This dissertation was written as part of the MA in Art, Law and Arts Management at the International Hellenic University.
The landscape of digital media has been altering for more than 60 years. Artists and creators working in new media have consistently strived to develop not just new
forms of art, but also new multidisciplinary approaches for disseminating their creations, thus building a more solid base for its perception and appreciation. New media arts encompass a variety of technological techniques for representing human knowledge:
advanced video, software art, an expanding online and offline work, including internet
art, digital interactive installation, robotic art, game art and computer-generated works.
With each innovation and application of computer-based technology, a host of new copyright challenges emerge. Old “traditionally” facilitated works of art, such as
paintings and sculptures are breaking down; when paintings are transforming to system designs and interpreted as such, copyright problems intervene. When artists use algorithms to complete missing parts of a statue, this can challenge not only our perception, but also copyright.
This thesis will address issues in regards to how new media art is perceived by the audience within a historical context and intellectual property rights, with emphasis
on copyright issues. Further to the evolution of digital art, we will present artworks that constitute new media art and are generated by artificial intelligence. Additionally, we will examine if such works fall under the protection of copyright.
By questioning the immersive and disruptive nature of new media art, we will conclude with the allegation that new media art and culture are intrinsically linked to the narrative of new media. New media art and culture may, or actually must, continue to function as a different sector distinctive from contemporary art, following up the technological advancements, while claiming law transformation in terms of protection for computer-generated artworks.
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