New media art is a genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art, computer robotics, and art as biotechnology.
The term differentiates itself by its resulting cultural objects and social events, which can be seen in opposition to those deriving from old visual arts (i.e. traditional painting, sculpture, etc.).
This concern with medium is a key feature of much contemporary art and indeed 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 often involves interaction between artist and observer or between observers and the artwork, which responds to them. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as 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 concerns are often derived from the telecommunications, mass media and digital modes of delivery the artworks involve, with practices ranging from conceptual to virtual art, performance to installation.
新媒体艺术是一个流派，包括艺术品与创建新的媒体 技术，包括数字艺术，计算机图形学，计算机动画，虚拟艺术，互联网艺术，互动艺术，电脑 机器人，以及先进的生物技术。一词本身所产生的文物和社会事件，可以看到反对那些从旧的（即传统视觉艺术产生不同的绘画，雕塑等）。这与媒介的关注，是当代艺术的一个非常关键的功能，确实现在许多艺术院校和各大高校提供专业在“新类型”或“新媒体” 和研究生课程已经出现越来越多的国际[ 1 ] [ 2 ]新媒体艺术往往涉及之间的艺术家和观察员或观察员和艺术品，响应他们之间的互动。然而，正如一些理论家和策展人指出，这种形式的互动，社会交流，参与和改造不区分新媒体艺术，而是作为一个共同点，在当代艺术实践的其他股有相似之处。[ 3 ]这种见解强调的文化实践活动的形式，同时出现的新兴技术平台，技术的媒体，本身质疑的焦点。
The origins of new media art can be traced to the moving photographic inventions of the late 19th century such as the zoetrope (1834), the praxinoscope (1877) and Eadweard Muybridge’s zoopraxiscope (1879).
Non-linearity can be seen as an important topic to new media art by artists like Bill Viola who explores the term as an approach to looking at varying forms of digital projects. 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. People always ask, “What is the difference between non-linearity and randomness?” Non-linearity describes a project that has freedom with certain parameters, whereas randomness has freedom and no boundaries whatsoever. Non-linear art usually requires audience participation to reveal its non-linearity while random art, more-or-less, acts on its own. In doing so, viewers can understand another theme in the many forms of new media art. The participatory aspect of new media art, which for some artists has become integral, emerged from Allan Kaprow’s Happenings.
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, fascinate and inspire a lot of current new media art.
Many new media art projects also work with themes like politics and social consciousness.
Future about Presentation and preservation
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 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 Internet Archive), and the use of emulators to preserve work dependent on obsolete software or operating system environments.
One of the key themes in new media art is to create visual views of databases. Pioneers in this area include Lisa Strausfeld and Martin Wattenberg. 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.
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 the art system, who not only do 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.