Digital art is a complex and vibrantly dynamic form whose diversity reflects the exponential growth curve in computing power. This new Companion to the genre gives readers an inclusive, in-depth understanding of digital art, covering its history and evolution, aesthetics, and politics, as well as its often turbulent relationships with established institutions. The volume provides a platform for the most influential voices shaping the current discourse surrounding digital art. Their nuanced insights afford a robust and coherent appreciation of the current state of the field-and the possible paths its future development may follow.
Are the visual arts really so central in our time that, as Doug Adams once said, "people under 60, raised on television remember by what they see. "[F]ilm and television are really the language of today"? (TE 2013) This central view on the visual arts can be contrasted with an opposing view by Camille Paglia, who wrote that "the visual is sorely undervalued in modern scholarship. Art history has attained only a fraction of the conceptual sophistication of literary criticism. Drunk with self-love, criticism has hugely overestimated the centrality of language to western culture. It has failed to see the electrifying sign language of images." (TE 2013a) Contrary to these opposing views (and other ones as will be discussed in the book), the visual arts (in relation to techniques and spirits) are neither possible (nor impossible) nor desirable (or undesirable) to the extent that the respective ideologues (on different sides) would like us to believe. Needless to say, this questioning of the opposing views on the visual arts does not mean that the study of techniques and spirits is useless, or that those fields (related to the visual arts) -- like drawing, cosmetics, manicure, painting, landscape, calligraphy, photography, digital art, computer technology, advertisement, graphic design, filmmaking, fashion, sculpture, architecture, and so on -- are unimportant. (WK 2013) Of course, neither of these extreme views is reasonable. Instead, this book offers an alternative (better) way to understand the future of the visual arts in regard to the dialectic relationship between techniques and spirits -- while learning from different approaches in the literature but without favoring any one of them (nor integrating them, since they are not necessarily compatible with each other). More specifically, this book offers a new theory (that is, the ephemeral theory of the visual arts) to go beyond the existing approaches in a novel way and is organized in four chapters. This seminal project will fundamentally change the way that we think about the visual arts in relation to techniques and spirits from the combined perspectives of the mind, nature, society, and culture, with enormous implications for the human future and what I originally called its "post-human" fate.
This book explores digital artists' articulations of globalization. Digital artworks from around the world are examined in terms of how they both express and simulate globalization's impacts through immersive, participatory and interactive technologies. The author highlights some of the problems with macro and categorical approaches to the study of globalization and presents new ways of seeing the phenomenon as a series of processes and flows that are individually experienced and expressed. Instead of providing a macro analysis of large-scale political and economic processes, the book offers imaginative new ways of knowing and understanding globalization as a series of micro affects. Digital art is explored in terms of how it re-centers articulations of globalization around individual experiences and offers new ways of accessing a complex topic often expressed in general and intangible terms. The Work of Art in a Digital Age: Art, Technology and Globalization is analytic and accessible, with material that is of interest to a range of researchers from different disciplines. Students studying digital art, film, globalization, cultural studies or digital media trends will also find the content fascinating.
Psychology and Consumer Profiling in the Digital Age is concerned with the use of psychological theories and methods to segment consumers. Historically, as consumer markets have evolved, professional marketers have become more and more interested in how consumers think and behave. As product and services ranges have expanded it has become equally important to know how to establish a niche within a crowded consumer marketplace. While market niches can be defined in part by the specific attributes and features of the brand being offered, these characteristics usually need to resonate with the perceived characteristics of the target consumers. Marketers might initially draw upon consumer demographics and geographical data to differentiate consumers, but such descriptive data cannot explain the reasons why consumers might find a brand appealing or not. This level of understanding requires an alternative approach that is linked more directly to an analysis of consumer psychology. Understanding how consumers choose between different products and services is a crucial part of professional marketing. Targeting brands at the consumers most likely to be interested in them is another critical aspect of business success. Marketers need to know what consumers think about brands, why they like them and what purposes they serve. This means delving into the psychology of the consumer to find ways of differentiating between consumers and matching brands to consumer niches at the level of consumers' relationships with brands. Using psychology to segment consumers has been regarded as a valuable adjunct to standard geo-demographic definitions of market segments. Psychology and Consumer Profiling in the Digital Age examines how this field of 'psychographics' has evolved, the different approaches to psychological segmentation of consumers, the different ways in which it has been applied in consumer marketing settings, and whether psychographics works. It draws upon research from around the world and incorporates its analysis of the use of psychographics with an examination of major shifts in marketing in a digital and global era.
A play by William Shakespeare in 16 point type.
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