Concept
New media art
Related concepts (28)
Performance art
Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a public in a fine art context in an interdisciplinary mode. Also known as artistic action, it has been developed through the years as a genre of its own in which art is presented live. It had an important and fundamental role in 20th century avant-garde art.
Sound art
Sound art is an artistic activity in which sound is utilized as a primary medium or material. Like many genres of contemporary art, sound art may be interdisciplinary in nature, or be used in hybrid forms. According to Brandon LaBelle, sound art as a practice "harnesses, describes, analyzes, performs, and interrogates the condition of sound and the process by which it operates." In Western art, early examples include Luigi Russolo's Intonarumori or noise intoners (1913), and subsequent experiments by dadaists, surrealists, the Situationist International, and in Fluxus events and other Happenings.
Cybernetic art
Cybernetic art is contemporary art that builds upon the legacy of cybernetics, where feedback involved in the work takes precedence over traditional aesthetic and material concerns. The relationship between cybernetics and art can be summarised in three ways: cybernetics can be used to study art, to create works of art or may itself be regarded as an art form in its own right. Nicolas Schöffer's CYSP I (1956) was perhaps the first artwork to explicitly employ cybernetic principles (CYSP is an acronym that joins the first two letters of the words "CYbernetic" and "SPatiodynamic").
Hacker culture
The hacker culture is a subculture of individuals who enjoy—often in collective effort—the intellectual challenge of creatively overcoming the limitations of software systems or electronic hardware (mostly digital electronics), to achieve novel and clever outcomes. The act of engaging in activities (such as programming or other media) in a spirit of playfulness and exploration is termed hacking. However, the defining characteristic of a hacker is not the activities performed themselves (e.g.
Interactive film
An interactive film is a video game or other interactive media that has characteristics of a cinematic film. In the video game industry, the term refers to a movie game, a video game that presents its gameplay in a cinematic, scripted manner, often through the use of full-motion video of either animated or live-action footage. In the film industry, the term "interactive film" refers to interactive cinema, a film where one or more viewers can interact with the film and influence the events that unfold in the film.
Video art
Video art is an art form which relies on using video technology as a visual and audio medium. Video art emerged during the late 1960s as new consumer video technology such as video tape recorders became available outside corporate broadcasting. Video art can take many forms: recordings that are broadcast; installations viewed in galleries or museums; works streamed online, distributed as video tapes, or DVDs; and performances which may incorporate one or more television sets, video monitors, and projections, displaying live or recorded images and sounds.
Postminimalism
Postminimalism is an art term coined (as post-minimalism) by Robert Pincus-Witten in 1971 and used in various artistic fields for work which is influenced by, or attempts to develop and go beyond, the aesthetic of minimalism. The expression is used specifically in relation to music and the visual arts, but can refer to any field using minimalism as a critical reference point. In music, "postminimalism" refers to music following minimal music.
Post-conceptual art
Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional aesthetic and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s.