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Explores the continuing development of art from the late 1960s to the development of current movements of art in public places and media art, focussing on the roles of individual artists. Part I deals with environmental art forms and the art and technology movement in relation to the new ideas of systems analysis and cybernetics. Part II looks at artists who moved into the environment and whose work can be interpreted as a layering of different elements. Part III examines the introduction of media like video and computers and other digital technologies into the visual arts. For students and artists. Annotation copyrighted by Book News, Inc., Portland, OR
Addressing how technology and creativity interrelate in the arts and culture of the late 20th century, this anthology combines a general introduction with a set of case studies from a range of international critics.
Systems theory emerged in the mid-20th century along with related theories such as Cybernetics and Information Theory. Recently it has included Complexity Theory, Chaos Theory and Social Systems Theory. Systems theory understands phenomena in terms of the systems of which they are part. This book is about a systems theoretical approach to thinking about art. It examines what it means to look to systems theory both for its implications for artistic practice and as a theory of art. This publication provides a sustained discussion on the application of systems theory to an account of art.
"... Consider the idea of history and the artwork's moment in time; the intersection of geography and history in regional practice, illustrated by examples from Eastern Europe, Australia, and New Zealand; the contradictory scales of evolution, life cycles, and bodily rhythms in bio art; and the history of the future--how the future has been imagined, planned for, and established as a vector throughout the history of new media arts." --book jacket.
A significant contribution to investigations of the social and cultural impact of new media and digital technologies
The Greening of Art describes the shifts in position between art and nature which took place during the past fifty years, to set out re-establishing a new relationship between art and the landscape-environment, and attempt in various ways to re-connect art with nature. From the 1960s onward, when artists went outdoors to explore the environment as extended space of the self, via land reclamation projects and collaborations with landscape architects in redesigning whole parks to the present day, with its recent development of urban gardening projects.
In vier Aufsätzen widmet sich Marga Bijvoet dem Verhältnis von Kunst und Kosmographie im Übergang von der Renaissance zum Barock. Am Beispiel von Baldovinettis 'Geburt Christi und die Anbetung der Hirten', Carpaccios 'Wunder der Reliquie vom Heiligen Kreuz am Rialto', der 'Sala del Mappamondo' des Palazzo Farnese in Caprarola und Tiepolos Ausmalung des Treppenhauses der Würzburger Residenz geht sie auf die Wechselbeziehung zwischen der Entdeckung der Welt durch Reisende und Forscher und der Darstellung der Welt in jenen Werken ein. Alle vier Aufsätze verbindet, daß es sich bei den Kunstwerken um Projekte für (halb-)öffentliche Räume handelte, die, indem sie repräsentative Aufgaben erfüllten, den Erfahrungshorizont der Auftraggeber im Dialog mit den Künstlern in einer Zeit des Epochenwandels wiedergaben.
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What is the cultural dimension of sustainability? This book offers a thought-provoking answer, with a theoretical synthesis on »cultures of sustainability«. Describing how modernity degenerated into a culture of unsustainability, to which the arts are contributing, Sacha Kagan engages us in a fundamental rethinking of our ways of knowing and seeing the world. We must learn not to be afraid of complexity, and to re-awaken a sensibility to patterns that connect. With an overview of ecological art over the past 40 years, and a discussion of art and social change, the book assesses the potential role of art in a much needed transformation process.
How the tools of STS can be used to understand art and science and the practices of these knowledge-making communities. In Art, Science, and the Politics of Knowledge, Hannah Star Rogers suggests that art and science are not as different from each other as we might assume. She shows how the tools of science and technology studies (STS) can be applied to artistic practice, offering new ways of thinking about people and objects that have largely fallen outside the scope of STS research. Arguing that the categories of art and science are labels with specific powers to order social worlds—and that art and science are best understood as networks that produce knowledge—Rogers shows, through a ...