Charting A Genealogy Of Participatory Aesthetics
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Charting A Genealogy Of Participatory Aesthetics
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Author : Anna McWebb
language : en
Publisher:
Release Date : 2021
Charting A Genealogy Of Participatory Aesthetics written by Anna McWebb and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2021 with categories.
In this thesis, I will examine the aesthetics of participation in art by analyzing how participatory tactics used by Dadaists during the historic avant-garde inform contemporary new media practices. I argue that Dadaists activated participatory methods in the early 20th century through chance encounters and social engagements, which resulted in the emergence of a participatory subject. Through an analysis of the theoretical framework of participatory aesthetics, I will show how the trajectory of the participatory subject, and participation in art more broadly, is problematized by the rise of digital technologies and new media practices. I maintain that the trajectory of participatory aesthetics from the historic avant-garde to its contemporary iterations is continually informed by social activism. I demonstrate this through the analysis of artworks that collapse the boundaries between artist and audience, in order to point to the intersection of the Internet and participatory aesthetics.
The Art Of Participation
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Author : Rudolf Frieling
language : en
Publisher: Thames and Hudson
Release Date : 2008-10-28
The Art Of Participation written by Rudolf Frieling and has been published by Thames and Hudson this book supported file pdf, txt, epub, kindle and other format this book has been release on 2008-10-28 with Antiques & Collectibles categories.
The first fully illustrated survey of participatory art and its key practitioners, published in association with the San Francisco Museum of Modern Art. This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the hallmarks of Web 2.0--browsing, sharing, collecting, producing--increasingly permeate every aspect of society, this timely project reveals the ways in which artists and viewers have approached the creation of open works of art. The featured artists include Marina Abramovic and Ulay, Vito Acconci, Joseph Beuys, John Cage, Janet Cardiff, Lygia Clark, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Hans Haacke, Allan Kaprow, Lynn Hershman Leeson, Antoni Muntadas, Yoko Ono, Nam June Paik, and Erwin Wurm. Original essays by Rudolf Frieling, Boris Groys, Robert Atkins, and Lev Manovich identify seminal moments in participatory practice from the 1950s to the present day. A rich array of plates introduce work by all the artists in the accompanying exhibition, with reproductions of significant projects by other major figures--from Helio Oiticica, Joan Jonas, and Gordon Matta-Clark to Rirkrit Tiravanija and SUPERFLEX--rounding out the survey.
Artificial Hells
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Author : Claire Bishop
language : en
Publisher: Verso Books
Release Date : 2023-01-10
Artificial Hells written by Claire Bishop and has been published by Verso Books this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-01-10 with Art categories.
This searing critique of participatory art—from its development to its political ambitions—is “an essential title for contemporary art history scholars and students as well as anyone who has . . . thought, ‘Now that’s art!’ or ‘That’s art?’” (Library Journal) Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling, and bolder forms of participatory art and criticism.
Performing Beauty In Participatory Art And Culture
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Author : Falk Heinrich
language : en
Publisher: Routledge
Release Date : 2014-03-21
Performing Beauty In Participatory Art And Culture written by Falk Heinrich and has been published by Routledge this book supported file pdf, txt, epub, kindle and other format this book has been release on 2014-03-21 with Art categories.
This book investigates the notion of beauty in participatory art, an interdisciplinary form that necessitates the audience’s agential participation and that is often seen in interactive art and technology-driven media installations. After considering established theories of beauty, for example, Plato, Alison, Hume, Kant, Gadamer and Santayana through to McMahon and Sartwell, Heinrich argues that the experience of beauty in participatory art demands a revised notion of beauty; a conception that accounts for the performative and ludic turn within various art forms and which is, in a broader sense, a notion of beauty suited to a participatory and technology-saturated culture. Through case studies of participatory art, he provides an art-theoretical approach to the concept of performative beauty; an approach that is then applied to the wider context of media and design artefacts.
Participation
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Author : Claire Bishop
language : en
Publisher:
Release Date : 2006-12-06
Participation written by Claire Bishop and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2006-12-06 with Art categories.
Participation in art has become a prevalent and contested phenomenon since the 1990s. Artists have increasingly sought to create situations and events that invite spectators to become active participants, in dialogue both with their context and with each other. This reader charts a historical lineage and theoretical framework for this tendency, presented through the writings of artists, curators and philosophers from the late 1950s to the present--Publisher's description.
From Point To Pixel
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Author : Meredith Anne Hoy
language : en
Publisher:
Release Date : 2010
From Point To Pixel written by Meredith Anne Hoy and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2010 with categories.
From Point to Pixel: A Genealogy of Digital Aesthetics by Meredith Anne Hoy Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Whitney Davis, Co-chair Professor Jeffrey Skoller, Co-chair When we say, in response to a still or moving picture, that it has a digital "look" about it, what exactly do we mean? How can the slick, color-saturated photographs of Jeff Wall and Andreas Gursky signal digitality, while the flattened, pixelated lanscapes of video games such as Super Mario Brothers convey ostensibly the same characteristic of "being digital," but in a completely different manner? In my dissertation, From Point to Pixel: A Genealogy of Digital Aesthetics, I argue for a definition of a "digital method" that can be articulated without reference to the technicalities of contemporary hardware and software. I allow, however, the possibility that this digital method can acquire new characteristics when it is performed by computational technology. I therefore treat the artworks covered in my dissertation as sensuous artifacts that are subject to change based on the constraints and affordances of the tools used in their making. But insofar as it describes a series of technological operations, the word digital often references the tool used to make the art but does not help a viewer/user relate to the art as a sensorially apprehensible artifact. Consequently, I gather together artworks that disclose visible evidence of their digital construction in order to identify the perceptible characteristics of digitally processed artifacts. I foreground not the hidden operations of computers--the intricacies of binary code and programming languages--but rather the surface qualities of digital graphics. While acknowledging that internal processes govern the aesthetic properties of these surfaces, I investigate the extent to which it is possible to encounter digitality at the level of the interface. Taking into account that the sensuous object will be informed by an underlying conceptual and technological framework or genotype, I set out to discover whether certain phenotypic aspects of digitality will be inherently accessible at a phenomenological level. Much of the best scholarship in media studies has offered cogent analyses of the political, social, and economic formations that emerge alongside digital technologies. These readings of "networked culture" focus on the systems of power/knowledge that arise from the Web 2.0 and a globalized world economy. Although this research proves invaluable to the understanding of a culture shaped by ubiquitous computing, a well-developed methodology for interpreting the role of digital technology in art practice must also situate digital artifacts in a specifically art historical and theoretical context. When do digital artifacts overcome their dubious status as mere demonstrations of technical novelty, and become artworks worthy of serious consideration? What is the importance of digital technology as an artistic medium, and how do affordances and constraints and technical parameters of digital processing influence the sensible configurations of computationally generated artifacts? Despite its foundation in immaterial electronic pulses, digital technology produces material effects on culture and communication. The assessment of digital images is often based on their "reality quotient"--The degree to which they accurately reproduce the optical and haptic conditions of external world. The fascination in digital cultural studies with virtual reality, second life, and other such practices supports this view, and also leans dangerously towards the notion that progress in art is achieved by producing ever more sophisticated techniques for rendering illusions of spatial depth. This concentration on the immersive capacities of digital graphics runs the risk of assuming a teleological progression in art towards "accurate" spatialization and virtualization. But this is not a tenable model for art historical investigation, given that the evaluation of art objects based on culturally determined signifiers of naturalism is exclusionary of alternate visual models and historical traditions. It is therefore imperative to consider depictions that exhibit visible evidence of digital construction--digital aesthetic characteristics--independently of the virtualizing capability of computational technology. My dissertation examines a subset of digital image-making practices that suppress virtualization in order to examine the structural principles undergirding digital graphics. In parsing these often abstract, highly formalized pictorial strategies, I conclude that they convey a different aesthetic and architectonic sensibility than analog depictions. Over the course of five chapters, my argument moves between theoretical analysis and case studies of artworks produced both with and without the aid of computers. Chapter One outlines the theoretical models used to differentiate digital and analog properties, and illustrates how and why art historical discourse has accorded value to artworks based on analog principles, such as fineness of color, texture, and line. It argues that discrete, particulate digital artifacts are constructed according to different principles than analog artifacts, which are relatively smooth and continuous with no absolute division between parts. My review of the formal characteristics of digital systems sets the stage for my argument that an observable model of digital facture--a digital method--preexists electronic, binary computers and that this digital process results in a digital aesthetic. Understanding this aesthetic is useful for theorizing the genealogy of contemporary computational graphics. Additionally, it provides for alternate theorizations of artifacts that have not traditionally found a secure place in the artistic canon, and it affords a new interpretive schema with which to examine artists and artworks whose position in the art historical demands renegotiation. In my second chapter, I support the claims of the preceding chapter by evaluating the extent to which the work of several modernist painters, including Paul Cezanne, Georges Seurat, and Paul Klee, exhibits constitutive features of a digital system. I use my findings to argue that understanding these artists' roles as experimenters with a digital method adds a new dimension to the theoretical, aesthetic, and historical significance of their work. The following two chapters provide comparisons between artists who apply a digital method without electronic computation and artists whose digital aesthetic is computationally driven. Chapter 3 attempts to recuperate the value and relevance of Op-Artist Victor Vasarely. Through an inspection of his writings and his algorithmic painting practices, I trace Vasarely's lifelong goal to develop a programmable visual language, and demonstrate how, without ever touching a computer, he was attempting in his practice to adopt a visual model of a digital system. In the second half of the chapter, I introduce the example of Marius Watz's computationally-generated homage to Vasarely's work in order to ascertain whether the use of a computer alters the visible qualities of Vasarely's plastic language. In Chapter 4, I examine Casey Reas's fraught and often contradictory response to the legacy of conceptual art in programming-based practices. Through a comparison between Reas and Sol LeWitt, I maintain that Reas occupies an oscillatory position with respect to the values traditionally attached to analog aesthetics, such as immediacy and uniqueness/irreproducibility. By mobilizing algorithmically encoded instructions to automate artistic production, Reas reinforces the turn away from the cult of the artist achieved in conceptual art. But at the same time, Reas's fascination with handmadeness and organicism preserves a link to analog aesthetic principles. Finally, my conclusion shifts away from direct comparison between computationally and non-computationally digital art, and instead assays the discursive resonances between Jason Salavon's software-based computational "paintings" and the increasingly widespread use of information visualization as primary mode of mapping the vast amounts of data produced by the mechanisms of the "culture industry". The works under consideration in my dissertation cohere around questions and problems related to painting. Part of the difficulty in defining "digital art" as a singular medium or genre is that the range of artifacts potentially contained under the rubric of digital art is massive and therefore resistant to canonization. A concentration on painting initially allowed me to refine my analytic method. However, the broader rationale behind this constraint grows out of the fact that the screen-based computational pictorialization analogizes painting. I contend that painting, despite, or perhaps due to its status as a two-dimensional mode of depiction, is deeply concerned with spatial and material architectonics. Painting is invested not only in the problem of how to graphically render volume and depth, but also the dynamic spatial relationship between bodies and concrete objects. Similarly, digital rendering must cope with the question of how to present the relationship between objects and spaces in two, three, or multiple dimensions. My goal is to discover whether the technical parameters of computation affect the way pictures are constructed, the kinds of subjects for which computers have the greatest representational facility, and by extension, the way digital pictures--the graphical index of digital technesis--will ultimately look. Overall, my dissertation offers a methodology for speaking about and contextualizing digital practices within the history of art and visual culture. While programming literacy is important for many scholars, producers, and users of digital hardware and software, if artifacts made.
The Gestures Of Participatory Art
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Author : Sruti Bala
language : en
Publisher:
Release Date : 2020-04
The Gestures Of Participatory Art written by Sruti Bala and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 2020-04 with categories.
The study critically reclaims participatory art beyond its co-option as a fuzzword of neoliberal governance. It examines a range of artistic practices from community theatre, immersive performance and the visual arts in different sites around the world. It offers a refreshing theorisation of participatory art as gesture.
Immersion And Participation In Punchdrunk S Theatrical Worlds
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Author : Carina E. I. Westling
language : en
Publisher: Bloomsbury Publishing
Release Date : 2020-05-14
Immersion And Participation In Punchdrunk S Theatrical Worlds written by Carina E. I. Westling and has been published by Bloomsbury Publishing this book supported file pdf, txt, epub, kindle and other format this book has been release on 2020-05-14 with Performing Arts categories.
Immersion and Participation in Punchdrunk's Theatrical Worlds is a detailed account of the company's award-winning productions and their historical context. Examining Punchdrunk's role as pioneers of immersive theatre in the UK through a range of their productions including Sleep No More and The Drowned Man besides theatrical works such as Faust, The Duchess of Malfi and Kabeiroi, and cross-platform productions like The Moon Slave, The Borough and The Oracles, the book presents an original framework for understanding immersion in theatrical and mixed reality experiences. Central to the book is a study of how immersive experience is produced in interaction with physical and digital scenography for participatory audiences. Through ethnographies of the company, their designers, actors, producers and audiences, the book interrogates the relationship between the aesthetics of interaction and the experience of immersion in Punchdrunk's work. The theoretical framework that the book introduces affords analyses of material cultures and the influence of technology on interaction design in theatre and beyond, and offers a blueprint for next-generation immersive design and scenography for interactive multimedia environments.
Genealogy Of Popular Science
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Author : Jesús Muñoz Morcillo
language : en
Publisher: transcript Verlag
Release Date : 2020-11-30
Genealogy Of Popular Science written by Jesús Muñoz Morcillo and has been published by transcript Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2020-11-30 with History categories.
Despite the efforts of modern scholars to explain the origins of science communication as a social, rhetorical, and aesthetic phenomenon, most researchers approach the popularization of science from the perspective of present issues, thus ignoring its historical roots in classical culture along with its continuities, disruptions, and transformations. This volume fills this research gap with a genealogically reflected introduction into the popularization of science as a recurrent cultural technique. The category »popular science« is elucidated in interdisciplinary and diachronic dialogue, discussing case studies from all historical periods. Classicists, archaeologists, medievalists, art historians, sociologists, and historians of science provide the first diachronic and multi-layered approach to the rhetoric techniques, aesthetics, and societal conditions that have shaped the dissemination and reception of scientific knowledge.
Love Sex Gender And Superheroes
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Author : Jeffrey A. Brown
language : en
Publisher: Rutgers University Press
Release Date : 2021-11-19
Love Sex Gender And Superheroes written by Jeffrey A. Brown and has been published by Rutgers University Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2021-11-19 with Literary Criticism categories.
Impossibly muscular men and voluptuous women parade around in revealing, skintight outfits, and their romantic and sexual entanglements are a key part of the ongoing drama. Such is the state of superhero comics and movies, a genre that has become one of our leading mythologies, conveying influential messages about gender, sexuality, and relationships. Love, Sex, Gender, and Superheroes examines a full range of superhero media, from comics to films to television to merchandising. With a keen eye for the genre’s complex and internally contradictory mythology, comics scholar Jeffrey A. Brown considers its mixed messages. Superhero comics may reinforce sex roles with their litany of phallic musclemen and slinky femme fatales, but they also blur gender binaries with their emphasis on transformation and body swaps. Similarly, while most heroes have heterosexual love interests, the genre prioritizes homosocial bonding, and it both celebrates and condemns gendered and sexualized violence. With examples spanning from the Golden Ages of DC and Marvel comics up to recent works like the TV series The Boys, this study provides a comprehensive look at how superhero media shapes our perceptions of love, sex, and gender.