The Paradigm of New Media Arts
Abstract
In his article the author analyses the concepts of new media, new media art, and cybernetic art, which is considered to be the historically the earliest form of new media art, and one that is continued in many ways in the present. Kluszczyński approaches the concept of new media not by placing it on a timeline, but by considering it to be a paradigm of properties, new media rely on. The most important of these are: technical character, a numeric representation, virtuality, modularity, automation, use of variations, telecommunication, telematics, autonomy, digitisation, interactivity, hypertextuality, providing of information, networking, non-linearity and spatial orientation, navigability, structural opening, hybridity, interface, convergence. In the same way the concept of new media art is characterised. In this case the most important paradigmatic properties are technical and electronic character, digitisation, interactivity and networking. Numerous new media arts identified by the author configure the properties in diverse ways, combining them with other properties, non-specific to new media, thereby building a complex landscape of new media art.
Keywords:
new media, cybernetic art, telematicsReferences
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Authors
Ryszard W. Kluszczyńskikwartalnik.filmowy@ispan.pl
University of Lodz Poland
Prof. dr hab. nauk humanistycznych; kieruje Katedrą Mediów i Kultury Audiowizualnej Uniwersytetu Łódzkiego; zajmuje się problematyką sztuki nowych mediów, filmem awangardowym, kulturą alternatywną, zagadnieniami cyberkultury oraz społeczeństwa informacyjnego i sieciowego. Opublikował m.in.: Film – sztuka Wielkiej Awangardy (1990), Awangarda. Rozważania teoretyczne (1997), Obrazy na wolności. Studia z historii sztuk medialnych w Polsce (1998), Film – wideo – multimedia. Sztuka ruchomego obrazu w erze elektronicznej (1999, wyd. II: 2002), Społeczeństwo informacyjne. Cyberkultura. Sztuka multimediów (2001, wyd. II: 2002), Sztuka interaktywna. Od dzieła-instrumentu do interaktywnego spektaklu (2010).
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