Performance art and digital media

Digital Media and Art: Always Already Complicit?

Storytelling: From Cave Art to Digital Media

O nce upon a time, about 6,000 years ago, early tribesmen drove a herd of gazelles into a dead-end canyon in Syria and slaughtered them. All that remained for modern anthropologists were bones from the animals’ lower limbs.1 A copious amount of meat must have been harvested and rapidly consumed—perhaps as part of a religious ceremony with numerous participants—given that era’s lack of refrigera...

The Media Art Notation System: Documenting and Preserving Digital / Media Art

This paper proposes a new approach to conceptualizing digital and media art forms. This theoretical approach will be explored through issues raised in the process of creating a formal declarative model (alternately known as a metadata framework, notation system, or ontology) for digital and media art. The approach presented and explored here is intended to inform a better understanding of media...

Digital Art and Crowd Creation in Iran (Case Study: Tehran Annual Digital Art Exhibition)

This paper aims to show the status of digital art in Iran and explain how the meaning of an artist has transformed in the digital age. The primary assumption of this paper is that the experience of digital art has again revived the collective experience in creating arts. Although, interactivity is considered to be the most important quality of digital art, their collective, collaborative and pr...

Archival science, digital forensics, and new media art

Digital archivists and traditional digital forensics practitioners have significant points of convergence as well as notable differences between their work. This paper provides an overviewof howdigital archivists use digital forensics tools and techniques to approach their work, comparing and contrasting archival with traditional computer forensics. Archives encounter a wide range of digital ma...