Japanese spell in Electronic Art

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It is, in essence, in everything.

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Given this, it seems crucial that it is also accessible to all; not merely engineers, scientists, politicians and policy-makers, but also artists, commentators and the general public. There has never been a greater need for critical engagement with the role technology plays in society, but there's a corresponding problem with that engagement, as severe now as it was when CP Snow diagnosed it in the lack of understanding between the sciences and the humanities. If anything, digital technologies have rendered this problem even more acute, as the vast and smoking industrial architectures of the 20th century give way to the invisible, intangible digital architectures of the 21st.

If technological literacy is going to rise, it's going to need the help of artists to enlarge its vocabulary, and the leadership and guidance of cultural institutions to frame the discussion. Different institutions are approaching this in their own way.

This summer, the Barbican unveils its take, called Digital Revolution. The Barbican has form in this area: in , it staged the hugely popular Game On , a retrospective of video games which included everything from original Space Invaders arcade games to Grand Theft Auto. Digital Revolution aims to walk a similar line through the entire history of digital creativity, showcasing not only some of its signature events and works, but also the stories of their creators.

According to the curator Conrad Bodman, "It's not a show that just looks at contemporary art, but film, music, video games and design, the way they relate to each other, and sometimes merge into one.

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A section called We Create encompasses early websites, film, multiplayer games, artworks and even hardware, all of which were enabled not by individual artists working alone, but by crowds of people connected through the internet. The Johnny Cash Project by Chris Milk and Aaron Koblin creates a full-length music video from individual frames submitted online, and allows anyone to vote for their own "final" version, frame by frame.

Martin Bircher's Type Case is a delightful scrolling light display, showing the latest headlines in an old printer's type case, but its operation is made possible by the Arduino, an open-source hardware system, similar to the Raspberry Pi microcomputer. Placed next to the s website Geocities, which allowed anyone to create their own homepage, it suggests that open hardware platforms are democratising access to physical forms of creativity just as the web did for the screen 20 years ago.

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The vast, and vastly successful, world-building game Minecraft is here too — a modern version of Geocities, giving many their first experience of creating online worlds. The specific definition of creativity used throughout the show is fluid. As Bodman notes, it is often hard to locate exactly where this creativity resides, citing the cabinet design of the early arcade game Pong as being as story-worthy as the experience of playing the game itself. The game Broken Age, an early Kickstarter success and also included in We Create, is an example of a work where not only the visuals, but also the design's every step were effectively crowdsourced, documented and opened up to early backers for feedback and critique.

This fluidity of process and practice and difficulty of assigning credit is one aspect that does feel fundamental to digital work, and extends to the wider remit of the show.

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The Creative Spaces section, for example, focuses on new forms of story-telling and selects works based on their cultural effect as much as on the technology that underlies them. James George and Jonathan Minard's interactive documentary Clouds presents a portrait of many artists working with code today, shot in a radical 3D style using a hacked Xbox Kinect, the camera swooping around and even through the interviewees in a style heavily influenced by video games.

My own work, Dronestagram, also shown here, uses social media to disseminate satellite images of the very real landscapes of drone attacks in Pakistan and Afghanistan, collecting the "likes" and raucous comments of thousands of online followers.

A Companion to Digital Art - A Companion to Digital Art - Wiley Online Library

The credit for Inception in this context is given to the film's Oscar-winning visual effects supervisor, Paul Franklin. Franklin, Bodman notes, began his career in the video games industry. Likewise, the opportunity is taken to highlight some lesser-known and perhaps unfairly excluded digital pioneers. Particularly refreshing is the inclusion of Susan Kare, a member of the original Apple Macintosh design team, and the creator of the first icons for MacPaint Working with a highlighter pen and a gridded notebook, Kare in effect invented pixel art, drew many of the early digital typefaces, and defined many interface elements familiar to all of us today, from the pencil tool to the pointing hand cursor.

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Kare's inclusion is part of the Digital Archaeology section, curated by Jim Boulton. Boulton has been building this collection for several years, with the intention of preserving many important works from the early days of the computer and the internet. This is difficult work, and a powerful example of its difficulty sits at the centre of Digital Archaeology: the very first browser, WorldWideWeb, created by Tim Berners-Lee at Cern in Ninagawa continued to explore her artistic talent.

Her recent works will be seen at Shibuya Tokyu Bunkamura art gallery in June Since Arrighi is living in Japan where he is pursuing his academic and artistic career as new-media artist, lecturer and independent-curator. Product Description. From the Gutai group's performances to the latest experiences in Interactive Art: this book sheds light on the origins of present-day aesthetic offshoots of Japan.

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There is a relationship between Shinto, the indigenous spirituality of the Japanese people, and nowadays Japanese contemporary art. The present essay's aim is to test the hypothesis that religion influenced an avant-garde, to call into question if a form of belief is embedded in technology, and ultimately to describe how tradition and innovation are merging in contemporary Japan. Product Details. Also she released her works mainly in museums as a composer. She has lived in Kyoto since After Masaru Tabei graduated from Seian University of Arts and Design, he worked for the plastic parts manufacture company and then finished his graduate study at Institute of Advanced Media Arts and Sciences.

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Masaru Tabei develops installation art using original devices. Lately he improvises at public spaces and proceeds with Advanced Theater Project which delivers Ustream. In , he won the grand prize of Art Digital Art Award.

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This work is the installation work which shows that the stone-shaped object turns off and on and rolls around the exhibition space. Oliver Grau addresses phantasmagoria by looking at magic lantern shows in terms of telepresence and artificial life. Paul expands on current ideas of how the immaterial nature of media art becomes materialised through cables, projectors and the immensely complicated process of media arts installation. She points to the possibility of user-generated and curated media shows, and considers the role of digital commons in reinterpreting the classic role of the gallery.

The book is supplemented by the online conference proceedings available as streaming video downloads. The proceedings are a tribute to the network of scholars that instigated the event but also reflect the growing interest in serious academic work being done in this area. The essays presented in MediaArtHistories comprise a compelling addition to the bookshelf of any academic interested in art history.

New media art histories need to be positioned with the growing range of books that are coming to terms with technological, scientific, philosophical and social comprehension of art practice.