Catalogue


At a distance [electronic resource] : precursors to art and activism on the Internet /
edited by Annmarie Chandler and Norie Neumark.
imprint
Cambridge, Mass. : MIT Press, 2005.
description
xiv, 486 p. : ill.
ISBN
0262033283 (alk. paper)
format(s)
Book
More Details
added author
series title
imprint
Cambridge, Mass. : MIT Press, 2005.
isbn
0262033283 (alk. paper)
restrictions
Licensed for access by U. of T. users.
catalogue key
11947342
 
Includes bibliographical references and index.
A Look Inside
Reviews
Review Quotes
&"The book is an exhilarating, eye-opening read that restores the body to the virtual and pulls the virtual out of the digital and back into lived and produced social relations.&" &-Patricia R. Zimmermann, Department of Cinema and Photography, Ithaca College
"The book is an exhilarating, eye-opening read that restores the body to the virtual and pulls the virtual out of the digital and back into lived and produced social relations."--Patricia R. Zimmermann, Department of Cinema and Photography, Ithaca College
"The book is an exhilarating, eye-opening read that restores the body to the virtual and pulls the virtual out of the digital and back into lived and produced social relations." -Patricia R. Zimmermann, Department of Cinema and Photography, Ithaca College
This item was reviewed in:
PW Annex Reviews, February 2005
To find out how to look for other reviews, please see our guides to finding book reviews in the Sciences or Social Sciences and Humanities.
Summaries
Bowker Data Service Summary
In this multidisciplinary look at the practice of art that takes place across a distance - geographical, temporal, or emotional - theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s.
Main Description
Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance-geographical, temporal, or emotional-theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work-showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns-At a Distanceeffectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice. At a Distancetraces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work-including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.
Main Description
Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance -- geographical, temporal, or emotional -- theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work -- showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns -- At a Distance effectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice.At a Distance traces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work -- including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.
Main Description
Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance -- geographical, temporal, or emotional -- theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work -- showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns -- At a Distanceeffectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice. At a Distancetraces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work -- including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.
Main Description
Networked collaborations of artists did not begin on the Internet. In this multidisciplinary look at the practice of art that takes place across a distance-geographical, temporal, or emotional-theorists and practitioners examine the ways that art, activism, and media fundamentally reconfigured each other in experimental networked projects of the 1970s and 1980s. By providing a context for this work-showing that it was shaped by varying mixes of social relations, cultural strategies, and political and aesthetic concerns- At a Distance effectively refutes the widely accepted idea that networked art is technologically determined. Doing so, it provides the historical grounding needed for a more complete understanding of today's practices of Internet art and activism and suggests the possibilities inherent in networked practice. At a Distance traces the history and theory of such experimental art projects as Mail Art, sound and radio art, telematic art, assemblings, and Fluxus. Although the projects differed, a conceptual questioning of the "art object," combined with a political undermining of dominant art institutional practices, animated most distance art. After a section that sets this work in historical and critical perspective, the book presents artists and others involved in this art "re-viewing" their work-including experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive book construction. Finally, the book recasts the history of networks from the perspectives of politics, aesthetics, economics, and cross-cultural analysis.
Table of Contents
Series Forewordp. ix
Forewordp. xi
Acknowledgmentsp. xiii
Introduction: Relays, Delays, and Distancep. 2
Critical Perspectives on Distance Art/Activist Practices
Interactive, Algorithmic, Networked: Aesthetics of New Media Artp. 34
Immaterial Material: Physicality, Corporality, and Dematerialization in Telecommunication Artworksp. 60
From Representation to Networks: Interplays of Visualities, Apparatuses, Discourses, Territories and Bodiesp. 72
The Mail Art Exhibition: Personal Worlds to Cultural Strategiesp. 88
Fluxus Praxis: An Exploration of Connections, Creativity, and Communityp. 116
Artists/Activists Re-view Their Projects
Animating the Social: Mobile Image/Kit Galloway and Sherrie Rabinowitzp. 152
An Unsuspected Future in Broadcasting: Negativlandp. 176
Mini-FM: Performing Microscopic Distance (an Email Interview with Tetsuo Kogawa)p. 190
From the Gulf War to the Battle of Seattle: Building an International Alternative Mediap. 210
The Form: 1970-1979 and Other Extemporaneous Anomalous Assemblingsp. 226
Networked Psychoanalysis: A Dialogue with Anna Freud Bananap. 246
From Mail Art to Telepresence: Communication at a Distance in the Works of Paulo Bruscky and Eduardo Kacp. 260
Distance Makes the Art Grow Further: Distributed Authorship and Telematic Textuality in La Plissure du Textep. 282
From BBS to Wireless: A Story of Art in Chipsp. 298
Realtime -- Radio Art, Telematic Art, and Telerobotics: Two Examplesp. 314
Networking Art/Activist Practices
Estri-Dentistas: Taking the Teeth out of Futurismp. 342
Computer Network Music Bands: A History of the League of Automatic Music Composers and the Hubp. 372
Assembling Magazines and Alternative Artists' Networksp. 392
The Wealth and Poverty of Networksp. 408
From Internationalism to Transnations: Networked Art and Activismp. 424
Conclusionp. 438
Timelinep. 444
List of Contributorsp. 470
Indexp. 476
Table of Contents provided by Publisher. All Rights Reserved.

This information is provided by a service that aggregates data from review sources and other sources that are often consulted by libraries, and readers. The University does not edit this information and merely includes it as a convenience for users. It does not warrant that reviews are accurate. As with any review users should approach reviews critically and where deemed necessary should consult multiple review sources. Any concerns or questions about particular reviews should be directed to the reviewer and/or publisher.

  link to old catalogue

Report a problem