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.
Set in a 1920s coal-mining town, Trapper Boy is the story of 13-year-old JW Donaldson, a good student with a bright future. As school ended for the year in 1926, JW was looking forward to summer. Sure, he would have chores - feeding the horse and milking the goat, tending the garden, that kind of thing - but he would also have lots of time for fishing, building his cabin and reading. Lots of reading. But there is something worrying his parents. His father works in the mine, and there is a lot of talk around town about the mines. JW doesn't know the details - Adults had a lot to worry about, and he was in no hurry to become one. Slowly, JW's parents reveal the truth: his father's hours at the mine have been reduced and they face difficult decisions to try to make ends meet. One such decision will have a previously unimagined impact on the young man's life.
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