, Interactivity, Sztuka Współczesna, Miroslaw Rogala, Sztuka Nowych Mediów, Sztuka Interaktywna, Sztuka Awangardowa, Sztuka Multimedialna, and Sztuka Instalacji
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Research Interests: Internet Art, Net Art, Stelarc, ORLAN, Tożsamość, and 19 moreGlobalizacja, Cyberkultura, Lynn Hershman Leeson, Sztuka Współczesna, Ponowoczesność, Rozszerzona rzeczywistość, Rzeczywistość Wirtualna, Miroslaw Rogala, Sztuka Nowych Mediów, Sztuka Interaktywna, Sztuka Awangardowa, Społeczeństwo Informacyjne, Sztuka Multimedialna, Sztuka Instalacji, Interaktywność, Pluralizm Kulturowy, Dekonstrukcja, Sztuka W Cyberkulturze, and Sztuka W Internecie
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Research Interests: Intermediality, Multimedia, Video Art, Film, Jean-Luc Godard, and 18 moreExpanded Cinema, Peter Greenaway, Stan Brakhage, Andy Warhol, Rzeczywistość Wirtualna, Sztuka Konceptualna, Film Strukturalny, Film Awangardowy, Film Eksperymentalny, Sztuka Wideo, Sztuka Multimedialna, Sztuka Instalacji, Kino Rozszerzone, Interaktywność, Rzeźba Wideo, Kino Elektroniczne, Zbigniew Rybczyński, and Narracja Nielinearna
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Christa Sommerer’s and Laurent Mignonneau’s oeuvre represents one of the most important chapters in the recent history of progressive art and one of the most relevant examples of today’s artistic avant-garde. In this paper, I will... more
Christa Sommerer’s and Laurent Mignonneau’s oeuvre represents one of the most important chapters in the recent history of progressive art and one of the most relevant examples of today’s artistic avant-garde. In this paper, I will examine up close a number of these works, selected from among the
broad spectrum of pieces the pair has produced during thirty years of shared artistic activity to identify the sources of their exceptional artistic value and show how these two artists address in their work issues of particular
relevance to the world of today. I will tie together my reflections on individual pieces to provide a holistic view of Mignonneau and Sommerer’s art. However, to analyze and interpret these works with due regard for their overall complexity, I will identify and describe several critical artistic, theoretical and philosophical contexts expressed in them. I will also attempt to identify, indicate, and characterize the properties and tendencies that produce these contexts and play a key role in Sommerer’s and Mignonneau’s art.
It is only by combining these two perspectives — one focused on individual works of art and their properties, the other directing attention to the relations linking the works with broader processes—that we can grasp the specificity of this oeuvre as a whole.
The overarching framework for all contexts reflected in this oeuvre is new media art. Mignonneau’s and Sommerer’s work essentially falls entirely within this #eld. My definition of new media art — a vast and internally diverse current in contemporary art that has been developing since the early 1950s — situates it at the intersection of three defining aspects: new-mediality, transmediality, and transdisciplinary. These aspects will provide the primary contexts guiding my considerations here, both in themselves and as sources of other essential frames of reference.
broad spectrum of pieces the pair has produced during thirty years of shared artistic activity to identify the sources of their exceptional artistic value and show how these two artists address in their work issues of particular
relevance to the world of today. I will tie together my reflections on individual pieces to provide a holistic view of Mignonneau and Sommerer’s art. However, to analyze and interpret these works with due regard for their overall complexity, I will identify and describe several critical artistic, theoretical and philosophical contexts expressed in them. I will also attempt to identify, indicate, and characterize the properties and tendencies that produce these contexts and play a key role in Sommerer’s and Mignonneau’s art.
It is only by combining these two perspectives — one focused on individual works of art and their properties, the other directing attention to the relations linking the works with broader processes—that we can grasp the specificity of this oeuvre as a whole.
The overarching framework for all contexts reflected in this oeuvre is new media art. Mignonneau’s and Sommerer’s work essentially falls entirely within this #eld. My definition of new media art — a vast and internally diverse current in contemporary art that has been developing since the early 1950s — situates it at the intersection of three defining aspects: new-mediality, transmediality, and transdisciplinary. These aspects will provide the primary contexts guiding my considerations here, both in themselves and as sources of other essential frames of reference.
Research Interests: Performing Arts, Installation Art, Contemporary Art, Genetic Algorithms, Embodiment, and 12 moreGenerative Art, Interactive Arts, Augmented Reality Art, New Media Art, Avant-Garde, Visual Arts, Neo-Avant-Garde, Immersive Environments, Laurent Mignonneau, Christa Sommerer, Artificial Life Art, and Installation Art: Immersive
Research Interests: Art Theory, Contemporary Art, Transdisciplinarity, New Media Art & Emerging Practices, New Media Art, and 12 moreArtistic Research, Avant-Garde, Visual Arts, Gyorgy Kepes, Arts and Sciences, C.P. Snow, Stefan Themerson, History of Art Institutions, Sciart, Franciszka Themerson, Science Gallery Dublin, and Transdisciplinary Art
In this article, I discuss the art of Luz María Sánchez, proposing to approach it through the conceptual category of what I term a collection or multiform artwork. I characterize the central themes of her work – violence, death and loss –... more
In this article, I discuss the art of Luz María Sánchez, proposing to approach it through the conceptual category of what I term a collection or multiform artwork. I characterize the central themes of her work – violence, death and loss – and highlight the most important characteristics of her artworks, which include multiformity, fluidity, transgressiveness, transdisciplinarity, participativeness and interactivity. I likewise focus on her art’s status as artistic research and its structural and material grounding in databases and collections, as well as on its use in the context of the visual arts of sound, ethnographic research, cybercartography, subversivity and found objects. I explain how Sánchez’s art is research-interventionist in nature: she analyses social events, processes and various forms of power, focusing in particular on different forms of violence. Her works emerge from research-analytical activities based on the materials she collects and the databases she builds, which serve as the foundation for the resulting artworks. Sánchez’s political interests are an expression of indignation and concern at the same time; they express both an activist stance and ethical commitment. In her art, she addresses the fate of Mexican society which has been abandoned by state authorities and left to the mercy of drug cartels and gangs. At the same time, she develops her own personal discourse in the works she creates, discreetly telling her own story which is intertwined with the history of contemporary Mexico. Her works/collections depict a landscape after a catastrophe, expressing a sense of hopelessness and loss. At the same time, however, they paradoxically initiate or promote actions and tactics of resistance
Research Interests: Installation Art, Contemporary Art, New Media Arts, Interactive Arts, Mexican Art, and 15 moreDigital Arts, Artistic Research, Arts-Based Research, Sound Art, Art and Activism, Art and Violence, Subversive Art, Socially Engaged Art, Collaborative and Participatory Arts, Protest Art, Art and Resistance, Transdisciplinary Art, Sound Art in Mexico, Database Art Practices, and Artivism in Latin America
Research Interests: Arts Education, Transdisciplinarity, Participatory Culture, Media Art, Bioart, and 15 moreArt and Science, Interactive Arts, Virtual Art & Virtual Reality, Internet Art, Critical Art, Digital Arts, New Media Art, Art and Activism, Bauhaus, Participatory and Relational Arts, Migratory Aesthetics, Post-Internet Art, Sciart, Transdisciplinary Art, and Luz Maria Sanchez
Contemporary art more and more frequently takes the form of a visual or audiovisual event rather than a permanent, stable object – an artefact. Today we increasingly encounter alongside film, the first artistic medium based on moving... more
Contemporary art more and more frequently takes the form of a visual or audiovisual event rather than a permanent, stable object – an artefact. Today we increasingly encounter alongside film, the first artistic medium based on moving images, and its continuation – video, various forms of interactive media. As a result of the coexistence of these media, the temporal dimension of the work-event assumes one of two forms. In the first form, the work is linear in structure. Its time span poses a challenge to the traditional relationship between the addressee and the work of art. The addressee should in this case be aware of and accept the fact that it is not he or she who determines the time frame needed to experience a work of art, but rather the work itself. That failure in respect to this principle robs him or her of the possibility of truly experiencing the work. This challenge is one of acceptance and adaptation. In the second form, the work is nonlinear in structure. Here the temporal relationship between viewers and the work is determined by their mutual relations – that is, through a process of interaction. It is this interaction – with the event replacing the objective artefact – that in fact constitutes the experience of the work. In this case, the addressee's attitude cannot be reduced to a simple reaction to the temporal form of the work. But it is also not solely dependent on his or her decisions. It is the result of mutual cooperation between the two sides – the addressee and the work. This challenge is one of participation and cooperation. While the first type of work has found a home in the museum world thanks to the process of videofication the art world has been undergoing since the mid-1990s, pioneers of which include Nam June Paik, Bill Viola and Matthew Barney. The second type has only just begun to make its way into museums. In this chapter, I intend to propose a typology of interactive film and consider how the fates of these different varieties are tied to the institution of the museum, as well as what other environments could serve as a space for presenting it.
Research Interests: Avant-Garde Cinema, Film Studies, Film Theory, Museum Studies, Installation Art, and 16 moreFilm Analysis, Digital Cinema, Interactive Narrative, Interactive and Digital Media, Interactive Media, Interactive Arts, Digital Arts, Cinema, Film Aesthetics, Digital Art, Interactive Multimedia, Interactive Art, Film and Media Studies, Audiovisual Art, Cinema Studies, and Interactive Documentary
I analyse five forms of images: electronic, digital, interactive, networked and living, all of which challenge traditional descriptions and expectations. I analyse them from the technical-ontological, phenomenological and cultural... more
I analyse five forms of images: electronic, digital, interactive, networked and living, all of which challenge traditional descriptions and expectations. I analyse them from the technical-ontological, phenomenological and cultural perspective to demonstrate different ways in which they discuss and deconstruct the notion of an image. Finally, I try to propose a new context for understanding the discussed forms of new imagery, i.e. the context of post-imagery.
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Research Interests: Installation Art, Contemporary Art, Interactive Narrative, Interactive Arts, Augmented Reality Art, and 11 moreNew Media Art, Avant-Garde, Interactive cinema, Sztuka Współczesna, Sztuka Nowych Mediów, Awangarda, Sztuka Interaktywna, Sztuka Instalacji, Luc Courchesne, Immersive Art, and Narracja Interaktywna
Interactive art does not have just one clearly specifi ed beginning. Problems encountered by researchers who attempt to collect its basic features and define the concept are caused by the number and variety of events and tendencies that... more
Interactive art does not have just one clearly specifi ed beginning. Problems encountered
by researchers who attempt to collect its basic features and define the concept
are caused by the number and variety of events and tendencies that underlie interactive
art. These phenomena affected the conditions of its birth, they influenced the
selection of basic attributes, and they determined the dynamics and directions of
its development. It could be assumed that as a result of this complex genesis, the
history of interactive art does not lie in linear order but follows several individual
paths, usually parallel and entangled in some areas. As a result, it takes on the form
of a complex, multidimensional system. The multitude of beginnings implies a multiplicity of histories. Consequently, we have a number of histories of interactive
art, complementary and sometimes conflicting. Their shared map takes on the form
of a continent with ragged contours, blurred borders, perhaps even with the shape
of an archipelago or a form of a rhizome — because of its mobility, changeability,
and vagueness of contours — which may only be described temporarily and in movement, never definitely. I would like to call it a rhizomatic archipelago. The history of
interactive art mirrors its characteristic features in a very intriguing way: nonlinear
construction, fluidity, transformation in many planes and directions, open architecture,
and the multitude of perspectives, occurring in configurations that are always
individualized.
I shall take on the job of archeologist and cartographer to describe this complex
phenomenon in order to distinguish several areas: the most important sources of
interactive art in my opinion and the outline of their mutual map. Then I will identify
and describe the most significant artistic achievements that began shaping the different
tendencies in interactive art and the various sources they developed from, describe
the factors and properties of each of these courses, provide the key to the matrices for
artworks that were created in their influence, and bring together the interactive situations
characteristic of all of them, thus determining the areas of interactive artistic
activities.
by researchers who attempt to collect its basic features and define the concept
are caused by the number and variety of events and tendencies that underlie interactive
art. These phenomena affected the conditions of its birth, they influenced the
selection of basic attributes, and they determined the dynamics and directions of
its development. It could be assumed that as a result of this complex genesis, the
history of interactive art does not lie in linear order but follows several individual
paths, usually parallel and entangled in some areas. As a result, it takes on the form
of a complex, multidimensional system. The multitude of beginnings implies a multiplicity of histories. Consequently, we have a number of histories of interactive
art, complementary and sometimes conflicting. Their shared map takes on the form
of a continent with ragged contours, blurred borders, perhaps even with the shape
of an archipelago or a form of a rhizome — because of its mobility, changeability,
and vagueness of contours — which may only be described temporarily and in movement, never definitely. I would like to call it a rhizomatic archipelago. The history of
interactive art mirrors its characteristic features in a very intriguing way: nonlinear
construction, fluidity, transformation in many planes and directions, open architecture,
and the multitude of perspectives, occurring in configurations that are always
individualized.
I shall take on the job of archeologist and cartographer to describe this complex
phenomenon in order to distinguish several areas: the most important sources of
interactive art in my opinion and the outline of their mutual map. Then I will identify
and describe the most significant artistic achievements that began shaping the different
tendencies in interactive art and the various sources they developed from, describe
the factors and properties of each of these courses, provide the key to the matrices for
artworks that were created in their influence, and bring together the interactive situations
characteristic of all of them, thus determining the areas of interactive artistic
activities.
Research Interests: Artificial Intelligence, Installation Art, Contemporary Art, New Media Arts, Performance Art, and 15 moreMedia Arts, Video Art, Participation, Interactive Arts, Environmental Art, New Media Art, Conceptual Art, Avant-Garde, Visual Arts, Kinetic Art, Interactivity, Action Art, Assamblage Art, Sztuka Współczesna, and Sztuka Instalacji
Modern world has a complex and multidimensional character. This is largely due to such factors as globalization processes that lead to cultural hybridization. The artists who work in this context, in response to its challenges, provide... more
Modern world has a complex and multidimensional character. This is largely due to such factors as globalization processes that lead to cultural hybridization. The artists who work in this context, in response to its challenges, provide their audience with equally hybrid transmedia forms. They cross the borders of art disciplines as well as the borders between art and existence. Taking the art of Douglas Davis, Sanja Iveković, Antoni Mikołajczyk, Józef Robakowski, Zygmunt Rytka, Anna Konik, and Yumi Machiguchi as examples, the paper presents the artistic tendencies which develop in between various environments, the tendencies within which art takes on nomadic character, resigning from permanent location so as to seemingly become aesthetically homeless. It is in this that art finds its power of character, its clarity of artistic gesture, its energy, values and sense, and-paradoxically-its own place: always in between.
Research Interests: Globalization, Photography, Globalisation and cultural change, Installation Art, Contemporary Art, and 15 moreHybridity, Performance Art, Performativity, Video Art, Nomadic Art, Media Art, Telematic Art, Hybrid Art, Transmedia, Transgression, Transgression in Art, In-betweenness, Transmediality, Video Art In Poland, and Transmedia Art
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In this article I am considering the situation of interactivity and interactive film in the institutional context of the cinema that is outlined by the rules of cinematographic industry. I draw attention to the fact that despite the... more
In this article I am considering the situation of interactivity and interactive film in the institutional context of the cinema that is outlined by the rules of cinematographic industry. I draw attention to the fact that despite the ongoing digitalization in all cinematographic areas: production, distribution, presentation, and reception, interactivity is seen as a non-film feature and, as a consequence, it is marginalized. Cinematography opens up to any digital technological innovations that do not violate a standard model of film experience. Interactivity is seen here as a feature of games and not of films. An interactive film that is thrown to the periphery of institutionalized cinema, becomes a phenomenon of audiovisual avant-garde that is a common part of both cinema and art.
Research Interests: Participatory Media, Contemporary Art, Visual Culture, Hybridity, Digital Cinema, and 15 moreParticipatory Culture, Interactive Media, Interactive Arts, Film and Video Art, Hybrid Art, Visual Arts, Film and Media Studies, Computer Games, Cinema Studies, Transmedia, Digital Cinematography, Participatory and Relational Arts, Interactive Film, Interactive cinema, and Art and Film
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Research Interests: Aesthetics, Performing Arts, Art, Art Theory, Installation Art, and 32 moreContemporary Art, Hybridity, Collaboration, Transdisciplinarity, Participation, Bioart, Art and Science, Sculpture, Hybrid Art, Artistic Research, Avant-Garde, Visual Arts, Cooperation, Empathy, Multimedia and Art Design, Contemporary Sculpture, Tissue culture, Irony, radical politics in Live Art Performance and Performance Art, Participatory and Relational Arts, Artscience, Intermedia Art, The Tissue Culture and Art Project, Oron Catts, Ionat Zurr, Semi Living, Ethics In Art, Multimedia Arts, Biotechart, Extended Body, Interdyscyplinarity, and Semi-Living Sculpture
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In this paper, new media art, which is fundamentally associated with technology and science, will be discussed as a contemporary form of artistic avant-garde. In my argument, I will focus on its connections to earlier manifestations of... more
In this paper, new media art, which is fundamentally associated with technology and science, will be discussed as a contemporary form of artistic avant-garde. In my argument, I will focus on its connections to earlier manifestations of avant-garde mindsets and attitudes, that is, to
historical avant-garde and neo-avant-garde. I will also address the role of the art world and its institutions in establishing their mutual relationships.
historical avant-garde and neo-avant-garde. I will also address the role of the art world and its institutions in establishing their mutual relationships.
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Research Interests: Avant-Garde Cinema, Film Studies, Experimental Media Arts, Media Arts, Interactive Narrative, and 18 moreInteractive and Digital Media, Interactive Arts, New Media Art, Visual Arts, 20th century Avant-Garde, Experimental Film, Film, Expanded Cinema, Visual Art, Interactive cinema, Experimental Film and Video, Nonlinearity, Avant Garde Film, Zbig Rybczynski, Film Discourse, Nonlinear Discours, Nonlinear Art, and Nonliner Cinema
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Research Interests: Computer Vision, Installation Art, Contemporary Art, Computer Networks, Performance Art, and 18 moreLabyrinths, Performance, Interface Design, Mobile and Locative Art, Internet Art, Digital Arts, New Media Art, Computer Art and Technocultures, Avant-Garde, Rhizomes, Visual Arts, Digital Art, Interactive Art, Computer Art, Performance Art and Public Spaces, Interface, Participatory Art, and Multimedia Art
Research Interests: Installation Art, Multimedia, Media Arts, Video Art, Contemporary Arts, and 11 moreVirtual Art & Virtual Reality, New Media Art, Video Installation, Environment (Art), Interactive Art, Multimedia and Art Design, History of Contemporary Art, Hipermedia, Multimedia Arts, Film Installations, and Video Sculpture
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Research Interests: Art History, Avant-Garde Cinema, Film Studies, Experimental Media Arts, Media Arts, and 21 moreDigital Culture, Media Art, Interactive Arts, Digital Arts, New Media Art, Avant-Garde, Russian avant-garde art, Digital Art, 20th century Avant-Garde, Experimental Film, Stan Brakhage, European Avant Garde, Structural-Materialist Film, Lev Kuleshov, Structural Film, 20th Century Art, Collaboration in Art, Avant Garde Film, Zbig Rybczynski, Interactive collaboration, and Cooperation in Art
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Research Interests: Installation Art, Contemporary Art, Samuel Beckett, Light & Space (Art), New Media Art, and 12 moreExperimental Film, Expanded Cinema, Ólafur Elíasson, Sztuka Współczesna, James Turrell, Sztuka Nowych Mediów, Avant Garde Film, Sztuka Instalacji, Rafael Lozano-Hemmer, Luminism, Luz Maria Sanchez, and Sztuka światła
Research Interests: Installation Art, Social Networking, Contemporary Art, Hybridity, Augmented Reality, and 15 moreComputer Arts, Augmented Reality Art, Mobile and Locative Art, Digital Arts, New Media Art, Artistic Research, Avant-Garde, Interactive Art, Curating interactive and new media art, Curating contemporary art, Hybrid Arts, Collaborative and Participatory Arts, Multimedia Art, Curating in New Media, and masaki fujihata
Research Interests: Performing Arts, Contemporary Art, Transdisciplinarity, Artistic Research, Visual Arts, and 15 moreArt and Politics, Mieke Bal, Community Art, Arts and Sciences, Sztuka Współczesna, Anna Baumgart, Sztuka Wspólnotowa, Sztuka I Nauka, Transdisciplinary Art, Sztuki wizualne, transdyscyplinarność , Luz Maria Sanchez, Anna Konik, Sztuka Transdyscyplinarna, and Sztuka i Polityka
Research Interests: Contemporary Art, Computer Animation, Performance Art, Interactive Arts, Augmented Reality Art, and 12 moreMobile and Locative Art, Digital Arts, New Media Art, Community Art, Computer Art, Participatory and Relational Arts, Sztuka Współczesna, Sztuka Nowych Mediów, Sztuka Interaktywna, Sztuka Instalacji, masaki fujihata, and sztuka lokacyjna
Research Interests: Contemporary Art, Community Engagement & Participation, Working Memory, Interactive Arts, Commemoration and Memory, and 15 moreAugmented Reality Art, Mobile and Locative Art, Collective Memory, New Media Art, Memory, Participatory and Relational Arts, Postmemory, Sanja Ivekovic, Krzysztof Wodiczko, Prosthetic Memory, masaki fujihata, Living monument, Postmemory and Art, anti-monument, and meta-monument
I am presenting the project Art & Science Meeting, carried out by the Laznia Centre for Contemporary Art in Gdansk since the beginning of 2011 (I developed the concept in autumn 2010 and run until now), by first discussing its... more
I am presenting the project Art & Science
Meeting, carried out by the Laznia Centre for Contemporary
Art in Gdansk since the beginning of 2011
(I developed the concept in autumn 2010 and run until now), by first discussing
its framework and the context which shaped
it, then describing its essential characteristics and,
finally, up-to-date history and completed projects.
Meeting, carried out by the Laznia Centre for Contemporary
Art in Gdansk since the beginning of 2011
(I developed the concept in autumn 2010 and run until now), by first discussing
its framework and the context which shaped
it, then describing its essential characteristics and,
finally, up-to-date history and completed projects.
Research Interests: Creativity studies, Installation Art, Contemporary Art, Bioart, Interactive Arts, and 15 moreAugmented Reality Art, Digital Arts, Artificial Inteligence, NanoArt, Stelarc, Arts and Sciences, Cyborgs, Laurent Mignonneau, Christa Sommerer, Curating contemporary art, Artificial Life Art, Sciart, Robotic Art, Ken Feingold, and masaki fujihata
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Research Interests: Artificial Intelligence, Performing Arts, Installation Art, Contemporary Art, New Media Performance and Installation, and 19 moreArt and Science, Interactive Arts, Sculpture, New Media Art, Visual Arts, Robotics, Computer Vision, Artificial Intelligence, Computer Art, Interactive / Reactive Sculpture, Sound Sculptures, Installation Art, Video Art, Live Video Mixing, Motion tracking, HCI, Interactive / Reactive Lighting, Sztuka Współczesna, Sztuka Nowych Mediów, Sztuka I Nauka, Sztuka Interaktywna, Sztuka Multimedialna, Sztuka Instalacji, Robotic Art, Sztuka Hybrydyczna, Sztuka Komputerowa, Ken Feingold, and Sztuka Robotyczna
Podejmuję w tekście analizę sztuki protestu, ujmując ją w dwojakiej perspektywie. W pierwszej, transhistorycznej, przyglądając się jej różnym manifestacjom, uznaję, że nie posiada ona żadnych określników gatunkowych bądź medialnych, które... more
Podejmuję w tekście analizę sztuki protestu, ujmując ją w dwojakiej perspektywie. W pierwszej, transhistorycznej, przyglądając się jej różnym manifestacjom, uznaję, że nie posiada ona żadnych określników gatunkowych bądź medialnych, które pozwoliłyby opisać ją jako odrębny gatunek sztuki. Mamy tu raczej do czynienia z protestem wyrażanym środkami sztuki. W drugiej kieruję uwagę ku współczesnym, najnowszym jej przejawom, stwierdzając, że sztuka protestu przyjmuje postać sztuki transdyscyplinarnej a jej najbardziej wyrazistym wcieleniem jest nurt bądź odmiana sztuki nowych mediów.
I analyse protest art in the paper, taking it from a twofold perspective. First, looking at its various manifestations in the first transhistorical one, it does not have any genre or media designations that would allow us to describe it as a separate art genre. Instead, we are dealing with protest expressed through the means of art. In the second, I turn my attention to its contemporary, latest manifestations, concluding that protest art takes the form of transdisciplinary art and its most prominent form is a current or variety of new media art.
I analyse protest art in the paper, taking it from a twofold perspective. First, looking at its various manifestations in the first transhistorical one, it does not have any genre or media designations that would allow us to describe it as a separate art genre. Instead, we are dealing with protest expressed through the means of art. In the second, I turn my attention to its contemporary, latest manifestations, concluding that protest art takes the form of transdisciplinary art and its most prominent form is a current or variety of new media art.
Research Interests: Contemporary Art, Social Activism, New Media Art, Arts and Sciences, Participatory and Relational Arts, and 15 moreArtivism, Occupy Movement, Transgressive Art, Sztuka Współczesna, Socially Engaged Art, Sciart, Krzysztof Wodiczko, Sztuka Krytyczna, Protest Art, Sztuka Nowych Mediów, Sztuka I Nauka, Transdisciplinary Art, Sztuka Hybrydyczna, Transmedia Art, and Luz Maria Sanchez
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The author describes the processes that are taking place in the world of contemporary artistic creation thanks to the emergence and spread of the internet as an environment for artistic practices, in particular, for the presentation of... more
The author describes the processes that are taking place in
the world of contemporary artistic creation thanks to the
emergence and spread of the internet as an environment for
artistic practices, in particular, for the presentation of art.
He looks at the changes concerning the status of a work of
art as well as the ways of making it available to the public.
He reflects on the consequences of the contemporary
networking of art – in the context of the transformations
of art that are unfolding as a result of ever changing and
developing technologies and media, and in relation to
the concepts of Walter Benjamin and Bill Nichols. Three
concepts of the artwork emerging from the processes
indicated here are presented: the mediated, the replaced,
and the multiplied artwork. The COVID-19 pandemic
provides an additional context for considerations.
the world of contemporary artistic creation thanks to the
emergence and spread of the internet as an environment for
artistic practices, in particular, for the presentation of art.
He looks at the changes concerning the status of a work of
art as well as the ways of making it available to the public.
He reflects on the consequences of the contemporary
networking of art – in the context of the transformations
of art that are unfolding as a result of ever changing and
developing technologies and media, and in relation to
the concepts of Walter Benjamin and Bill Nichols. Three
concepts of the artwork emerging from the processes
indicated here are presented: the mediated, the replaced,
and the multiplied artwork. The COVID-19 pandemic
provides an additional context for considerations.
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Podejmuję tu rozważania nad sztuką nowych mediów, rozwijającą się dynamicznie w ciągu ostatniego półwiecza. Analizuję jej koncepcję, a następnie przeobrażenia, od formy początkowej, wyłaniającej się w rezultacie wprowadzenia nowych mediów... more
Podejmuję tu rozważania nad sztuką nowych mediów, rozwijającą się dynamicznie w ciągu ostatniego półwiecza. Analizuję jej koncepcję, a następnie przeobrażenia, od formy początkowej, wyłaniającej się w rezultacie wprowadzenia nowych mediów jako narzędzi pracy twórczej w pole sztuki, przez fazę postmedialną, w ramach której sztuki starych i nowych mediów technicznych integrują się z tradycyjnymi dziedzinami sztuki, aż po współczesną fazę transdyscyplinarną, w której zintegrowane na poprzednim etapie intermedia artystyczne wchodzą w twórcze interakcje z innymi, pozaartystycznymi dziedzinami praktyk społecznych: nauką, humanistyką, polityką, aktywizmem społecznym, tworząc artystyczne formy transmedialne. Prezentuję aktualną sztukę nowych mediów jako pole rozpostarte w szczególności między SciArt a sztuką krytyczną.
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Sztuka wideo-od rozproszonej autonomii do rozproszonej wszechobecności. Wprowadzenie do historii i estetyki sztuki wideo. Modele wideo Zasadniczym celem podjętych tu rozważań jest ogólne, wstępne określenie ram i kontekstów, w których... more
Sztuka wideo-od rozproszonej autonomii do rozproszonej wszechobecności. Wprowadzenie do historii i estetyki sztuki wideo. Modele wideo Zasadniczym celem podjętych tu rozważań jest ogólne, wstępne określenie ram i kontekstów, w których kształtowała się sztuka wideo, wskazanie związanych z nimi podstawowych jej właściwości oraz pokazanie, w jaki sposób wyłaniały się one w trakcie uzyskiwania przez medium wideo statusu dyscypliny artystycznej, a następnie przekształcały, zmierzając w stronę jej dzisiejszej postaci transmedialnej. Przedmiotem refleksji jest więc tu sztuka wideo w procesie transformacji prowadzących od telewizji jako medium twórczego (model 1), poprzez video art (model 2), do wideo jako narzędzia transmedialnej wypowie-dzi artystycznej (model 3). Piszę tu o modelach, a nie fazach czy etapach, jak można by to ująć w tradycyjnej linearnej wersji historii sztuki wideo nie dlatego jedynie, że zasadniczo kwestionuję wartość poznawczą koncepcji historii jako linearnego porządkowania opisywanych zjawisk, lecz przede wszystkim ze względu na to, że wskazane formacje sztuki wideo oraz ich segmenty w różnych okresach dziejów tej sztuki rozwijały się obok siebie, równolegle, a nie w następstwie czasowym. Porządek, w jakim ustawiam w swych rozważaniach te modele ma więc charakter logiczny, a nie chronologiczny, i odwzorowuje porządek kształtowania się oraz samopoznania sztuki wideo: w pierwszym skupia się ona na własnej charakterystyce medialnej i wyprowadza swój status z analizy właściwości telewizji jako medium, pozostając zarazem w przestrzeni między sztuką a komunikowaniem społecznym; w drugim rozwija się w polu sztuki, w którym ustanawia siebie jako specyficznie autonomiczne, odrębne medium artystyczne, kształtując przy tym różne swoje odmiany; w trzecim rozwija i pogłębia relacje między sobą a różnymi innymi rodzajami sztuki, porzucając ostatecznie granice medium dla porządku transmedialnego i status odrębnej dziedziny dyscypliny dla porządku transdyscyplinarnego.
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Platforma AVIE wymyślona i stworzona w Center for Interactive Cinema Research na Uniwersytecie Nowej Południowej Walii (UNSW) w Sydney ma swoje korzenie nie tylko we współczesnych procesach ekspansji technologii cyfrowych na obszary... more
Platforma AVIE wymyślona i stworzona w Center for Interactive Cinema Research na Uniwersytecie Nowej Południowej Walii (UNSW) w Sydney ma swoje korzenie nie tylko we współczesnych procesach ekspansji technologii cyfrowych na obszary sztuki. Wyłoniła się ona bowiem także w efekcie wieloletnich eksperymentów Jeffrey’a Shawa eksplorujących artystyczne możliwości interaktywnych form panoramicznych. Odległym źródłem tych ostatnich były z kolei wczesne prace tego artysty należące do kręgu expanded cinema. Można by więc sądzić, biorąc pod uwagę źródła i finalny kontekst AVIE, że wszystkie zjawiska artystyczne powiązane z AVIE mieszczą się w rozszerzonej formule kina a samo AVIE jest jedynie najnowszą formą filmowego dyspozytywu. Tymczasem platforma AVIE okazała się nie mniej atrakcyjna dla twórców teatralnych. David Pledger oraz Wooster Group zrealizowali przy jej użyciu spektakle, które tworzą nowy format wirtualnego teatru, czy też post-teatru. Oba te dzieła: Eavesdrop (2004) i There Is Still Time … Brother (2007), spotykając się we wspólnym kontekście technologicznym wyrastają jednak z różnych źródeł estetycznych charakteryzujących postawy ich twórców. The Wooster Groop wyłania się z tradycji kinofikacji teatru, mającej swe początki w drugiej i trzeciej dekadzie dwudziestego wieku, podczas gdy spektakl Pledgera ma swoje źródła w intermedialnej i multimedialnej sztuce drugiej połowy tego samego stulecia. W podjętych tu rozważaniach przyjrzę się obu tym źródłowym kontekstom, poddam refleksji specyficzne i wspólne aspekty obu tych dzieł, zinterpretuję znaczenie technicznej, wirtualnej ramy dla ich estetycznej charakterystyki oraz dla dziedzin sztuki, które w szczególności reprezentują. Nakreślę również zarys scenariusza przyszłych wspólnych dziejów kina i teatru rozwijających się i łączących w środowisku cyfrowym. Interakcja, partycypacja i sprawczość odbiorcza grają w tym scenariuszu nadrzędną rolę.
Research Interests: Performance, The Wooster group, Panorama, Sztuka Współczesna, Sztuka Nowych Mediów, and 15 moreAwangarda, Film Awangardowy, Sztuka Interaktywna, Sztuka Awangardowa, Jeffrey Shaw, Sztuka Multimedialna, Sztuka Instalacji, Teatr Współczesny, Sztuka Cyfrowa, Sztuka Filmowa, Eksperyment W Sztuce, Kino Współczesne, Film Artystyczny, David Pledger, and Post-teatr
Research Interests: Nowe Media, Cyberkultura, Kultura Audiowizualna, Sztuka Współczesna, Rzeczywistość Wirtualna, and 15 moreSztuka Nowych Mediów, Media Sztuki, Awangarda, Sztuka Wideo, Sztuka Interaktywna, Sztuka Awangardowa, Kultura Wizualna, Wirtualność, Interaktywność, Eksperyment W Sztuce, Zwrot Cyfrowy W Humanistyce, Telewizja, Postobraz, Sztuki wizualne, and Obrazy cyfrowe
Research Interests: Film, Expanded Cinema, Gry Komputerowe, Sztuka Współczesna, Kinoautomat, and 33 moreSztuka Nowych Mediów, Film Awangardowy, Sztuka Wideo, Sztuka Interaktywna, Sztuka Awangardowa, Jeffrey Shaw, Web Cinema, Sztuka Multimedialna, Sztuka Instalacji, Kino Rozszerzone, Sztuka Cyfrowa, Kino, Narracja Nielinearna, Luc Courchesne, Kino Współczesne, Gry Wideo, Kino cyfrowe, Film Cyfrowy, Kino awangardowe, Film Interaktywny, Gry Cyfrowe, Narracja Interaktywna, Film W Internecie, Wideo Interaktywne, Grahame Weinbren, Chris Hales, The Labyrinth Project, Interaktywny Film-Performans, Interaktywna Instalacja Filmowa, Interaktywny Film-Gra, Interaktywny Film-Gra, Interaktywny Film-Gra, and Kino Lokacyjne
Autor charakteryzuje w swoim artykule kolejno pojęcie nowych mediów, sztuki nowych mediów, oraz sztuki cybernetycznej, która jest tu postrzegana jako historycznie pierwsza postać sztuki nowych mediów, posiadająca zarazem liczne... more
Autor charakteryzuje w swoim artykule kolejno pojęcie nowych mediów, sztuki nowych mediów, oraz sztuki cybernetycznej, która jest tu postrzegana jako historycznie pierwsza postać sztuki nowych mediów, posiadająca zarazem liczne kontynuacje we współczesności. Pojęcie nowych mediów autor ujmuje nie poprzez ulokowane go na linii czasu lecz jako paradygmatyczny zespół właściwości, z których nowe media korzystają. Najważniejsze z nich, to techniczny charakter, reprezentacja numeryczna, wirtualność, modularność, automatyzacja, wariacyjność, telekomunikacyjność, telematyczność, autonomiczność, cyfrowość, interaktywność, hipertekstualność, wirtualność, informacyjność, sieciowość, nielinearność i orientacja przestrzenna, nawigacyjność, strukturalne otwarcie, hybrydyczność, interfejs, konwergencja. W analogiczny sposób charakteryzowane jest tu pojęcie sztuki nowych mediów. W tym wypadku, z kolei, najważniejszymi paradygmatycznymi właściwościami okazują się techniczny i elektroniczny charakter, cyfrowość, interaktywność i sieciowość. Liczne wyodrębnione przez autora sztuki nowych mediów w zróżnicowany sposób konfigurują wskazane właściwości, łącząc je innymi, niespecyficznymi dla nowych mediów, budując w ten sposób złożony krajobraz sztuk nowomedialnych.
Research Interests: Net Art, New Media Art, Nowe Media, Sztuka Współczesna, Sztuka Nowych Mediów, and 13 moreSztuka Mediów, Awangarda, Sztuka Interaktywna, Sztuka Awangardowa, Sztuka Multimedialna, Sztuka Instalacji, Sztuka Cyfrowa, Sztuka Komputerowa, Sztuka Kinetyczna, Sztuka Mediów Elektronicznych, Media Cyfrowe, Nicolas Schöffer, and Sztuka Cybernetyczna
Research Interests: Bioart, Jean Tinguely, Sztuka Współczesna, Sztuka Nowych Mediów, Sztuka Konceptualna, and 15 moreSztuka I Nauka, Sztuka Generatywna, Sztuka Interaktywna, Sztuka Awangardowa, Sztuka Multimedialna, Sztuka Instalacji, Sztuka Hybrydyczna, Patrick Tresset, Akira Kanayama, Guy Ben-Ary, Sztuka I Estetyka Posthumanizmu, Sztuka Cybernetyczna, Sztuka Robotyczna, Sztuka Cyborgiczna, and Estetyka Transhumanistyczna
Research Interests: Tożsamość, Lynn Hershman Leeson, Sztuka Współczesna, Sanja Ivekovic, Sztuka Krytyczna, and 22 moreTożsamość W Sztuce, Anna Baumgart, Kinga Araya, Tożsamość Kulturowa, Tożsamość I Polityka, Tożsamość Ironiczna, Józef Robakowski, Tożsamość Ponowoczesna, Internet I Tożsamość, Globalizacja Kulturowa, Sztuka Nowych Mediów, Sztuka Mediów, Awangarda, Sztuka Interaktywna, Sztuka Awangardowa, Sztuka Multimedialna, Sztuka Instalacji, Sztuka Współczesna W Polsce, Sztuka, Kultura Wizualna, Sztuka W Internecie, and Internet
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Research Interests: Multimedia, Cyberpunk, Augmented Reality, Net Art, Film, and 34 moreHypermedia, Expanded Cinema, Postmodernizm, Sztuka Współczesna, Sztuka Nowych Mediów, Sztuka Mediów, Sztuka Konceptualna, Awangarda, Film Konceptualny, Sztuka Wideo, Sztuka Interaktywna, Sztuka Awangardowa, Wielka Awangarda, Sztuka Instalacji, Sztuka Wirtualna, Kino, Interaktywność, Dekonstrukcja, Interfejs, Immersja, Sztuka Filmowa, Film Eksperymentaly, Luc Courchesne, Hipertekst, Eksperyment W Sztuce, Internet, Telewizja, Grahame Weinbren, Historia Sztuki Mediów, Historia Sztuki Mediów, Historia Sztuki Mediów, Historia sztuki nowych mediów, Dyspozytyw, and Sztuka hipertekstualna
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Research Interests: Augmented Reality Art, Digital Media Art, Virtual Reality, Wolfgang Strauss, Sztuka Współczesna, and 10 moreRozszerzona rzeczywistość, Rzeczywistość Wirtualna, Sztuka Nowych Mediów, Sztuka I Nauka, Sztuka Interaktywna, Monika Fleischmann, Sztuka Multimedialna, Sztuka Instalacji, Sztuka Hybrydyczna, and Sztuka Cyfrowa
Research Interests: Laurent Mignonneau, Christa Sommerer, Sztuka Współczesna, Rozszerzona rzeczywistość, Sztuka Krytyczna, and 11 moreRzeczywistość Wirtualna, Sztuka Nowych Mediów, Sztuka I Nauka, Sztuka Interaktywna, Sztuka Multimedialna, Sztuka Cyfrowa, Sztuczne Ekosystemy, Taktylizm, Interfejs, Archeologia Mediów, and Sztuczne Zycie
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Dens l’article on essaie d'analyser la construction de l’espace dans les oeuvres littéraires et celles de film de Tadeusz Konwicki, en démontrant la dif^rentiation y surgissant, aussi bien que de construire des modèles d'espace de... more
Dens l’article on essaie d'analyser la construction de l’espace dans les oeuvres littéraires et celles de film de Tadeusz Konwicki, en démontrant la dif^rentiation y surgissant, aussi bien que de construire des modèles d'espace de la création artistique de l'auteur du Salto. Ensuite on examine les relations entre les modèles particuliers, les relations entre ceux-ci et les modèles du temps, distingués à une autre occasion et ainsi on arrive à la description des composants fondamentaux du monde présenté __ des systèmes constants d'espace, temporel.Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 zostało dofinansowane ze środków MNiSW w ramach działalności upowszechniającej nauk
Research Interests: Film, Expanded Cinema, Gry Komputerowe, Kinoautomat, Film Awangardowy, and 15 moreJeffrey Shaw, Kino Rozszerzone, Kino, Kino Współczesne, Gry Wideo, Kino cyfrowe, Film Cyfrowy, Kino awangardowe, Film Interaktywny, Gry Cyfrowe, Film W Internecie, Grahame Weinbren, Chris Hales, Interaktywna Instalacja Filmowa, and Kino Lokacyjne
Aleksandra Kaminska w monografii Polish Media Art in an Expanded Field (2016) skupia uwagę na krótkim fragmencie historii sztuki mediów w Polsce, jej pierwszym pięcioleciu po dołączeniu do Unii Europejskiej (2004-2009). Wybór ten wynika z... more
Aleksandra Kaminska w monografii Polish Media Art in an Expanded Field (2016) skupia uwagę na krótkim fragmencie historii sztuki mediów w Polsce, jej pierwszym pięcioleciu po dołączeniu do Unii Europejskiej (2004-2009). Wybór ten wynika z przekonania, że analiza tego przełomowego, zdaniem Kaminskiej, okresu w polskiej sztuce pozwala odpowiedzieć na pytania dotyczące zjawisk i procesów, które autorce wydają się nadzwyczaj ważne. Pytania te koncentrują się w szczególności na negocjacji tożsamości, demokracji, relacji między lokalnością i europejskością. W przekonaniu Kaminskiej twórcy podjęli wówczas trud przedefiniowania koncepcji polskości i jej relacji z różnie definiowanym otoczeniem (zarówno UE, jak i światem). Zasadnicza część książki składa się z pięciu rozdziałów. Autorka omawia w nich historyczne i polityczne konteksty sztuki dyskutowanego okresu, problematykę eksperymentu i historycznych tendencji awangardowych w Polsce, analizuje koncepcje sztuki mediów, obecność i znaczeni...
The term “new media art” covers numerous, diverse phenomena with their own specific properties. I will present these properties in the following discourse. The diversity within this field sometimes leads to attempts at defining new media... more
The term “new media art” covers numerous, diverse phenomena with their own specific properties. I will present these properties in the following discourse. The diversity within this field sometimes leads to attempts at defining new media art by juxtaposing its numerous types. However, such a definition renders the term meaningless, yielding in essence merely a collective term encompassing a variety of individually defined types. Moreover, it fails to provide criteria that would indicate the reasons for considering these particular types to be forms of new media art. This term should, therefore, not be defined in reference to individual media or a juxtapositioning of a number of them, but by indicating what unites them and makes them types of new media art. This requires identifying the properties that make new media “new”, that is, different from previous dominant media. The field of new media art remains unstable, constantly in a process of transformation. This is so not merely because of the emergence of new and different types of media, but also because of the transformations constantly taking place in the multidirectional relations between them, including those resulting from processes such as technological convergence, divergence, and remediation, which shape different media configurations and produce hybrid forms. At the same time, however, this fact does not mean we are dealing with a process of substitution, that newer media merely supplant those that preceded them in time and assume their position and status, thereby becoming “newer” new media. On the contrary, within certain limits defined by their properties, newer media join older forms, thus expanding the overall field of new media and deepening its internal differentiation. This is precisely what has occurred in new media art, whose individual types, although seemingly rooted in the characteristics of the new media that gave birth to them, in fact, have acquired their own character and status in relation to the overall new media environment.
The category of new media art came into general use in the mid-1990s (Tribe, Jana, 2006, 7). The forms of artistic activity associated with it, whose beginnings I trace back to the 1950s in the development of cybernetic and oscilloscope art, and in the academic and critical studies that followed these transformations in art, have their own, even longer history. The theoretical approaches to new media art developed by scholars and critics feature a relevant concepts and terminology (Burnham, 1968; Reichardt, 1971; Nake, 1974; Popper, 1975; Druckrey, 1996; Sommerer, Mignonneau, 1998; Manovich, 2001; Wilson, 2002; Tribe, Jana, 2006; Shanken, 2009), proposals for a historical ordering (Youngblood, 1970; Rush, 1999; Grau, 2003; Frieling, Daniels, 2004; Wands, 2006; Grau, 2007; Cubitt, Thomas, 2013), and monographic studies dedicated to numerous trends in and types of new media art (Franke, 1971; Kahn, 1999; Goldberg, 2000; Weibel, 2001; Ascott, 2003; Paul, 2003; Green, 2004; Kac, 2005; Dixon, Smith, 2007; Raley, 2009; Menkman, 2011). Many books on the work of selected artists and analyses of individual works have also been published. In conjunction with the development of new media art and scholarly reflection on it, a number of university courses and programmes in art colleges were established. An institutional and exhibition system also developed, supporting the production and presentation of works and the realisation of artistic and research projects (such as Ars Electronica Center, Linz; ZKM ‒ Media Art Center, Karlsruhe; InterCommunication Center, Tokyo). The first new media art exhibitions were held (Cybernetic Serendipity, 1968; Software, 1970), and new media art magazines (such as Leonardo, Neural, Artnodes), internet sites (such as Rhizome; Netzspannung.org; ADA: Archive of Digital Art) and festivals (such as Ars Electronica, Linz; European Media Art Festival, Osnabrück; Multimediale, Karlsruhe or Transmediale, Berlin) emerged. New media art thereby acquired a full-fledged institutional framework.
In the following paragraphs, I will analyse the concept and multiform phenomenon of new media art on four levels.
I will first consider it in terms of the interaction between art theory and the related conceptual understanding of this medium as an artistic discipline and a material; and media theory, and its approach to the medium as a technical means of communication. In doing so, I will make an effort to avoid privileging either of these two contexts, and explain why a definitional balance and consensus should be sought instead.
Secondly, I will point out and analyse the properties that characterise new media and new media art, and the consequences of trying to define them by assigning them a set of defining characteristics. In doing so, I will draw attention in particular to the possibilities that emerge from defining new media and new media art without placing them on a historical timeline.
Thirdly, I will provide both an overview of the history of new media art and examine the complexity and multiplicity of its types, revealing their diverse status.
Fourthly, I will highlight three basic factors of new media art: newmediality ‒ referring to the “technical-new media” properties of new media art that emerged as a result of the introduction of new technical means of communication into the field of art as tools for creative work; transmediality ‒ referring to the interaction between new and traditional media, whereby art utilising old and new technical means enter into a meaningful relationship or are even integrated into traditional fields of art, creating transmedial forms; and transdisciplinarity ‒ referring to the relations between artistic new-media and transmedia disciplines and other, non-artistic disciplines of social practice, such as science, the humanities, politics and social activism. These relationships result in the construction of transdisciplinary artistic forms.
I will also explain how changes in the hierarchy among these three factors have over time shaped new media art history. I will construct my position both through the use of and in discussion with a number of concepts found in new media art theory.
The category of new media art came into general use in the mid-1990s (Tribe, Jana, 2006, 7). The forms of artistic activity associated with it, whose beginnings I trace back to the 1950s in the development of cybernetic and oscilloscope art, and in the academic and critical studies that followed these transformations in art, have their own, even longer history. The theoretical approaches to new media art developed by scholars and critics feature a relevant concepts and terminology (Burnham, 1968; Reichardt, 1971; Nake, 1974; Popper, 1975; Druckrey, 1996; Sommerer, Mignonneau, 1998; Manovich, 2001; Wilson, 2002; Tribe, Jana, 2006; Shanken, 2009), proposals for a historical ordering (Youngblood, 1970; Rush, 1999; Grau, 2003; Frieling, Daniels, 2004; Wands, 2006; Grau, 2007; Cubitt, Thomas, 2013), and monographic studies dedicated to numerous trends in and types of new media art (Franke, 1971; Kahn, 1999; Goldberg, 2000; Weibel, 2001; Ascott, 2003; Paul, 2003; Green, 2004; Kac, 2005; Dixon, Smith, 2007; Raley, 2009; Menkman, 2011). Many books on the work of selected artists and analyses of individual works have also been published. In conjunction with the development of new media art and scholarly reflection on it, a number of university courses and programmes in art colleges were established. An institutional and exhibition system also developed, supporting the production and presentation of works and the realisation of artistic and research projects (such as Ars Electronica Center, Linz; ZKM ‒ Media Art Center, Karlsruhe; InterCommunication Center, Tokyo). The first new media art exhibitions were held (Cybernetic Serendipity, 1968; Software, 1970), and new media art magazines (such as Leonardo, Neural, Artnodes), internet sites (such as Rhizome; Netzspannung.org; ADA: Archive of Digital Art) and festivals (such as Ars Electronica, Linz; European Media Art Festival, Osnabrück; Multimediale, Karlsruhe or Transmediale, Berlin) emerged. New media art thereby acquired a full-fledged institutional framework.
In the following paragraphs, I will analyse the concept and multiform phenomenon of new media art on four levels.
I will first consider it in terms of the interaction between art theory and the related conceptual understanding of this medium as an artistic discipline and a material; and media theory, and its approach to the medium as a technical means of communication. In doing so, I will make an effort to avoid privileging either of these two contexts, and explain why a definitional balance and consensus should be sought instead.
Secondly, I will point out and analyse the properties that characterise new media and new media art, and the consequences of trying to define them by assigning them a set of defining characteristics. In doing so, I will draw attention in particular to the possibilities that emerge from defining new media and new media art without placing them on a historical timeline.
Thirdly, I will provide both an overview of the history of new media art and examine the complexity and multiplicity of its types, revealing their diverse status.
Fourthly, I will highlight three basic factors of new media art: newmediality ‒ referring to the “technical-new media” properties of new media art that emerged as a result of the introduction of new technical means of communication into the field of art as tools for creative work; transmediality ‒ referring to the interaction between new and traditional media, whereby art utilising old and new technical means enter into a meaningful relationship or are even integrated into traditional fields of art, creating transmedial forms; and transdisciplinarity ‒ referring to the relations between artistic new-media and transmedia disciplines and other, non-artistic disciplines of social practice, such as science, the humanities, politics and social activism. These relationships result in the construction of transdisciplinary artistic forms.
I will also explain how changes in the hierarchy among these three factors have over time shaped new media art history. I will construct my position both through the use of and in discussion with a number of concepts found in new media art theory.