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"In this heroic period of computer art, artists were required to build their own machines, collaborate closely with computer scientists, and learn difficult computer languages. White Heat Cold Logic's chapters, many written by computer art pioneers themselves, describe the influence of cybernetics, with its emphasis on process and interactivity; the connections to the constructivist movement; and the importance of work done in such different venues as commercial animation, fine art schools, and polytechnics."--Jaquette.
An argument that the collaborative multimedia projects produced by Stan VanDerBeek in the 1960s and 1970s anticipate contemporary new media and participatory art practices. In 1965, the experimental filmmaker Stan VanDerBeek (1927–1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system—a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek—known mostly for his experimental animated films—as a visual artist committed to the radical aesthetic sensibilities he developed during his studies at Black Mountain College. She argues that VanDerBeek's collaborative multimedia projects of the 1960s and 1970s (sometimes characterized as “Expanded Cinema”), with their emphases on transparency of process and audience engagement, anticipate contemporary art's new media, installation, and participatory practices. VanDerBeek saw Movie-Drome not as pure cinema but as a communication tool, an “experience machine.” In her close reading of the work, Sutton argues that Movie-Drome can be understood as a programmable interface. She describes the immersive experience of Movie-Drome, which emphasized multi-sensory experience over the visual; display strategies deployed in the work; the Poemfield computer-generated short films; and VanDerBeek's interest, unique for the time, in telecommunications and computer processing as a future model for art production. Sutton argues that visual art as a direct form of communication is a feedback mechanism, which turns on a set of relations, not a technology.
Sound, tone, music, voice, and noise as forms of sonority through which our current economic and ecological crises can be understood. In this wide-ranging book, Frances Dyson examines the role of sound in the development of economic and ecological systems that are today in crisis. Connecting early theories of harmony, cosmology, and theological doctrine to contemporary media and governance, Dyson uses sound, tone, music, voice, and noise as forms of sonority through which the crises of “eco” can be read. The sonic environment, Dyson argues, is fundamental to both sense and sensibility, and its delimitation has contributed to the “senselessness” of a world now caught between spiraling debt and environmental degradation. Dyson draws on scenes, historical moments, artworks, and artistic and theoretical practice to situate the reverberative atmosphere that surrounds and sustains us. From Pythagoras's hammer and the transmutation of music into mathematics, to John Cage's famous experience in the anechoic chamber, to the relocation of the stock market from the street to the computer screen, to Occupy Wall Street's “people's microphone”: Dyson finds policies and practices of exclusion. The sound of Pythagoras's forge and the rabble of the market have been muted, rearticulated, and transformed, Dyson argues, through the monotones of media, the racket of financialization, and the gibberish of political speech. Informed by contemporary sound art, philosophy, media and sociopolitical theory, The Tone of Our Times offers insights into present crises that are relevant to a broader understanding of how space, the aural, and listening have shaped and continue to shape the world we live in.
Variable Conditions recovers and explores early Canadian encounters between computational media and contemporary art in the late twentieth century, charting a network of developments linking meteorology, computation, and the arts that arose long before the age of cloud computing. Essays uncover the material conditions that shaped the emergence of computational arts in Canada, from projects executed by mainframe to digital paintings and analog synthesizer performances. A surprising number of institutional circumstances granted access to early computer hardware – government nuclear and hydroelectric infrastructure, agencies as diverse as the National Film Board and the National Research Council, and a myriad of university settings across the country – and creative conditions varied from benign administrative neglect to the artistic exploration of randomness or a distinct emphasis on thematizing transformation as a motor for graphic visualization and auditory exploration. Interviews featuring leading artists give first-hand insight into artistic practices and the historical moment in which they occurred. The book provides valuable new perspectives on computer art pioneers such as Leslie Mezei, Robert Adrian X, Suzanne Duquet, Roger Vilder, and Vera Frenkel, as well as new contexts for understanding Michael Snow and IAIN BAXTER&. Not limiting their explorations to art generated using computers, contributors outline the integration of computational techniques and concepts into artistic methods across disciplines and trace computation’s emergence as a matter of interest and concern for a range of contemporary cultural producers. Combining historical analyses with theoretical approaches to computation and its entanglement with contemporary cultural discourses and social movements, Variable Conditions excavates the origins of computational arts and, in the process, sketches a new landscape of interdisciplinary creation and surprising connections between scientific and artistic institutions.
“Science is art,” said Regina Dugan, senior executive at Google and former director of DARPA. “It is the process of creating something that never exists before. ... It makes us ask new questions about ourselves, others; about ethics, the future.” This second volume of the Digital Da Vinci book series leads the discussions on the world’s first computer art in the 1950s and the actualization of Star Trek’s holodeck in the future with the help of artificial intelligence and cyborgs. In this book, Gavin Sade describes experimental creative practices that bring together arts, science and technology in imaginative ways; Mine Özkar expounds visual computation for good designs based on repetition and variation; Raffaella Folgieri, Claudio Lucchiari, Marco Granato and Daniele Grechi introduce BrainArt, a brain-computer interface that allows users to create drawings using their own cerebral rhythms; Nathan Cohen explores artificially created spaces that enhance spatial awareness and challenge our perception of what we encounter; Keith Armstrong discusses embodied experiences that affect the mind and body of participating audiences; Diomidis Spinellis uses Etoys and Squeak in a scientific experiment to teach the concept of physical computing; Benjamin Cowley explains the massively multiplayer online game “Green My Place” aimed at achieving behavior transformation in energy awareness; Robert Niewiadomski and Dennis Anderson portray 3-D manufacturing as the beginning of common creativity revolution; Stephen Barrass takes 3-D printing to another dimension by fabricating an object from a sound recording; Mari Velonaki examines the element of surprise and touch sensing in human-robot interaction; and Roman Danylak surveys the media machines in light of Marshall McLuhan’s dictum “the medium is the message.” Digital Da Vinci: Computers in the Arts and Sciences is dedicated to polymathic education and interdisciplinary studies in the digital age empowered by computer science. Educators and researchers ought to encourage the new generation of scholars to become as well rounded as a Renaissance man or woman.
Author : Grant D. Taylor Publisher : Bloomsbury Publishing USA Page : 353 pages File Size : 45,38 MB Release : 2014-04-10 Category : Social Science ISBN : 1623565618
Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.
Communities of Computing is the first book-length history of the Association for Computing Machinery (ACM), founded in 1947 and with a membership today of 100,000 worldwide. It profiles ACM's notable SIGs, active chapters, and individual members, setting ACM's history into a rich social and political context. The book's 12 core chapters are organized into three thematic sections. "Defining the Discipline" examines the 1960s and 1970s when the field of computer science was taking form at the National Science Foundation, Stanford University, and through ACM's notable efforts in education and curriculum standards. "Broadening the Profession" looks outward into the wider society as ACM engaged with social and political issues - and as members struggled with balancing a focus on scientific issues and awareness of the wider world. Chapters examine the social turbulence surrounding the Vietnam War, debates about the women's movement, efforts for computing and community education, and international issues including professionalization and the Cold War. "Expanding Research Frontiers" profiles three areas of research activity where ACM members and ACM itself shaped notable advances in computing, including computer graphics, computer security, and hypertext. Featuring insightful profiles of notable ACM leaders, such as Edmund Berkeley, George Forsythe, Jean Sammet, Peter Denning, and Kelly Gotlieb, and honest assessments of controversial episodes, the volume deals with compelling and complex issues involving ACM and computing. It is not a narrow organizational history of ACM committees and SIGS, although much information about them is given. All chapters are original works of research. Many chapters draw on archival records of ACM's headquarters, ACM SIGs, and ACM leaders. This volume makes a permanent contribution to documenting the history of ACM and understanding its central role in the history of computing.
This book on Stephen Willats pulls together key strands of his practice and threads them through histories of British cybernetics, experimental art, and urban design. For Willats, a cluster of concepts about control and feedback within living and machine systems (cybernetics) offered a new means to make art relevant. For decades, Willats has built relationships through art with people in tower blocks, underground clubs, middle-class enclaves, and warehouses on the Isle of Dogs, to investigate their current conditions and future possibilities. Sharon Irish's study demonstrates the power of Willats's multi-media art to catalyze communication among participants and to upend ideas about “audience” and “art.” Here, Irish argues that it is artists like Willats who are now the instigators of social transformation.
Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the “isms” of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.