Reflecting the dynamic creativity of its subject, this definitive guide spans the evolution, aesthetics, and practice of today s digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists. * Showcases the critical and theoretical approaches in this fast-moving discipline * Explores the history and evolution of digital art; its aesthetics and politics; as well as its often turbulent relationships with established institutions * Provides a platform for the most influential voices shaping the current discourse surrounding digital art, combining fresh, emerging perspectives with the nuanced insights of leading theorists * Tackles digital art s primary practical challenges how to present, document, and preserve pieces that could be erased forever by rapidly accelerating technological obsolescence * Up-to-date, forward-looking, and critically reflective, this authoritative new collection is informed throughout by a deep appreciation of the technical intricacies of digital art

The Art of Titanfall 2 is the ultimate guide to the development of Respawn Entertainment's fast-paced, visually stunning first-person shooter. Featuring an exclusive array of highly stylised concept art, sketches, 3D renders, maquette modelling, and commentary from key Respawn Entertainment team members, this is a must-have for any fan of the dynamic and destructive world of Titanfall 2.

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.

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.

Seeing new media art as an entry point for better understanding of technology and worldmaking futures In this challenging work, a leading authority on new media art examines that curatorial and aesthetic landscape to explore how art resists and rewires the political and economic structures that govern technology. How do inventive combinations of artistic and theoretical improvisation counter the extent to which media art remains at risk, not just from the quarantines of a global pandemic but also from the very viral and material conditions of technology? How does global media art speak back to the corporate closures of digital euphoria as clothed in strategies of digital surveillance, ecological deprivation, and planned obsolescence? In Technics Improvised, Timothy Murray asks these questions and more. At the intersection of global media art, curatorial practice, tactical media, and philosophy, Murray reads a wide range of creative performances and critical texts that envelop artistic and digital materials in unstable, political relations of touch, body, archive, exhibition, and technology. From video to net art and interactive performance, he considers both canonical and unheralded examples of activist technics that disturb the hegemony of biopolitical/digital networks by staging the very touch of the unsettling discourse erupting from within. In the process, critical dialogues emerge between a wide range of artists and theorists, from Hito Steyerl, Ricardo Dominguez, Joan Jonas, Isaac Julien, Ryoji Ikeda, and Shadi Nazarian to Gilles Deleuze, Jean-Luc Nancy, Elizabeth Povinelli, Jean-Francois Lyotard, Erin Manning, Achille Mbembe, and Samuel Weber. Brilliantly conceived and argued and eloquently written, Technics Improvised points the way to how artistic and theoretical practice can seize on the improvisational accidents of technics to activate creativity, thought, and politics anew.

In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done.
"Digital Art and Meaning" offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. For instance, Simanowski deciphers the complex meaning of words that not only form an image on a screen but also react to the viewer's behavior; images that are progressively destroyed by the human gaze; text machines generating nonsense sentences out of a Kafka story; and a light show above Mexico City's historic square, created by Internet users all over the world.
Simanowski combines these illuminating explanations with a theoretical discussion that employs art philosophy and history to achieve a deeper understanding of each particular example of digital art and, ultimately, of the genre as a whole.

The highly anticipated follow up to Structura and Structura 2, Structura 3 is the newest collection of images from HALO art director, Sparth, which takes viewers on an amazing journey to imaginary lands. As with his prior best selling books, Structura 3 will not only share his fascinating artwork but will also have tips of the trade for creating believable digital environments and lands. Step-by-step tutorials will provide anyone with the educational tools necessary to design their own fantastical worlds. This next addition to the Structura library is not to be missed!

This best-selling Exercise Workbook is the perfect resource for learning and honing essential AutoCAD skills, whether you are a complete beginner, seeking to improve your 2D drawing skills, or simply interested in learning about the very latest updates. AutoCAD experts Shrock and Heather share their knowledge of the best use of this versatile program with students and instructors, including plenty of inside tips and numerous exercises to help users get comfortable and see real progress. Readers can download the provided templates used for drawings in the book from Industrial Press’s print or eBook website product pages. The new AutoCAD 2023 software builds on the features of the previous releases. Design changes include a reinvented icon on the main menus and revisions of the Model and Layout Tabs. A new button in the Count Palette, facilitating creation of a table tallying the elements in your drawing file, along with changes to the Recent Documents List and Floating File Tabs, make it easier than ever to keep track of multiple drawing files.   New and/or Improved Features in Beginning AutoCAD 2023: Options Dialog Box — If you make changes in any of the Options dialog box Tabs and attempt to close the dialog box before selecting the Apply and OK buttons, a warning message dialog box will appear. (Included in the Introduction) Recent Documents List — You can now remove a �le from the Recent Documents List in the Application Menu, making this handy list more applicable to your current AutoCAD projects. (Included in Lesson 1) Floating File Tabs — Thanks to continued improvements to the Floating File Tabs, you can Pin a Floating File Tab so that it remains on top of any other open or overlapping drawing �le windows. (Included in Lesson 2)

Chicago New Media, 1973-1992 chronicles the unrecognized story of Chicago's contributions to new media art by artists at the University of Illinois at Chicago's Electronic Visualization Laboratory, the School of the Art Institute of Chicago, and at Midway and Bally games. It includes original scholarship of the prehistory, communities, and legacy of the city's new media output in the latter half of the twentieth century along with color plate images of video game artifacts, new media technologies, historical photographs, game stills, playable video game consoles, and virtual reality modules. The featured essay focuses on the career of programmer and artist Jamie Fenton, a key figure from the era, who connected new media, academia, and industry. This catalog is a companion to the exhibition Chicago New Media 1973-1992, curated by Jon Cates, and organized by Video Game Art Gallery in partnership with Gallery 400 and the Electronic Visualization Laboratory. It is part of Art Design Chicago, a 2018 initiative of the Terra Foundation for American Art, with presenting partner The Richard H. Driehaus Foundation, to explore Chicago's art and design legacy.

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.

Over the last four decades video art has undergone numerous transformations. If in its early years, during the mid sixties, video was used by artists to record performances created in an isolated studio, it also offered an important creative environment which defined new spaces and an alternative language to the mass codes used by television. In the `80s video took on the form of a projected image that was capable of defining a totally new type of space inside which spectators could move while surrounded by a hypnotic electronic embrace. More recently with digital technology artists can compete with the magic of cinema and develop a singularly fertile exchange with it that has been fundamental in developing the poetic language of video works today.

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.

Film Manifestos and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focusing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European "waves" and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme '95); Latin American Third Cinemas (Birri, Sanjines, Espinosa, Solanas); radical art and the avant-garde (Bunuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollain, Debord, Hermosillo, Isou, Kieslowski, Painleve, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture.

Library of Light brings together established and emerging practitioners who work with light, as material or subject, from theatre, music, performance, fine art, photography, film, public art, holography, digital media, architecture, and the built environment, together with curators, producers and other experts. Structured around twenty-five interviews and four thematic essays - Political Light, Mediating Light, Performance Light and Absent Light - the book aims to broaden our understanding of light as a creative medium and examines its impact on our cultural history and the role it plays in the new frontiers of art, design and technology. Illustrated with colour photographs and images of installations, sculptures, architectural projects, interventions in public space and works in virtual reality, the book includes interviews and contributions by: David Batchelor, Rana Begum, Robin Bell, Jason Bruges (Jason Bruges Studio), Anne Bean and Richard Wilson (The Bow Gamelan), Laura Buckley, Mario Caeiro, Paule Constable, Ernest Edmonds, Angus Farquhar (NVA), Rick Fisher, Susan Gamble and Michael Wenyon, Jon Hendricks, ISO Studio, Susan Hiller, Michael Hulls and Russell Maliphant, Cliff Lauson, Chris Levine, Michael Light, Joshua Lightshow, Liliane Lijn, Rafael Lozano-Hemmer, Manu Luksch, Mark Major (Speirs + Major), Helen Marriage (Artichoke), Anthony McCall, Gustav Metzger, Haroon Mirza, Yoko Ono, Katie Paterson, Andrew Pepper, Mark Titchner, Andi Watson.