Documentation as Art
Expanded Digital Practices
Herausgeber: Dekker, Annet; Giannachi, Gabriella
Schade – dieser Artikel ist leider ausverkauft. Sobald wir wissen, ob und wann der Artikel wieder verfügbar ist, informieren wir Sie an dieser Stelle.
Documentation as Art
Expanded Digital Practices
Herausgeber: Dekker, Annet; Giannachi, Gabriella
- Gebundenes Buch
- Merkliste
- Auf die Merkliste
- Bewerten Bewerten
- Teilen
- Produkt teilen
- Produkterinnerung
- Produkterinnerung
Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art.
Andere Kunden interessierten sich auch für
Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art.
Produktdetails
- Produktdetails
- Verlag: Jenny Stanford Publishing
- Seitenzahl: 200
- Erscheinungstermin: 22. November 2022
- Englisch
- Abmessung: 234mm x 156mm x 14mm
- Gewicht: 485g
- ISBN-13: 9780367673123
- ISBN-10: 0367673126
- Artikelnr.: 64623365
- Verlag: Jenny Stanford Publishing
- Seitenzahl: 200
- Erscheinungstermin: 22. November 2022
- Englisch
- Abmessung: 234mm x 156mm x 14mm
- Gewicht: 485g
- ISBN-13: 9780367673123
- ISBN-10: 0367673126
- Artikelnr.: 64623365
Annet Dekker is a curator and researcher. Currently she is an assistant professor of Archival and Information Studies and Cultural Analysis at the University of Amsterdam and a visiting professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. Her monograph, Collecting and Conserving Net Art (Routledge 2018), is a seminal work in the field of digital art conservation. Gabriella Giannachi is a professor of Performance and New Media at the University of Exeter, UK. She has published a number of books including Virtual Theatres (2004); The Politics of New Media Theatre (2007); Archaeologies of Presence, co-edited with Michael Shanks and Nick Kaye (2012); Histories of Performance Documentation, co-edited with Jonah Westerman (2017); and Technologies of the Self-Portrait (2022).
Introduction; Part I: Production -- 1.The Tension Between Static
Documentation and Dynamic Digital Art 2. Documentation in an Age of
Photographic Hypercirculation; 3. Fifty-Two Weeks: A Year of El Paquete
Semanal, the Cuban Offline Internet, and the Two Artists who Archived It;
4. In-game Photography; 5. Documentation as a Creative Act; Part II:
Circulation -- 6. Challenges in the Creation, Perception and Distribution
of Documentation; 7. Leaking Lands: Museum Documentation without
Digitization; 8. Digital Culture: Heritage, Social Media and Documentation
Practices; 9. Step-And-Repeat: The Feed as The Great Flattener; 10. One
Terabyte of Documentation. The Circulation of GeoCities; Part 3:
Preservation -- 11. The Use of Documentation for Preservation and
Exhibition: the Cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA; 12.
Rendering the Moment. Virtual Reality as Documentation Tool for Spatial
Kinetic Artwork; 13. Collecting Social Photo. A Nordic Project in the
Search of Sustainable Methods for Preserving Social Media as Cultural
Heritage; 14. In Between Performance and Documentation; 15. How a Guitar
Started to Self-Document its 'Identity'. The Future of Art Documentation.
Documentation and Dynamic Digital Art 2. Documentation in an Age of
Photographic Hypercirculation; 3. Fifty-Two Weeks: A Year of El Paquete
Semanal, the Cuban Offline Internet, and the Two Artists who Archived It;
4. In-game Photography; 5. Documentation as a Creative Act; Part II:
Circulation -- 6. Challenges in the Creation, Perception and Distribution
of Documentation; 7. Leaking Lands: Museum Documentation without
Digitization; 8. Digital Culture: Heritage, Social Media and Documentation
Practices; 9. Step-And-Repeat: The Feed as The Great Flattener; 10. One
Terabyte of Documentation. The Circulation of GeoCities; Part 3:
Preservation -- 11. The Use of Documentation for Preservation and
Exhibition: the Cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA; 12.
Rendering the Moment. Virtual Reality as Documentation Tool for Spatial
Kinetic Artwork; 13. Collecting Social Photo. A Nordic Project in the
Search of Sustainable Methods for Preserving Social Media as Cultural
Heritage; 14. In Between Performance and Documentation; 15. How a Guitar
Started to Self-Document its 'Identity'. The Future of Art Documentation.
Introduction; Part I: Production -- 1.The Tension Between Static
Documentation and Dynamic Digital Art 2. Documentation in an Age of
Photographic Hypercirculation; 3. Fifty-Two Weeks: A Year of El Paquete
Semanal, the Cuban Offline Internet, and the Two Artists who Archived It;
4. In-game Photography; 5. Documentation as a Creative Act; Part II:
Circulation -- 6. Challenges in the Creation, Perception and Distribution
of Documentation; 7. Leaking Lands: Museum Documentation without
Digitization; 8. Digital Culture: Heritage, Social Media and Documentation
Practices; 9. Step-And-Repeat: The Feed as The Great Flattener; 10. One
Terabyte of Documentation. The Circulation of GeoCities; Part 3:
Preservation -- 11. The Use of Documentation for Preservation and
Exhibition: the Cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA; 12.
Rendering the Moment. Virtual Reality as Documentation Tool for Spatial
Kinetic Artwork; 13. Collecting Social Photo. A Nordic Project in the
Search of Sustainable Methods for Preserving Social Media as Cultural
Heritage; 14. In Between Performance and Documentation; 15. How a Guitar
Started to Self-Document its 'Identity'. The Future of Art Documentation.
Documentation and Dynamic Digital Art 2. Documentation in an Age of
Photographic Hypercirculation; 3. Fifty-Two Weeks: A Year of El Paquete
Semanal, the Cuban Offline Internet, and the Two Artists who Archived It;
4. In-game Photography; 5. Documentation as a Creative Act; Part II:
Circulation -- 6. Challenges in the Creation, Perception and Distribution
of Documentation; 7. Leaking Lands: Museum Documentation without
Digitization; 8. Digital Culture: Heritage, Social Media and Documentation
Practices; 9. Step-And-Repeat: The Feed as The Great Flattener; 10. One
Terabyte of Documentation. The Circulation of GeoCities; Part 3:
Preservation -- 11. The Use of Documentation for Preservation and
Exhibition: the Cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA; 12.
Rendering the Moment. Virtual Reality as Documentation Tool for Spatial
Kinetic Artwork; 13. Collecting Social Photo. A Nordic Project in the
Search of Sustainable Methods for Preserving Social Media as Cultural
Heritage; 14. In Between Performance and Documentation; 15. How a Guitar
Started to Self-Document its 'Identity'. The Future of Art Documentation.