New Media Art
by Mark Tribe - founder of Rhizome media art resources, Reena Jana - art critic

Image from Taschen
The first article: Art in the age of digital distribution, gives the clue that the focus of the book is on digital distribution, rather than digital production. Majority of the works selected can be put into the existing and seemingly out-dated Net Art category.
The book starts by the description of Jodi and in a sea of terms used recently in the art scene, Digital art, Computer art, Multimedia art and Interactive art. It tries to provide a scope for the subject matter.
On page 5: ...We locate New Media art as a subset of two broader categories: Art and Technology and Media Art. Art and Technology refers to practices, such as Electronic art, Robotic art and Genomic art, that involve technologies which are new but not necessarily media-related. Media art includes Video art, Transmission art and Experimental Film – art forms that incorporate media technologies which by the 1990s were no longer new...The historical references it listed are mainly Dada, Pop art and Video art. Net art is the beginning with the proliferation of the Internet use. Software art, Game art, New Media installation and New Media performance are other significant genres in the period.
The participants in the new media art are often in form of artist collectives and sometimes the audience takes active participation in the works. The material can be re-mix or appropriation of existing media elements. The collaborative mode of production is also similar to the nature of open source software development. Hacktivism and the ideas of hacking play a key role in new media art. There are works that take hacking beyond the virtual world and become public interventions. In online communication environment, examples of fake and performative identities are listed. Networking technologies enable the production of a number of telepresence project and also give rise to the issue of global surveillance. Different institutes establish festivals, research centres and archival projects in various part of the world starting around 1980s.
by Mark Tribe - founder of Rhizome media art resources, Reena Jana - art critic

Image from Taschen
The first article: Art in the age of digital distribution, gives the clue that the focus of the book is on digital distribution, rather than digital production. Majority of the works selected can be put into the existing and seemingly out-dated Net Art category.
The book starts by the description of Jodi and in a sea of terms used recently in the art scene, Digital art, Computer art, Multimedia art and Interactive art. It tries to provide a scope for the subject matter.
On page 5: ...We locate New Media art as a subset of two broader categories: Art and Technology and Media Art. Art and Technology refers to practices, such as Electronic art, Robotic art and Genomic art, that involve technologies which are new but not necessarily media-related. Media art includes Video art, Transmission art and Experimental Film – art forms that incorporate media technologies which by the 1990s were no longer new...The historical references it listed are mainly Dada, Pop art and Video art. Net art is the beginning with the proliferation of the Internet use. Software art, Game art, New Media installation and New Media performance are other significant genres in the period.
The participants in the new media art are often in form of artist collectives and sometimes the audience takes active participation in the works. The material can be re-mix or appropriation of existing media elements. The collaborative mode of production is also similar to the nature of open source software development. Hacktivism and the ideas of hacking play a key role in new media art. There are works that take hacking beyond the virtual world and become public interventions. In online communication environment, examples of fake and performative identities are listed. Networking technologies enable the production of a number of telepresence project and also give rise to the issue of global surveillance. Different institutes establish festivals, research centres and archival projects in various part of the world starting around 1980s.

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