Multimedia is a form of communication that combines different content forms such as text, audio, images, animations, or video into a single interactive presentation, in contrast to traditional mass media which features little to no interaction from users, such as printed material or audio recordings. Popular examples of multimedia include video podcasts, audio slideshows and animated videos.
Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance or effect of being present via telerobotics, at a place other than their true location.
Eduardo Kac [ɛdwardoʊ kæts; ĕd·wâr′·dō kăts] (1962) is an American contemporary artist whose artworks span a wide range of practices, including performance art, poetry, holography, interactive art, telematic art and transgenic art. He is particularly well known for his works that integrate biotechnology, politics and aesthetics.
Johannes Birringer is an independent media choreographer and artistic director of AlienNation Co., a multimedia ensemble that has collaborated on various site-specific and cross-cultural performance and installation projects since 1993. He lives and works in Houston and London.
Digital poetry is a form of electronic literature, displaying a wide range of approaches to poetry, with a prominent and crucial use of computers. Digital poetry can be available in form of CD-ROM, DVD, as installations in art galleries, in certain cases also recorded as digital video or films, as digital holograms, on the World Wide Web or Internet, and as mobile phone apps.
Scott Fisher is the Professor and Founding Chair of the Interactive Media Division in the USC School of Cinematic Arts at the University of Southern California, and Director of the Mobile and Environmental Media Lab there. He is an artist and technologist who has worked extensively on virtual reality, including pioneering work at NASA, Atari Research Labs, MIT's Architecture Machine Group and Keio University.
Michael Naimark is an artist, inventor, and scholar in the fields of virtual reality and new media art. He is best known for his work in projection mapping, virtual travel, live global video, and cultural preservation, and often refers to this body of work as “place representation”.
A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity, and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by the International Council of Museums (ICOM) in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation.
BioArt is an art practice where humans work with live tissues, bacteria, living organisms, and life processes. Using scientific processes such as biotechnology the artworks are produced in laboratories, galleries, or artists' studios. The scope of BioArt is considered by some artists to be strictly limited to "living forms", while other artists would include art that uses the imagery of contemporary medicine and biological research, or require that it address a controversy or blind spot posed by the very character of the life sciences.
Virtual art is a term for the virtualization of art, made with the technical media developed at the end of the 1980s. These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, digital painting and sculpture, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc. As virtual art covers such a wide array of mediums it is a catch-all term for specific focuses within it. Much contemporary art has become, in Frank Popper's terms, virtualized.
Martin Rieser is Professor of Digital Creativity in the Institute of Creative Technologies, in De Montfort University, Leicester.
In the fields of urban planning, urban regeneration and e-government, the term piazza telematica has been used in Italy since the early 1990s by a number of community network and local institutions for promoting the insertion, inside the urban upgrading processes, of the principles of sustainable development and of accessibility for all to IT tools for assuring the Right of Citizenship: the possibilities to participate in public decision processes, to access to the knowledge and training, to take part of the social local community life.
New media art includes artworks designed and produced by means of electronic media technologies, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts. New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Many cultural centers and museums have been established to cater to the advanced needs of new media art.
Boštjan Burger is a Slovenian informatician, geographer, a panoramic and VR panoramic photographer and a speleologist. He was founder of the Burger Landmarks website and had retired as computer programmer in the 1990s to become a geographic researcher on the hydrology of waterfalls. He used VR panoramas as a tool in the research of landscapes. He was greatly influenced by geographer Don Bain for documenting the landscape with VR panoramas and Hans Nyberg for his use of QuickTime VR fullscreen panoramas.
Media art history is an interdisciplinary field of research that explores the current developments as well as the history and genealogy of new media art, digital art, and electronic art. On the one hand, media art histories addresses the contemporary interplay of art, technology, and science. On the other, it aims to reveal the historical relationships and aspects of the ‘afterlife’ in new media art by means of a historical comparative approach. This strand of research encompasses questions of the history of media and perception, of so-called archetypes, as well as those of iconography and the history of ideas. Moreover, one of the main agendas of media art histories is to point out the role of digital technologies for contemporary, post-industrial societies and to counteract the marginalization of according art practices and art objects: ″Digital technology has fundamentally changed the way art is made. Over the last forty years, media art has become a significant part of our networked information society. Although there are well-attended international festivals, collaborative research projects, exhibitions and database documentation resources, media art research is still marginal in universities, museums and archives. It remains largely under-resourced in our core cultural institutions.″
The Centre of Digital Culture is a multifuncional cultural complex in Mexico City with the vocation to activities of digital art, as well as the promotion of "expressive forms in the digital world" and "his influence in the cultural and artistic life of the country". It was inaugurated on September 16, 2012. The center belongs to Secretariat of Culture. The cultural centre was built under the Estela de Luz.
Kathy Rae Huffman is an American curator, writer, producer, researcher, lecturer and expert for video and media art. Since the early 1980s, Huffman is said to have helped establish video and new media art, online and interactive art, installation and performance art in the visual arts world. She has curated, written about, and coordinated events for numerous international art institutes, consulted and juried for festivals and alternative arts organisations. Huffman not only introduced video and digital computer art to museum exhibitions, she also pioneered tirelessly to bring television channels and video artists together, in order to show video artworks on TV. From the early 1990s until 2014, Huffman was based in Europe, and embraced early net art and interactive online environments, a curatorial practice that continues. In 1997, she co-founded the Faces mailing list and online community for women working with art, gender and technology. Till today, Huffman is working in the US, in Canada and in Europe.
Ghislaine Boddington is a British artist, curator, presenter and director specialising in body responsive technologies, immersive experiences and collective embodiment, pioneering it as 'hyper-enhancement of the senses' and 'hyper-embodiment' since the late 80s.
Shadow Casters is a non-profit organization from Zagreb (Croatia) working as an international artistic and production platform for interdisciplinary cooperations in intermedia arts in urban context. It was founded in 2002 by artists Boris Bakal and Željko Serdarević, with Katarina Pejović, Stanko Juzbašić, Vanja Žanko, Srećko Horvat, Sandra Uskoković, Leo Vukelić and other collaborators. Since 2006 they are a Clubture Network member.
