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This book offers a thorough exploration of the potential of blockchain and AI technologies to transform musical practices. Including contributions from leading researchers in music, arts, and technology, it addresses central notions of agency, authorship, ontology, provenance, and ownership in music.Together, the chapters of this book, often navigating the intersections of post-digital and posthumanist thought, challenge conventional centralized mechanisms of music creation and dissemination, advocating for new forms of musical expression.Stressing the need for the artistic community to engage with blockchain and AI, this volume is essential reading for artists, musicians, researchers, and policymakers curious to know more about the implications of these technologies for the future of music.

Bringing together scholars from art history, visual studies, and related disciplines, this edited volume asks why Trumpism looks the way it does and what that look means for American—and global—society.Grouped into six categories, the essays in this volume tackle some of the most perplexing—and urgent—aspects of the Trumpist visual project. Two of the most striking aspects of that project are its use of novel commodity forms, including the iconic red baseball caps, as well as its embrace of social media. Trump's outlandish persona and striking physicality have lent themselves to caricature both from his critics and, perhaps more surprisingly, his supporters. That physicality—as well as his movement's hearkening back to a (mostly imagined) era of mid-twentieth-century prosperity—has also brought gender and the body into sharp focus. Perhaps second only to the aforementioned red hat is Trumpism's vigorous use of interventions into public space, including traditional campaign signs as well as flags and other ad hoc visual and architectural materials. Finally, there were the events of January 6, 2021, when many of Trumpism's most outré visual and cultural preoccupations exploded from the shadows onto television screens across the country. Taken as a whole, the essays in this book examine Trumpist visuality from the seemingly trivial to the starkly horrifying, as well as offering a measured sense of the various resistances and responses that have characterized artistic responses to Trump from the beginning of his prominence.The book will be of interest to scholars working in art history, visual culture, American studies, and cultural and media studies.

Ecologies of truth in a post-truth era.The problem with Neo-Nazis is not that they don't trust the media but that they trust them too much. White supremacists are absolutely convinced by their supremacy. They distrust technologies and climate change as much as the global poor because, as white Europeans, they believe they are exempt from exploitation. This book argues that the only truths possible in the 21st century are mobile, inventive practices involving everything European models of communication exclude: technologies, nature, and leftover humanity. Tracing histories of their separation, Truth analyzes the struggle between the new dominance of information systems and the sensory worlds it excludes, not least the ancestral wisdom that the West has imprisoned in its technologies. The emergent cybernetics of the 1940s has become the dominant ideology of the 21st century. Truth opposes its division of the world between subjects and objects, signals and noise, emphasizing that there can be no return to some primal Eden of unfettered exchange. Instead, these divisions, which have fundamentally reorganized the commodity form that they inherited, are the historical conditions we must confront. Drawing on a wide range of aesthetic practices, from literature, film, art, music, workplace media, scientific instruments, and animal displays, Truth seeks out ways to create a new commons and a new politics grounded in aesthetic properties of creativity, senses and perception that can no longer be restricted to humans alone.

Gli archivi legati al mondo dell'arte si presentano dapprima come entità ricostruibili attraverso il recupero di fonti disarticolate e frammentarie, per poi acquisire strutture e fisionomie sempre più stabili e consolidate. Il volume affronta la dimensione specifica di tali fondi documentali, il cui trattamento impone la considerazione di fattori archivistici, giuridici, storico-artistici e museali: l'organizzazione e la gestione degli archivi, la cura per gli aspetti della creazione, della circolazione e della promozione delle opere, la tutela del diritto d'autore e le attività di certificazione, le relazioni documentali tra artisti, eredi, curatori, collezionisti, istituzioni e studiosi necessitano infatti di analisi. Se ci si sposta poi in ambiente digitale, appare una realtà in fermento: le modalità di espressione e rappresentazione dell'arte contemporanea richiedono nuove visioni nelle attività di produzione e gestione. I principi di fruizione, certificazione e conservazione preventiva di molte opere d'arte contemporanea devono essere ripensati in base a nuovi criteri, che attengono quasi esclusivamente alla struttura documentaria e alle componenti tecnologiche e digitali.

This book inaugurates a new phase in kitsch studies. Kitsch, an aesthetic slur of the 19th and the 20th century, is increasingly considered a positive term and at the heart of today's society. Eleven distinguished authors from philosophy, cultural studies and the arts discuss a wide range of topics including beauty, fashion, kitsch in the context of mourning, bio-art, visual arts, architecture and political kitsch. In addition, the editors provide a concise theoretical introduction to the volume and the subject. The role of kitsch in contemporary culture and society is innovatively explored and the volume aims not to condemn but to accept and understand why kitsch has become acceptable today.

En el siglo XXI, el arte se ha convertido en un asunto extraño. La llegada de internet, la difusión de las nuevas tecnologías y el auge de las redes sociales han distorsionado nuestro universo visual a base de gifs animados, retoques de Photoshop y prácticas apropiacionistas de todo tipo y grado. Trolls, youtubers e instagrammers nos están legando un conjunto de prácticas y estéticas que recuerdan los preceptos de las vanguardias históricas, alegremente distorsionados en clave desinhibida. ¿Cómo ha respondido a este fenómeno el arte que encontramos en museos y galerías? ¿Y qué pasaría si, en el futuro, los libros de texto de historia del arte no recogieran las obras de algún artista del siglo XIX, sino los memes de usuarios anónimos? En este libro, el primero que intenta trazar una cartografía exhaustiva de la relación entre las artes visuales y las culturas digitales a partir de la década de 2000, Valentina Tanni recorre el camino que nos ha llevado de Marcel Duchamp a TikTok, esbozando los contornos de uno de los senderos más fascinantes e inquietantes de la actualidad.

»Fictional Practices of Spirituality« provides critical insight into the implementation of belief, mysticism, religion, and spirituality into worlds of fiction, be it interactive or non-interactive. This first volume focuses on interactive, virtual worlds - may that be the digital realms of video games and VR applications or the imaginary spaces of life action role-playing and soul-searching practices. It features analyses of spirituality as gameplay facilitator, sacred spaces and architecture in video game geography, religion in video games and spiritual acts and their dramaturgic function in video games, tabletop, or LARP, among other topics. The contributors offer a first-time ever comprehensive overview of play-rites as spiritual incentives and playful spirituality in various medial incarnations.

Der vorliegende Band reflektiert die gegenwärtige Entwicklung des Mediums Fotografie anhand von zwei Diskursfeldern, den Werkzeugen und den Archiven. Die Fotografie ist seit 30 Jahren mit ihrer digitalen Entgrenzung beschäftigt. Aus Produzent•innensicht sind dabei die digitalen Werkzeuge entscheidend: Dieser Symposiumsband erforscht frühe Satellitenbilder und erste 3D Animationen vor dem Hintergrund gegenwärtiger digitaler fotografischer Produktion. Es wird die In Game-Fotografie als gängige fotografische Praxis vorgestellt und die (Re)Materialisierung von digitalen Fotografien fokussiert. Ebenso befinden sich die Bildarchive gegenwärtig in einer Phase der Transformation: mit ihrer Überführung ins Digitale werden ethnologische Archive einer Dekolonialisierung unterzogen. Außerdem werden die neuen kuratorischen Herausforderungen im Umgang mit digitalen Archiven vorgestellt.

«At last, here is a book written by an Italian about the homeopathic but essential role that Italian artists, and among them, important writers, have played to introduce the digital transformation to Italians. Long before government or business, and least of all educators, took notice, artists, as was their wont for centuries, were the first to reveal the potential of the new technologies. Emanuela Patti not only pays them a long overdue tribute, but along the way revisits with care and engaging style the key features of that transformation. A wonderful read!» (Professor Derrick de Kerckhove, University of Toronto) «We were missing a systematic survey of e-literary arts in Italy. Emanuela Patti has filled that void. Indeed, her study is much more than a survey: it brilliantly connects semiotic theories of open textuality to the profound techno-cultural transformations of socio-political life from the 1960s to the present, from experimental writing to popular culture.» (Professor Massimo Riva, Brown University) In 1962, Umberto Eco published Opera aperta, setting the ground for a new wave of creative experimentation across the arts and media. The concept of «open work» – informed by systems theory, cybernetics, relativism, pragmatism and other influential disciplines of the time – was used by Eco to reconsider the work of art as a site for interactivity, collaboration and intermediality. Starting from this perspective, this book reconstructs the history of Italian electronic literature, looking at creative practices across literature, electronic and digital media from the early days of computers to the social media age. It examines how Italian writers, poets, literary critics and intellectuals have responded to each phase of the digital revolution, by enacting «poetics of openness» and «politics of intermediality». Case studies include Nanni Balestrini, Gianni Toti, Italo Calvino, Caterina Davinio, Wu Ming, Michela Murgia, Francesco Pecoraro, Roberto Saviano, Tommaso Pincio, Fabio Viola, Fabrizio Venerandi and Enrico Colombini. In some cases, literary experimentation with new technologies has taken a clear polemical stance towards mass media, globalisation, information society and late capitalism, in order to challenge and/or reconfigure artistic or social ontologies. In others, digital technologies have been used to enhance and extend the parameters and «languages» of literature.

Anime is a quintessentially Japanese form of animation consisting of both hand drawn and computer-generated imagery, and is often characterised by colourful graphics, vibrant characters, and fantastical themes. As an increasingly globalising expression of popular art and entertainment, and distributed through cinema, television, and over the internet, anime series and films have an enormous following, not only in Japan but also in Asia. This book provides a comprehensive survey of the historical development, industrial structure, and technical features of Japanese animation and of the overall dynamics of its globalisation in key contexts of the Asian region. Specific chapters cover anime's production logics, its features as an ‘emotion industry', and the involvement of a range of Asian countries in the production, consumption, and cultural impact of Japanese animation.

It is a peculiar moment for art, as it becomes both increasingly rarefied and associated with elite lifestyle culture, while simultaneously ubiquitous, with the boom of'creative'industries and the proliferation of new technologies for making art. In these important essays, Ben Davis covers everything from Instagram to artificial intelligence, eco-art to cultural appropriation. Critical, insightful, and hopeful even in the face of the apocalyptic, this is a must read for those looking to understand the current art world, as well as the role of the artist in the world today.

Der soziale, kulturelle und politische Prozess der Digitalisierung hat neue Gemeinschafts- und Bildungsformen denkbar werden lassen, die u.a. durch drei Szenen entscheidend geprägt wurden: die kybernetisch-künstlerischen Hintergründe der PC-Kultur als Basis des Silicon Valley, die Popularisierung des Internets in den 1990er Jahren und aktuelle Entwicklungen, die unter dem Begriff des digitalen Nomadentums gefasst werden. Martin Donner und Heidrun Allert fragen vor dem Hintergrund der damit verbundenen Verschiebungen der Gemeinschaftsverständnisse nach praxistauglichen Gestaltungsmöglichkeiten der digitalen Gesellschaft.

All'alba del Novecento, durante il ventennio dal 1895 al 1914, in ogni campo del sapere umano si produsse una vera e propria'rivoluzione culturale'. Nel giro di pochissimi mesi del 1900, ad esempio, si passò dall'inaugurazione della Esposizione Universale di Parigi alla pubblicazione de L'interpretazione dei sogni di Freud o alla teoria dei quanti di Max Planck, fino al Concerto per pianoforte n. 2 di Sergej Rachmaninov. Allo stesso modo, nel 1913, mentre in Europa si scatenava la seconda guerra balcanica, a New Orleans il dodicenne Louis Armstrong già intonava su una tromba i suoi primi temi musicali. Così il tragico naufragio del Titanic – che nell'aprile 1912 già segnava la fine di un'epoca – si collega, quasi magicamente, al cupo incipit de La montagna incantata di Mann,'il grande poema della morte'iniziato quell'anno. Oppure i colpi di cannone che dettero l'avvio alla prima guerra mondiale rinviano alle riflessioni di Kafka che, proprio nell'agosto1914, iniziava la stesura de Il processo. Una'nuova storia'della Belle époque che ha l'ambizione di raccontare sincronicamente il terremoto che travolse una cultura e la sostituì con una diversa.

In Kunstmuseen sind Live-Performances heute selbstverständlich. Handelt es sich dabei jedoch um eine neue Entwicklung? Wann, wie und warum wurde die Kunst im Museum lebendig? Diesen Fragen geht die Autorin nach. Sie beleuchtet die wenig bekannten Anfänge des Phänomens Performance im Museum und schreibt somit Performance- und Museumsgeschichte neu. Ausgehend vom US-amerikanischen Kunstsystem der 1970er-Jahre, ein Nukleus früher Performance, werden Aufführungen und Ausstellungen von Performer•innen wie Merce Cunningham, Laurie Anderson oder Chris Burden rekonstruiert. Sogar Arnold Schwarzenegger hat einen Gastauftritt. Abseits des gängigen Narrativs widerständiger Performancekunst eröffnen Analysen der institutionellen, ökonomischen und politischen Kontexte ein spannendes kulturhistorisches Panoptikum.

Die Kunstphilosophie ist in Bewegung und erlebt nicht zuletzt im deutschsprachigen Kontext eine dynamische Weiterentwicklung. Über die Fachgrenzen der philosophischen Ästhetik hinaus wirken diese Debatten hinein in die politische Philosophie, die Kunst- und Kulturwissenschaft, aber auch in die Theater-, Medien- und Musikwissenschaft. Zugleich partizipieren sie an den kunstnahen Diskursen im Umfeld verschiedener künstlerischer Praktiken. Sie bringen so den Gestus der Selbstreflexion und Selbstverständigung in den universitären Disziplinen wieder zur Geltung. Das “Handbuch Kunstphilosophie” bildet anhand systematischer Stichworte Grundpositionen kunstphilosophischen Denkens ab. Es wirft Schlaglichter auf die Theoriegeschichte sowie auf aktuelle Positionen, ohne sie einer Schulenbildung zu unterwerfen.

An astounding number of contemporary artists refer to artworks from the past. This is primarily accomplished using the art quote, an artistic medium fulfilling different functions since the beginning of the Avant-garde. While the Dadaists used the art quote as a means of provocation, the Pop Artists to overcome Abstract Expressionism and the Appropriation Artists to address the issue of originality, the question remains to be answered how today's artists make use of the art quote? This thesis analyses certain types of forms and themes of the art quote in contemporary art. It thereby draws upon empirically collected data: art quotes created between 1990 and 2010 by contemporary artists from all continents have been categorised and evaluated in order to identify certain patterns of representation. It could be ascertained that in most cases one of the following strategies of representation comes in use: the composition, motive or figure of the artwork being referred to is replaced with something else (strategy of substitution), something is added or taken away from the quoted artwork (strategy of addition or subtraction), it can be multiplied, divided or combined with references to other artworks (strategy of multiplication, division or combination). This research examines these six strategies of representation on the basis of selected examples and offers, for the first time, a method for the systematic categorisation of the art quote phenomenon. Furthermore, this analysis emphasises the global aspect of quotation by considering the work of international artists mainly referring to a Western European art canon.

This book proposes, following Antonin Artaud, an investigation exploring the virtual body, neurology and the brain as fields of contestation, seeking a clearer understanding of Artaud's transformations that ultimately leads into examining the relevance Artaud may have for an adequate theory of the current media environment.New Media and the Artaud Effect is the only current full-length study of the relation of Artaud's work to dilemmas of digital art, media and society today. It is also singular in that it combines a far-reaching discussion of the theoretical implications and ramifications of the ‘late'or ‘final'Artaud, with a treatment of individual media works, sometimes directly inspired from Artaud's travails.Artaud has long been justly regarded as one of the seminal influences in mid- and late-20th century performance and theater: it is argued here that Artaud's insights are if anything more applicable to digital/post-digital society and the plethora of works that are made possible by it.

Sie glauben nicht, dass mehrere Minuten animierte Bilder samt Ton in weniger Speicherplatz passen können als ein leeres Textdokument? Dann sollten Sie die Demoszene und ihren kreativen Output kennenlernen! In den 1980er-Jahren knackten ihre Mitglieder den Kopierschutz von Computerspielen und ergänzten sie um kleine Programme. Vor dem Spielstart wurden dadurch in Echtzeit berechnete Textnachrichten und Logos eingeblendet, um den Gruppen Ruhm zu bescheren und ihren Namen bekannt zu machen. Bald schon lösten sich zahlreiche Szenemitglieder von den illegal agierenden Crackergruppen, um fortan die dann spielunabhängigen, audiovisuellen Animationen zu erstellen. Mit diesen Programmcodes präsentieren die Demoszener bis heute ihr Können und die Leistungsfähigkeit alter Computersysteme sowie aktueller Hardware auf ansprechende Weise. Damit ist die Demoszene Wurzel der digitalen Kultur und produziert nahezu unerkannt digitale Kunst. Wer sind die Macher hinter diesen Artefakten? Was treibt Sie an? Welcher Reiz steht hinter ihren restriktiven Programmierverfahren und wie wirken sich die selbstgesetzten Limitierungen auf ihr künstlerisches Schaffen aus? Diese und weitere Fragen beantwortet die Autorin mit Blick auf sowohl das Außen – die szeneexternen kulturellen, sozialen, technologischen und ökonomischen Entwicklungen – als auch das Innen – die szeneinternen Strukturen, sozialen Praktiken und Artefakte.

An essential guide for teaching and learning computational art and design: exercises, assignments, interviews, and more than 170 illustrations of creative work.This book is an essential resource for arts educators and practitioners who want to explore code as a creative medium, and serves as a guide for computer scientists transitioning from STEM to STEAM in their syllabi or practice. It provides a collection of classic creative coding prompts and assignments, accompanied by annotated examples of both historic and contemporary projects. These are enriched by more than 170 illustrations of creative work and a set of interviews with leading educators. Picking up where standard programming guides leave off, the authors highlight alternative programming pedagogies suitable for the art- and design-oriented classroom, including teaching approaches, resources, and community support structures.The book first offers a collection of syllabus modules, each built around an open-ended assignment or prompt, and all tested, adapted, or observed by the authors over twenty years of practice and teaching. Examples have been selected for their explicability and for their representation of varied approaches. The book then presents brief programming exercises relevant to artists and designers, helping readers learn computational techniques to control elementary visual (or in some cases, auditory or textual) patterns and forms. Finally, a diverse group of educators—including Dan Shiffman, Lauren McCarthy, and Taeyoon Choi—discuss the challenges of teaching expressive and critical studio arts through the tools of software development.

Mit dem gesellschaftlichen Wandel kommen traditionelle Arbeitsweisen von Museen zunehmend an ihre Grenzen: Die Rahmenbedingungen für das Management von Kulturinstitutionen verändern sich grundlegend. Dennoch sind Themen wie Cultural Entrepreneur- und Leadership, Design Thinking und künstliche Intelligenz immer noch nur Randerscheinungen des Museumsdiskurses. Wie sollten sie aussehen, die Museen der Zukunft? Und welche Bedeutung hat Innovation für eine nachhaltige Entwicklung von Kultureinrichtungen? Der Band versammelt hierzu Beiträge führender Persönlichkeiten aus der Museums- und Kulturlandschaft, die aus unterschiedlichen Blickwinkeln zukunftsweisende Methoden und Ansätze für die Arbeit in Museen aufzeigen.

Today the media arts not only address the great themes of our times, they inhabit the very media of which they speak. The contemporary is global, but only because of the media that enable globalisation. Those media are almost nowhere apparent in the mainstream practice of art that we see in biennials from Venice to Sao Paolo. The media arts reflect back to us our present condition, and in the archive present us with the ghosts of what we were, and what we failed to become. This book brings the reader into the centre of these strange encounters, introducing us to the rich legacies and futures of the most important arts of the last hundred years. It also looks ahead to the future and asks what happens to the condition of being human within the new constellation into which we are entering?

An illustrated survey of artist hoaxes, including impersonations, fabula, cryptoscience, and forgeries, researched and written by an expert “fictive-art” practitioner. In her groundbreaking book, internationally recognized multimedia artist and writer Antoinette LaFarge reflects on the most urgent question of today: where does truth lie, and how is it verified? Encouraging readers to critically question the role art plays in shaping reality, Sting in the Tale: Art, Hoax, and Provocation defines a new genre of art that fabricates evidence to support a central fiction. Interweaving contemporary'fictive art'practice with a lineage of hoaxes and impostures dating from the 17th century, LaFarge offers the first comprehensive survey of this practice. The shift from the early information age to our'infocalypse'era of rampant misinformation has made fictive art an especially radical form as it straddles the lines between fact, fiction, and wild imagination. Artists deploy a wide range of practices to substantiate their fictions, manufacturing artefacts, altering photographs, and posing as experts from many different fields. A fictive-art practitioner herself, LaFarge explores and underscores the myriad ways art can ground or destabilize one's lived reality, forcing us to question our subjective experience and our understanding of what counts as evidence. Many examples of these curious and sometimes notorious fabrications are included - from nonexistent artists and peculiar museums to cryptoscientific objects like fake skeletons and staged archaeological evidence. From the intriguing Cottingley fairy photographs'captured'in 1917 by teenage sisters, to the Museum of Jurassic Technology; from the work of artists like Iris Häussler, Joan Fontcuberta, and Eva and Franco Mattes to the enigmatic encyclopedia known as the Codex Seraphinianus, fictive art continues to reframe assumptions made by its contemporaneous culture. With all the attendant consequences of mistrust, outrage, and rejection, fictive art practitioners both past and present play upon the fragile trust that establishes societies, underlining the crucial roles played by perception and doubt.