prosthetic knowledge
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SOFTWARE - An Exhibition (1970)
Fascinating art catalogue of an exhibition which explores the creative potential of communication technologies, with ideas and approaches which are relevant today.
Some hightlights:
The first three images above refer to a project called ‘Seek’ by M.I.T. featuring an enclosed space filled with toy blocks that are placed by a robotic hand. Also inside are some gerbals who navigate themselves around the changing environment they find themselves in.
“Notes on art and information processing” essay by Jack Burnham is worth a read, with some great highlighted quotes.
“The Crafting of Media” brief essay by Theodor H. Nelson also has some interesting points, inventing the term ‘cybercrud’ to refer to information shared to one another via computer, and the first time (I have heard) the term ‘hypergram’ used a visual relation to hypertext, which could be best understood in the way a photo in Facebook or Flick is tagged with additional information which is referenceable within it.
Tactile Film by Linda Berris.
There are many others (various sound art projects, one which employs solar panels), even conceptual billboard work.
You can get a link to a pdf download via Monoskop Log here (discovered via brown-and-son)
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“Manfred Mohr Computer Graphics - Une Esthétique Programmée” - ARC - Musée d’Art Moderne de la Ville de Paris in 1971
A Catalogue of programming artworks by early computer artist Manfred Mohr, found via Marius Watz’s online reading list on Computer and Generative Art
The catalogue, featuring scans and a link to a PDF download, can be found here
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‘The Responsive Eye’ - MoMA OP-Art Exhibition Catalogue 1965 available at UBUWEB
In 1965, an exhibition called The Responsive Eye, created by William C. Seitz was held at the Museum of Modern Art in New York City. The works shown were wide ranging, encompassing the minimalism of Frank Stella and Ellsworth Kelly, the smooth plasticity of Alexander Liberman, the collaborative efforts of the Anonima group, alongside the well-known Victor Vasarely, Richard Anuszkiewicz, and Bridget Riley. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. The exhibition was enormously popular with the general public, though less so with the critics. Critics dismissed op art as portraying nothing more than trompe l’oeil, or tricks that fool the eye. Regardless, op art’s popularity with the public increased, and op art images were used in a number of commercial contexts. Bridget Riley tried to sue an American company, without success, for using one of her paintings as the basis of a fabric design.
The Op Art movement got a new lease of life in the first decade of the twenty-first century as new forms started once again emerging. In 2005, Indian artist, Devajyoti Ray started a new genre of art called Pseudorealism. Though the concept and the name of the movement was brought from the film-world, much of Pseudorealism depends on the intuitive use of colours and understanding the relationships between them. — Wiki
Contributed to UbuWeb by Marcelo Gutman.Available from here
Previous posts about the exhibition from this blog can be found here (high quality book cover), here (link to exhibition documentary by Brian De Palma), and here (first part of that documentary from YouTube).
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Computer Art 1972 - catalogue in pdf format here
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“ellipsis…” catalogue available from amazon.com
“ellipsis…” an exhibition catalogue of Irish artist Enda O’Donoghue is available from amazon.com the ISBN for the catalogue is 978-1-452-86231-6. This catalogue was produced for the exhibition “after JoeBlogs” which was held in Galerie Hunchentoot in Berlin in 2007 and presents paintings produced between 2005 and 2007. The catalogue contains an introduction essay by Dr. Brian Coates in both English and German. http://www.amazon.com/ellipsis-Enda-ODonoghue-Paintings-2007-2005/dp/1452862311
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