ABOUT
(...) There are at least two ways in which post-digital can be understood. On the one hand, taking the prefix "post" in its temporal meaning, "after", post-digital would refer to everything that came after the growing and increasingly fine installation of computer algorithms in all human activities. This is a neutral, purely chronological sense. On the other hand, there is a critical sense: it is necessary to review the gains and losses. This is what is meant by "post-digital". The time of euphoria is gone, accompanied by the dysphoria that, in its extremes, nostalgically advocated the apocalypse. Fortunately, this time of extremism with regard to the digital has dissipated. Now it is time to face its ambivalences, paradoxes and contradictions. This is precisely what has been called "post-digital". (...)
The book contains a myriad of perspectives, fine prismatic subdivisions of technological art in its digital features with specific details of production that makes use of state-of-the-art devices and resources, such as kinect cameras, multinteractivity, cyberinterventions, mixed and augmented reality, three-dimensional modelling, programmable environments, complex algorithms, neural helmets etc. On the other hand, the book is sprinkled with theoretical and critical essays in which the new conditions of the museum, the artists' books, the hybrid arts, authorship, digital art festivals, digital cinematography and, last but not least, the geophysical and geochemical materiality of the media are re-thought and faced under the light of the most current challenges. (...)
from the preface by Lucia Santaella.
(...) There are at least two ways in which post-digital can be understood. On the one hand, taking the prefix "post" in its temporal meaning, "after", post-digital would refer to everything that came after the growing and increasingly fine installation of computer algorithms in all human activities. This is a neutral, purely chronological sense. On the other hand, there is a critical sense: it is necessary to review the gains and losses. This is what is meant by "post-digital". The time of euphoria is gone, accompanied by the dysphoria that, in its extremes, nostalgically advocated the apocalypse. Fortunately, this time of extremism with regard to the digital has dissipated. Now it is time to face its ambivalences, paradoxes and contradictions. This is precisely what has been called "post-digital". (...)
The book contains a myriad of perspectives, fine prismatic subdivisions of technological art in its digital features with specific details of production that makes use of state-of-the-art devices and resources, such as kinect cameras, multinteractivity, cyberinterventions, mixed and augmented reality, three-dimensional modelling, programmable environments, complex algorithms, neural helmets etc. On the other hand, the book is sprinkled with theoretical and critical essays in which the new conditions of the museum, the artists' books, the hybrid arts, authorship, digital art festivals, digital cinematography and, last but not least, the geophysical and geochemical materiality of the media are re-thought and faced under the light of the most current challenges. (...)
from the preface by Lucia Santaella.
Authors
Ana Tereza Brandão
Carlos Augusto M. da Nóbrega Carlos Henrique Paulino Carlos Henrique Rezende Falci Casey Reas Cátia Rodrigues Barbosa Celina Figueiredo Lage Débora Aita Gasparetto Francisco Carlos de Carvalho Marinho Helena Barranha Ítalo Travenzoli Izabela Marcolino Carvalho Costa João Victor Boechat Gomide José Ricardo da Costa Miranda Júnior Jussi Parikka Lynn Alves |
Lucia Dossin
Marcelo Franco Porto Margreet Riphagen Maria Luiza P. G. Fragoso Marinah R. C. Ribeiro Miriam Rasch Nara Cristina Santos Pablo Gobira Regina Mota Renata Maria Abrantes Baracho Rogério Barbosa da Silva Suzete Venturelli Tadeus Mucelli Tânia Fraga Tatiana Paz Tulio Ottoni |
Expedient
Organization
Pablo Gobira Tadeus Mucelli Edictorial Production Antônio Mozelli Revision Fernanda Corrêa English Translations Fernanda Corrêa Translation Revisions Pablo Gobira |
Cover and Graphic Project
Froiid Ítalo Travenzoli Sandro Miccoli Diagramation & Image Processing Débora Nogueira Ítalo Travenzoli Thaís Geckseni Graphic Project Revision and Diagramation (digital version) Ítalo Travenzoli |