Information art

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Information art (also known as data art or informationism ) is a field that emerged from electronic art , which synthesizes computer science , information technology and classic forms of art (including performance , visual arts , media art and conceptual art ). Information art often involves interaction with computers, which generate artistic content based on the processing of large amounts of data.

background

Informatism follows the 1970s exhibition called "Information" organized by Kynaston McShine at the Museum of Modern Art in New York - a performance that has positively established conceptual art as the leading trend in the United States . Around 1966, conceptual art appeared simultaneously in several cities internationally. At the same time, activities of experiments in art and technology, known under the acronym EAT (Experiments in Art and Technology), also emerged.

Artistic practice

Information art data can manifest itself in photographs , census data , small amounts, personal profiles and their expressions, videos , search engine results , digital paintings , network signals and prose .

See also

literature

  • Alan Liu: The Laws of Cool: Knowledge Work and the Culture of Information , University of Chicago Press , 2004
  • Kenneth R. Allan: Understanding Information , in: Michael Corris (Ed.): Conceptual Art, Theory, Myth, and Practice , Cambridge University Press, Cambridge, 2004, pp. 144–168.
  • Roy Ascott: Telematic Embrace , Edward A. Shanken (Ed.), University of California Press, Berkeley, 2003, ISBN 0-520-21803-5
  • Ricardo Barreto & Paula Perissinotto: The culture of immanence , in: Internet Art , Ricardo Barreto & Paula Perissinotto (orgs.). São Paulo, IMESP, 2002, ISBN 85-7060-038-0 .
  • Jack Burnham: Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century. George Braziller Inc., New York, 1970
  • Lucy Bullivant: 4dsocial: Interactive Design Environments (Architectural Design) . John Wiley & Sons, London, 2007, ISBN 978-0-470-31911-6
  • Lucy Bullivant: Responsive Environments: architecture, art and design (V&A Contemporary) . Victoria and Albert Museum, London, 2006, ISBN 1-85177-481-5
  • Lucy Bullivant: 4dspace: Interactive Architecture (Architectural Design) . John Wiley & Sons, London, 2005, ISBN 0-470-09092-8
  • Oliver Grau : Virtual Art, from Illusion to Immersion , MIT Press / Leonardo Books, 2004, ISBN 0-262-57223-0 , pp. 237-240
  • Christiane Paul: Digital Art (World of Art series). Thames & Hudson, London, 2004, ISBN 0-500-20367-9
  • Peter Weibel & Jeffrey Shaw: Future Cinema , MIT Press, Cambridge, Mass., 2003, ISBN 0-262-69286-4 , pp. 472, 572-581
  • Steve Wilson: Information Arts: Intersections of Art, Science and Technology ISBN 0-262-23209-X
  • Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN LC 71-100683
  • Jack Burnham: Systems Esthetics, Artforum (September, 1968); Reprinted in Donna de Salvo (Ed.): Open Systems: Rethinking Art C. 1970 , Tate Publishing Ltd, London, 2005
  • Edward A. Shanken: Art in the Information Age: Technology and Conceptual Art, in: Michael Corris (Ed.): Conceptual Art: Theory, Myth and Practice , Cambridge University Press, Cambridge, 2004
  • Marga Bijvoet: Art as Inquiry: Toward New Collaborations Between Art & Science , Peter Lang, Oxford, 1997
  • Frank Popper: Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams, New York, 1993, ISBN 0-8109-1928-1
  • Billy Klüver, J. Martin, B. Rose (Eds.): Pavilion: Experiments in Art and Technology , EP Dutton, New York, 1972
  • Dick Higgins : Intermedia (1966), reprinted in Donna De Salvo (Ed.): Open Systems Rethinking Art c. 1970 , Tate Publishing, London, 2005
  • Nicolas Bourriaud: Relational Aesthetics , Les Presses du Réel, Dijon, 2002 (orig. 1997)
  • Charlie Gere: Digital Culture , Response, 2002, ISBN 978-1-86189-143-3

Web links

Individual evidence

  1. ↑ Edward A. Shanken argued that small grants explored the relationship between technology and conceptual art. He also said that there was an art-historical drive to differentiate between information art and conceptual art. See "Art in the Information Age: Technology and Conceptual Art" in Michael Corris (ed.) "Conceptual Art: Theory, Myth and Practice" (Cambridge: Cambridge University Press, 2004).
  2. ↑ See Charlie Gere's Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 , This text deals with the artistic and theoretical responses regarding the increase in speed in technological development and execution, specifically with regard to Jacques Derrida , Bernard Stiegler , Jean-François Lyotard and André Leroi -Gourhan and relates it to the works of Samuel Morse , Vincent van Gogh , Kasimir Malevich and a few others.
  3. ↑ See Lucy R. Lippard , Six Years: the Dematerialization of the Art Object From 1966 to 1972 (1973. Berkeley: University of California Press, 1997)
  4. ↑ EAT followed from the event "Nine Evenings: Theater and Engineering" organized by Robert Rauschenberg and Billy Klüver in the Armory Building, New York City from October 13-22, 1966 to promote collaboration between artists and engineers. They also organized the Pepsi Pavilion at the 1970 Osaka World's Fair . For a detailed discussion of the project, see Bijvoet, "Art as Inquiry," Chapter 2.
  5. ↑ Frame That Spam! Data-Crunching Artists Transform the World of Information by Tim McKeough , Retrieved January 17, 2017.