Technological optimism, even utopianism, was widespread at midcentury; in Britain, Harold Wilson in 1963 promised a new nation "forged from the white heat of the technological revolution." In this heady atmosphere, pioneering artists transformed the cold logic of computing into a new medium for their art and played a central role in connecting technology and culture. White Heat Cold Logic tells the story of these early British digital and computer artists—and fills in a missing chapter in contemporary art history.
We live in a world that operates on bits and bytes. Reality has become synthetic, a convergence of the material and the immaterial. The synthetic power of new media art—integrative, interdisciplinary, interactive—expresses the blurred boundary between the physical and the digital. Synthetic Times collects new media art created since 2001 by artists and art collectives from nearly thirty countries. These innovative and groundbreaking works investigate how we perceive reality and what it means to be human on the threshold of human-machine symbiosis.
Twentieth-century art history is not just a history of individuals, but of collectives, groups. Universities and colleges have had much to do with this through their support of artistic communities and creative interactions. In the 1920s and 1930s, the Bauhaus was known for this. In the 1940s, Black Mountain College became a leader in community-based visual art practice and education. And in the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo was the place to be.
Popular culture in this "biological century" seems to feed on proliferating fears, anxieties, and hopes around the life sciences at a time when such basic concepts as scientific truth, race and gender identity, and the human itself are destabilized in the public eye. Tactical Biopolitics suggests that the political challenges at the intersection of life, science, and art are best addressed through a combination of artistic intervention, critical theorizing, and reflective practices.
In Closer, Susan Kozel draws on live performance practice, digital technologies, and the philosophical approach of phenomenology. Trained in dance and philosophy, Kozel places the human body at the center of explorations of interactive interfaces, responsive systems, and affective computing, asking what can be discovered as we become closer to our computers—as they become extensions of our ways of thinking, moving, and touching.
The groundbreaking mix CD that accompanies this book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of the CD's content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. (For a complete list of audio credits, see below.)
Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a "frame," video shares properties with the computer.
Bio art is a new art form that has emerged from the cultural impact and increasing accessibility of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists.Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo.
It has been more than twenty years since desktop publishing reinvented design, and it's clear that there is a growing need for designers and artists to learn programming skills to fill the widening gap between their ideas and the capability of their purchased software. This book is an introduction to the concepts of computer programming within the context of the visual arts.
This rich collection of writings by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack "digital sampling" of Amerika's writing from 1993 to 2005 that tells the early history of a net art world "gone wild" while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice.