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69-440: Community art is a community-oriented, grassroots approach, often useful in economically depressed areas. When local community members come together to express concerns or issues through this artistic practice, professional artists or actors may be involved. This artistic practice can act as a catalyst to trigger events or changes within a community or at a national or international level. In English-speaking countries, community art

138-410: A panorama , stretching on as infinitely as the community decides to continue building upon the piece. Community theatre includes theatre made by, with, and for a community—it may refer to theatre that is made almost by a community with no outside help, or to a collaboration between community members and professional theatre artists, or to performance made entirely by professionals that is addressed to

207-481: A common ground that has parallels in other strands of contemporary art practice. Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Many cultural centers and museums have been established to cater to

276-412: A larger community. In the process-driven or dialogic model, artists may engage with a group to facilitate an artistic process that addresses particular concerns specific to the group. The use of an artistic process (such as dance or social circus ) for problem-solving, therapeutic, group-empowerment or strategic planning purposes may result in artistic works that are not intended for public presentation. In

345-511: A larger context of sensation, communication, production, and consumption. When obtaining a bachelor's degree in New Media, students will primarily work through practice of building experiences that utilize new and old technologies and narrative. Through the construction of projects in various media, they acquire technical skills, practice vocabularies of critique and analysis, and gain familiarity with historical and contemporary precedents. In

414-430: A lengthy development process; a period of accrual and excess as a basis for a subsequent period of selection, editing and refining. The creative process may or may not involve a director (often functioning as a facilitator of group creativity at the outset, and an "outside eye" and editor later into the process), as well as a writer or writers working either alongside the creative ensemble in the rehearsal room, or collecting

483-495: A number of theatre programs in the US and England have added devising courses, and in some cases, devising programs to their theatre curricula, leading to a widening circulation of devising techniques, and arguably a growing number (and prominence) of devising companies. Nonetheless, some frequently employed approaches and principles can be identified, especially: use of improvisation; reliance on physically expressive performance styles;

552-538: A particular community. Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time professional staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival , circus , and parades , as well as performance modes from commercial theatre. Community theatre

621-643: A proliferation of collective creation methods, influenced in part by the rise of the labor movement, and with it, workers' theatre in the US and Europe; World War II and the politics of the Cold War in capitalist states brought a temporary halt to that flowering. Nonetheless, by the post-war period, a number of theatre practitioners and ensembles, including Bertolt Brecht and the Berliner Ensemble , Judith Malina and The Living Theatre , Joan Littlewood and Theatre Workshop , Jerzy Grotowski and

690-415: A representation of a two-spirit or non-binary persona that does not fall under the traditional description of drag. The emergence of 3D printing has introduced a new bridge to new media art, joining the virtual and the physical worlds. The rise of this technology has allowed artists to blend the computational base of new media art with the traditional physical form of sculpture. A pioneer in this field

759-788: A shift occurred, away from the more political drivers fueling much collective creation during the civil rights era, and toward more decidedly aesthetic and economic drivers; this is the period in which such practices come to be more expressly associated with the term "Devising." The many prominent companies currently devising in the US, Canada and England include: SITI Company , Mabou Mines , Wooster Group , Pig Iron , The TEAM , Elevator Repair Service , Ghost Road , Double Edge Theatre , The Rude Mechs , The Neo-Futurists , Nature Theatre of Oklahoma , Tectonic Theatre Project , Complicité , Told by an Idiot , Improbable , Frantic Assembly , Shunt , Kneehigh , InHEIRitance Project , SOCIETY , Ghost River Theatre , / Voices of Now (VON) at Arena Stage at

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828-561: A significant component of contemporary art. The inter-connectivity and interactivity of the internet , as well as the fight between corporate interests, governmental interests, and public interests that gave birth to the web today, inspire a lot of current new media art. One of the key themes in new media art is to create visual views of databases. Pioneers in this area include Lisa Strausfeld , Martin Wattenberg and Alberto Frigo. From 2004–2014 George Legrady 's piece "Making Visible

897-416: A single line as a point of departure; a devised work may be text based or entirely physical; it maybe politically engaged, purely aesthetic, a docudrama, a melodrama, a performative ritual, a fairytale; it may follow a linear narrative structure, or emerge from the aesthetics of montage or collage; it may be, indeed, entirely devoid of live performers (see Designers' Theatre). In short, devised theatre exists on

966-466: A stylistic spectrum as broad as that of theatre generally, and devising methods must vary not only in relation to the group, but in relation to the nature (style, form, content, purpose) of the project. For this reason, devising methods are often associated with the companies in which they evolved, and devising training for theatre makers is often associated with particular directors and companies: for instance, Viewpoints and Suzuki (the core methods of

1035-601: Is "Free Arts for Abused Children" out of Los Angeles. This organization focuses on bringing families together through art, and allowing children and families to express their artistic abilities and feelings in a safe environment. New media art New media art includes artworks designed and produced by means of electronic media technologies. It comprises virtual art , computer graphics , computer animation , digital art , interactive art , sound art , Internet art , video games , robotics , 3D printing , immersive installation and cyborg art . The term defines itself by

1104-514: Is a self-referential relationship with the new technologies, the result of finding oneself inside an epoch-making transformation determined by technological development. New media art does not appear as a set of homogeneous practices, but as a complex field converging around three main elements: 1) the art system, 2) scientific and industrial research, and 3) political-cultural media activism. There are significant differences between scientist-artists, activist-artists and technological artists closer to

1173-612: Is an interdisciplinary genre that explores the African diaspora experience, predominantly in the United States, by deconstructing the past and imagining the future through the themes of technology, science fiction, and fantasy. Musician Sun Ra , believed to be one of the founders of Afrofuturism, thought a blend of technology and music could help humanity overcome the ills of society. His band, The Sun Ra Arkestra, combined traditional Jazz with sound and performance art and were among

1242-464: Is often seen as the work of community arts centers, where visual arts (fine art, video, new media art ), music, and theater are common media. Many arts organizations in the United Kingdom do community-based work, which typically involves developing participation by non-professional members of local communities. The term "community art" may also apply to public art efforts when, in addition to

1311-421: Is similar to that of commedia dell'arte and street theatre . It also shares some common principles with improvisational theatre ; however, in devising, improvisation is typically confined to the creation process: by the time a devised piece is presented to the public, it usually has a fixed, or partly fixed form. Historically, devised theatre is also strongly aligned with physical theatre, due at least in part to

1380-401: Is some kind of community that is created for a project or it is an effect of an art project. One example of community art is the so-called image worm , whereby artists on a forum will build upon a canvas and smoothly transition in their own piece between the last piece using image stitching , and then the next artist will build up on it, and so on. Such pieces will eventually take on the form of

1449-400: Is that it provides the participant with a stress free and fun experience. Art is a tool that helps in reducing stress, anxiety, and is helpful to move towards healing. The creative and relaxed environment of these programs may serve as a way for individuals to express themselves without fear of repercussions. One non-profit organization aimed at helping underprivileged communities and families

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1518-475: Is that the formats continuously change over time. Former examples of transitions include that from 8-inch floppy disks to 5.25-inch floppies, 3-inch diskettes to CD-ROMs, and DVDs to flash drives. On the horizon is the obsolescence of flash drives and portable hard drives, as data is increasingly held in online cloud storage . Museums and galleries thrive off of being able to accommodate the presentation and preservation of physical artwork. New media art challenges

1587-615: Is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members. Community-engaged dance includes dance made by, with, and for a community. There are several models for creating community-engaged dance, primarily concerned with participatory art practices and cooperative values. Community-engaged dance generally focuses on exploration, creation and relationship building rather than technical skills development. Like community theatre, community-engaged dance

1656-466: Is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members. Many communities have some form of art institution that furthers their community by providing access to activities and programs the government or other institutions cannot provide. These community-based art centers or nonprofit organizations are at

1725-746: The Centre pour l'Image Contemporaine or CIC coproduced with Centre Georges Pompidou from Paris and the Museum Ludwig in Cologne the first internet video archive of new media art. Simultaneously advances in biotechnology have also allowed artists like Eduardo Kac to begin exploring DNA and genetics as a new art medium. Influences on new media art have been the theories developed around interaction, hypertext , databases, and networks . Important thinkers in this regard have been Vannevar Bush and Theodor Nelson , whereas comparable ideas can be found in

1794-631: The SITI company); techniques developed by Jerzy Grotowski ; the physical and vocal training of the Gardzienice Center for Theatre Practices in Poland; Lecoq technique. A growing body of writing on devising process has emerged from the practical research of collectives (see for example, The Frantic Assembly Book of Devising Theatre, Anne Bogart 's The Viewpoints Book , and Jacques Lecoq 's The Moving Body: Teaching Creative Theatre ), and

1863-919: The Teatro Campesino , Ruth Maleczech , Joanne Akalaitis , Lee Breuer and the Mabou Mines ; Richard Schechner and the Performance Group ; and Elizabeth LeCompte and the Wooster Group in the US; the Gardzienice Center for Theatre Practices in Poland; the Work Center of Jerzy Grotowski and Thomas Richards in Italy; the Odin Teatret in Denmark. The rise of collective creation in theatrical performance between 1900 and

1932-567: The Theatre of 13 Rows , and Peter Brook , had begun actively experimenting with collaborative methods that engaged and/or trained performers as actor-creators. The period from '68 and on into the 1970s witnessed an explosion of collective creation practices in the Americas and Europe (East and West); as in the 1930s, this wave of interest in collectivism and collaboration in art was deeply influenced by contemporaneous political developments, such as

2001-616: The 1920s many Cabaret acts began incorporating film projection into performances. Robert Rauschenberg 's piece Broadcast (1959), composed of three interactive re-tunable radios and a painting, is considered one of the first examples of interactive art. German artist Wolf Vostell experimented with television sets in his (1958) installation TV De-collages. Vostell's work influenced Nam June Paik , who created sculptural installations featuring hundreds of television sets that displayed distorted and abstract footage. Beginning in Chicago during

2070-540: The 1970s, there was a surge of artists experimenting with video art and combining recent computer technology with their traditional mediums, including sculpture, photography, and graphic design. Many of the artists involved were grad students at The School of the Art Institute of Chicago , including Kate Horsfield and Lyn Blumenthal , who co-founded the Video Data Bank in 1976. Another artists involved

2139-516: The 70s at times paralleled, at times intersected with related developments in modern dance, French mime (beginning with the pioneering work of Suzanne Bing and the Copiaus ), performance art and documentary theatre. Beginning from the mid-1980s, with the emergence of a new generation of ensembles and collectives, and increased dissemination of devising models and training methods through theatre festivals, training workshops, and college courses,

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2208-726: The AIDS virus was depicted on the cover of IEEE Computer Graphics and Applications in November 1988. At the University of Illinois in 1989, members of the Electronic Visualization Laboratory Carolina Cruz-Neira , Thomas DeFanti , and Daniel J. Sandin collaborated to create what is known as CAVE or Cave Automatic Virtual Environment an early virtual reality immersion using rear projection. In 1983, Roy Ascott introduced

2277-656: The Invisible" displayed the normally unseen library metadata of items recently checked out at the Seattle Public Library on six LCD monitors behind the circulation desk. Database aesthetics holds at least two attractions to new media artists: formally, as a new variation on non-linear narratives; and politically as a means to subvert what is fast becoming a form of control and authority. Many new media art projects also work with themes like politics and social consciousness, allowing for social activism through

2346-434: The United States, many Bachelor's and Master's level programs exist with concentrations on Media Art, New Media, Media Design, Digital Media and Interactive Arts. Notable art theorists and historians working in this field include: The term New Media Art is generally applied to disciplines such as: Devised theatre Devised theatre – frequently called collective creation – is a method of theatre -making in which

2415-686: The advanced needs of new media art. The origins of new media art can be traced to the moving image inventions of the 19th century such as the phenakistiscope (1833), the praxinoscope (1877) and Eadweard Muybridge's zoopraxiscope (1879). From the 1900s through the 1960s, various forms of kinetic and light art, from Thomas Wilfred 's 'Lumia' (1919) and 'Clavilux' light organs to Jean Tinguely 's self-destructing sculpture Homage to New York (1960) can be seen as progenitors of new media art. Steve Dixon in his book Digital Performance: New Technologies in Theatre, Dance and Performance Art argues that

2484-410: The art system, who not only have different training and technocultures, but have different artistic production. This should be taken into account in examining the several themes addressed by new media art. Non-linearity can be seen as an important topic to new media art by artists developing interactive, generative, collaborative, immersive artworks like Jeffrey Shaw or Maurice Benayoun who explored

2553-454: The artist-driven model, artists are seen as the catalysts for social change through the social commentary addressed in their works. A muralist whose work elicits and sustains political dialogue would be a practitioner of this model. In the second model, artists engage with community groups to facilitate specialized forms of art creation, often with the goal of presenting the work in a public forum to promote awareness and to further discourse within

2622-409: The collaborative community artistic process, the resulting product is intended as public art and installed in public space. Popular community art approaches to public art can include environmental sustainability themes associated with urban revitalization projects. Models of community-engaged arts can vary with three forms of collaborative practices emerging from among the sets of common practices. In

2691-416: The components of the piece. In New Media programs, students are able to get acquainted with the newest forms of creation and communication. New Media students learn to identify what is or isn't "new" about certain technologies. Science and the market will always present new tools and platforms for artists and designers. Students learn how to sort through new emerging technological platforms and place them in

2760-933: The concept of "distributed authorship" in his worldwide telematic project La Plissure du Texte for Frank Popper 's "Electra" at the Musée d'Art Moderne de la Ville de Paris . The development of computer graphics at the end of the 1980s and real time technologies in the 1990s combined with the spreading of the Web and the Internet favored the emergence of new and various forms of interactive art by Ken Feingold , Lynn Hershman Leeson , David Rokeby , Ken Rinaldo , Perry Hoberman , Tamas Waliczky ; telematic art by Roy Ascott , Paul Sermon , Michael Bielický ; Internet art by Vuk Ćosić , Jodi ; virtual and immersive art by Jeffrey Shaw , Maurice Benayoun , Monika Fleischmann , and large scale urban installation by Rafael Lozano-Hemmer . In Geneva,

2829-414: The conventional linear narrative coming from novels, theater plays and movies. Non-linear art usually requires audience participation or at least, the fact that the "visitor" is taken into consideration by the representation, altering the displayed content. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow 's Happenings and became with Internet,

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2898-414: The dichotomy of beauty and the grotesque in the natural world and their relation to the female experience. The large-scale 360-degree installation featured breast-shaped projectors and circular pink pillows that invited viewers to relax and immerse themselves in the vibrant colors, psychedelic music, and partake in meditation and yoga. American filmmaker and artist Lynn Hershman Leeson explores in her films

2967-473: The early twentieth century avant-garde art movement Futurism was the birthplace of the merging of technology and performance art. Some early examples of performance artists who experimented with then state-of-the-art lighting, film, and projection include dancers Loïe Fuller and Valentine de Saint-Point . Cartoonist Winsor McCay performed in sync with an animated Gertie the Dinosaur on tour in 1914. By

3036-445: The fact that training in such physical performance forms as commedia, mime, and clown tends to produce an actor-creator with much to contribute to the creation of original work. Devising methods vary: collaborating groups tend to develop distinct methodologies based upon the backgrounds and talents of their members. Work creation may, for instance, begin with an image, a plot, a theme, a character, historical documents, an entire novel or

3105-511: The field diversifies and practices are adopted by various organizations from multiple disciplines, ethics and safety have become a concern to practitioners. As a result, opportunities for cross-disciplinary training in art for social change practices have grown within the related field of arts education . A community can be seen in many ways, and it can refer to different kind of groups. There are also virtual communities or online communities. Internet art has many different forms, but often there

3174-547: The field of community-engaged arts has recently seen broader use of art for social change practices by non-arts change organizations. The resultant partnerships have enabled these collaborative communities to address systemic issues in health, education, as well as empowerment for indigenous, immigrant, LGBT and youth communities. A similar social innovation trend has appeared where business development associations have engaged with artists/artistic organizations to co-produce cultural festivals or events that address social concerns. As

3243-481: The first musicians to perform with a synthesizer. The twenty-first century has seen a resurgence of Afrofuturism aesthetics and themes with artists and cooperation's like Jessi Jumanji and Black Quantum Futurism and art educational centers like Black Space in Durham, North Carolina. Japanese artist Mariko Mori 's multimedia installation piece Wave UFO (1999–2003) sought to examine the science and perceptions behind

3312-418: The forefront of bringing emotional and physical wellness to the communities they reside in. All art community nonprofits have different programs, these "programs can focus on building community, increasing awareness...developing creativity, or addressing common issues." Many art institutions provide programs and services like art classes for painting or drawing etc. for all ages. It is vital to the continuation of

3381-499: The interactive nature of the media. New media art includes "explorations of code and user interface; interrogations of archives, databases, and networks; production via automated scraping, filtering, cloning, and recombinatory techniques; applications of user-generated content (UGC) layers; crowdsourcing ideas on social- media platforms; narrowcasting digital selves on "free" websites that claim copyright; and provocative performances that implicate audiences as participants". Afrofuturism

3450-502: The literary works of Jorge Luis Borges , Italo Calvino , and Julio Cortázar . In the book New Media Art , Mark Tribe and Reena Jana named several themes that contemporary new media art addresses, including computer art , collaboration , identity , appropriation , open sourcing , telepresence , surveillance, corporate parody, as well as intervention and hacktivism . In the book Postdigitale , Maurizio Bolognini suggested that new media artists have one common denominator, which

3519-472: The material generated and turning it into a script subsequently. The history of collaboratively devised performance is as old as the theatre: we see prototypes of contemporary devising practice in ancient and modern mime, in circus arts and clowning, in commedia dell'arte; some cultural traditions, indeed, have always created performance through predominantly collectivist methods (theatre scholar and performance maker Nia Witherspoon, for instance, has argued that

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3588-417: The mid-90s, the issue of storing works in digital form became a concern. Digital art such as moving images, multimedia, interactive programs, and computer-generated art has different properties than physical artwork such as oil paintings and sculptures. Unlike analog technologies, a digital file can be recopied onto a new medium without any deterioration of content. One of the problems with preserving digital art

3657-402: The organization to keep the love of art alive in younger generations. Having an art institution or nonprofit can provide that outlet for individuals to create, showcase their artistic talents, and express themselves, and many businesses benefit economically from having nonprofits in their towns. One of the most important aspects of a program offered at an art institution or nonprofit organization

3726-564: The original methods of the art world when it comes to documentation, its approach to collection and preservation. Technology continues to advance, and the nature and structure of art organizations and institutions will remain in jeopardy. The traditional roles of curators and artist are continually changing, and a shift to new collaborative models of production and presentation is needed. see also Conservation and restoration of new media art New media art encompasses various mediums all which require their own preservation approaches.  Due to

3795-527: The present. Elements of collective devising appear in the work of European directors at least as early as 1905, beginning with early experiments facilitated by such directors and groups as Vsevolod Meyerhold and Evgeny Vakhtangov (Russia), Jacques Copeau and the Copiaus , and Michel Saint-Denis and the Compagnie des Quinze (France), Reduta (Poland), and Erwin Piscator (Germany). The 1930s saw

3864-703: The preservation and documentation of the fragile media arts heritage (see DOCAM – Documentation and Conservation of the Media Arts Heritage ). Methods of preservation exist, including the translation of a work from an obsolete medium into a related new medium, the digital archiving of media (see the Rhizome ArtBase , which holds over 2000 works, and the Internet Archive ), and the use of emulators to preserve work dependent on obsolete software or operating system environments. Around

3933-735: The rise of the New Left. Among the many companies and theatre artists who contributed to the development of collective devising in the second half of the twentieth century, major European and North American figures include Ariane Mnouchkine and Theatre du Soleil , and Jacques Lecoq in France; Robert Lepage in Quebec; R.G. Davis and the San Francisco Mime Troupe , Joseph Chaikin and the Open Theater , Luiz Valdez and

4002-491: The script or (if it is a predominantly physical work) performance score originates from collaborative, often improvisatory work by a performing ensemble. The ensemble is typically made up of actors, but other categories of theatre practitioners may also be central to this process of generative collaboration, such as visual artists, composers, and choreographers; indeed, in many instances, the contributions of collaborating artists may transcend professional specialization. This process

4071-506: The second and third models, the individuals who collaborate on the artistic creation may not define themselves as artists but are considered practitioners of an art-making process that produces social change. Due to its roots in social justice and collaborative, community-based nature, art for social change may be considered a form of cultural democracy. Often, the processes (or the works produced by these processes) intend to create or promote spaces for participatory public dialogue. In Canada,

4140-400: The study of consciousness and neuroscience. Exploring the ways that these fields undertake research in a materially reductionist manner. Mori's work emphasized the need for these fields to become more holistic and incorporate incites and understanding of the world from philosophy and the humanities. Swiss artist Pipilotti Rist 's (2008) immersive video installation Pour Your Body Out explores

4209-419: The term as an approach to looking at varying forms of digital projects where the content relays on the user's experience. This is a key concept since people acquired the notion that they were conditioned to view everything in a linear and clear-cut fashion. Now, art is stepping out of that form and allowing for people to build their own experiences with the piece. Non-linearity describes a project that escape from

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4278-498: The themes of identity, technology and the erasure of women's roles and contributions to technology. Her (1999) film Conceiving Ada depicts a computer scientist and new media artist named Emmy as she attempts and succeeds at creating a way to communicate through cyberspace with Ada Lovelace , an Englishwoman who created the first computer program in the 1840s via a form of artificial intelligence. With its roots in outsider art, New Media has been an ideal medium for an artist to explore

4347-438: The thereby created artwork, which differentiates itself from that deriving from conventional visual arts such as architecture, painting or sculpture. New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into

4416-419: The topics of identity and representation. In Canada, Indigenous multidisciplinary artists like Cheryl L'Hirondelle and Kent Monkman have incorporated themes about gender, identity, activism, and colonization in their work. Monkman, a Cree artist, performs and appears as their alter ego Miss Chief Eagle Testickle, in film, photography, painting, installation, and performance art. Monkman describes Miss Chief as

4485-499: The vast technical aspects involved no established digital preservation guidelines fully encompass the spectrum of new media art. New media art falls under the category of "complex digital object" in the Digital Curation Centre's digital curation lifecycle model which involves specialized or totally unique preservation techniques.  Complex digital objects preservation has an emphasis on the inherent connection of

4554-457: The very term "collective creation," with its implicit dichotomy of self vs. other, is inherently eurocentric). Theatre historians Kathryn Syssoyeva and Scott Proudfit have argued that the modern, European tradition of collective creation follows rapidly upon the emergence of directing as a profession, and unfolds in three overlapping waves (marked by distinctive processual, aesthetic, and political characteristics): 1900-1945, 1945-1985, and 1985 to

4623-528: The work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art . Several theorists and curators have noted that such forms of interaction do not distinguish new media art but rather serve as

4692-510: Was Donna Cox , she collaborated with mathematician George Francis and computer scientist Ray Idaszak on the project Venus in Time which depicted mathematical data as 3D digital sculptures named for their similarities to paleolithic Venus statues . In 1982 artist Ellen Sandor and her team called (art)n Laboratory created the medium called PHSCologram , which stands for photography, holography, sculpture, and computer graphics. Her visualization of

4761-466: Was artist Jonty Hurwitz who created the first known anamorphosis sculpture using this technique. As the technologies used to deliver works of new media art such as film , tapes , web browsers , software and operating systems become obsolete, New Media art faces serious issues around the challenge to preserve artwork beyond the time of its contemporary production. Currently, research projects into New media art preservation are underway to improve

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