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<span style="font-size: 12pt; font-family: Times;">NEW from The
Leonardo
Book Series and MIT Press<o:p></o:p></span>
<br>
<o:p> </o:p>
<br>
<i style="">MediaArtHistories</i>,
Edited by Oliver Grau; with contributions by <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12053"><span
style="color: windowtext;">Rudolf Arnheim</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=16019"><span
style="color: windowtext;">Andreas Broeckmann</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=20708"><span
style="color: windowtext;">Ron Burnett</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=34331"><span
style="color: windowtext;">Edmond Couchot</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12534"><span
style="color: windowtext;">Sean Cubitt</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=34332"><span
style="color: windowtext;">Dieter Daniels</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=15483"><span
style="color: windowtext;">Felice Frankel</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12229"><span
style="color: windowtext;">Oliver Grau</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12077"><span
style="color: windowtext;">Erkki Huhtamo</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=475"><span
style="color: windowtext;">Douglas Kahn</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=34333"><span
style="color: windowtext;">Ryszard W. Kluszczynski</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=15028"><span
style="color: windowtext;">Machiko Kusahara</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=20706"><span
style="color: windowtext;">Timothy Lenoir</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=564"><span
style="color: windowtext;">Lev Manovich</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=6912"><span
style="color: windowtext;">W. J. T. Mitchell</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=34334"><span
style="color: windowtext;">Gunalan Nadarajan</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=11960"><span
style="color: windowtext;">Christiane Paul</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12210"><span
style="color: windowtext;">Louise Poissant</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=12055"><span
style="color: windowtext;">Edward A. Shanken</span></a>, <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=352"><span
style="color: windowtext;">Barbara Maria Stafford</span></a> and <a
href="http://mitpress.mit.edu/catalog/author/default.asp?aid=796"><span
style="color: windowtext;">Peter Weibel</span></a><br>
<br>
Digital art has become a major contemporary art form, but it has yet to
achieve
acceptance from mainstream cultural institutions; it is rarely
collected, and
seldom included in the study of art history or other academic
disciplines. In <i style="">MediaArtHistories</i>, leading scholars
seek
to change this. They take a wider view of media art, placing it against
the
backdrop of art history. Their essays demonstrate that today's media
art cannot
be understood by technological details alone; it cannot be understood
without
its history, and it must be understood in proximity to other
disciplines--film,
cultural and media studies, computer science, philosophy, and sciences
dealing
with images. <br>
<br>
Contributors trace the evolution of digital art, from
thirteenth-century
Islamic mechanical devices and eighteenth-century phantasmagoria, magic
lanterns, and other multimedia illusions, to Marcel Duchamp's
inventions and
1960s kinetic and op art. They reexamine and redefine key media art
theory
terms--machine, media, exhibition--and consider the blurred dividing
lines
between art products and consumer products and between art images and
science
images. Finally, <i style="">MediaArtHistories</i>
offers an approach for an interdisciplinary, expanded image science,
which
needs the "trained eye" of art history.<br>
<br>
Essays by:<br>
Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha
Meskimmon,
Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie
Smith,
Abigail Solomon-Godeau, and Jenni Sorkin.<br>
<br>
Artists include:<br>
Marina Abramovič, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise
Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson,
Valie
Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria
Lassnig,
Linda Montano, Alice Neel, Senga Nengudi, Lorraine O’Grady, Pauline
Oliveros,
Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold,
Ketty La
Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro,
Carolee
Schneemann, Cindy Sherman, and Hannah Wilke.<br>
<br>
Oliver Grau is Professor for Image Science and Dean of the Department
for
Cultural Studies, Danube University Krems. He is the author of <i
style="">Virtual Art: From Illusion to Immersion</i>
(MIT Press, 2003), editor of <i style="">Mediale
Emotionen</i> (2005) and founder of the pioneering international
digital art
archive <a class="moz-txt-link-abbreviated" href="http://www.virtualart.at">www.virtualart.at</a>.<span style=""> </span>
<br>
<o:p> </o:p>
<br>
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about other titles in
the Leonardo Book Series visit the Leonardo Book Series website at:
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