{"title":"Digital","description":null,"products":[{"product_id":"making-sense","title":"Making Sense: Cognition, Computing, Art, And Embodiment","description":"\u003cb\u003eWhy embodied approaches to cognition are better able to address the performative dimensions of art than the dualistic conceptions fundamental to theories of digital computing.\u003c\/b\u003e\u003cp\u003eIn \u003ci\u003eMaking Sense\u003c\/i\u003e, Simon Penny proposes that internalist conceptions of cognition have minimal purchase on embodied cognitive practices. Much of the cognition involved in arts practices remains invisible under such a paradigm. Penny argues that the mind-body dualism of Western humanist philosophy is inadequate for addressing performative practices. Ideas of cognition as embodied and embedded provide a basis for the development of new ways of speaking about the embodied and situated intelligences of the arts. Penny argues this perspective is particularly relevant to media arts practices. \u003c\/p\u003e\u003cp\u003ePenny takes a radically interdisciplinary approach, drawing on philosophy, biology, psychology, cognitive science, neuroscience, cybernetics, artificial intelligence, critical theory, and other fields. He argues that computationalist cognitive rhetoric, with its assumption of mind-body (and software-hardware) dualism, cannot account for the quintessentially performative qualities of arts practices. He reviews post-cognitivist paradigms including situated, distributed, embodied, and enactive, and relates these to discussions of arts and cultural practices in general. \u003c\/p\u003e\u003cp\u003ePenny emphasizes the way real time computing facilitates new modalities of dynamical, generative and interactive arts practices. He proposes that conventional aesthetics (of the plastic arts) cannot address these new forms and argues for a new “performative aesthetics.” Viewing these practices from embodied, enactive, and situated perspectives allows us to recognize the embodied and performative qualities of the “intelligences of the arts.”\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46154982752433,"sku":"9780262538237","price":47.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_c4dfe108-f1a6-4f57-8f43-cac8dc90aea2.jpg?v=1763635941"},{"product_id":"video","title":"Video: The Reflexive Medium","description":"\u003cb\u003eAn argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others.\u003c\/b\u003e\u003cp\u003eVideo is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a “frame,” video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as “transformation imagery,” acknowledging the centrality in video of the transitions between images—and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis—documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46156731973809,"sku":"9780262515177","price":60.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_553098c9-a768-4636-8d1b-448800eb9fa9.jpg?v=1763718209"},{"product_id":"ecologies-of-artistic-practice","title":"Ecologies of Artistic Practice: Rethinking Cultural Economies through Art and Technology","description":"\u003cb\u003eAn in-depth look at how we make and circulate art today, and how creative and economic processes shape the meaning and value of artworks.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eIn \u003ci\u003eEcologies of Artistic Practice\u003c\/i\u003e, Ashley Lee Wong explores the economic relationships of artists working at the nexus of art and technology as they negotiate a means to make art in a neoliberal creative economy. Wong looks at the diverse ways in which artworks circulate, both online and offline, in galleries, on digital platforms, and on media facades, and investigates some of the mechanisms that enable artists to create works, including selling artworks and NFTs, grants, licensing, commissions, and artist residencies. The book also looks at the ways in which artists collaborate with corporations and develop practices as commercial entities themselves.\u003cbr\u003e\u003cbr\u003eThe book provides unique insights into the diverse creative and economic processes that shape the meaning and value of artworks. Wong seeks to shift away from notions of individual authorship and finite artworks that can be bought and sold, and instead toward an understanding of artistic practices as collaborative, social, and cultural processes. Rather than critique this economy, \u003ci\u003eEcologies of Artistic Practice\u003c\/i\u003e opens space for engaging in hypercommercialized contexts, while considering how money is not an end goal, but a means to initiate or continue an artistic process.","brand":"None","offers":[{"title":"Paperback","offer_id":46159027732657,"sku":"9780262552165","price":66.0,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46159027765425,"sku":"15b3af55-69e8-3970-9776-0968b2fd4d0e","price":51.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_d32c76be-599e-4df2-b15c-000d9547c7d7.jpg?v=1763636457"},{"product_id":"proxistant-vision","title":"Proxistant Vision: Motion, Navigation, Scale","description":"\u003cb\u003eHow the surge in aerial technologies, such as drones and satellites, influences visual culture beyond the screen.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eThe smooth flight from aerial overview to intimate close-up in Martin Scorsese’s \u003ci\u003eHugo \u003c\/i\u003e(2011) exemplifies the concept of proxistant vision: a combination of proximity and distance, close-up and overview, detail and the big picture, in a unified visual form. In \u003ci\u003eProxistant Vision\u003c\/i\u003e, Synne Bull and Dragan Miletic develop the concept of proxistant vision and trace its emergence as a visual paradigm of the twenty-first century. As exemplified by Google Earth’s digital swipe between globe perspective and street-level detail, proxistant vision currently proliferates across digital geography, computer games, architectural models, data visualizations, and CGI cinema. It is defined as the combination of proximity and distance in a single image, across a dynamic flight, or zoom.\u003cbr\u003e\u003cbr\u003ePointing to the surge in aerial imaging and remote sensing technologies such as drones and satellites, the book moves beyond the screen to include the kinetic architecture of rides and urban observation wheels. The key objective of this study is threefold: to trace the genealogy and understand the technical operation of proxistance as it traveled from periphery to center in the twenty-first century; to explore its alternative potentialities in contemporary art practices; and, finally, to reflect critically on the worldviews underpinning different modalities of proxistance in times of environmental crisis. The authors show how the powerful effect of combining proximity and distance, which was already in place with the earliest cartographic inscriptions, has taken precedence on and beyond our screens today.","brand":"None","offers":[{"title":"Paperback","offer_id":46159031042225,"sku":"9780262552189","price":60.0,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46159031074993,"sku":"49fcada6-bd28-37d1-9781-fa2cf889ecea","price":47.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_951a0699-f294-4e32-8592-760ce3036297.jpg?v=1763636466"},{"product_id":"media-ecologies","title":"Media Ecologies: Materialist Energies in Art and Technoculture","description":"\u003cb\u003eA \"dirty materialist\" ride through the media cultures of pirate radio, photography, the Internet, media art, cultural evolution, and surveillance.\u003c\/b\u003e\u003cp\u003eIn \u003ci\u003eMedia Ecologies\u003c\/i\u003e, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or elements in a composition as much as \"things\"—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multiplicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investigates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, \"to produce patterns, dangers, and potentials.\"\u003c\/p\u003e\u003cp\u003eFuller draws on texts by Felix Guattari and Gilles Deleuze as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of \"media ecology.\" Arguing that the only way to find out about what happens when media systems interact is to carry out such interactions, Fuller traces a series of media ecologies—\"taking every path in a labyrinth simultaneously,\" as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech media systems; the \"medial will to power\" illustrated by \"the camera that ate itself\"; how, as seen in a range of compelling interpretations of new media works, the capacities and behaviors of media objects are affected when they are in \"abnormal\" relationships with other objects; and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen via webcams.\u003c\/p\u003e\u003cp\u003eContributing to debates around standardization, cultural evolution, cybernetic culture, and surveillance, and inventing a politically challenging aesthetic that links them, \u003ci\u003eMedia Ecologies\u003c\/i\u003e, with its various narrative speeds, scales, frames of references, and voices, does not offer the academically traditional unifying framework; rather, Fuller says, it proposes to capture \"an explosion of activity and ideas to which it hopes to add an echo.\"\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46158940307633,"sku":"9780262562263","price":54.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_dffbef5f-833d-40d2-8ad7-e695293b3961.jpg?v=1763718206"},{"product_id":"beginners-guide-to-digital-painting-in-clip-studio-paint","title":"Beginner's Guide to Digital Painting in Clip Studio Paint: Featuring tutorials by expert professional artists","description":"\u003cb\u003eThis exciting, comprehensive Beginner's Guide, written by professional and famous digital artists working with Clip Studio Paint, is the first of its kind and will offer new and existing CSP users an incredibly in-depth look at creating impressive art with the software.\u003c\/b\u003e\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cbr\u003e\u003c\/b\u003eClip Studio Paint is a cross-platform drawing and animation software used by millions of artists worldwide. \u003c\/span\u003e\u003cspan\u003eIts popularity has recently boomed - in 2022, the userbase had grown to 25 million. \u003c\/span\u003e\u003cspan\u003eThe software is popular with artists of every level, can be used on any device (mobile phone, tablets including the iPad, and any computer) and is relatively cheap to purchase compared to other software. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eIt's perfect for beginners wanting to try something out. For these reasons and more, there's a keen audience for a high-quality tutorial book like this one.\r\nThe book features an all-encompassing Getting Started section, covering all the basics and advice from a respected artist in the digital field. Each page teaches through screengrabs of the software in use, detailed written steps, and art in progress. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThere are also in-depth tutorials from professional artists covering a variety of genres in which the software might be used, including manga comics, character design, landscapes (real and fantasy), picture-book illustration, and more. The tutorials are provided by artists at the top of their game, including Devin Elle Kurtz (858K Instagram followers) and Simz (403K Instagram followers), both of whom have published their own Art Of book with 3dtotal Publishing and are highly revered in the digital-art world.\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46160381837489,"sku":"9781912843961","price":49.5,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46160381870257,"sku":"c03b2820-f012-3fde-8d1f-dc2287d8a2b8","price":33.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_3932068c-4c2f-4982-888a-7e2bd95b103b.jpg?v=1763713664"},{"product_id":"light-for-visual-artists-second-edition","title":"Light for Visual Artists Second Edition: Understanding and Using Light in Art \u0026 Design","description":"This introduction to light for students and visual artists explores the way light can be used to create realistic and fantastical effects in a wide range of media. Divided into three parts, the clearly written text explains: the fundamental properties of natural and artificial light; how to create realistic images by observing people and the environment; the creative use of light in composition and design. Updated with revised photos and artwork, as well as 15 practical exercises and new online video material, this second edition is an indispensable resource for animators, digital illustrators, painters, photographers, and artists working in any medium.","brand":"None","offers":[{"title":"Paperback","offer_id":46162730680497,"sku":"9781786274519","price":53.0,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46162730713265,"sku":"44c43f0a-a908-38e1-a381-83b688597c45","price":4.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_a4795b5c-ab40-4d5f-a001-649fcbef3f88.jpg?v=1763567283"},{"product_id":"windows-and-mirrors","title":"Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency","description":"\u003cb\u003eThe experience of digital art and how it is relevant to information technology.\u003c\/b\u003e\u003cp\u003eIn \u003ci\u003eWindows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency\u003c\/i\u003e, Jay David Bolter and Diane Gromala argue that, contrary to Donald Norman's famous dictum, we do not always want our computers to be invisible \"information appliances.\" They say that a computer does not feel like a toaster or a vacuum cleaner; it feels like a medium that is now taking its place beside other media like printing, film, radio, and television. The computer as medium creates new forms and genres for artists and designers; Bolter and Gromala want to show what digital art has to offer to Web designers, education technologists, graphic artists, interface designers, HCI experts, and, for that matter, anyone interested in the cultural implications of the digital revolution.\u003c\/p\u003e\u003cp\u003eIn the early 1990s, the World Wide Web began to shift from purely verbal representation to an experience for the user in which form and content were thoroughly integrated. Designers brought their skills and sensibilities to the Web, as well as a belief that a message was communicated through interplay of words and images. Bolter and Gromala argue that invisibility or transparency is only half the story; the goal of digital design is to establish a rhythm between transparency—made possible by mastery of techniques—and reflection—as the medium itself helps us understand our experience of it.\u003c\/p\u003e\u003cp\u003eThe book examines recent works of digital art from the Art Gallery at SIGGRAPH 2000. These works, and their inclusion in an important computer conference, show that digital art is relevant to technologists. In fact, digital art can be considered the purest form of experimental design; the examples in this book show that design need not deliver information and then erase itself from our consciousness but can engage us in an interactive experience of form and content.\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46165034696881,"sku":"9780262524490","price":54.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_6277edcb-8b24-4950-828a-90a23cc2871b.jpg?v=1763713700"},{"product_id":"re-collection","title":"Re-collection: Art, New Media, and Social Memory","description":"\u003cb\u003eThe first book on the philosophy and aesthetics of digital preservation examines the challenge posed by new media to our long-term social memory.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eHow will our increasingly digital civilization persist beyond our lifetimes? Audio and videotapes demagnetize; CDs delaminate; Internet art links to websites that no longer exist; Amiga software doesn't run on iMacs. In\u003ci\u003e Re-collection\u003c\/i\u003e, Richard Rinehart and Jon Ippolito argue that the vulnerability of new media art illustrates a larger crisis for social memory. They describe a \u003ci\u003evariable media \u003c\/i\u003eapproach to rescuing new media, distributed across producers and consumers who can choose appropriate strategies for each endangered work.\u003cbr\u003e\u003cbr\u003eNew media art poses novel preservation and conservation dilemmas. Given the ephemerality of their mediums, software art, installation art, and interactive games may be heading to obsolescence and oblivion.\u003cbr\u003eRinehart and Ippolito, both museum professionals, examine the preservation of new media art from both practical and theoretical perspectives, offering concrete examples that range from Nam June Paik to Danger Mouse. They investigate three threats to twenty-first-century creativity: technology, because much new media art depends on rapidly changing software or hardware; institutions, which may rely on preservation methods developed for older mediums; and law, which complicates access with intellectual property constraints such as copyright and licensing. Technology, institutions, and law, however, can be enlisted as allies rather than enemies of ephemeral artifacts and their preservation. 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With the advent of ubiquitous computing, the self becomes an object of technological application, increasingly defined by data received from tracking technologies. Subtly, these technologies encourage versions of ourselves that are easier to interpret computationally. Fedorova views these shifts in self-perception through the lens of contemporary media art practices, examining a range of artistic tactics that enable embodied and intimate experiences of machinic operations on our lives.\u003c\/p\u003e\u003cp\u003eAt the center of Fedorova's analysis are the mechanisms that structure the relations between the self and the world at the level of the interface; she considers “interfacing” a process in which interrelation happens and different agencies play off against each other. She discusses such topics as interfaciality and the face as a medium; self-image and the boundaries of the self, understood through technological mediation of an embodied experience; the relation between the self and the other, reshaped by algorithmic technologies; and the augmentation and alteration of spatial perception.\u003c\/p\u003e\u003cp\u003eThe artworks Fedorova discusses present scenarios of interfacing that range from responsive environments to artificial intelligence conversational agents. She shows that art and aesthetic experience offer fruitful ways to reflect on the effects of contemporary technological culture, enabling encounters that shift our perspectives on the boundaries of the self and challenge the very capacity to feel human.\u003c\/p\u003e","brand":"None","offers":[{"title":"Hardcover","offer_id":46165572255921,"sku":"9780262044158","price":47.0,"currency_code":"CAD","in_stock":true},{"title":"Kobo eBook","offer_id":46165572288689,"sku":"f7e244fc-73af-335a-8b89-a8648fc8be78","price":36.99,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_bc6c9f6a-4c4c-4cb0-8e22-3676c9b5153d.jpg?v=1763631285"},{"product_id":"enfoldment-and-infinity","title":"Enfoldment and Infinity: An Islamic Genealogy of New Media Art","description":"\u003cb\u003eTracing the connections—both visual and philosophical—between new media art and classical Islamic art.\u003c\/b\u003e\u003cp\u003eIn both classical Islamic art and contemporary new media art, one point can unfold to reveal an entire universe. 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After demonstrating historically how Islamic aesthetics traveled into Western art, Marks draws explicit parallels between works of classical Islamic art and new media art, describing texts that burst into image, lines that multiply to form fractal spaces, “nonorganic life” in carpets and algorithms, and other shared concepts and images. Islamic philosophy, she suggests, can offer fruitful ways of understanding contemporary art.\u003c\/p\u003e","brand":"None","offers":[{"title":"Paperback","offer_id":46164866891953,"sku":"9780262537360","price":66.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8980\/5233\/files\/1_61276580-82a4-480a-9362-899759ce6489.jpg?v=1763713702"},{"product_id":"voicetracks","title":"Voicetracks: Attuning to Voice in Media and the Arts","description":"\u003cb\u003eThe affects, aesthetics, and ethics of voice in the new materialist turn, explored through encounters with creative works in media and the arts.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eMoved by the Aboriginal understandings of songlines or dreaming tracks, Norie Neumark's \u003ci\u003eVoicetracks \u003c\/i\u003eseeks to deepen an understanding of voice through listening to a variety of voicing\/sound\/voice projects from Australia, Europe and the United States. Not content with the often dry tone of academic writing, the author engages a “wayfaring” process that brings together theories of sound, animal, and posthumanist studies in order to change the ways we think about and act with the assemblages of living creatures, things, places, and histories around us.\u003cbr\u003e\u003cbr\u003eNeumark evokes both the literal—the actual voices within the works she examines—and the metaphorical—in a new materialist exploration of voice encompassing human, animal, thing, and assemblages. She engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and “unvoicing,” disturbances in the image\/voice relationship and in the idea of what voice is. She writes about remixes, the Barbie Liberation Organisation, and breath in Beijing, about cat videos, speaking fences in Australia, and an artist who reads (to) the birds. 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