By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't start on the net. In this multidisciplinary examine the perform of paintings that occurs throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners research the ways in which paintings, activism, and media essentially reconfigured one another in experimental networked tasks of the Seventies and Eighties. by means of supplying a context for this paintings -- exhibiting that it used to be formed via various mixes of social kin, cultural ideas, and political and aesthetic issues -- At a Distance successfully refutes the commonly accredited concept that networked artwork is technologically made up our minds. Doing so, it offers the old grounding wanted for a extra whole realizing of modern day practices of web paintings and activism and indicates the chances inherent in networked practice.At a Distance strains the heritage and concept of such experimental paintings tasks as Mail artwork, sound and radio artwork, telematic artwork, assemblings, and Fluxus. even if the tasks differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant paintings institutional practices, lively so much distance paintings. After a bit that units this paintings in ancient and significant standpoint, the ebook provides artists and others excited by this paintings "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive publication building. ultimately, the e-book recasts the heritage of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Additional info for At a distance : precursors to art and activism on the Internet
31 Tensions between the tradition of individual creative subjectivity and technologically grounded art in the 1960s and early 1970s provide a foundation for describing another important distinction: that between objectcentered things and perceptually based concepts of a work as an experience. The technological emphasis of electronic art brings the participant into the work as a crucial part of the equation. When an artwork is conceived of as a set of conditions for perception, rather than as a discrete, bounded object, then the role of the participant is closer to that played in a quantum experiment.
So too, notably, do they refute technological determinism, without denying the importance of engagement with technology. Thus this collection foregrounds the ways that thinking, practice, and art/technological experimentation fueled an explosion of art/activist networked activity. Signiﬁcant, too, is the approach to experimentation that animates these projects and the writing about them. In an era in which much of the earlier twentieth century’s artistic and social experimentation had been co-opted, these artists/activists continually and playfully evaded the clutches of capitalism’s recuperations.
The abstraction of data from process supposedly paralleled the separation of material from the idea in a work of conceptual art. Such a broad concept of information was generalizable to Robert Morris’s index cards, Joseph Kosuth and Lawrence Weiner’s language-based work, and many photograph-dependent works such as Douglas Huebler’s identity project pieces. Art conceived at the intersection of these sensibilities supposedly did not have to be embodied in an object. It certainly need not bear traces of hand making, nor reveal an emotional content grounded in individual experience.
At a distance : precursors to art and activism on the Internet by Annmarie Chandler, Norie Neumark