By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't commence on the net. In this multidisciplinary examine the perform of artwork that happens throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners study the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked tasks of the Nineteen Seventies and Nineteen Eighties. via delivering a context for this paintings -- exhibiting that it used to be formed by means of various mixes of social family, cultural thoughts, and political and aesthetic issues -- At a Distance successfully refutes the commonly authorized concept that networked paintings is technologically made up our minds. Doing so, it offers the old grounding wanted for a extra whole realizing of ultra-modern practices of net paintings and activism and indicates the probabilities inherent in networked practice.At a Distance lines the historical past and conception of such experimental paintings tasks as Mail paintings, sound and radio artwork, telematic paintings, assemblings, and Fluxus. even though the tasks differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant artwork institutional practices, lively so much distance paintings. After a bit that units this paintings in ancient and important viewpoint, the ebook provides artists and others occupied with this artwork "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive booklet development. eventually, the booklet recasts the historical past of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Extra info for At a distance : precursors to art and activism on the Internet
Drucker traces social and cultural transformation as an idea at the basis of a wide range of “prophetic announcements” about technology, art, and media from the 1960s and 1970s. There was also fascination, she notes, with “transformations produced by the movement of information through a system of interconnected electronic and computational devices” (42). Further, the transformative power for art itself was enacted for many through new, interactive relations with their audiences. In an important sense, as Drucker suggests, the concern with interactivity, as a new technological and communication strategy, was more broadly framed by the different understandings and practices in relation to social re- Part I 30 lationships.
The remaining chapters contribute to this contextualizing, but with focuses on one or more speciﬁc projects, artists, or activities. In all cases, however, the approach in this part of the book is from the point of view of a cultural critic or historian rather than an involved artist (though some of the authors are artists and have been involved in some of the projects). The authors draw out and foreground the issues as they see them and develop their own critical arguments about those issues. The chapters in part II approach their subjects more intimately, written as they are by or with people who were involved in the projects discussed.
28–29, 33. 23. , Alice Yaeger Kaplan, Reproductions of Banality: Fascism, Literature and French Intellectual Life (Minneapolis: University of Minnesota Press, 1986), esp. chaps. 1 and 4. 24. McLuhan, Understanding Media, 8. 25. Saper, Networked Art, 5, 151. 26. , 149. 27. , 12, 31, 134. 28. Dick Higgins, A Dialectic of Centuries: Notes towards a Theory of the New Arts (New York: Printed Editions, 1978), 14; see also 28. 29. , 13. 30. , 8. Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed.
At a distance : precursors to art and activism on the Internet by Annmarie Chandler, Norie Neumark