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The aim of Global Tools 1973-1975 is to provide a tool for the understanding and reconstruction of this experience while simultaneously contextualizing it within a more complex network of references and connections. To perform this task, the critical perspectives offered by the contributions of experts and scholars are employed to shed light on those aspects of contemporary experience shared by this pedagogical utopia with the wider world.

Architecture radicale --- Mouvement moderne --- Utopie --- Expérimentation --- Art, Modern --- Art --- Art movements --- Art and technology --- Italie

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If you attend a contemporary art exhibition today, you're unlikely to see much traditional painting or sculpture. Indeed, artists today are preoccupied with what happens when you leave behind assumptions about particular media-such as painting, or woodcuts-and instead focus on collisions between them, and the new forms and ideas that those collisions generate. Garrett Stewart in Transmedium dubs this new approach Conceptualism 2.0, an allusion in part to the computer images that are so often addressed by these works. A successor to 1960s Conceptualism, which posited that a material medium was unnecessary to the making of art, Conceptualism 2.0 features artworks that are transmedial, that place the aesthetic experience itself deliberately at the boundary between often incommensurable media. The result, Stewart shows, is art whose forced convergences break open new possibilities that are wholly surprising, intellectually enlightening, and often uncanny.

Multimedia (Art) --- Multimedia installations (Art) --- Conceptual art. --- Art and technology. --- conceptual art. --- digital convergence. --- media specification. --- moving image. --- still image.

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Science --- Conservation. Restoration --- Modern [style or period] --- research [function] --- preserving --- restoration [process] --- anno 1800-1899 --- Art and technology --- Artists' materials --- Art --- History --- Technique --- History.

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"Collecting and recontextualizing writings from the last twenty years of John Cayley's research-based practice of electronic literature, Grammalepsy introduces a theory of aesthetic linguistic practice developed specifically for the making and critical appreciation of language art in digital media. As he examines the cultural shift away from traditional print literature and the changes in our culture of reading, Cayley coins the term "grammalepsy" to inform those processes by which we make, understand, and appreciate language. Framing his previous writings within the overall context of this theory, Cayley eschews the tendency of literary critics and writers to reduce aesthetic linguistic making - even when it has multimedia affordances - to "writing." Instead, Cayley argues that electronic literature and digital language art allow aesthetic language makers to embrace a compositional practice inextricably involved with digital media, which cannot be reduced to print-dependent textuality."--Bloomsbury Publishing.

Language arts. --- Art and technology. --- Technology and art --- Technology --- Communication arts --- Language arts --- Communication --- Study and teaching --- Technology general issues. --- Literature --- Hypertext literature. --- Digital media. --- Philosophy. --- Electronic media --- New media (Digital media) --- Mass media --- Digital communications --- Online journalism --- Digital literature (Hypertext literature) --- Electronic literature (Hypertext literature) --- Literature and philosophy --- Philosophy and literature --- Theory --- Film & Media --- Literature, Media and Technology (Lit Studies) --- Media Theory (Film & Media) --- Digital Art and Media (Film & Media) --- Literary Studies

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"This project captures the spirit and contributions of women working in digital arts media and education in the Midwest--a region that, beginning in the mid-1980s, established itself as a center for the technological revolution. Bringing together historical research and interviews with key participants in the development of digital arts, this volume explores seminal events at the University of Illinois and the School of the Art Institute in Chicago that led to the establishment of interdisciplinary Renaissance Teams in advanced academic computing communities, which created a bridge to the humanities and to Chicago's emerging art scene. Digital games, virtual reality, supercomputing graphics, and internet, browser-based art all evolved during this revolution, underscored by the region's history of widespread social change and artistic innovation, and women artists and computing experts were integral to the devleopment of these new media. Spurred by a dynamic of social feminist change, these events fostered an atmosphere of creative expression, innovation, interdisciplinary collaboration, while crossing gender lines and incorporating an artistic approach in a scientific environment. Ultimately, these events ushered in the digital age and paved the way for social media, which was both a product and a result of the confluence of the social relationships and human relationships nurtured by digital arts exploration in the region"--

SOCIAL SCIENCE / Women's Studies. --- HISTORY / United States / State & Local / Midwest (IA, IL, IN, KS, MI, MN, MO, ND, NE, OH, SD, WI). --- ART / Digital. --- Technology and women --- Women computer artists --- New media art --- Art and technology --- History --- Technology and art --- Technology --- Arts, Modern --- Computer artists --- Women artists --- Women and technology --- Women --- Sociology of the family. Sociology of sexuality --- Mass communications --- Art --- digital art [visual works] --- women [female humans]