Digital Art >>A Glossary of Terms

When talking about digital art (art created with technology that’s often intended to be viewed or experienced on screens or projectors), inevitably people use a myriad of different terms. In order to help clarify,  we’ve pulled together a glossary of terms.

Digital art is an artistic work or practice that uses digital technology as an essential part of the creative or presentation process. Today digital art itself is placed under the larger umbrella term new media art.

New media art refers to artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art, video games, computer robotics and 3D printing that can enable the digital production and distribution of art.

 

Video art is an art form which relies on moving pictures in a visual and audio medium. Video art came into existence during the late 1960s and early 1970s as new consumer video technology 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.

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Internet art (often referred to as net art) is a term used to describe a process of making digital artwork made on and distributed by the Internet. This form of art has circumvented the traditional dominance of the gallery and museum system, delivering aesthetic experiences via the Internet. In many cases, the viewer is drawn into some kind of interaction with the work of art.

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Blingee by Olia Lialina (artist) and Mike Tyka (Co-Founder of the Google Artist and Machine Intelligence Program) for Rhizome’s Seven on Seven ’17.

Software art is a work of art where the creation of software, or concepts from software, play an important role; for example software applications which were created by artists and which were intended as artworks.

Generative art refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist.

Algorithmic art, also known as computer-generated art, is a subset of generative art (generated by an autonomous system) and is related to systems art (influenced by systems theory).  For a work of art to be considered algorithmic art, its creation must include a process based on an algorithm devised by the artist. Here, an algorithm is simply a detailed recipe for the design and possibly execution of an artwork, which may include computer code, functions, expressions, or other input which ultimately determines the form the art will take.

Algorithmic art. Custom generated wallapaper by Siebren Versteeg @bitforms gallery, nyc

Video game art is a specialized form of computer art employing video games as the artistic medium. Video game art often involves the use of patched or modified video games or the repurposing of existing games or game structures, however it relies on a broader range of artistic techniques and outcomes than artistic modification and it may also include painting, sculpture, appropriation, in-game intervention and performance, sampling, etc.

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Super Mario Clouds by Corey Arcangel as seen at the Whitney

Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices.  In a technical sense, a glitch is the unexpected result of a malfunction, especially occurring in software, video games, images, videos, audio, and other digital artefacts.

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Example of glitch art, by Rosa Menkman

Fractal art is a form of algorithmic art created by calculating fractal objects and representing the calculation results as still images, animations, and media. Fractal art developed from the mid-1980s onwards. It is a genre of computer art and digital art which are part of new media art. The mathematical beauty of fractals lies at the intersection of generative art and computer art. They combine to produce a type of abstract art.

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Fractal art.

Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation.

Multi-media art uses a combination of different content  forms such as text, audio, images, animations, video and interactive content. Multimedia can be recorded and played, displayed, interacted with or accessed by information content processing devices, such as computerized and electronic devices, but can also be part of a live performance.

The Whitney Biennial ’17

This year’s Biennial marks the seventy-eight installment of the country’s longest-running survey of American art.

The event began as an annual exhibition in 1932, the first biennial was in 1973. The Whitney show is generally regarded as one of the leading shows in the art world, often setting or leading trends in contemporary art. It is known to have brought artists Georgia O’Keeffee, Jackson Pollock and Jeff Koons to prominence.

With 63 individuals and collectives featured, we were thrilled to see that 1/3 of the selected works (23) were media art works (e.g. videos, films, websites, games etc.)  Some of our favorites:

Jon Kessler (performative sculpture w/ LCD screen & iPhone)
Tommy Hartung (video)
Jordan Wolfson (VR)
Post Commodity (4 channel video)
Maya Stovall (video)
Anicka Yi (video)
Oto Gillen (video)

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See what some had to say about the show:

NYT: A User’s Guide to the Whitney Biennial
The New Yorker: The Whitney Biennial’s Political Mood
Forbes: 10 Artworks You Must See At the Whitney Biennial
Vulture: The New Whitney Biennial is the Most Political in Decades

 

A Conversation With Ben Fino-Radin, Preservation Expert (Part 1)

PART 1

Ben is a NYC based media archaeologist, archivist and conservator of born-digital and computer based works of contemporary art. Currently, he is the Associate Media Conservator at the Museum of Modern Art (MoMA). In this role, he develops strategies and policy that contribute to the preservation of the museum’s digital collections.  He has also worked with the Whitney Museum, Cory Arcangel, JODI, Rhizome just to name a few.

We are thrilled that Ben has joined us as an Advisor and is working with us on a key part of  the Niio platform – – digital preservation. 

Ben Fino-Radin. Photo by @textfiles
Ben Fino-Radin. Photo by @textfiles.

What led to your interest in digital preservation?

Early in my graduate work, I learned about digital preservation. Until that time, I had never stopped to consider who was ensuring that contemporary (read: digital) cultural heritage would be around in 100 years.  At that moment,  it struck me as such an incredibly fascinating problem and I knew that I wanted to see how I could contribute to answering some of those questions.

Why do you think digital preservation is so important for artists, collectors and museums?

You cannot simply put something digital on a shelf and expect it to be readable in ten years. Lack of active and systematic stewardship equates to benign neglect.

Artists working with digital materials must actively consider preservation or run the risk of their work being inaccessible some day in the future when an interested collector comes knocking.

For museums or collectors it is a matter of responsibility both to the cultural record, and to one’s own financial investment. If you hold digital materials in your collection and you are not thinking carefully about digital preservation, the odds really are stacked against you.

What is the biggest misconception people have about digital preservation and what would you like for them to understand?

Many people think that if they are just one person or a small institution, that there is nothing they can do because digital preservation is expensive and complicated. While ensuring proper care and preservation of your important digital assets certainly isn’t free, there are many approaches one can take for varying levels of expertise and budget.

Facilitating digital preservation on  small budget, with limited expertise is just a matter of good systems design. Work with someone who  has experience devising actual solutions, and develop an immediate plan, and a five year plan for the preservation of your materials.

How do you think a platform like Niio will affect the medium of digital art  and its multiple entities (artists, galleries, museums, curators)?

I think that Niio has a huge potential to offer to artists, galleries, and museums, in that it offers a turnkey solution for collections management, digital preservation, display, editioning, and distribution. I can confidently say that no other platform can even come close to making that claim.

Read Part 2 of our interview with Ben.

Ben in his natural habitat.

About Ben Fino-Radin

Ben is a NYC based media archaeologist, archivist and conservator of born-digital and computer based works of contemporary art. He is the Associate Media Conservator at the Museum of Modern Art (MoMA). In this role, he develops strategies and policy that contribute to the preservation of the museum’s digital collections.

Prior to MoMA, Ben worked as a Digital Conservator at Rhizome at the New Museum where he structured preservation and collecting practices for collections management, documentation, and preservation of born-digital works of art. As an Adjunct professor at NYU’s Moving Image Archiving and Preservation (MIAP) program, Ben taught a course on Digital Literacy designed to equip first year graduate students with fundamental technical skills for careers in digital archives as well as Handling Complex Media, a course designed to give second year graduate students practical skills for the identification, risk assessment, preservation and treatment of creative works that employ complex and inherently unstable digital materials.

Research interests include: digital preservation, digital cultural heritage, web based creative communities, computer history, information architecture, metadata and animated gifs.