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Trailblazing women working in digital arts media and education established the Midwest as an international center for the artistic and digital revolution in the 1980s and beyond. Foundational events at the University of Illinois and the School of the Art Institute of Chicago created an authentic, community-driven atmosphere of creative expression, innovation, and interdisciplinary collaboration that crossed gender lines and introduced artistically informed approaches to advanced research. Interweaving historical research with interviews and full-color illustrations, New Media Futures captures the spirit and contributions of twenty-two women working within emergent media as diverse as digital games, virtual reality, medicine, supercomputing visualization, and browser-based art. The editors and contributors give voice as creators integral to the development of these new media and place their works at the forefront of social change and artistic inquiry. What emerges is the dramatic story of how these Midwestern explorations in the digital arts produced a web of fascinating relationships. These fruitful collaborations helped usher in the digital age that propelled social media. Contributors: Carolina Cruz-Niera, Colleen Bushell, Nan Goggin, Mary Rasmussen, Dana Plepys, Maxine Brown, Martyl Langsdorf, Joan Truckenbrod, Barbara Sykes, Abina Manning, Annette Barbier, Margaret Dolinsky, Tiffany Holmes, Claudia Hart, Brenda Laurel, Copper Giloth, Jane Veeder, Sally Rosenthal, Lucy Petrovic, Donna J. Cox, Ellen Sandor, and Janine Fron.

This provocative, cutting-edge anthology addresses the challenges of curating, presenting, and preserving new-media art--artworks that use digital technologies as media and emphasize process over object. As an art form that is inherently time based, dynamic, interactive, collaborative, customizable, and variable, new-media art resists objectification. It boldly challenges the traditional art world's customary methods of presentation and documentation as well as its approach to collection and preservation. Edited and introduced by Christiane Paul and featuring contributions by prominent practitioners--institutional and independent curators, theorists, and conservators--this volume charts developments in an exciting field and addresses the conceptual, philosophical, and practical issues of both curating and presenting new-media art.

In Snap to Grid, an idiosyncratic guide to the interactive, telematic era, Peter Lunenfeld maps out the trajectories that digital technologies have traced upon our cultural imaginary. Lunenfeld uses snap to grid as a metaphor for how we manipulate and think about the electronic culture that enfolds us. In this book he snaps his seduction by the machine to the grid of critical thinking. How can we compare new media to established media? Must we revert to a default dichotomy between utopia and desolation, the notion that media, even digital media, by themselves can redeem or damn us?

John Maeda, probably the most important digital designer, educator, and artist working today, created a sensation with maeda@media (2000), which documented his complete oeuvre and laid out his belief in the importance of designers understanding the computer as a medium, not just a tool.Maeda's work as an educator and director of the Aesthetics + Computation Group (ACG) at the MIT Media Lab has largely remained behind the scenes. For seven years, Maeda and his students--several of whom are already internationally celebrated--have created some of the most digitally sophisticated and exciting pieces of design to emerge anywhere. Little of this research has been seen outside the laboratory.This book presents the most fascinating work produced by the group, arranged into themes that apply to today's design issues: information visualization, digital typography, abstraction, interaction design, and education. Each section also features brief essays by leading names in the field of interaction and digital design--Casey Reas, David Small, Yogo Nakamura, Joshua Davis, and Gillian Crampton-Smith.Deftly bridging the chasm between art and science, John Maeda, a true pioneer in the digital realm, leads the way to a greater understanding and richness of experience.

This is the first monograph dedicated to this interdisciplinary research area, combining the views of music, computer science, education, creativity studies, psychology, and engineering. The contributions include introductions to ubiquitous music research, featuring theory, applications, and technological development, and descriptions
of permanent community initiatives such as virtual forums, multi-institutional research projects, and collaborative publications. The book will be of value to researchers and educators in all domains engaged with creativity, computing, music, and digital arts.

If Rhythm Science was about the flow of things, Sound Unbound is about the remix-how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors- composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; rapper Chuck D contributes "Three Pieces"; musician Brian Eno explores the sound and history of bells. "Press 'play,'" Miller writes, "and this anthology says 'here goes.'" The groundbreaking music that accompanies the book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of this content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music.

This book explores technologies related to bodily interaction and creativity from a multi-disciplinary perspective. By taking such an approach, the collection offers a comprehensive view of digital technology research that both extends our notions of the body and creativity through a digital lens, and informs of the role of technology in practices central to the arts and humanities. Crucially, Digital Bodies foregrounds creativity, the interrogation of technologies and the notion of embodiment within the various disciplines of art, design, performance and social science. In doing so, it explores a potential or virtual new sense of the embodied self. This book will appeal to academics, practitioners and those with an interest in not only how digital technologies affect the body, but also how they can enhance human creativity.

Digital technology has transformed contemporary culture. New social media, hyperlinks, and cut-and-paste techniques have changed the way we write. E-books, which allow us to carry entire libraries with us, are bringing new browsing and reading habits. Digital editing and other on-the-fly postproduction processes have altered how we make music, films, and visual art. A key rhetorical trope employed in all aspects of digital media is the remix, the creation of innovative new works of visual, literary, and performance art through the mashup. In remixthebook, Mark Amerika explores the mashup as a defining cultural activity in the digital age. A pioneering media artist and acclaimed cultural theorist, Amerika offers a series of philosophical essays that trace the art of the remix to previous forms of avant-garde and modernist art through mashups of deftly sampled phrases and ideas from a wide range of visual artists, poets, novelists, musicians, comedians, and philosophers. A provocative textual performance that is at once a dazzling model of the literary remix and a state-of-the-art reflection on remix culture, remixthebook captures the unique and continually shifting digital moment in which we live and situates the remix as an art form and literary intervention.

Avant-garde film is almost indefinable. It is in a constant state of change and redefinition. In his highly-acclaimed history of experimental film, A.L. Rees tracks the movement of the film avant-garde between the cinema and modern art (with its postmodern coda). But he also reconstitutes the film avant-garde as an independent form of art practice with its own internal logic and aesthetic discourse. Rees introduces experimental film and video to new readers interested in the wider cinema, as well as offering a guide to enthusiasts of avant-garde film and new media arts. Ranging from C¿zanne and Dada, via Cocteau, Brakhage and Le Grice, to the new wave of British film and video artists from the 1990s to the present day, this expansive study situates avant-garde film between the cinema and the gallery, with many links to sonic as well as visual arts.

Film and Video Art is an exciting, comprehensive volume that traces the history of artists' involvement with the moving image from the earliest experiments with film to the latest digital and video streaming techniques on the Internet. Accompanied by striking imagery, leading international critics discuss major developments in the unfolding dialogue between artists and moving image media. Starting with the work of the Lumiere brothers in the late 19th century and progressing through the Surrealist, Dadaist, Russian Constructivist, and Pop Art movements to the prominence of documentary in recent contemporary art and the advent of big-budget art films, this engrossing and thorough survey is an invaluable resource. Major artists featured include Luis Buñuel, Man Ray, Douglas Gordon, Bruce Nauman, Sam Taylor-Wood, Richard Serra, and Andy Warhol.

This collection interrogates the interaction between new technologies and performance practice, linking the sensuous contact that must exist between the physical and virtual, together with the resultant corporeal transformation. It features writings from international contributors who specialize in digital art and performance practices.

Art and Electronic Media is the latest installment in the THEMES AND MOVEMENT series, a collection of groundbreaking source books on the prevailing art tendencies of our times. This is the first book to explore mechanics, light, graphics, robotics, networks, virtual reality and the possibilities afforded by the web from an international perspective. It outlines the importance of figures previously neglected by art history, including engineers, technicians, and collaborators. Included are works by over 150 artists, both familiar--Jenny Holzer, Bruce Nauman, James Turrell, Mario Merz--as well as emerging and recent pioneers, such as Robert Lazzarini, Blast Theory, Granular Synthesis, Simon Penny, Marcel Antunez Roca, Mikami Seiko, and Jonah Bruckner-Cohen. The book is divided into seven thematic sections arranged chronologically.

"Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy - the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy's audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s.Minóy-the-CD makes available nine of Minóy's audio compositions that span the years 1985 to 1993.

"Laurie Anderson is one of the most acclaimed and innovative performance artists and musicians working today. The entire scope of her exciting career is celebrated in this volume, from her early art works and performances in the 1970s; to her rise to prominence in the 1980s with her single "O Superman," her unforgettable portrait of this country, United States, and her breakthrough album Strange Angels; to her interactive Web site called "The Green Room," a CD-ROM titled Puppet Motel, and her most recent production, Songs and Stories from Moby Dick, an electronic opera that is based on Herman Melville's epic novel and includes new inventions, such as the Talking Stick."
"With text and more than three hundred illustrations, author RoseLee Goldberg explores every aspect of Anderson's work of the past three decades, illuminating Anderson's creative process; her enduring interests in storytelling and in technology; her collaborations with such avant-garde figures as author William Burroughs, monologist Spalding Gray, and rock star Lou Reed; the social and political contexts that have shaped her art; and the critical and popular response it has received.
In addition to surveying Anderson's work chronologically, Goldberg devotes special sections of the book to Anderson's inventions and body instruments, such as her Headlight Glasses and Screen Dress; her stage sets; her many violins, including the Tape Bow Violin and the Viophonograph; her scores; and her videos. The lyrics to many of Anderson's songs are included, as are lengthy excerpts from many of her performances, stories, and other writings."

Presents 37 diverse artists, taking viewers into artists' studios, homes, and communities to provide an intimate view of their lives, work, creative processes, and sources of inspiration.
Contents
Disc 1. Season 1. Place / host: Laurie Anderson ; featured artists: Laurie Anderson, Richard Serra, Sally Mann, Margaret Kilgallen, Barry McGee, Pepón Osorio (56 min.) -- Spirituality / host: S. Epatha Merkerson ; featured artists: Beryl Korot, Ann Hamilton, John Feodorov, Shahzia Sikander, James Turrell (56 min.) -- Identity / host, Steve Martin ; featured artists: William Wegman, Bruce Nauman, Kerry James Marshall, Maya Lin, Louise Bourgeois (56 min.) -- Consumption / host: John McEnroe ; featured artists: Barbara Kruger, Michael Ray Charles, Matthew Barney, Andrea Zittel, Mel Chin (56 min.) -- Disc 2. Season 2. Stories / host: John Waters ; featured artists: Charles Atlas, Kara Walker, Kiki Smith, Do-Ho Suh, Trenton Doyle Hancock (56 min.) -- Loss and desire / host: Jane Alexander ; featured artists: Collier Schorr, Gabriel Orozco, Janine Antoni (56 min.) -- Time / host: Merce Cunningham ; featured artists: Martin Puryear, Paul Pfeiffer, Vija Celmins, Tim Hawkinson (56 min.) -- Humor / host: Margaret Cho ; featured artists: Charles Atlas, Eleanor Antin, Raymond Pettibon, Elizabeth Murray, Walton Ford (56 min.).

Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades. From the early 1990s the internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the internet on art, and, importantly, illuminates how artists and institutions are using it and why. The book explores the relationship between the work of leading practitioners using the internet in multiple ways. Including new and reprinted essays and manifestos offering an alternative chronology of the internet via 'changing of the time' opinions from the late 1980s until today. In its 25 year history, art and its relationship to the internet has radically changed. Now widely classified as an important and studied area of contemporary art, Art and the Internet provides a much-needed visual survey of art that maps this heritage, offering an in-depth introduction to this contemporary relevant area of art.

A complement to the landmark The Art Book, The 21st-Century Art Book is an accessible guide to best contemporary art made since 2000. Showcasing over 280 artists in alphabetical order, it place established figures like Jeff Wall, Marlene Dumas and Maurizio Cattelan alongside the rising stars of the next generation such as Camille Henrot and Haroon Mirza. International in outlook, it draws together artists from every continent and documents the unprecedented variety of approaches and mediums used by today's artists - from oil paintings and bronze sculptures to video installations and performance. Each artist is represented by a full-page colour plate and an illuminating text that both explains the work and introduces its creator. Easy to use, with an international directory of biennials and art fairs where the reader can encounter the art face to face.

Simone de Beauvoir said "One is not born, but rather becomes, a woman." The glitch announces- One is not born, but rather becomes, a body. The divide between the digital and the real world no longer exists- we are connected all the time. What must we do to work out who we are, and where we belong? How do we find the space to grow, unite and confront the systems of oppression? This conflict can be found in the fissures between the body, gender and identity. Too often, the glitch is considered a mistake, a faulty overlaying, a bug in the system; in contrast, Russell compels us to find liberation here. In a radical call to arms Legacy Russell argues that we need to embrace the glitch in order to break down the binaries and limitations that define gender, race, sexuality. Glitch Feminism is a vital new chapter in cyberfeminism, one that explores the relationship between gender, technology and identity. In an urgent manifesto, Russell reveals the many ways that the Glitch performs and transforms- how it refuses, throws shade, ghosts, errs, encrypt, mobilizes and survives. Developing the argument through memoir, art and critical theory, Russell also looks at the work of contemporary artists who travel through the glitch in their work. Timely and provocative, Glitch Feminism shows how the error can be a revolution.