At the Edge of Art
Joline Blais
Jon Ippolito
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| ‘An impressive survey of digital and internet art … offers a way to grasp this elusive and fluid art form … an indispensable guide to digital art in the last decade, coming from a new, different perspective compared to previous titles on digital art’ | | – State of Art |
Though they may call themselves scientists, activists or hackers rather than poets or performers, today’s electronic visionaries are redefining art for the Internet Age.
Art’s recent eruption in fields as diverse as artificial life, computer games and community activism reveals a seismic shift in the role it plays in society. No longer content to sit on a pedestal or auction block, these works infiltrate stock markets, sway court cases and invade networked bedrooms, reaching across the globe to expand the edge of art.
CONTENTS
1 Code as Muse: new artistic possibilities opened up by
computer programming
2 Deep Play: new narrative forms and ‘action’ aesthetics of
computer games
3 Autobotography: the rise of webcam-based
performance art
4 Designing Politics: seemingly ‘real’ websites, used to
subvert commercial and political enterprise
5 Reweaving Community: the emergence of an online
‘art world’ whose fugitive existence resists definition
6 Preserving Artificial Life: a new biology established via
human-engineered viruses and other digital ‘life-forms’
7 Redefining Art
References
Glossary
Joline Blais teaches cyberliterature at the University of Maine, where she co-directs the new media programme with Jon Ippolito. Jon Ippolito is also Assistant Curator of Digital Arts at the Guggenheim Museum, New York.
For chapter summaries, extracts and other details see the
At the Edge of Art website
Readers in the USA can buy the book from our
Also of interest:
Internet Art – Art Monthly
Digital Art
New Media in Art
Creative Code
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|  |  | | | | ISBN 0500238227 | | ISBN-13 978-0500238226 | | | | 22.3 x 20.3 cm | | PLC (no jacket) | | 256pp | | With over 500 colour illustrations | | First published 2006 | | | | £19.95 | | | |  | | | | 
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