By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't start on the net. In this multidisciplinary examine the perform of paintings 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 initiatives of the Nineteen Seventies and Nineteen Eighties. by means of delivering a context for this paintings -- exhibiting that it used to be formed via various mixes of social relatives, cultural suggestions, and political and aesthetic matters -- At a Distance successfully refutes the generally authorised concept that networked artwork is technologically made up our minds. Doing so, it presents the old grounding wanted for a extra entire figuring out of modern day practices of net artwork and activism and indicates the probabilities inherent in networked practice.At a Distance lines the historical past and conception of such experimental artwork initiatives as Mail paintings, sound and radio artwork, telematic paintings, assemblings, and Fluxus. even though the initiatives differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant paintings institutional practices, lively such a lot distance artwork. After a piece that units this paintings in ancient and demanding viewpoint, the e-book provides artists and others interested in this paintings "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive ebook development. eventually, the ebook recasts the heritage of networks from the views of politics, aesthetics, economics, and cross-cultural research.
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Extra info for At a Distance: Precursors to Art and Activism on the Internet (Leonardo Books)
The ﬁrst decades of Mail Art extolled an unfettered art of play, invention and surprise,” according to Held (94). ” So too was performativity, which in Fluxus, as Smith examines in chapter 5, also manifested in actual performances. Fluxus performed its rejection of the object by a play with the object’s disposability. ” What mattered to Fluxus, he contends, was the “connections and spaces between media and/or categories” (127). The transformative power of art—for artists themselves, for the nature of the work of art, and for audiences—was another key concern for both artists and activists, even though, again, they did not share a singular notion of art and politics (or, for that matter, of transformation).
MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s inﬂuential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufﬁcient object, immanentist aesthetics (6–9). 35. Quoted in Sayre, Object of Performance, 15. 36. Harrison, Essays on Art & Language, 47. 37. Sayre, Object of Performance, 7.
Ronell’s telephone book (a seminal text) answers the noisy calls of telephony very fully, so I will not rehearse her arguments here. (For a further discussion of Ronell, see my “E/motional Machines: Esprit de corps,” in Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies, ed. Anu Koivunen and Susanna Paasonen, University of Turku, School of Art, Literature and Music Series A, No. html> 15. Gregory L. Ulmer, Applied Grammatology: Post(e)-pedagogy from Jacques Derrida to Joseph Beuys (Baltimore: Johns Hopkins University Press, 1985), 143–145.