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<span style="font-size: 12pt; font-family: Times;">Apologies for the
second announcement about </span><i style="">MediaArtHistories</i><span
style="font-size: 12pt; font-family: Times;">. The last announcement
also included information about another new release at the end of the
description. The following is the correct description of </span><i
style="">MediaArtHistories</i><span
style="font-size: 12pt; font-family: Times;">.<br>
<br>
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 Rudolf Arnheim, Andreas
Broeckmann, Ron Burnett, Edmond Couchot, Sean Cubitt, Dieter Daniels,
Felice
Frankel, Oliver Grau, Erkki Huhtamo, Douglas Kahn, Ryszard W.
Kluszczynski,
Machiko Kusahara, Timothy Lenoir, Lev Manovich, W. J. T. Mitchell,
Gunalan
Nadarajan, Christiane Paul, Louise Poissant, Edward A. Shanken, Barbara
Maria
Stafford and Peter Weibel.<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>
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>
<span style="font-family: Times;">To order this book and to learn more
about other titles in
the Leonardo Book Series visit the Leonardo Book Series website at:
<a class="moz-txt-link-freetext" href="http://www.leonardo.info/isast/leobooks.html">http://www.leonardo.info/isast/leobooks.html</a><o:p></o:p></span>
<br>
<span style="font-family: Times;"><o:p> </o:p></span>
<br>
<span style="font-size: 12pt; font-family: "Times New Roman";">MEMBER
DISCOUNT! Leonardo/ISAST Associate Members are eligible for 20% off all
Leonardo Book Series titles as well as a number of other membership
benefits! Visit <a class="moz-txt-link-freetext" href="http://leonardo.info/members.html">http://leonardo.info/members.html</a> for more details.<o:p></o:p></span>
<br>
<br>
Leonardo/ISAST is a 501(c)3 nonprofit organization. Donations are
tax-deductible in the U.S. To learn more about Leonardo/ISAST's
projects, programs and activities, visit <a class="moz-txt-link-freetext" href="http://leonardo.info">http://leonardo.info</a><br>
<o:p> </o:p>
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