Gediminas Urbonas

Gediminas Urbonas, an artist, activist, and educator, is an Associate Professor in MIT's School of Architecture and Planning and Director of the MIT Program in Art, Culture and Technology.

  • Public Space? Lost and Found

    Public Space? Lost and Found

    Gediminas Urbonas, Ann Lui, and Lucas Freeman

    Reflections on the rapidly changing formulations of public space in the age of digital media, vast ecological crises, and civic uprisings.

    “Public space” is a potent and contentious topic among artists, architects, and cultural producers. Public Space? Lost and Found considers the role of aesthetic practices within the construction, identification, and critique of shared territories, and how artists or architects—the “antennae of the race”—can heighten our awareness of rapidly changing formulations of public space in the age of digital media, vast ecological crises, and civic uprisings.

    Public Space? Lost and Found combines significant recent projects in art and architecture with writings by historians and theorists. Contributors investigate strategies for responding to underrepresented communities and areas of conflict through the work of Marjetica Potrč in Johannesburg and Teddy Cruz on the Mexico-U.S. border, among others. They explore our collective stakes in ecological catastrophe through artistic research such as atelier d'architecture autogérée's hubs for community action and recycling in Colombes, France, and Brian Holmes's theoretical investigation of new forms of aesthetic perception in the age of the Anthropocene. Inspired by artist and MIT professor Antoni Muntadas' early coining of the term “media landscape,” contributors also look ahead, casting a critical eye on the fraught impact of digital media and the internet on public space.

    This book is the first in a new series of volumes produced by the MIT School of Architecture and Planning's Program in Art, Culture and Technology.

    Contributors atelier d'architecture autogérée, Dennis Adams, Bik Van Der Pol, Adrian Blackwell, Ina Blom, Christoph Brunner with Gerald Raunig, Néstor García Canclini, Colby Chamberlain, Beatriz Colomina, Teddy Cruz with Fonna Forman, Jodi Dean, Juan Herreros, Brian Holmes, Andrés Jaque, Caroline Jones, Coryn Kempster with Julia Jamrozik, György Kepes, Rikke Luther, Matthew Mazzotta, Metahaven, Timothy Morton, Antoni Muntadas, Otto Piene, Marjetica Potrč, Nader Tehrani, Troy Therrien, Gedminas and Nomeda Urbonas, Angela Vettese, Mariel Villeré, Mark Wigley, Krzysztof Wodiczko

    With section openings from Ana María León, T. J. Demos, Doris Sommer, and Catherine D'Ignazio

Contributor

  • Centerbook

    Centerbook

    The Center for Advanced Visual Studies and the Evolution of Art-Science-Technology at MIT

    Elizabeth Goldring and Ellen Sebring

    The first comprehensive history of MIT's Center for Advanced Visual Studies (CAVS), told through personal accounts and groundbreaking artwork.

    In 1967, in a time of student unrest, the Massachusetts Institute of Technology did the unexpected: it established the first academic center for research and collaboration in art, science, and technology. The Center for Advanced Visual Studies (CAVS) brought artists to the MIT campus with radical expressions of a rapidly evolving technological era.

    The brainchild of founding director Gyorgy Kepes, CAVS sought to repair the distance between practitioners of art and engineering within the halls of MIT. "The scientist may be an extra brain to the artist, and the engineer may be an extra arm to the artist, whereas the artist can be an extra eye to the scientist and engineer,” wrote long-time director Otto Piene in Centerbeam, a 1978 book about CAVS. As a breeder of new art forms and future-oriented artistic education, CAVS became a pioneering model for the art, technology and media labs that proliferated worldwide.

    This first comprehensive history of CAVS presents an inside view, told through personal accounts, exhibit documentation, and groundbreaking artwork. The book chronicles, in vivid visual narrative and testimony by those who were there, the birth and flowering of a unique research node dedicated to multiple interactions of art, science, technology and environment.