The book provides an open and integrated view of creativity in the 21st century, merging theories and case studies from design, psychology, sociology, computer science and human-computer interaction, while benefitting from a continuous dialogue within a network of experts in these fields. An exploratory journey guides the reader through the major social, human, and technological changes that influence human creative abilities, highlighting the fundamental factors that need to be stimulated for creative empowerment in the digital era. The book reflects on why and how design practice and design research should explore digital creativity, and promote the empowerment of creativity, presenting two flexible tools specifically developed to observe the influences on multiple level of human creativity in the digital transition, and understand their positive and negative effect on the creative design process. An overview of the main influences and opportunities collected by adopting the two tools are presented with guidelines to design actions to empower the process for innovation.

Since its beginnings in the nineteen-seventies, the medium of video has been closely linked to the subcultural and countercultural movements of its time, both in art and in everyday culture in Germany. Art and music videos in particular demonstrate great subversive potential: artists and musicians oppose traditional values, transgress and repeatedly explore social norms and gender stereotypes. In this volume, queer academic as well as artistic research approaches and archival practices are reviewed in the context of a history of punk and its offshoots. Among our many contributors are Tiffany Florvil (University of New Mexico), Marina Grzinic (Academy of Fine Arts Vienna), Jack Halberstam (Columbia University in the City of New York), Angela McRobbie (University of London), Peter Rehberg (Schwules Museum Berlin), and artist Wolfgang Muller.

Meet some of the finest 2D and 3D artists working in the industry today and discover how they create some of the most innovative digital art in the world. More than a gallery book or a coffee table book- Digital Art Masters Volume 4 includes 50 artists and 900 unique and stunning 2D and 3D digital artworks. Beyond the breaktaking images is a breakdown of the techniques, challenges and tricks the artists employed while creating stunning imagery.
This volume, much like the previous volumes is not your standard coffee table book nor is it our usual how-to-book. This book offers inspiration and insight for the advanced amateur and professional CG artists. The Digital Art Masters series has expanded upon the competition's gallery book concept and has added the insight and experiences of professional CG artists worldwide.
Divided into 5 sections, Sci-Fi, Scene, Fantasy, Character and Cartoon, Each featured artist segement will include the thought processes behind creating unique digital images and an artist portfolio for further inspiration. Find your inspiration and discover the tips, tricks and techniques that really work.

Images have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once. From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form.

What is the subject of video? Charlotte Klink traces the development of electromagnetism in the pursuit of "Electric Seeing" that emerged in the 19th century as well as its curious relation to psychoanalysis and the contemporary discovery of the structure of the human psyche. In doing so, she exposes how this development laid the foundation of what we know today as "video". This comprehensive theory of video entails a discussion of the technological, historical, and etymological roots, the media-theoretical concepts of medium and index, the philosophical and art-theoretical environment in which video emerged in the 1960s, the psychoanalytic concept of the phantasm, and artworks by artists such as Yael Bartana and Hito Steyerl.

Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20 March 1968) was born in Copenhagen to a single mother, Josefine Bernhardine Nilsson, a Swede. His Danish father, Jens Christian Torp, a married farmer, employed Nilsson as a housekeeper. After spending his first two years in orphanages, Dreyer was adopted by Carl Theodor Dreyer, a typographer, and his wife, Inger Marie Dreyer. He was given his adoptive father's name. At age 16, he renounced his adoptive parents and worked his way into the film industry as a journalist, title card writer, screenwriter, and director. Throughout his career he concealed his birth name and the details of his upbringing and his adult private life, which included a period in which he explored his homosexual orientation and endured a nervous breakdown. Despite his relatively small output of fourteen feature films and seven documentary short films, 1919-64, he is considered one of the greatest filmmakers in history because of the diversity of his subjects, themes, techniques, and styles, and the originality of the bold visual grammar he mastered. In Cinematography of Carl Theodor Dreyer: Performative Camerawork, Transgressing the Frame, I argue: 1) that Dreyer, an anonymous orphan, an unsourced subject, manufactured his individuality through filmmaking, self-identifying by shrouding himself in the skin of film, and 2) that, as a screenwriter-director who blocked entire feature films in his imagination in advance-sets, lighting, photography, shot breakdowns, editing-and imposed his vision on camera operators, lighting directors, actors, and crews in production, he saw filmmaking essentially as camerawork and he directed in the style of a performative cinematographer.

en Lauschmann's work is informed by his interest in the earliest forms of magical entertainment and the latest technical innovations. In his largest solo exhibition to date, he explores the use of tools, techniques and systems to solve problems, with the aim of bypassing the tension between optimistic and sceptical attitudes towards technology. Startle Reaction uses Lauschmann's interest in automatons and cinema to play with the notion that we are capable of believing in things we know are false.

Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freud's psychology and Jacques Lacan's mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media. If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls in-and forces him to reassess-his work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metz's analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metz's findings and nascent digital-media theory, emphasizing Metz's keen awareness of the methodological and philosophical concerns we wrestle with today.

The ubiquity of digital images has profoundly changed the responsibilities and capabilities of anyone and everyone who uses them. Thanks to a range of innovations, from the convergence of moving and still image in the latest DSLR cameras to the growing potential of interactive and online photographic work, the lens and screen have emerged as central tools for many artists. Vision Anew brings together a diverse selection of texts by practitioners, critics, and scholars to explore the evolving nature of the lens-based arts. Presenting essays on photography and the moving image alongside engaging interviews with artists and filmmakers, Vision Anew offers an inspired assessment of the medium's ongoing importance in the digital era. Contributors include: Ai Weiwei, Gerry Badger, David Campany, Lev Manovich, Christian Marclay, Laszlo Moholy-Nagy, Walter Murch, Trevor Paglen, Pipilotti Rist, Shelly Silver, Rebecca Solnit, and Alec Soth, among others. This vital collection is essential reading for artists, educators, scholars, critics and curators, and anyone who is passionate about the lens-based arts.

Fiftieth anniversary reissue of the founding media studies book that helped establish media art as a cultural category. First published in 1970, Gene Youngblood's influential Expanded Cinema was the first serious treatment of video, computers, and holography as cinematic technologies. Long considered the bible for media artists, Youngblood's insider account of 1960s counterculture and the birth of cybernetics remains a mainstay reference in today's hypermediated digital world. This fiftieth anniversary edition includes a new Introduction by the author that offers conceptual tools for understanding the sociocultural and sociopolitical realities of our present world. A unique eyewitness account of burgeoning experimental film and the birth of video art in the late 1960s, this far- ranging study traces the evolution of cinematic language to the end of fiction, drama, and realism. Vast in scope, its prescient formulations include "the paleocybernetic age," "intermedia," the "artist as design scientist," the "artist as ecologist," "synaesthetics and kinesthetics," and "the technosphere: man/machine symbiosis." Outstanding works are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists of the period, such as Nam June Paik, Jordan Belson, Andy Warhol, Stan Brakhage, Carolee Schneemann, Stan VanDerBeek, Les Levine, and Frank Gillette. An inspiring Introduction by the celebrated polymath and designer R. Buckminster Fuller-a perfectly cut gem of countercultural thinking in itself-places Youngblood's radical observations in comprehensive perspective. Providing an unparalleled historical documentation, Expanded Cinema clarifies a chapter of countercultural history that is still not fully represented in the arthistorical record half a century later. The book will also inspire the current generation of artists working in ever-newer expansions of the cinematic environment and will prove invaluable to all who are concerned with the technologies that are reshaping the nature of human communication.

The Ars Electronica Center is the architectural expression of what Ars Electronica is all about: a place of inquiry and discovery, experimentation and exploration, a place that has taken the world of tomorrow as its stage, and that assembles and presents influences from many different ways of thinking and of seeing things. This book pays tribute - not just to architecture and objects displayed but also to all artists and individuals, companies, and institutions that have contributed to this modern artistic synthesis. The photographic concept bears the hallmarks of eminent photographer Lois Lammerhuber, and of Nicolas Ferrando, a multimedia specialist and advertising photographer working on an international scale. In cooperation with Edition Lammerhuber, their work has resulted in a high quality coffee-table book. The camera immerses the readers in the virtual world of the AEC, guiding them on a startling tour with many an unexpected turn.

Orphan Black: Performance, Gender, Biopolitics is an edited collection that covers the areas in which the series has generated the most academic interest: performance and technology; gender and reproduction; biopolitics and community. Chapters explore the digital innovations and technical interactions between human and machine that allow the show to challenge conventional notions of performance and identity, while others address family themes and Orphan Black's own textual genealogy within the contexts of (post-)evolutionary science, reproductive technology and the politics of gender. Still others extend that inquiry on family to the broader question of community in a 'posthuman' world of biopolitical power; here, scholars mobilize philosophy, history of science and literary theory to analyze how Orphan Black depicts resistance to the many forms of power that attempt to capture, monitor and shape life.

Images can be studied in many ways-as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive-they move us to action, calm us, reveal the power of the divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents-human and non-human, material, geographic, and spiritual-become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe.