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Titel och upphov Practicable : from participation to interaction in contemporary art
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning
Seriebiuppslag under titel
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Term
ISBN 978-0-262-03475-3 0-262-03475-1
Antal i kö:
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*24500$aPracticable :$bfrom participation to interaction in contemporary art /$cedited by Samuel Bianchini and Erik Verhagen ; with the collaboration of Nathalie Delbard and Larisa Dryansky.
*300 $axv, 930 pages ;$c24 cm.
*504 $aIncludes bibliographical references and index.
*599 $aImported from: troy.lib.sfu.ca:210/INNOPAC (Do not remove)
*650 0$aInteractive art.
*650 7$aInteractive art.$2fast
*7001 $aBianchini, Samuel$4edt
*7001 $aVerhagen, Erik$4edt
*7001 $aDelbard, Nathalie$4ctb
*7001 $aDryansky, Larisa$4ctb
*830 0$aLeonardo book series.
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^
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Critical analyses, case studies, and artist interviews examine works of art that are realized with the physical involvement of the viewer. How are we to understand works of art that are realized with the physical involvement of the viewer? A relationship between a work of art and its audience that is rooted in an experience that is both aesthetic and physical? Today, these works often use digital technologies, but artists have created participatory works since the 1950s. In this book, critics, writers, and artists offer diverse perspectives on this kind of "practicable" art that bridges contemplation and use, discussing and documenting a wide variety of works from the last several decades. The contributors consider both works that are technologically mediated and those that are not, as long as they are characterized by a process of reciprocal exchange. The book offers a historical frame for practicable works, discussing, among other things, the emergence and influence of cybernetics. It examines art movements and tendencies that incorporate participatory strategies; draws on the perspectives of the humanities and sciences; and investigate performance and exhibition. Finally, it presents case studies of key works by artists including and offers interviews with such leading artists and theoreticians asClaire Bishop,Thomas Hirschhorn, Matt Adams of Blast Theory,Seiko Mikamiand Bruno Latour. Numerous illustrations of artists and their works accompany the text. Contributors Matt Adams (Blast Theory), Jean-Christophe Bailly, Samuel Bianchini, Claire Bishop, Jean-Louis Boissier, Nicolas Bourriaud, Christophe Charles, Valerie Ch telet, Jean-Pierre Cometti, Sarah Cook, Jordan Crandall, Dominique Cunin, Nathalie Delbard, Anna Dezeuze, Diedrich Diederichsen, Christophe Domino, Larisa Dryansky, Gl ria Ferreira, Jean-Paul Fourmentraux, Gilles Froger, Masaki Fujihata, Jean Gagnon, Katrin Gattinger, Jochen Gerz, Piero Gilardi, Veronique Goudinoux, Usman Haque, Helen Evans and Heiko Hansen (HeHe), Jeppe Hein, Thomas Hirschhorn, Marion Hohlfeldt, Pierre-Damien Huyghe, Judith Ickowicz, Eric Kluitenberg, Janet Kraynak, Bruno Latour, Christophe Leclercq, Frederik Lesage, Rafael Lozano-Hemmer, Peter Lunenfeld, Lawrence Malstaf, Julie Martin, Seiko Mikami, Dominique Moulon, Hiroko Myokam, Ernesto Neto, Mayumi Okura, Eddie Panier, Fran oise Parfait, Simon Penny, Daniel Pinkas, Chantal Pontbriand, Emanuele Quinz, Margit Rosen, Alberto Sanchez Balmisa, Frederik Schikowski, Arnd Schneider, Madeline Schwartzman, Luke Skrebowski, Vanessa Theodoropoulou, Rirkrit Tiravanija, Andrea Urlberger, Erik Verhagen, Franz Erhard Walther, Peter Weibel, Renate Wiehager, Catherine Wood, Giovanna Zapperi, Anne Zeitz, David Zerbib Edited bySamuel BianchiniandErik Verhagen with the collaboration ofNathalie DelbardandLarisa Dryansky.
Series Foreword p. xi Credits and Acknowledgments p. xiii Introduction: Practicable-Art in the Conditional p. 1 From Cybernetics Onward p. 23 Gordon Pask's Cybernetic Systems: Conversations After the End of the Mechanical Age p. 25 The Artist as Homo Arbiter Formae: Art and Interaction in Jack Burnham's Systems Essays p. 39 Two Decades of Interactive Art: Digital Technologies and Human Experience p. 55 Art Scenes and Movements in Search of Participation p. 75 Against the Spectacle: The Construction of Situations p. 77 From Program to Behavior: The Experience of Arte Programmata in Italy, 1958-1968 p. 91 "The Breath Is Up to You": On Some Works by Hélio Oiticica, Lygia Clark, and Lygia Pape p. 113 À la Recherche d'un Nouveau Spectateur: The Function and Significance of Play in the Participatory Environments of the Croupe de Recherche d'Art Visuel p. 127 Katsuhiro Yamaguchi: Performances and Environments p. 143 Tactical Media and the Aesthetics of Participation p. 159 From the Vantage Point of the Humanities and Social Sciences p. 179 Echoes of Pragmatism in Current Artistic Practices p. 181 Art/Anthropology Interventions p. 195 Habitable: Spectator Participation in Everyday Life p. 215 From the Practice of Roles to the Facts of Consciousness: Art and Its Qualities p. 235 Collaborating and Participating: A Connection Worth Examining p. 253 Public Operation: Net Art, Sociology, and Practicable Media p. 265 The Contractual Definition of the Work of Art: A Contribution to the Discussion of the Dispositif in Art p. 279 Art in Action: On Performance p. 295 Why Participate? On the Concrete Experience of Participatory Performances p. 297 Haptic Vision: The Female Body and "Practicable" Art p. 313 Traveling Microbus Hordes: A Mobile Audience p. 329 Demo n.O p. 345 Bringing About Interaction, Grasping, and Seeing: Exhibiting Practicable Works of Art p. 359 Toward a Dramaturgy of Interactivity p. 361 Stop, Drop, and Roll With It: Curating Participatory Media Art p. 377 Taking Hold of Images: Some Thoughts on the Free Handling of Photographs in Contemporary Art p. 397 Some Key Works: Case Studies p. 409 Robert Rauschenberg's Oracle: "A Laboratory for Testing Perceptions" p. 411 Lygia Clark's Caminhando p. 421 Charlotte Posenenske: Mimetic Minimalism and Practicability p. 431 The Artwork as Password: On Some Pieces by Piotr Kowalski p. 441 Robert Morris's Bodyspacemotionthings: Participation Reenacted p. 449 "Therapeutic" Participation: On the Legacy of Bruce Nauman's Yellow Room (Triangular) and Other Works p. 459 Welcome! On Dan Graham's Opposing Mirrors and Video Monitors on Time Delay p. 469 On Cruelty in Art: Marina Abramovic, Rhythm 0 p. 479 Viewer-Instrumented Play: Very Nervous System by David Rokeby p. 493 When Objects Speak in Images: Krzysztof Wodiczko's Homeless Vehicle Project as an Instrument of Public Discussion p. 503 Reflections on Jeffrey Shaw's Golden Calf, 1994 p. 513 Janet Cardiff's Walks p. 525 The Gravity of Art: On Carsten Höller's Untitled (Slide), 2011 p. 531 Exhibiting the Museum: The Hybrid Spaces of Workspace Unlimited p. 543 Words from Artists and Theoreticians: Interviews p. 551 "Creating a Living Responsive Environment" p. 553 The Action Is the Original p. 569 From Interaction to Public Authorship p. 583 In Search of Relational Art p. 595 "Open Fields of Enactment" p. 607 Reading Beyond Interactivity p. 621 "Form Is a Position" p. 633 Observational Practices: A Conversation on Rhythm, Pace, and Crowd Interaction p. 643 "Is There a Revolution?" p. 655 "A Direct Dialogue with One's Own Perception" p. 667 Everything Is Sculpture p. 667 Out of Control p. 691 Blast Theory: Playing with Publics p. 705 "The Granularity of Participation" p. 719 Critical Design: Art and Politics of Public Spaces p. 733 Exhibiting the Visitor p. 747 "I See Each of My Works as a Tool" p. 759 Composing the Political Arts: On the Modes of Being of Artworks and Their Public p. 771 "Use Is Almost Meaning in Three Dimensions" p. 781 "The Myth of the Active Subject" p. 795 Bibliography p. 809 Contributors p. 849 Index p. 877