By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't commence on the web. In this multidisciplinary examine the perform of artwork that occurs 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 tasks of the Nineteen Seventies and Eighties. through offering a context for this paintings -- displaying that it was once formed by means of various mixes of social relatives, cultural thoughts, and political and aesthetic issues -- At a Distance successfully refutes the commonly permitted concept that networked paintings is technologically made up our minds. Doing so, it presents the historic grounding wanted for a extra entire figuring out of contemporary practices of web paintings and activism and indicates the probabilities inherent in networked practice.At a Distance lines the historical past and concept of such experimental paintings initiatives as Mail paintings, sound and radio paintings, telematic artwork, assemblings, and Fluxus. even if the initiatives 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 ancient and important viewpoint, the booklet provides artists and others desirous about this artwork "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive booklet development. ultimately, the e-book recasts the heritage of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Additional info for At a distance : precursors to art and activism on the Internet
Data visualization and visual modeling of complex processes drove technical research whose by-products became the tools of the next generation of artists and designers. Similarly, the military and defense sectors’ need for environments in which to train personnel in a cost-effective way created projects like ﬂight simulators, later caught up by Johanna Drucker 40 the entertainment and gaming industries. Tools being developed in industry research frequently found conceptual realization in aesthetic activity in which the ideas of “programmability” and “interactivity” were explored in creative projects.
Intersections between technology and art had their own extensive lineage in modern works and their many obvious and not-so-obvious ideological subtexts. A glimpse at a scattering of major works by different early-twentiethcentury ﬁgures gives an idea of this: Marcel Duchamp’s various “bachelor machines,” grinders, and procedural “operations,” Francis Picabia’s mecanomorphs, and Nicolas Pevsner and Naum Gabo’s kinetic sculptures all raise questions about the aestheticization of mechanical forms or processes.
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. 38. Edward Scheer, “Sketches of the Jet: Artaud’s Abreaction of the System of Fine Arts,” in 100 Years of Cruelty: Essays on Artaud, ed. Edward Scheer (Sydney: Power Publications and Artspace, 2000), esp.
At a distance : precursors to art and activism on the Internet by Annmarie Chandler, Norie Neumark