Digital, video and new media arts Books

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Book SynopsisHolly Rogers is Reader in Music at Goldsmiths, University of London, UK. She is author of Sounding the Gallery: Video and the Rise of Art-Music (2013) and Twentieth Century Music (2021). She is editor of Music and Sound in Documentary Film (2014), The Music and Sound of Experimental Film (2017), Transmedia Directors: Artistry, Industry and New Audiovisual Aesthetics (Bloomsbury, 2019), Cybermedia (Bloomsbury, 2021) and The Cambridge Companion to Music Video (2022). Holly is one of the founding editors of Bloomsbury's New Approaches to Sound, Music and Media series and is the founding director of MIT's journal, Sonic Scope: New Approaches to Audiovisual Culture.Joana Freitas is a PhD student in Musicology at NOVA University of Lisbon, Portugal, and a researcher at the Centre for the Study of Sociology and Aesthetics of Music on video game music, audiovisual media and cybercommunities. She recently organisedTrade ReviewThis essential book unveils critical approaches to how YouTube has revolutionized the way we (re)create, (re)mix and (re)use sound, music and the moving image in the digital age. The editors and contributors explore innovative and collaborative music practices and trends that pulsate within audiovisual and streaming cultures, including its connection for all users involved, and its influence on contemporary societies, cultures and politics. Remediating Sound: Repeatable Culture, YouTube and Music is an important book for scholars seeking to unravel the entwined worlds of music and digital cultures. * Shara Rambarran, Senior Lecturer in Music, Business, and Media, University of Brighton, UK, and author of Virtual Music: Sound, Music, and Image in the Digital Era (Bloomsbury, 2021) *For two decades YouTube has both driven and showcased the emerging genres and aesthetics of new digital media. Central to such media is remediation, the transformation of sounds and moving images as they migrate from one genre, platform or technology to another: the result is a cultural practice in which collage, montage and quotation play an essential role, with fixed works and meanings giving way to dynamic, multimodal networking and emergent meaning. Based on the reworking and transformation of existing materials, creativity is redefined as social interaction. Held together by the focus on YouTube, and encompassing a wide range of digital practices and genres – from fanvidding and reaction videos to protest videos, SoundCloud rap and vaporwave – this multi-authored volume is an indispensable and cutting-edge guide to a technological, social and aesthetic phenomenon that has become a core dimension of life in the 21st century. * Nicholas Cook, Emeritus Professor of Music, University of Cambridge, UK *Table of ContentsPreface Jay Bolter, Georgia Institute of Technology, USA Introduction: “I feel like I’ve heard it before”: The Musical Echoes of YouTube Holly Rogers, Goldsmiths, University of London, UK, Joana Freitas, CESEM - NOVA FCSH, Portugal, and João Francisco Porfírio, CESEM - NOVA FCSH, Portugal 1. “Technology allows more people to do things”: Artificial Intelligence, Mashups and Online Musical Creativity Christine Boone, University of North Carolina Asheville, USA, and Brian Drawert, University of North Carolina Asheville, USA 2. From Contagion to Imitation: On Bass Drop Memes, Trolling Repertoires and the Legacy of Gabriel Tarde Edward Katrak Spencer, University of Oxford, UK 3. Sincere, Authentic, Remediated: The Affective Labour and Cross Cultural Remediations of Music Video Reaction Videos on YouTube Michael Goddard, Goldsmiths, University of London, UK 4. Internet Archiving: The Many Lives of Songs in the YouTube Age Henrik Smith Sivertsen, Royal Danish Library, Denmark 5. Listening Through Social Media: Soundscape Composition, Collaboration and Networked Sonic Elongation Holly Rogers, Goldsmiths, University of London, UK 6. “Only people with good imagination usually listens to this kind of music”: On the Convergence of Musical Tags, Video Games and YouTube in the Epic Genre Joana Freitas, CESEM - NOVA FCSH, Portugal 7. Of Clouds and Vapors: Transcending Ironic Distance in Networked Composition Jonas Wolf, GCSC, Justus-Liebig Universität Gießen, Germany 8. Performing Beyond the Platform: Experiencing Musicking On and Through YouTube, TikTok and Instagram Juan Bermúdez, University of Vienna, Austria 9. Library Music as the Soundtrack of YouTube Júlia Durand, CESEM - NOVA FCSH, Portugal 10. Meme and Variations: How Video Mashups of John Coltrane’s Giant Steps Became a Thing Scott B. Spencer, University of Southern California, USA 11. ‘Spinning Straw Into Gold’: Nacho Video and the Exquisite Corpse of Fan-editing Lisa Perrott, University of Waikato, New Zealand 12. Music Videos as Protest Communication Olu Jenzen, The University of Brighton, UK, Itir Erhart, Istanbul Bilgi University, Turkey, Hande Eslen-Ziya, University of Stavanger, Norway, Umut Korkut, Glasgow Caledonian University, UK, Aidan McGarry, Loughborough University, UK, and Derya Güçdemir, Independent Scholar, Turkey Index

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Book SynopsisThis is a book about video art, and about sound art. The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form. Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.Trade ReviewIn Rumour and Radiation, Paul Hegarty provides novel insight into and strong evidence of the audiovisual nature of video arts as it turns out to play a key role in contemporary crossmedia practices. His arguments are convincing: that sound and image in video are different yet connected to each other. His many examples are fascinating, particularly the importance of sounds in the creation of spatial effects in video works where the artists, like Bruce Nauman, Jane and Louise Wilson, Christian Marclay, or Ryoji Ikeda, explore materials and perceptions across usual borders. This work is an illuminating source that sets a new tone for readjustments and critical engagement with multi-sensorial processes in our still predominantly 'visually' conceived culture. * Yvonne Spielmann, Dean of Faculty of Fine Arts, Lasalle College of the Arts, Singapore, author of Video. The Reflexive Medium (2008) and Hybrid Culture (2013) *Table of ContentsAcknowledgements List of Illustrations Introduction: How Video Works and How It Sounds 1 Expanding Cinema 2 Bruce Nauman and the Audiospatial 3 Body as Screen 4 Gary Hill, Seeing Language 5 Bill Viola, Elemental Ambience 6 Dan Graham, Stan Douglas, Laurie Anderson, Dara Birnbaum: Performing Musically 7 Christian Marclay, The Medium as multiple 8 Pipilotti Rist, Immersing 9 Pierre Huyghe, Repurposing Sound 10 Steve McQueen, The Destabilizing Ground 11 Jane and Louise Wilson, An Other Index 12 Total Screen (Ryoji Ikeda, Carsten Nicolai, Granular Synthesis 13 Ryan Trecartin, Videocore End: Elizabeth Price, Noise Capture Bibliography Index

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Book SynopsisConsidering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.Trade ReviewTaylor's 'troubled history of computer art' is subtle, complex, multi-layered and often paradoxical, so any attempt to summarize or synthesize its content fails to convey the scope and depth of what is covered ... I intend to champion Taylor’s book whenever the lament arises about why the art world takes no notice of mathematical art ... I will urge everyone I know who has an interest in using the computer in any significant way in his or her art practice to read Taylor’s book for the cautionary lessons it has to offer. -- Gary Greenfield, University of Richmond, USA * Journal of Mathematics and the Arts *Taylor recovers and reassembles the fractured history of "computer art" from 1963, when the term came into use, until 1989, when "digital art" and "new media" became the preferred terms […] Taylor’s approach is integrative. He reconstructs the history of computer art not by isolating it from its scientific and mathematical nature but by combining that context with the "art and technology" and conceptual art movements of the 1960s. Summing Up: Recommended. Graduate students and researchers/faculty. -- E. K. Mix, Butler University * CHOICE *How astonishing that the pioneers of computer, digital, algorithmic, programming, and mash-up art are largely unknown at the very moment when the computer, or more specifically its handheld, lap bound, or otherwise omnipresent progeny are transforming virtually every aspect of existence! I read this, fascinated by the continued relevance of the artists (and their disputes) and delighted to know that finally, with this publication, there exists a portrait of an evolving movement that has worked assiduously at the boundaries of the art world for fifty years. -- Hannah B Higgins, Professor of Art History, University of Illinois Chicago, USABy questioning the reasons for which art critics, artists and curators rejected computer-generated artefacts during the 1960s, 1970s and 1980s, Grant Taylor makes a significant contribution to the historiography of 20th century culture. -- Margit Rosen, Researcher and Curator, ZKM | Center for Art and Media Karlsruhe, GermanyAlthough computer-generated art was largely ignored by the art establishment in the 1960s and 70s, it's now viewed in a very different light. Grant Taylor's book provides an excellent - and much needed -overview of the beginnings of digital art and design. -- Douglas Dodds, Senior Curator, Victoria and Albert Museum, UKTable of ContentsIntroduction: Unorthodox Chapter 1: Future Crashes Chapter 2: Coded Aesthetics Chapter 3: Virtual Renaissance Chapter 4: Frontier Exploration Chapter 5: Critical Impact Epilogue: Aftermath Bibliography Index

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Book SynopsisIllusions of Stillness and Movement: An Introduction to Film and Photography is a collection of readings, interviews, historical surveys, visual analyses, and theoretical discussions on the relationship between photography and film.The book provides an interdisciplinary, theoretical framework and a historical context for understanding the full impact of media on contemporary culture. It examines the distinct ways we understand the meaning of “cinematic” and “photographic” from the perspective of the artistic humanities to see what distinguishes and what connects the two.Students learn how photography and cinema work together to create stories, and bring unnoticed elements and hidden meanings to the forefront of the viewing experience. They explore photographic realism, the limits media impose on users in terms of realistic representation, and the notion of photographic truth in the digital age. Illusions of Stillness and Movement can be used in introductory courses on film and photography, classes on the history and theory of cinema and photography, and those that address visual culture.

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Book Synopsis'Chock-full of gorgeous pieces of art, many of which I would love to hang on my wall, Batman: The Animated Series: The Phantom City Creative Collection, is one of my favorite pieces.' – DC Comics News Mondo is proud to present Batman: The Animated Series: The Phantom City Creative Collection, a visually breathtaking celebration of the Emmy Award–winning series.Known for their limitless passion and incredible ingenuity for film and television posters, Mondo turns their attention to the highly acclaimed show Batman: The Animated Series. The show first aired in 1992 and was instantly met with critical praise for its sophisticated writing and distinctive, noir-influenced art style, generating an intense following that still exists today. Over the years, Mondo has received global recognition for their astonishing artisanal posters, and their creations for Batman: The Animated Series are no exception. The studio has partnered exclusively with the award-winning artist at Phantom City Creative, Inc., Justin Erickson, in order to bring this show to life in a striking and unparalleled way. Filled with Erikson’s slick graphic design as well as beautifully rendered illustrations, this Batman: The Animated Series art book is a one-of-a-kind tribute to one of the greatest animated shows of all time.

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Book Synopsis How do the temporal and dynamic patterns of media forms and practices create complex constructions of meaning, identity and value? How can we describe the way cinematic images generate and transform the affectively grounded structures that survey, confirm or revise a political community’s horizon of values? Using the exemplary case of feelings of guilt, the author develops an approach that makes patterns of audiovisual compositions intelligible as aesthetic modulations of moral feelings. A sense of guilt is presented here as neither an individualistic psychological emotion nor an external social mechanism of control but as a paradigmatic case for understanding politics and history as based upon embodied affectivity and shared relations to the world. By taking three distinct examples – German Post-War cinema, Hollywood Western and films on climate change – patterns of audiovisual composition and the inherent calculation of affect are analyzed as practices shaping the conditions of possibility of political communities and their historicity.

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Book SynopsisStrategies of Playful Resistance Within the Consumer Society Guy Ben Ner makes a lot out of very little, radically integrating both himself and his private surroundings into his work. His family’s apartment in Tel Aviv serves as a film location for the video artist, as do the aisles of a furniture store. In these often grotesque settings, the influence of economics and politics on the most intimate human relationships becomes apparent. In conversation with his close friend and fellow artist Christian Jankowski, Ben Ner provides insight into the process of creating his works. For what seems improvised is based on months of research and draws on an extensive knowledge of film history, and it is this discrepancy between improvised situations and the rigor of his artistic concepts that characterizes his work. Using terms such as “aesthetics,” “fantasy,” “family,” or “citation,” curator Fanni Fetzer develops an alphabet of resistance in Ben Ner’s oeuvre. Consequently, this publication aims to convey the artist’s clear political stance and his strategy of playful resistance.

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