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Aesthetics --- philosophy of art --- art [fine art] --- Iconography --- Art --- anno 1900-1999 --- Arts --- Philosophy --- Philosophie --- Art and science --- Poetics --- Congresses --- kunst --- kunsttheorie --- 7.01 --- kennisleer --- onderzoek in de kunsten --- esthetica --- kunst en wetenschap --- Radio broadcasting Aesthetics --- Art - Philosophy - Congresses --- Art and science - Congresses. --- Aesthetics - Congresses. --- Poetics - Congresses. --- art [discipline] --- kunst en politiek
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In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer's role as an inextricable part of the system. Jack Burnham's 1968 Artforum essay "Systems Aesthetics" and his 1970 "Software" exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century. Systems traces this radical shift in aesthetics from its roots in mid twentieth-century general systems theory, cybernetics, and artificial intelligence to the cutting-edge science of the present. The collected texts examine the connections between advanced technological systems, our bodies and minds; the relation of musical to spatial and architectural structures; and the ways in which systems-based art projects can create self-generating entities and networks, alter our experience of time, change the configurations of social relations, cross cultural borders, and interact with threatened ecosystems.
artificial intelligence --- Aesthetics of art --- hedendaagse kunst --- Philosophy and psychology of culture --- systems [equipment] --- kunstprojecten --- cybernetic art --- Art --- interactive art --- anno 1900-1999 --- Arts, Modern --- System theory. --- Philosophy --- Philosophy. --- 7.01 --- Kunst ; theorie, filosofie, esthetica --- 7.038 --- Kunsttheorie ; systeemtheorie en kunst in de 20ste eeuw --- Kunstgeschiedenis ; 1950 - 2000 --- System theory --- Esthétique --- Technologie --- Technologie et art --- Cybernétique --- Intelligence artificielle --- Cultuurfilosofie. Cultuurpsychologie --- Kunstesthetica --- Kunst --- cybernetische kunst --- kunstmatige intelligentie --- systemen --- interactieve kunst --- systeemtheorie --- cybernetica --- epistemologie --- kennisleer --- mediatheorie --- mediakunde --- information design --- informatiedesign --- informatie --- kunst --- 130.2 --- 7.039 --- 7.038/039 --- cultuurfilosofie --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- KI (kunstmatige intelligentie) --- projects [artistic concepts]
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"This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as "Information" at The Museum of Modern Art, New York, in 1970, and the equally influential "Les Immatériaux," initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N. E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information's significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries. While information science draws distinctions between "information," signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information's materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place."--from the publisher.
Art, Modern --- Information behavior. --- 7.01 --- Information-seeking behavior --- Human behavior --- Modern art --- Themes, motives. --- Kunst ; theorie, filosofie, esthetica --- Subjects --- kunstfilosofie --- information retrieval --- hedendaagse kunst --- media [information storage] --- Art --- anno 1960-1969 --- anno 1970-1979 --- anno 1990-1999 --- Kunsttheorie ; over informatiegedrag ; information behaviour --- Informatie in de kunst ; 20ste en 21ste eeuw --- art [fine art] --- information --- Comportement dans la recherche de l'information --- Thèmes, motifs --- Information behavior --- Themes, motives --- Kunst --- kunst --- informatieontsluiting --- informatie --- media [informatiedragers] --- epistemologie --- kennisleer --- mediatheorie --- mediakunde --- information design --- informatiedesign --- 130.2 --- 7.039 --- 7.038/039 --- 7.038 --- cultuurfilosofie --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- Nieuwe Ploeg (Group of artists) --- Art, Modern - 20th century - Themes, motives --- Art, Modern - 21st century - Themes, motives --- art [discipline]
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