Foreword |
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xi | |
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Foreword |
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xii | |
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Foreword |
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xiv | |
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Preface |
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xvii | |
Acknowledgments |
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xix | |
Abbreviations |
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xxiii | |
Introduction |
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1 | (48) |
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PART 1 RENAISSANCE TEAMS: ART AND SCIENCE COLLABORATIONS |
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49 | (100) |
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From the creation of the Doomsday Clock to exhibitions at Fermilab, women in the arts fostered dynamic, cross-institutional collaborations that contributed to the "Silicon Prairie/These women generated new art forms while inventing, codeveloping, and collaborating on the first PHSColograms, Mosaic Internet browser interface, virtual reality CAVE architecture, artistic visualizations of large datasets, and web-based art. These innovations were produced through a collaborative methodology called Renaissance Teams, a term coined by Donna J. Cox, in which artists became producers and directors of these initiatives |
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50 | (21) |
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Mixed media installations, wearable art, neon sculpture, analog and digital PHSColograms/sculptures and installations, web design, iGrams, scientific and medical visualization, 3D printing, projection mapping, and virtual reality |
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71 | (14) |
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Photography, computer and supercomputer art, scientific and data visualization, virtual reality, CAVE, 3D, IMAX, fulldome, and digital film and digital PHSColograms/sculptures |
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85 | (8) |
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Dance, virtual reality, CAVE, VROOM, and digital PHSColograms |
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93 | (6) |
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Mosaic Internet browser, scientific visualization, information visualization, and graphic design |
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99 | (5) |
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Internet and web-based art, CAVE, and graphic design |
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104 | (5) |
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Morphing/scientific visualization, medical visualization, web development, virtual reality, and digital PHSColograms |
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109 | (3) |
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Video art, iGrams, and digital preservation |
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112 | (7) |
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Computer graphics, CAVE, and networking |
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119 | (30) |
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Doomsday Clock, Mylar, landscape painting, drawing and digital PHSColograms |
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126 | (23) |
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PART 2 THE AESTHETICS OF NEW MEDIA EXPRESSION |
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149 | (54) |
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Through their early foundational work with mixed media involving digital photomontage, printmaking, painting, and video art, these women artists created seminal New Media artworks while they played departmental leadership roles at the School of the Art Institute of Chicago, Columbia College, and Indiana University and helped establish an international reputation for Chicago's art community through art experimentation and theoretical discourse |
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150 | (6) |
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Computer art/installations |
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156 | (10) |
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166 | (4) |
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An interview with Abina Manning, director. Video Data Bank, School of the Art Institute of Chicago |
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170 | (4) |
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Video art, computer art, and Internet art |
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174 | (6) |
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Virtual reality, CAVE art, iGrams, painting, and drawing |
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180 | (4) |
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New Media and interactive installations |
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184 | (19) |
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Computer animation, art installations, sculpture, performance art, augmented reality, virtual reality, projection mapping, 3D printing, and digital PHSColograms |
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190 | (13) |
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PART 3 MIGRATORY INFLUENCES AND INSPIRATIONS |
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203 | (72) |
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Although all of the contributors to this book have had national and international influence, several relocated from the Midwest to trailblaze and build communities in other areas. Their histories are intertwined with communities of entrepreneurship, scholarship, mentoring students, and practitioners that span the creation of video/computer games and virtual reality applications, while producing art festivals and independent work |
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204 | (8) |
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Performance art, computer/video games, and virtual reality |
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212 | (10) |
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Computer and game art, virtual reality, augmented reality, and digital photography |
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222 | (9) |
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Video art, game art, and Internet art |
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231 | (7) |
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Computer animation, game design, and independent film |
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238 | (4) |
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Photography, computer animation, and virtual reality |
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242 | (33) |
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Digital PHSColograms/sculptures and installations, web design, digital photography, digital preservation, mixed media, and game design |
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282 | |
Closing Reflections |
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275 | (4) |
Appendix: Original List of Guiding Interview Questions |
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279 | (2) |
Glossary |
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281 | (2) |
References |
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283 | (6) |
Index |
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289 | |