Context Providers: Conditions of Meaning in Media Arts by Margot Lovejoy, Victoria Vesna, Christiane Paul

By Margot Lovejoy, Victoria Vesna, Christiane Paul

Context Providers explores the ways that electronic paintings and tradition are not easy and altering the artistic procedure and our methods of creating which means. The authors introduce the concept that of artists as context providers—people who identify networks of knowledge in a hugely collaborative inventive approach, blurring obstacles among disciplines. Technological swap has affected the functionality of paintings, the position of the artist, and how inventive productions are shared, making a desire for versatile details filters as a framework for developing that means and identification. Context Providers considers the paintings of media artists this present day who're without delay enticing the medical neighborhood via collaboration, lively discussion, and inventive paintings that demanding situations the scientific.

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Browning, Douglas (1964), Act and Agent: An Essay in Philosophical Anthropology, Miami: University of Miami Press. Caldwell, John T. (2003), “Second-shift: Media aesthetics, programming, interactivity, and user flows” in A. Everrett and J. T. ), New Media: Theories and Practices of Digitextuality, London: Routledge. , Selz, Peter & Taylor, Joshua eds. (1968), Theories of Modern Art: A Source Book by Artists and Critics, Berkeley: University of California Press. 48 Missing In Action: Agency and Meaning In Interactive Art D’Agostino, Peter (1980), TeleGuide: Including Proposal for QUBE, San Francisco: NFS Press.

1. “BicycleTV: Some Interactive Exercise,” Nancy Paterson (1989). The handlebar and pedals of the interface bicycle provide the viewer interactive control over the direction and speed of travel. Cycling is transduced into the virtual environment, distilling the active body in the virtual scenario. A video projector or large screen is used for display. The arrows on the screen indicate choices 33 to the rider. The image is from an exhibition (curator Luc Courchesne) in Montreal titled “TeleVisions” at PRIM in 1991.

He pointed out that three years after Canadian artist Nancy Paterson completed “Bicycle TV” (1990), an interactive laser disc that interfaced with a bicycle and its rider, “exercise cycles were available with simulated travel on graphic displays” (Penny 1995: 48). 1] Since much of the extensive, heterogeneous history of interactive art has pursued a decidedly anti-commercial direction, we pose the rhetorical question: In what ways does such commercial saturation of interactive multimedia challenge its ability to resonate with artistic meaning?

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