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The rapidly evolving nature of emerging technologies renders artworks made using such technologies a challenging category of objects to be handled by institutions. This paper presents real scenarios of how art made with Virtual Reality (VR) and Augmented Reality (AR) is acquired, exhibited and finally preserved by museums and art institutions, presenting a clear picture of a particular period. Though an extensive body of literature and studies deal with the preservation of 'New Media', very few focus on the challenges faced by museums and private institutions when it comes to artworks that use VR/AR. We used in-depth interviews with eight museum professionals working in six key institutions that engage with VR/AR artworks, and four artists, who create such works, in order to define current institutional practices, understand the challenges museum professionals face when dealing with VR/AR artworks, and identify the preservation-related concerns of artists working with these technologies. [ABSTRACT FROM AUTHOR]

This article examines the thematic scope and media-specific characteristics of media art by analysing it through one of this art exhibitions practices: the annual specialized media art exhibitions–festivals–conferences. An overview of media art terminology and a study of the evolution of technological art festivals provide a framework for exploring the themes of the three major festivals, Ars Electronica, SIGGRAPH, and the RIXC Art Science Festival. Comparative and contrastive analysis of the data has revealed that in many cases the festivals address specific themes in their calls for submissions of papers and artworks. This allows for a better assessment of the place of technology-oriented media art in the overall mainstream contemporary art and opens up a space for discussions about the pending recognition of media art that can broaden the thematic range of the entire art field. [ABSTRACT FROM AUTHOR]

The article reviews two digital art exhibitions including Anna Ridler's "Myriad (Tulips)," presented in London, England from May 16 to August 26, 2019 and Stephanie Dinkins' "Secret Garden: Our Stories Are Algorithms," presented at the University of Michigan from August 31 to October 23, 2021.

This article presents an overview of the ARC Linkage Project "Archiving Australian Media Arts: Towards a method and a national collection," which addresses the challenges of preserving digital media artworks that are stored on obsolete media and that require legacy computer environments to access. It lays out the challenges facing digital media arts, articulates the significance of the deposit of local media art organisation archives into the custody of major, jurisdictionally-appropriate cultural institutions, and details the selection of case studies for research from these organisations' archives and other existing digital media art collections in our partner organisations' custody. Case studies consist of the ANAT archive (formerly the Australian Network for Art and Technology), floppy disks from the Stan Ostoja-Kotkowski archive, Experimenta Media Art's exhibition "Virtualities" (1995), dLux media art's exhibition "Matinaze 97" (1997), and the Griffith University Art Museum's collection of interactive CD-ROMs. The article reports on progress to date against two of the project's aims, outlines the collective benefits to partners and to researchers of artworks and other materials from these archives being available, and indicates that access to born digital materials should improve in the near future with digital emulation infrastructure set to be built. [ABSTRACT FROM AUTHOR]

During the COVID-19 pandemic, new spaces for archives, creative representation, and display created novel ways of accessing, experiencing, and cataloging media art. Leonardo's Lumen Prize 2020 exhibition offers a third space between virtual exhibition as a site of memory and an archive of knowledge and artistic production—a place of digital assemblage. Bolter and Grusin's remediation theory sheds light on the many visual strategies employed by the artists and designers of The Lumen Prize 2020 exhibition. The authors discuss pertinent questions of immediacy and hypermediacy coexperience, and accessibility in generating this site of memory. [ABSTRACT FROM AUTHOR]

This study examines whether interacting with media art exhibitions leads to satisfaction and re-experience intention through presence and flow. To this end, interactivity was divided into P2S (Person to System), P2P (Person to Person), and P2A (Person to Artist) according to the interaction targets, and the impact of each type of interactivity was examined in terms of presence and flow. In addition, satisfaction--which was mediated by presence and flow--was divided into artistic and technical aspects of media art. To verify the research hypothesis informed by the theoretical basis and previous studies, 220 responses were collected and subjected to PLS-SEM analysis. The results showed that only the P2A factor of interactivity influenced presence, while the P2S and P2A factors of interactivity influenced flow; the P2P factor of interactivity did not significantly affect either presence or flow. It was found that presence had a positive effect on flow, and that presence only had a significant effect on the satisfaction with the media art system, as it did not have a significant effect on the satisfaction with the media artwork. Meanwhile, flow was found to have a significant effect on both satisfaction with media artwork and satisfaction with the media art system. Finally, it was found that both media artwork satisfaction and media art system satisfaction had positive effects on re-experience intention. At the end of this study, academic and practical contributions are discussed based on the research results. [ABSTRACT FROM AUTHOR]

In order to realize the interpretation of online artworks, the art design of artworks is studied on the basis of new media digital environment. Through the presentation of digital works, the enhancement of dramatic art appreciation, the balanced display of art appreciation, and the enhancement of digital aesthetic creation, the interpretation of artworks has been successfully completed, which strongly supports the digitization of new media. Art design is to constantly breed an updated online art space and attract and summon more viewers' new experience, new creation, and new perception so as to trigger and develop new propositions, new exploration, and new atmosphere of new media drama. For the current construction of traditional art design, new media digital technology plays a major role. The transformation of digital technology and Internet media is another "holographic" extension of the human body, which has an extremely strong impact on new media art and comprehensively updated our life, art, and aesthetic concepts. This is not only a revolution of media but also a change of art. At the same time, it is also accompanied by the "expansion" of art theory. What this change ultimately needs to complete is the revolution of media culture that affects the development process of human civilization. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "The Future Is in One Hour: Estonian Art in the 1990s" at the Kumu Art Museum in Tallinn, Estonia since February 2020.

Art work based on computer and internet media technologies such as digital art, computer art, internet art, interactive art. Through examples, we studied the interaction and communication method between the audience and the exhibition objects. It was confirmed that the new media works are expressed in a new form by fusion with various technologies of experimental propensity, and research and analysis of overseas media-related exhibition cases and interactive media use cases of works exhibited at the 'Media City Exhibition' in Korea were conducted. Was able to confirm the main characteristics of new media art. I think it will be a more meaningful study by setting specific criteria and focusing on the fields of application of new media art and comparing and analyzing the future values of the times [ABSTRACT FROM AUTHOR]

The article offers information on the 2020 vision of Ant Farm. It mentions that "20/20 Vision," an exhibition developed by the pioneering media art and experimental architecture group Ant Farm, opened in the winter of 1973, in the midst of a fuel crisis that saw gas prices quadruple, and eventually ended the dominance of the American auto industry.

The article reviews the exhibition "Dumb Type: Actions & Reflections" at Museum of Contemporary Art in Tokyo, Japan from November 16, 2019 to February 16, 2020, which showcases Japanese contemporary art and new media art.

How do curatorial initiatives in public spaces balance the critical pursuit of art and the professional ethics of the exhibition context? What are the pros and cons of conducting attention-grabbing guerrilla campaigns versus infiltrating politically sensitive public arenas with long-term initiatives? What happens when corporate sponsors of art become trapped in the battlefield of art-fueled media controversy? This article expands on such inquiries by analyzing the collision of two artistic urban interventions, Open Sky Project and the Countdown Machine campaign—a collision that took place within the delicate political context of Hong Kong in 2016. [ABSTRACT FROM AUTHOR]

This text focuses on the memory of media art. The case study of Reincarnation of Media Art WRO exhibition from 2019 -- "a unique exhibition about preserving media art and making its essence available" -- is introduced by the author to discuss the life-cycle of time-based media artworks. Aforementioned case study is used as the basis for further discussion about "permanence through change" approach in preserving media art. [ABSTRACT FROM AUTHOR]

Curator's introduction to the Cornell Council for the Arts 2018 Biennial, "Duration: Passage, Persistence, Survival." The challenge of mounting a university-based arts biennial under the political conditions in the United States in 2018 required an approach to staging an artistic environment that might capitalize on an academic community's celebration of the arts while provoking interdisciplinary conversation about the persistence of passage, from environments to communities, while emphasizing the challenge of survival in hostile socio-ecological climates. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Beyond the Frame: New Media Arts From Taiwan" at the Long Beach Museum of Art in Long Beach, California from March 11 to June 19, 2016.

The article focuses on artworks of artist Feng Mengbo and gives differences between the art exhibitions featuring works by Feng. Topics discussed include Feng's first solo exhibition held at the Hanart TZ gallery in Hong Kong, China in 1994, his another exhibition in 2015, his exhibitions involved various interactive artworks such as videos and films, use of computers by Feng for his media arts, and depiction of a gaming character Chun Li from the game "Street Fighter" in his painting series.

The European Union's media art initiative Connecting Cities and New York-based Streaming Museum are two recent examples of curatorial models that operate through large, networked digital displays. This growing exhibition category combines expressive media architecture and telecommunication elements to engage 'trans-local' sites and diverse publics in complex media spaces. By investigating the confluence of exhibition-making, public art and urban experience, this article explores the relationship between spectacle and criticality with respect to shifting notions of space, identity and 'the common'. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "In the Making" at the Alberta College of Art + Design, which features the works by 13 Canadian artists including Brendan McGillicuddy, Dean Drever and Mackenzie Kelly-Frère.

The paper focuses on the European media art festival artMUSE and its impact on the transformation of urban space. Artists, creative players, cultural managers, citizens and museum visitors have been brought together via diverse activities and events which have been realized from 2011 to 2012. Setting off from the mutual heritage of European cities shaped by the industrial revolution, the project revealed also the different paths European discourses about the artistic representation of epochal changes have taken since. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Convictions" at the Leuven Institute of Criminology's STUK Art Centre in Belgium from September 6-November 17, 2013, which features the works by Californian digital and media artist Sharon Daniel.

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

PUBLIC 46: Prime Mover is a selection of five essays corresponding to five hypothetical exhibitions of works from an influential private collection with which Eamon was professionally involved for more than ten years. The collection, one of the first in private hands to focus almost exclusively on time-based media, has been the subject of a number of graduate theses and museum catalogues, but this publication aims to bolster these efforts towards better understanding of a collection that has altered the field of media art. In a sense, these essays constitute a history of moving-image art starting from around 1900 that is meant to be a resource for students of film and video art, on the one hand, and for scholars investigating the history of collections on the other. Although the five exhibitions imagined here evolved separately, they can be read as chapters of a continuous story, or, alternatively, they can be read as different lenses through which one can look at the history of media art itself, as a necessarily fragmentary history. The different formats and different approaches in this publication all come from the curator's toolbox, where one is able to place works of art in a variety of contexts, grouping them in ways that both illuminate the works and, hopefully, the history of art as well. [ABSTRACT FROM AUTHOR]

In this article the author examines the concept of nonfictional, or documentary, performance as it applies to portrait films and Internet videos. The article provides a description of the evolution of the genre of portrait films, comments on the filmmaking of artist Andy Warhol, and analyzes the documentary film "24 City," directed by Jia Zhangke. The article also explores elements of documentary and experimental filmmaking that are evident in Internet videos and within video blogs and comments on installations and exhibitions focused on online videos from media artist Natalie Bookchin.

The article reviews an exhibition which features the video art of Hilary Lloyd at the Raven Row gallery in London, England from November 25, 2010 to February 6, 2011.

The article reviews the exhibition "Modern Women: Single Channel" at the Museum of Modern Art PS1 in New York City from January 23 to August 22, 2012.

This essay analyzes Chris Marker’s recent exhibition and book of photographs Staring Back. This project joined together black and white photographs of political demonstrations from the 1960s to the present and portraits from Marker’s oeuvre. Some of the images are actual photographs and some were extracted from Marker’s film and video footage and altered digitally using Photoshop and Painter. The first part of the essay focuses on the way the ‘people’ are represented in these images in relation to current political philosophy, mainly the writings of Étienne Balibar, Giorgio Agamben, Jacques Rancière, and Gilles Deleuze’s cinema books. The second part is concerned with individual portraits and the face in relation to Deleuze’s concept of the ‘affection image’ and the cinematic close-up. The essay argues that what unites these two groups of images is an epistemological and political move beyond identity. On the one hand these images suggest ‘a new politics of the image’ because they indicate that ‘virtuality’ is not simply the outcome of the technological digital revolution in image production in which the indexical status of analogical photography is eliminated, but of a different way of thinking and making visual images beyond what Deleuze calls ‘representation,’ a form of thought that is based on notions of resemblance, truth, and identity. On the other hand they offer ‘a new image of the people’ because they show that in the current age politics can only exist beyond the realm of identities, precisely in the possibility, as Balibar argues, of creating transnational forms of citizenship. [ABSTRACT FROM AUTHOR]

Time-based media installations are works of art that incorporate audio, film, video, 35 mm slides or computer-based elements. This paper aims to develop a practical policy for the care and management of the display equipment that forms part of these works and explores how to identify time-based media installations most at risk from equipment obsolescence. Several questions underlie this analysis. How does the conservator balance the ideas of the artist and of the museum about what it is important to preserve for the future? What does a conservator do when faced with the total loss of a significant component? How can conservation training and attendant concepts of integrity and authenticity contribute to the development of a good response or decision? [ABSTRACT FROM AUTHOR]

The final issue of Screen Bodies Volume 6 offers readers an ideal combination of the diverse kinds of work we feature, from a macroscopic theory that proposes a new discipline, to a set of articles that rigorously examine a small number of artworks with respect to a shared topic, to a piece of curatorial criticism on a recent media arts exhibition. The articles collected here offer a fitting cross section of the topics and media we cover, discussing such varied subjects as prehistoric art, Pink Film, artificial intelligence, and video art. [ABSTRACT FROM AUTHOR]

The objective of this study was to improve user experience when appreciating visual artworks with soundscape music chosen by a deep neural network based on weakly supervised learning. We also propose a multi-faceted approach to measuring ambiguous concepts, such as the subjective fitness, implicit senses, immersion, and availability. We showed improvements in appreciation experience, such as the metaphorical and psychological transferability, time distortion, and cognitive absorption, with in-depth experiments involving 70 participants. Our test results were similar to those of "Bunker de Lumières: van Gogh", which is an immersive media artwork directed by Gianfranco lannuzzi; the fitness scores of our system and "Bunker de Lumières: van Gogh" were 3.68/5 and 3.81/5, respectively. Moreover, the concordance of implicit senses between artworks and classical music was measured to be 0.88%, and the time distortion and cognitive absorption improved during the immersion. Finally, the proposed method obtained a subjective satisfaction score of 3.53/5 in the evaluation of its usability. Our proposed method can also help spread soundscape-based media art by supporting traditional soundscape design. Furthermore, we hope that our proposed method will help people with visual impairments to appreciate artworks through its application to a multi-modal media art guide platform. [ABSTRACT FROM AUTHOR]