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New Media Art Evaluation
I plan to find some reliable sources that I can use to explain why New Media Art and New Media go hand and hand.

New Media Art Bibliography
Cameron, Fiona and Sarah Kenderdine. Theorizing Digital Cultural Heritage: A Critical Discourse. Massachusetts Institute of Technology, 2007.



Guertin, Carolyn. Digital Prohibition : Piracy and Authorship in New Media Art. Continuum,

2012. EBSCOhost,ezproxy.mga.edu/login?url= http://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=450908&site=eds-live&scope=site.

Etienne, Julian. "Re-Collection: Art, New Media, and Social Memory and Preserving and Exhibiting Media Art: Challenges and Perspectives." Velvet Light Trap, no. 77, 2016,


 * p. 100. EBSCOhost, ezproxy.mga.edu/login?url= http://search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsgcl.445018220&site=eds-live&scope=site.

Murray, Timothy. Digital Baroque : New Media Art and Cinematic Folds, University of Minnesota Press, Correct This Cited Source Later

2008. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/mgc/detail.action?docID=433191.

Bucksbarg, Andrew. "Digital Baroque: New Media Art and Cinematic Folds, by Timothy Murray. Minneapolis: University of Minnesota Press, 2008. 320 Pp. $25 (Paper). ISBN 978-0816634026 ." Information Society, vol. 26, no. 2, Mar/Apr2010, pp. 151-154. EBSCOhost, doi:10.1080/01972240903562845.

Ricardo, Francisco J. The Engagement Aesthetic : Experiencing New Media Art through Critique.

Bloomsbury Academic, 2013. International Texts in Critical Media Aesthetics. EBSCOhost, ezproxy.mga.edu/login?url= http://search.ebscohost.com/login.aspx.

direct=true&db=nlebk&AN=578862&site=eds-live&scope=site.

Themes
In the book New Media Art, Mark Tribe and Reena Jana named several themes that contemporary new media art addresses, including computer art, collaboration, identity, appropriation, open sourcing, telepresence, surveillance, corporate parody, as well as intervention and hacktivism. In the book Postdigitale, Maurizio Bolognini suggested that new media artists have one common denominator, which is a self-referential relationship with the new technologies, the result of finding oneself inside an epoch-making transformation determined by technological development. Nevertheless, new media art does not appear as a set of homogeneous practices, but as a complex field converging around three main elements: 1) the art system, 2) scientific and industrial research, and 3) political-cultural media activism. There are significant differences between scientist-artists, activist-artists and technological artists closer to the art system, who not only have different training and technocultures, but have different artistic production. This should be taken into account in examining the several themes addressed by new media art.

Non-linearity can be seen as an important topic to new media art by artists developing interactive, generative, collaborative, immersive artworks like Jeffrey Shaw or Maurice Benayoun who explored the term as an approach to looking at varying forms of digital projects where the content relays on the user's experience. This is a key concept since people acquired the notion that they were conditioned to view everything in a linear and clear-cut fashion. Now, art is stepping out of that form and allowing for people to build their own experiences with the piece. Non-linearity describes a project that escape from the conventional linear narrative coming from novels, theater plays and movies. Non-linear art usually requires audience participation or at least, the fact that the "visitor" is taken into consideration by the representation, altering the displayed content. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow's Happenings and became with Internet, a significant component of contemporary art. Art is not produced as a completed object submitted to the audience appreciation, it is a process in permanent mutation.[citation needed] ''' Delete this part of article if no sources are found. '''

The inter-connectivity and interactivity of the internet, as well as the fight between corporate interests, governmental interests, and public interests that gave birth to the web today, fascinate and inspire a lot of current new media art.

Many new media art projects also work with themes like politics and social consciousness, allowing for social activism through the interactive nature of the media. New media art includes "explorations of code and user interface; interrogations of archives, databases, and networks; production via automated scraping, filtering, cloning, and recombinatory techniques; applications of user-generated content (UGC) layers; crowdsourcing ideas on social- media platforms; narrowcasting digital selves on "free" websites that claim copyright; and provocative performances that implicate audiences as participants".

One of the key themes in new media art is to create visual views of databases. Pioneers in this area include Lisa Strausfeld, Martin Wattenberg and Alberto Frigo. Database aesthetics holds at least two attractions to new media artists: formally, as a new variation on non-linear narratives; and politically as a means to subvert what is fast becoming a form of control and authority.

The emergence of 3D printing has introduced a new bridge to new media art, joining the virtual and the physical worlds. The rise of this technology has allowed artists to blend the computational base of new media art with the traditional physical form of sculpture. A pioneer in this field was artist Jonty Hurwitz who created the first known anamorphosis sculpture using this technique.

Presentation and preservation
As the technologies used to deliver works of new media art such as film, tapes, web browsers, software and operating systems become obsolete, New Media art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects into New media art preservation are underway to improve the preservation and documentation of the fragile media arts heritage (see DOCAM - Documentation and Conservation of the Media Arts Heritage).

Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium, the digital archiving of media (see the Rhizome ArtBase, which holds over 2000 works, and the Internet Archive), and the use of emulators to preserve work dependent on obsolete software or operating system environments. ''' Add more to this article regarding the issues New Media face to preserve the artwork beyond the time of its contemporary production.   Find a source that support this. '''

Education
In New Media programs, students are able to get acquainted with the newest forms of creation and communication. New Media students learn to identify what is or isn't "new" about certain technologies. Science and the market will always present new tools and platforms for artists and designers. Students learn how to sort through new emerging technological platforms and place them in a larger context of sensation, communication, production, and consumption.

When obtaining a bachelor's degree in New Media, students will primarily work through practice of building experiences that utilize new and old technologies and narrative. Through the construction of projects in various media, they acquire technical skills, practice vocabularies of critique and analysis, and gain familiarity with historical and contemporary precedents. New media studies lets students create and manipulate new technologies. The nature of New Media Art provides an opportunity for students to expand the art field in new directions, however they see fit.[citation needed] ''' Add citation here. '''

In the United States, many Bachelor's and Master's level programs exist with concentrations on Media Art, New Media, Media Design, Digital Media and Interactive Arts.

''' Find sources that relate to this section on New Media Art education. Maybe Media Literacy? Media Art Education. '''