By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't commence on the net. In 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. through offering a context for this paintings -- displaying that it was once formed by means of various mixes of social kinfolk, cultural techniques, and political and aesthetic matters -- At a Distance successfully refutes the generally authorized concept that networked artwork is technologically made up our minds. Doing so, it presents the ancient grounding wanted for a extra whole figuring out of ultra-modern practices of web artwork and activism and indicates the chances inherent in networked practice.At a Distance lines the background and concept of such experimental artwork tasks as Mail paintings, sound and radio paintings, telematic paintings, assemblings, and Fluxus. even if the tasks differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant paintings institutional practices, lively such a lot distance paintings. After a piece that units this paintings in old and demanding standpoint, the ebook offers artists and others excited about this paintings "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive ebook building. eventually, the publication recasts the historical past of networks from the views of politics, aesthetics, economics, and cross-cultural research.
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Extra resources for At a Distance: Precursors to Art and Activism on the Internet (Leonardo Books)
Bell (Baltimore: Johns Hopkins University Press, 1982), 73–83. 20. Siegert, Relays, 258–260. PCM was used to digitize data from any analog media, by sampling at the transmitter end, quantizing, transmitting digitally, and then reconverting to analog at the receiver end. 21. , 261–262. 22. It is noteworthy that Mayakovsky’s famous ROSTA (Rossiyskoye Telegrafnoye Agenstvo [Russian Telegraph Agency]) posters were based visually on Russian futurist painting styles and thematically on “telegrams, war communiqués, newspapers, manifestoes and speeches”—archetypical of “modern” communications networks of the nineteenth and twentieth centuries.
2. Bernhard Siegert, Relays: Literature as an Epoch of the Postal System, trans. : Stanford University Press, 1999), 2. 3. , 61. 4. , 54–55. 5. , 108. 6. , 109. 7. Ibid. Norie Neumark 20 8. , 103–104. 9. Ibid. 10. , 267 n. 2. 11. Jacques Derrida, The Post Card: From Socrates to Freud and Beyond, trans. Alan Bass (Chicago: University of Chicago Press, 1987), 64–65. Thanks to John Ricco for alerting me to the Blanchotian waiting at the heart of Mail Art and e-mail. 12. Klaus Beyrer, quoted in Siegert, Relays, 11.
But even more profoundly, the very conception of the structure and experience of works of art seemed poised for change. Not only were new materials and media to be engaged, extending modern art’s fascination with mass culture, but a serious rethinking of the very idea of “art” appeared on the edge of radical transformation. 24 Experience-based rather than object-based work sprang up in one location after another. 25 Scattered throughout the United States, Europe, and Japan and other locations, antiformalist impulses were not part of any single movement.
At a Distance: Precursors to Art and Activism on the Internet (Leonardo Books) by Annmarie Chandler, Norie Neumark