By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't start on the net. In this multidisciplinary examine the perform of paintings that happens throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners study the ways in which paintings, activism, and media essentially reconfigured one another in experimental networked initiatives of the Nineteen Seventies and Eighties. by means of supplying a context for this paintings -- displaying that it used to be formed through various mixes of social kinfolk, cultural innovations, and political and aesthetic issues -- At a Distance successfully refutes the commonly permitted concept that networked artwork is technologically decided. Doing so, it offers the old grounding wanted for a extra entire figuring out of state-of-the-art practices of net artwork and activism and indicates the probabilities inherent in networked practice.At a Distance lines the historical past and idea of such experimental artwork initiatives as Mail artwork, sound and radio paintings, telematic artwork, 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 so much distance paintings. After a bit that units this paintings in historic and demanding viewpoint, the booklet offers artists and others desirous about this paintings "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive ebook building. eventually, the ebook recasts the background of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Extra resources for At a distance : precursors to art and activism on the Internet
The telephone grew out of a mysterious coupling of art and occult: what we can call techné’s sideshow”—in a relay of uncanny contaminations, as Ronell explored in The Telephone Book, 366. 18. , 366–367. What this means for those distance artists today who are setting out on their adventure with science in the front seat is an open question for another place. 19. Siegert, Relays, 250–251. In “Communication in the Presence of Noise” (1940), Shannon asserted, “The optimal code requires an indeﬁnite delay in transmitting the Introduction 21 message.
Focusing on the work of Richard Kriesche, Gottfried Bechtold, and Robert Adrian X, Braun analyzes how art in, with, and among media operates as a hybrid practice, as hinges and interfaces for intervention in overall cultural mechanisms. Thus video, television, and ﬁlm worked for these artists as “ensembles of cultural techniques” (74), composed of elements not just from media art or technology, but also from science and politics. Both Braun and Baumgärtel describe projects that set up experimental spaces of writing as a new form of communication.
Before turning to ways these chapters develop the book’s themes, we need to stress how varied the projects’ local contexts were. For example, while Stalinism was weighing upon Eastern Europe and erasing radical and experimental histories, in Western countries it was capitalist commodiﬁcation that was running rampant in the art world. And even though the sixties’ counterculture and radical politics ricocheted and relayed well beyond the United States and Western Europe, for instance, they too played out differently in various local contexts.