Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.001.0001
- Subject:
- Art, Visual Culture
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the ...
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This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.Less
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.
Judy Malloy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0001
- Subject:
- Society and Culture, Technology and Society
In the formative years of the Internet, researchers collaboratively connected computing systems with a goal of sharing research and computing resources. The model process with which they created the ...
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In the formative years of the Internet, researchers collaboratively connected computing systems with a goal of sharing research and computing resources. The model process with which they created the Internet and its forefather, the ARPANET, was echoed in early social media platforms, where creative computer scientists, artists, writers, musicians educators explored the promise of computer-based platforms to bring together communities of interest in what would be called “cyberspace.” With a focus on the arts and humanities, this introduction traces the development of social media affordances in applications such as email, mailing lists, BBSs, the Community Memory, PLATO, Usenet, mail art, telematic art, and video communication. The author outlines the early social media platforms documented in each chapter in this book and summarizes how the book's epilogues both explore differences between early and contemporary social media and look to the future of the arts in social media.Less
In the formative years of the Internet, researchers collaboratively connected computing systems with a goal of sharing research and computing resources. The model process with which they created the Internet and its forefather, the ARPANET, was echoed in early social media platforms, where creative computer scientists, artists, writers, musicians educators explored the promise of computer-based platforms to bring together communities of interest in what would be called “cyberspace.” With a focus on the arts and humanities, this introduction traces the development of social media affordances in applications such as email, mailing lists, BBSs, the Community Memory, PLATO, Usenet, mail art, telematic art, and video communication. The author outlines the early social media platforms documented in each chapter in this book and summarizes how the book's epilogues both explore differences between early and contemporary social media and look to the future of the arts in social media.
Xin Wei Sha
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780262019514
- eISBN:
- 9780262318914
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019514.001.0001
- Subject:
- Philosophy, Aesthetics
Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we ...
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Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we attend to the substrate matter in which gesture takes shape and place. An experimental approach to such questions motivates the exploration of responsive, and in particular, computational media created for sustaining experientially rich, improvisational activity. This book explores rehearsed as well as unrehearsed activity in distributed, continuous fields of responsive media—topological matter. This philosophical and interdisciplinary investigation reworks our understanding of embodiment and the formation of subjective experience. The investigation also puts in play notions such as interaction, responsive media and performativity, contributing to contemporary exchanges between art and philosophy. This draws on emerging techniques in computational video, realtime gestural sound, sensors, and active textiles, as well as experimental techniques in performance, movement, and visual arts. It also offers insights and inspirations for designers, media artists, musicians, movement artists, architects, researchers in multimedia, interaction design, interactive and responsive environments, architecture, science and technology studies, philosophy and cultural studies.Less
Movement, and in particular, gesture are arguably essential aspects of engendering human experience. But rather than taking “the body” or “cognition” for granted as conceptual starting points, we attend to the substrate matter in which gesture takes shape and place. An experimental approach to such questions motivates the exploration of responsive, and in particular, computational media created for sustaining experientially rich, improvisational activity. This book explores rehearsed as well as unrehearsed activity in distributed, continuous fields of responsive media—topological matter. This philosophical and interdisciplinary investigation reworks our understanding of embodiment and the formation of subjective experience. The investigation also puts in play notions such as interaction, responsive media and performativity, contributing to contemporary exchanges between art and philosophy. This draws on emerging techniques in computational video, realtime gestural sound, sensors, and active textiles, as well as experimental techniques in performance, movement, and visual arts. It also offers insights and inspirations for designers, media artists, musicians, movement artists, architects, researchers in multimedia, interaction design, interactive and responsive environments, architecture, science and technology studies, philosophy and cultural studies.
Oliver Grau
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015721
- eISBN:
- 9780262315159
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015721.003.0019
- Subject:
- Society and Culture, Media Studies
This chapter states that digital media art became “the art of our time”; the author expresses his views on this media art, which is still lagging behind in various cultural societies. In the chapter, ...
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This chapter states that digital media art became “the art of our time”; the author expresses his views on this media art, which is still lagging behind in various cultural societies. In the chapter, the author proposes to learn from various fields to overcome the problems and challenges posed by media art research. The chapter explains that the technological advancements of image analysis in the present scenario not only cause positive outcomes but also some barriers in the usage of cultural humanities. The next parts of the chapter demonstrate art history—visual studies—image science, virtual museums, collective strategies, The Database of Virtual Art (DVA) and new tools are helpful in dealing with the drawbacks and limitations of media art research.Less
This chapter states that digital media art became “the art of our time”; the author expresses his views on this media art, which is still lagging behind in various cultural societies. In the chapter, the author proposes to learn from various fields to overcome the problems and challenges posed by media art research. The chapter explains that the technological advancements of image analysis in the present scenario not only cause positive outcomes but also some barriers in the usage of cultural humanities. The next parts of the chapter demonstrate art history—visual studies—image science, virtual museums, collective strategies, The Database of Virtual Art (DVA) and new tools are helpful in dealing with the drawbacks and limitations of media art research.
Christy Mag Uidhir
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199665778
- eISBN:
- 9780191748608
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199665778.003.0004
- Subject:
- Philosophy, Aesthetics
Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account ...
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Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account of what it is to be an art form in terms of what it is to be an art sortal. So, the claim that some putative form such as painting, poetry, or the novel is an art form must instead be understood as the claim that the sortal painting, novel, or poem is an art sortal. For sortals such as painting, novel, or poem to be art sortals is for the ways in which things can be paintings, novels, or poems (i.e., the ways in which things can satisfy the conditions for falling under the sortal painting, novel, or poem) to themselves be ways in which things can be artworks (i.e., can be ways in which things satisfy the conditions for falling under the sortal artwork, whatever those may turn out to be). The author then uses this framework to examine the status of photography as an art form.Less
Further building on the work from previous chapters, the author employs the framework of attempts and the sort-relevant notion of authorship to provide a systematic and structurally precise account of what it is to be an art form in terms of what it is to be an art sortal. So, the claim that some putative form such as painting, poetry, or the novel is an art form must instead be understood as the claim that the sortal painting, novel, or poem is an art sortal. For sortals such as painting, novel, or poem to be art sortals is for the ways in which things can be paintings, novels, or poems (i.e., the ways in which things can satisfy the conditions for falling under the sortal painting, novel, or poem) to themselves be ways in which things can be artworks (i.e., can be ways in which things satisfy the conditions for falling under the sortal artwork, whatever those may turn out to be). The author then uses this framework to examine the status of photography as an art form.
Jenny Lin
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9781526132604
- eISBN:
- 9781526139047
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526132604.003.0004
- Subject:
- Art, Art History
Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, ...
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Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off,” and in two related works by artists Zhou Tiehai and Yang Fudong.Less
Chapter Three investigates the turn of the twenty-first century global expansion of Shanghai’s contemporary art vis-à-vis the first international iteration of China’s premier contemporary art event, the Chinese Communist Party-sponsored 2000 Shanghai. The chapter theorizes biennialization-as-banalization vis-à-vis contemporary exhibition practices and the promotion of contemporary Chinese art. The chapter argues that Shanghai Biennial’s curators’ hopes of harnessing the spirit of Shanghai were ultimately supplanted by a generic brand of global contemporary art that neglected the city’s unique historical features and current concerns. This chapter then examines critical responses to the 2000 Shanghai Biennial and critiques of the global positioning of Shanghai’s contemporary art as seen in Ai Weiwei and Feng Boyi’s counter-exhibition “Fuck Off,” and in two related works by artists Zhou Tiehai and Yang Fudong.
Judy Malloy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0023
- Subject:
- Society and Culture, Technology and Society
Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on ...
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Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).Less
Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).
Chris Salter
- Published in print:
- 2010
- Published Online:
- August 2013
- ISBN:
- 9780262195881
- eISBN:
- 9780262315104
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262195881.001.0001
- Subject:
- Society and Culture, Media Studies
This book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. The author shows that technologies, from the mechanical to the ...
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This book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. The author shows that technologies, from the mechanical to the computational—from a “ballet of objects and lights” staged by Diaghilev’s Ballets Russes in 1917 to contemporary, technologically enabled “responsive environments”—have been entangled with performance across a wide range of disciplines. The author examines the rich and extensive history of performance experimentation in theatre, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders. Each chapter in the book focuses on a different form: theaterscenography, architecture, video and image making, music and sound composition, body-based arts, mechanical and robotic art, and interactive environments constructed for research, festivals, and participatory urban spaces. The author shows that the survey and analysis of performance traditions have much to teach other emerging practices—in particular in the burgeoning fields of new media. Students of digital art need to master not only electronics and code but also dramaturgy, lighting, sound, and scenography.Less
This book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. The author shows that technologies, from the mechanical to the computational—from a “ballet of objects and lights” staged by Diaghilev’s Ballets Russes in 1917 to contemporary, technologically enabled “responsive environments”—have been entangled with performance across a wide range of disciplines. The author examines the rich and extensive history of performance experimentation in theatre, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders. Each chapter in the book focuses on a different form: theaterscenography, architecture, video and image making, music and sound composition, body-based arts, mechanical and robotic art, and interactive environments constructed for research, festivals, and participatory urban spaces. The author shows that the survey and analysis of performance traditions have much to teach other emerging practices—in particular in the burgeoning fields of new media. Students of digital art need to master not only electronics and code but also dramaturgy, lighting, sound, and scenography.
Tarek Elhaik
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474403351
- eISBN:
- 9781474418508
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474403351.003.0001
- Subject:
- Film, Television and Radio, Film
This book examines post-Mexican film and media arts and proposes a conception of curation as both repair and counter-actualization. It does so by introducing the concept of the incurable-image. ...
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This book examines post-Mexican film and media arts and proposes a conception of curation as both repair and counter-actualization. It does so by introducing the concept of the incurable-image. Building on a participant-observation of curatorial platforms and experimental media arts in Mexico City, the book animates a trans-media assemblage that grew out of a convergence of three interconnected themes: the role played by the discipline of anthropology in shaping the contours of Mexican modernity and its avant-garde media arts and visual culture; the lessons learned from the tradition of experimental ethnography and the important ‘Writing Culture’ debates in academic anthropology in the United States during the 1980s; and the so-called ‘anthropological turn’ in visual studies and contemporary art since the 1990s. The book turns its attention away from cross-cultural geographies towards a geophilosophy of departures and arrivals modulated by Mexico City's chaotic intellectual life.Less
This book examines post-Mexican film and media arts and proposes a conception of curation as both repair and counter-actualization. It does so by introducing the concept of the incurable-image. Building on a participant-observation of curatorial platforms and experimental media arts in Mexico City, the book animates a trans-media assemblage that grew out of a convergence of three interconnected themes: the role played by the discipline of anthropology in shaping the contours of Mexican modernity and its avant-garde media arts and visual culture; the lessons learned from the tradition of experimental ethnography and the important ‘Writing Culture’ debates in academic anthropology in the United States during the 1980s; and the so-called ‘anthropological turn’ in visual studies and contemporary art since the 1990s. The book turns its attention away from cross-cultural geographies towards a geophilosophy of departures and arrivals modulated by Mexico City's chaotic intellectual life.
Susanne Gerber
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0022
- Subject:
- Society and Culture, Technology and Society
In the early Internet, art history crossed the path of media history and both disciplines conveyed characteristics of each other. Net (based) art did not regain the utopian potential of art, but its ...
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In the early Internet, art history crossed the path of media history and both disciplines conveyed characteristics of each other. Net (based) art did not regain the utopian potential of art, but its social, aesthetic and conceptual approach referenced the future role of digital communication. This chapter documents and examines the role of the art network THE THING in early digital communication and art practice and how it anticipated the future potential to communicate, distribute, and produce. Including the theory and practice that informed the founding of THE THING, as well as an interview with THE THING founder, Wolfgang Staehle, and a concluding timeline of THE THING's history, this chapter also emphasizes how THE THING was both playful and far ahead of its time.Less
In the early Internet, art history crossed the path of media history and both disciplines conveyed characteristics of each other. Net (based) art did not regain the utopian potential of art, but its social, aesthetic and conceptual approach referenced the future role of digital communication. This chapter documents and examines the role of the art network THE THING in early digital communication and art practice and how it anticipated the future potential to communicate, distribute, and produce. Including the theory and practice that informed the founding of THE THING, as well as an interview with THE THING founder, Wolfgang Staehle, and a concluding timeline of THE THING's history, this chapter also emphasizes how THE THING was both playful and far ahead of its time.
Delinda Collier
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780816694440
- eISBN:
- 9781452953632
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694440.003.0005
- Subject:
- Art, Art History
The conclusion connects Painted Walls of Lunda and its themes of anthropology with the digital age, information and technology, and new media art.
The conclusion connects Painted Walls of Lunda and its themes of anthropology with the digital age, information and technology, and new media art.
Sumanth Gopinath
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780262019156
- eISBN:
- 9780262315081
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019156.003.0004
- Subject:
- History, History of Science, Technology, and Medicine
The central goal of this chapter is to track the emergence of new genres of contemporary music and art enabled by the monophonic and polyphonic ringtone. It highlights the medley composition, the ...
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The central goal of this chapter is to track the emergence of new genres of contemporary music and art enabled by the monophonic and polyphonic ringtone. It highlights the medley composition, the Nokia Tune piece in contemporary art music, and ringtone sound/music performance in new media art, to chart their decline as the fad became less novel and it was replaced by digital files as the dominant ringtone format. The chapter explores why the ringtone no longer seems to be on the agenda of “high art” cultural production.Less
The central goal of this chapter is to track the emergence of new genres of contemporary music and art enabled by the monophonic and polyphonic ringtone. It highlights the medley composition, the Nokia Tune piece in contemporary art music, and ringtone sound/music performance in new media art, to chart their decline as the fad became less novel and it was replaced by digital files as the dominant ringtone format. The chapter explores why the ringtone no longer seems to be on the agenda of “high art” cultural production.
Xin Wei Sha
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780262019514
- eISBN:
- 9780262318914
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019514.003.0001
- Subject:
- Philosophy, Aesthetics
Chapter 1 orients readers to what is at stake in computationally augmented and nondigital responsive media and responsive environments: the potential for ethico-aesthetic experiment. This appeals to ...
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Chapter 1 orients readers to what is at stake in computationally augmented and nondigital responsive media and responsive environments: the potential for ethico-aesthetic experiment. This appeals to artists and philosophers of media who are concerned with ethico-aesthetic as well as political implications in contemporary material practices in media and the technologies of performance. Setting aside transcendentalist appeals to universal immortal frameworks structuring our experience, and in the absence of any Archimedean point external to subjective experience upon which we can lever social and ethico-aesthetic judgment, what remains? How can sociality and pathic subjectivity emerge? This chapter introduces the argument for a deeper approach with the poetic, rather than instrumental or technical, use of continuous topology and related modes of nonatomistic articulation. The argument is substantiated and informed by speculative projects over the past twenty years that challenge existing paradigms in computational media technology and media arts.Less
Chapter 1 orients readers to what is at stake in computationally augmented and nondigital responsive media and responsive environments: the potential for ethico-aesthetic experiment. This appeals to artists and philosophers of media who are concerned with ethico-aesthetic as well as political implications in contemporary material practices in media and the technologies of performance. Setting aside transcendentalist appeals to universal immortal frameworks structuring our experience, and in the absence of any Archimedean point external to subjective experience upon which we can lever social and ethico-aesthetic judgment, what remains? How can sociality and pathic subjectivity emerge? This chapter introduces the argument for a deeper approach with the poetic, rather than instrumental or technical, use of continuous topology and related modes of nonatomistic articulation. The argument is substantiated and informed by speculative projects over the past twenty years that challenge existing paradigms in computational media technology and media arts.
Steven Durland
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0010
- Subject:
- Society and Culture, Technology and Society
Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on ...
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Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on interactive new media and community-centered social media. With participation by media art and politics theorist Gene Youngblood, this historic conversation follows the work of Galloway and Rabinowitz, beginning with their meeting in Paris and including Satellite Arts Project (1977), Hole-In-Space (1980), and the birth of the Electronic Café during the 1984 Los Angeles Summer Olympics.Less
Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on interactive new media and community-centered social media. With participation by media art and politics theorist Gene Youngblood, this historic conversation follows the work of Galloway and Rabinowitz, beginning with their meeting in Paris and including Satellite Arts Project (1977), Hole-In-Space (1980), and the birth of the Electronic Café during the 1984 Los Angeles Summer Olympics.
Judy Malloy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0028
- Subject:
- Society and Culture, Technology and Society
In 1995, Geert Lovink started <nettime> with Pit Schultz. It expanded into many lists and languages and in the process demonstrated that English language and American-centric platforms do not have to ...
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In 1995, Geert Lovink started <nettime> with Pit Schultz. It expanded into many lists and languages and in the process demonstrated that English language and American-centric platforms do not have to be the lingua franca of the Internet. Lovink's contemporary work with the Institute of Network Cultures and its research networks, such as Unlike Us, has shaped a coalition that explores network architectures, the role of collective production, aesthetic tactics, and diverse, open information exchange. This introduction to the Epilogues focuses on his 2012 essay in e-flux -- “What Is the Social in Social Media?” -- asking three questions: Can you expand on what roles you envision for artists and writers in contemporary social media? How can we teach students to create in a difficult medium that so beautifully (and relentlessly) combines text, image, design, interactivity and collaboration? And how do you envision a social media of the future?Less
In 1995, Geert Lovink started <nettime> with Pit Schultz. It expanded into many lists and languages and in the process demonstrated that English language and American-centric platforms do not have to be the lingua franca of the Internet. Lovink's contemporary work with the Institute of Network Cultures and its research networks, such as Unlike Us, has shaped a coalition that explores network architectures, the role of collective production, aesthetic tactics, and diverse, open information exchange. This introduction to the Epilogues focuses on his 2012 essay in e-flux -- “What Is the Social in Social Media?” -- asking three questions: Can you expand on what roles you envision for artists and writers in contemporary social media? How can we teach students to create in a difficult medium that so beautifully (and relentlessly) combines text, image, design, interactivity and collaboration? And how do you envision a social media of the future?
Jussi Parikka
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816695515
- eISBN:
- 9781452950877
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816695515.003.0001
- Subject:
- Society and Culture, Media Studies
Chapter 1 grounds the book in debates about materiality and digital culture; offers an explanation of the anthropocene and the term that I use: the anthrobscene, to emphasise the obscenities of ...
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Chapter 1 grounds the book in debates about materiality and digital culture; offers an explanation of the anthropocene and the term that I use: the anthrobscene, to emphasise the obscenities of corporate irresponsibility in relation to environmental issues. The chapter also introduces the structure and methodology of the book in context of media art practices and cultural theory.Less
Chapter 1 grounds the book in debates about materiality and digital culture; offers an explanation of the anthropocene and the term that I use: the anthrobscene, to emphasise the obscenities of corporate irresponsibility in relation to environmental issues. The chapter also introduces the structure and methodology of the book in context of media art practices and cultural theory.
Jussi Parikka
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816695515
- eISBN:
- 9781452950877
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816695515.003.0002
- Subject:
- Society and Culture, Media Studies
The notion of “deep time” stems from geology and has been used in media art history context by Siegfried Zielinski. However it can be read more literally to refer to the undergrounds and geophysics ...
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The notion of “deep time” stems from geology and has been used in media art history context by Siegfried Zielinski. However it can be read more literally to refer to the undergrounds and geophysics of media too.Less
The notion of “deep time” stems from geology and has been used in media art history context by Siegfried Zielinski. However it can be read more literally to refer to the undergrounds and geophysics of media too.
Yvonne Spielmann
- Published in print:
- 2012
- Published Online:
- August 2015
- ISBN:
- 9780816670826
- eISBN:
- 9781452947181
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816670826.003.0011
- Subject:
- Art, Art History
This chapter considers some examples in the international media arts that can be identified as aesthetic/cultural interventions, i.e. they demonstrate decisive strategies of creative intervention ...
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This chapter considers some examples in the international media arts that can be identified as aesthetic/cultural interventions, i.e. they demonstrate decisive strategies of creative intervention into the corporate/commercial products of the media cultural environment that surrounds us globally. In particular, it looks at aesthetic practices in media arts in Europe and Japan. The task is to widen the horizon of discussion and argue for overcoming some of the existing barriers between media and cultural discourses, and also between arts and media. It is not about identifying peculiar Japanese and European media arts. The more interesting question is what are the overriding, effective, and suitable strategies for processes of intervention, dialogue, and violation that can cope with standard media tools and technologies that spread out everywhere.Less
This chapter considers some examples in the international media arts that can be identified as aesthetic/cultural interventions, i.e. they demonstrate decisive strategies of creative intervention into the corporate/commercial products of the media cultural environment that surrounds us globally. In particular, it looks at aesthetic practices in media arts in Europe and Japan. The task is to widen the horizon of discussion and argue for overcoming some of the existing barriers between media and cultural discourses, and also between arts and media. It is not about identifying peculiar Japanese and European media arts. The more interesting question is what are the overriding, effective, and suitable strategies for processes of intervention, dialogue, and violation that can cope with standard media tools and technologies that spread out everywhere.
Jussi Parikka
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780816695515
- eISBN:
- 9781452950877
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816695515.001.0001
- Subject:
- Society and Culture, Media Studies
Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set ...
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Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves—Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time—but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. Parikka shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices. A Geology of Media demonstrates that the environment does not just surround our media cultural world—it runs through it, enables it, and hosts it in an era of unprecedented climate change. While looking backward to Earth’s distant past, it also looks forward to a more expansive media theory—and, implicitly, media activism.Less
Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves—Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time—but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. Parikka shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices. A Geology of Media demonstrates that the environment does not just surround our media cultural world—it runs through it, enables it, and hosts it in an era of unprecedented climate change. While looking backward to Earth’s distant past, it also looks forward to a more expansive media theory—and, implicitly, media activism.
Ashley Woodward
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9780748697243
- eISBN:
- 9781474418669
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748697243.003.0008
- Subject:
- Philosophy, Metaphysics/Epistemology
Twentieth century European philosophy has seen many influential critiques of the technological dehumanisation process, often accompanied by appeals to the humanising powers of art as a potential ...
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Twentieth century European philosophy has seen many influential critiques of the technological dehumanisation process, often accompanied by appeals to the humanising powers of art as a potential response. And yet, Guillaume Apollinaire wrote in The Cubist Painters in 1913 that “Artists are, above all, men who want to become inhuman.” What would it mean for art to be “inhuman,” and what relation might inhuman arts have to the dehumanising effects of technology? This chapter traces the idea of the inhuman in art from cubism to new media art, focusing on the reflections on these topics by Lyotard, through his activities both as a philosopher of art and as an exhibition director. It traces the meaning that “the inhuman” has in relation to art in his work from the exhibition Les Immatériaux to his later writings on Malraux, aiming to show how, for Lyotard, a “positive” aesthetic conception of the inhuman can act as an antidote to the “negative” inhuman of contemporary cultural conditions.Less
Twentieth century European philosophy has seen many influential critiques of the technological dehumanisation process, often accompanied by appeals to the humanising powers of art as a potential response. And yet, Guillaume Apollinaire wrote in The Cubist Painters in 1913 that “Artists are, above all, men who want to become inhuman.” What would it mean for art to be “inhuman,” and what relation might inhuman arts have to the dehumanising effects of technology? This chapter traces the idea of the inhuman in art from cubism to new media art, focusing on the reflections on these topics by Lyotard, through his activities both as a philosopher of art and as an exhibition director. It traces the meaning that “the inhuman” has in relation to art in his work from the exhibition Les Immatériaux to his later writings on Malraux, aiming to show how, for Lyotard, a “positive” aesthetic conception of the inhuman can act as an antidote to the “negative” inhuman of contemporary cultural conditions.
