Networked collaborations of artists didn't start on the web. during this multidisciplinary examine the perform of paintings that occurs throughout a distance—geographical, temporal, or emotional—theorists and practitioners learn the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked tasks of the Seventies and Eighties. by means of supplying a context for this work—showing that it was once formed by way of various mixes of social kin, cultural innovations, and political and aesthetic concerns—At a Distance successfully refutes the generally permitted concept that networked paintings is technologically decided. Doing so, it presents the historic grounding wanted for a extra whole knowing of today’s practices of net paintings and activism and indicates the chances inherent in networked practice.
At a Distance lines the heritage and concept of such experimental artwork initiatives as Mail artwork, sound and radio artwork, telematic paintings, assemblings, and Fluxus. even though the tasks differed, a conceptual wondering of the “art object,” mixed with a political undermining of dominant paintings institutional practices, lively so much distance artwork. After a piece that units this paintings in historic and demanding point of view, the publication provides artists and others inquisitive about this artwork “re-viewing” their work—including experiments in “mini-FM,” telerobotics, networked psychoanalysis, and interactive ebook building. eventually, the e-book recasts the background of networks from the views of politics, aesthetics, economics, and cross-cultural research.
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Additional info for At a Distance: Precursors to Art and Activism on the Internet
Michael Hardt (Minneapolis: University of Minnesota Press, 1993), 9. 49. , 1. Norie Neumark 24 Part I Critical Perspectives on Distance Art/Activist Practices This part of the volume provides critical frameworks for understanding distance art and activist projects. The authors approach their material from the point of view of cultural theorists or historians rather than involved artists (although, as pointed out in the volume’s introduction, some of the authors are artists and were involved in some of the projects).
Clearly not all intersections of art and technology were inherently antihumanistic, even in works with an obvious machine aesthetic.
64–65. 39. Saper, Networked Art, 115. 40. Sayre, Object of Performance, xiii. 41. , xiv, 9, and chap. 3. 42. Samuel Weber’s discussion of ancient Greek theatocracy—the rule of the audience—is interesting here. htm>, 2–4 (accessed September 1, 2002). 43. As quoted in chapter 5 of this volume. 44. Higgins, Dialectic of Centuries, 49. 45. , 24, 78, 156–166. 46. , 26. 47. See, for instance, David T. Doris, “Zen Vaudeville: A Medi(t)ation in the Margins of Fluxus,” in The Fluxus Reader, ed. Ken Friedman (West Sussex, England: Academy, 1998), 91–135.
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