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From Point to Pixel
A Genealogy of Digital Aesthetics
Meredith Hoy

Interfaces: Studies in Visual Culture

2017 • 270 pp. 26 illus. 6 1/8 x 9 1/4"
Art History / Digital Art / Art Criticism & Theory

$40.00 Paperback, 978-1-5126-0022-3
$34.99 Ebook, 978-1-5126-0023-0

Check your ebook retailer or local library for ebook availability.

A timely reconsideration of digital aesthetics

In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn’t the message—what really matters is the degree to which the viewer can sense a creative hand in the art.

Click here for TABLE OF CONTENTS

Reviews / Endorsements

“From Point to Pixel: A Genealogy of Digital Aesthetics makes the significant intervention, grounded in Hoy’s historical acuity and growing out of her detailed analyses of specific digital objects, of separating ‘the digital’ from any particular technology or mode of practice. This work requires us to reconsider the digital as something not bound to specific technologies, but as something closer to an epistemology.”—Frazer Ward, author of No Innocent Bystanders: Performance Art and Audience

“Meredith Anne Hoy’s pressing study of digital aesthetics fluently combines modern European intellectual history with the technical languages of information visualization and computational software and contemporary art vernacular to generate a needed lingua franca. Hoy eschews surveying trends in digital graphics and representational tools and instead presents a timely analysis of digital image culture that adds rich, semantic density to the narratives and methodologies of art history and visual studies.”—Gloria Sutton, Northeastern University, author of The Experience Machine: Stan VanDerBeek’s Movie Drome and Expanded Cinem

“Meredith Hoy’s timely, incisive, and analytically rigorous book investigates the nature of a specifically digital aesthetics in contemporary art in part by examining its precursors in earlier experiments in making configurations in terms of the minimum visible units of pictorial representation and artistic form and in part by interrogating the supposed difference between analog and digital media of contemporary art-making. This is a must-read for students and scholars of modern and contemporary art and of digital horizons in art, aesthetics, and image-making technology.”—Whitney Davis, Pardee Professor of History & Theory of Ancient & Modern Art University of California at Berkeley; author of A General Theory of Visual Culture

MEREDITH ANNE HOY is an assistant professor of art history and theory in the Herberger Institute for Design and the Arts, Arizona State University.

Thu, 14 Mar 2019 13:08:03 -0500