Lumen prize : a transient history for Digital Art and Technology 4
Using the new technology for digital art of Lumen prize of the time, like video and satellites, artists within the Nineteen Seventies conjointly began to experiment with live performance and networks that anticipated the interactions currently happening on the web and thru the web streaming of video and audio. the main target of those artists’ comes ranged from the applying of satellites for the mass dissemination of a tv broadcast to the aesthetic potential of video conference and also the exploration of a period virtual area that folded geographic boundaries. At Documenta half-dozen in Kassel, Germany, in 1977, pol Davis organized a satellite telecast to over twenty-five countries, including performances by Davis himself, Nam June Paik, Fluxus creative person and musician Charlotte Moorman, and German creative person Joseph Beuys.
Within the same year, a collaboration between artists in big apple and city resulted within the Send/Receive Satellite Network, a fifteen-hour, two-way interactive satellite trans-mission between the 2 cities. conjointly in 1977, what became referred to as the world’s initial interactive satellite dance performance—a three-location, live-feed composite performance involving performers on the East and West coasts of the United States—was organized by Kit Galloway and Sherrie Rabinowitz, in conjunction with National Aeronautics and Space Administration and also the instructional TV Center in Menlo Park, California. The project established what the creators known as “an image as place,” a composite reality that immersed performers in overseas into a replacement type of “virtual” area.
Throughout the Nineteen Seventies and ’80s, painters, sculptors, architects, printmakers, photographers, and video and performance artists progressively began to experiment with new computer-imaging techniques. throughout this era, digital art evolved into the multiple strands of follow that might still diversify within the Nineteen Nineties and 2000s, starting from a lot of object-oriented works to items that incorporated dynamic and interactive aspects. With the appearance of the planet Wide internet within the mid-1990s, digital art found a replacement type of expression in internet art, that became associate umbrella term for varied types of inventive explorations of the web.
Within the early 2000s, internet art entered a replacement section once artists began to critically have interaction with the platforms related to internet a pair of.0 and social media, manufacturing work on social networking sites like Facebook, YouTube, Twitter, and Instagram. As digital technologies became a part of the objects close us—forming the supposed net of things—and familiarity with the language of the digital continuing to grow, artists began to interact in practices that are currently remarked as post-digital, making works across a spread of media that ar deeply enthusiastic about digital technologies in their material kind.