Examines how scientific objects in museums and other collections act as inspiration to contemporary art practice, its histories, curating and aesthetics. Cross-disciplinary essays from leading arts professionals explore how scientific encounters in museums provoke new modes of creative thinking about art, science and curating. 84 col. illus.
The focus of this edited book is to evoke and provoke conceptual conversations between early a/r/tographic publications and the contemporary scholarship of a/r/tographers publishing and producing today. Working around four pervasive themes found in a/r/tographic literature, this volume addresses relationality and renderings, ethics and embodiment, movement and materiality, and propositions and potentials. In doing so, it advances concepts that have permeated a/r/tographic literature to date. More specifically, the volume simultaneously offers a site where key historical works can easily be found and at the same time, offer new scholarship that is in conversation with these historical ideas as they are discussed, expanded and changed within contemporary contexts. The organizing themes offer conceptual pivots for thinking through how a/r/tography was first conceptualized and how it has evolved and how it might further evolve. Thus, this edited book affords an opportunity for all those working in and through a/r/tography to offer refined, revised, revisited or new conceptual understandings for contemporary scholarship and practice. Part of the Artwork Scholarship: International Perspectives in Education series.
This anthology investigates the interconnections between painting, photography, and the digital in contemporary art practices. It brings together 15 contributors, including internationally acclaimed artists Matt Saunders, Clare Strand, Elias Wessel, and Dan Hays, to write about a diverse range of art-making involving medium cross-over. Topics discussed here include reflections on the painted-on-photograph, reordering photographs into paintings, digital collage, printing digital landscapes onto recycled electronic media, viewer immersion in painted virtual reality (VR) worlds, photography created from paint, and the “truth” of the mediums. Underpinned by significant theoretical concepts, the volume provides unique insights into explorations of the mediums’ interconnectivity, which questions the position of the traditional genres. As such, this book is essential reading for practitioners, theorists, and students researching the nature of painting, photography, and digital art practices today.
How does automation affect us, our environment, and our imaginations? What actions should we take in response to automation? Beyond grand narratives and technology-driven visions of the future, what more can automation offer? With these questions in mind, The De Gruyter Handbook of Automated Futures provides a framework for thinking about and implementing automation differently. It consolidates automated futures as an inter- and transdisciplinary research field, embedding the imaginaries, interactions, and impacts of automation technology within their social, historical, societal, cultural, and political contexts. Promoting a critical yet constructive and engaging agenda, the handbook invites readers to collaborate with rather than resist automation agendas. It does so by pushing the agenda for social science, humanities and design beyond merely assessing and evaluating existing technologies. Instead, the handbook demonstrates how the humanities and social sciences are essential to the design and governance of sustainable sociotechnical systems. Methodologically, the handbook is underpinned by a pedagogical approach to staging co-learning and co-creation of automated futures with, rather than simply for, people. In this way, the handbook encourages readers to explore new and alternative modes of research, fostering a deeper engagement with the evolving landscape of automation.
In a bid to claim ‘scientific objects’ as requiring a significant amount of conceptual labor, this book looks sequentially at instruments, habits, and museums. The goal is to uncover how, together, these material and immaterial activities, rules, and commitments form one meaningful and credible blueprint revealing the building blocks of knowledge production. They serve to conceptualize and examine the entire life of an instrument: from its ideation and craft to its use, reuse, circulation, recycling, and (if not obliterated) its final entry into a museum. It is such an epistemological triptych that guides this investigation.
Recent currents in contemporary art practice that span science, art and technology, reconfigure the limits of the human and nonhuman. This research probes into and questions the tactics that can be engaged to reveal and attend to these complex posthuman ecologies. How can artists and curators expose and explore the volatile relations that are meshing in unprecedented ways between technology, biological matter, artificial and human intelligence? This particular field of experimental arts practice builds on a collaborative ethos in order to stimulate the emergence of new modes of discourse and a new aesthetics at the interface between the disciplines of science, technology, art and curating. The emergent practice of labile-technics offers an alternative logic that engages with feminist, posthumanist and new materialist theories. Writings by Rosi Braidotti, Donna Haraway, Karen Barad and Lucy Suchman, support transversal technological experimentation. Creative art practice, science, technology and theory combine to create the conditions for encounters with the uncanny, the unpredictable and the unseen. The research generated three practical outcomes: Alter: Between Human and Non-human, an evolving exhibition model; Leah, a self-simulated avatar; and Witness, an intra-active version of Leah. The research stages the implications of the techno-sci engagement in a trans-art context. Alter featured artists Nina Sellars, Stelarc, Jane Prophet, Agatha Haines and Elena Knox. In these research projects, entanglements arise within intra-acting zones of neuroscience, computational and robotics engineering and creative arts practice. Installed at the Gus Fisher Gallery, Witness reveals the curator and artist as present. Witness invites the participant to entangle, in the moment, in liveliness and embodied sensibility. Through these three projects labile-technics offered a condition for negotiating movement between the laboratorium, the gallery and virtual reality environment. Labile-technics, emerges through this creative practice research, as a speculative method that foregrounds non-linear, unstable and dynamic relationality. Labile-technics is an ethical challenge towards the development of kinship and intimate relations between embodied and embedded engagements within the advanced technological systems we inhabit.
Begegnungen zwischen Kunst, Philosophie und Wissenschaft ' dokumentiert eine internationale Tagung mit dem Anspruch, ein fruchtbares Wechselspiel zwischen theoretischen Reflektionen und künstlerischer Praxis zu initiieren. Der Band wurde zweisprachig realisiert und eröffnet unterschiedliche Sichtweisen auf Phänomene der Abstraktion und Konkretion, auf ästhetische Korrespondenzen und literarische Zeugnisse. Transdisziplinär angelegt, ergibt sich ein jeweils anderer Umgang mit Bildern und Texten – was als lebendiger Austausch von Erkenntnissen nachvollzogen werden kann und ein spannendes Nebeneinander der Perspektiven zulässt. Wichtiger Bezugspunkt ist Friedrich Nietzsche, der Wege einer „fröhlicheren“ Wissenschaft und „physiologisch gestützten Wahrheitssuche“ vorzeichnete.0.
In 'Curating Consciousness', Marcia Brennan focuses on one of the transformational figures of 20th century curatorial culture, and the main protagonist of this (until now) unacknowledged curatorial practice.
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, Pawe? 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.
