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Author: Andreas Broeckmann
Publisher: MIT Press
ISBN: 0262035065
Category : Art
Languages : en
Pages : 400
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Book Description
An investigation of artists' engagement with technical systems, tracing art historical lineages that connect works of different periods. “Machine art” is neither a movement nor a genre, but encompasses diverse ways in which artists engage with technical systems. In this book, Andreas Broeckmann examines a variety of twentieth- and early twenty-first-century artworks that articulate people's relationships with machines. In the course of his investigation, Broeckmann traces historical lineages that connect art of different periods, looking for continuities that link works from the end of the century to developments in the 1950s and 1960s and to works by avant-garde artists in the 1910s and 1920s. An art historical perspective, he argues, might change our views of recent works that seem to be driven by new media technologies but that in fact continue a century-old artistic exploration. Broeckmann investigates critical aspects of machine aesthetics that characterized machine art until the 1960s and then turns to specific domains of artistic engagement with technology: algorithms and machine autonomy, looking in particular at the work of the Canadian artist David Rokeby; vision and image, and the advent of technical imaging; and the human body, using the work of the Australian artist Stelarc as an entry point to art that couples the machine to the body, mechanically or cybernetically. Finally, Broeckmann argues that systems thinking and ecology have brought about a fundamental shift in the meaning of technology, which has brought with it a rethinking of human subjectivity. He examines a range of artworks, including those by the Japanese artist Seiko Mikami, whose work exemplifies the shift.
Author: Andreas Broeckmann
Publisher: MIT Press
ISBN: 0262035065
Category : Art
Languages : en
Pages : 400
Get Book Here
Book Description
An investigation of artists' engagement with technical systems, tracing art historical lineages that connect works of different periods. “Machine art” is neither a movement nor a genre, but encompasses diverse ways in which artists engage with technical systems. In this book, Andreas Broeckmann examines a variety of twentieth- and early twenty-first-century artworks that articulate people's relationships with machines. In the course of his investigation, Broeckmann traces historical lineages that connect art of different periods, looking for continuities that link works from the end of the century to developments in the 1950s and 1960s and to works by avant-garde artists in the 1910s and 1920s. An art historical perspective, he argues, might change our views of recent works that seem to be driven by new media technologies but that in fact continue a century-old artistic exploration. Broeckmann investigates critical aspects of machine aesthetics that characterized machine art until the 1960s and then turns to specific domains of artistic engagement with technology: algorithms and machine autonomy, looking in particular at the work of the Canadian artist David Rokeby; vision and image, and the advent of technical imaging; and the human body, using the work of the Australian artist Stelarc as an entry point to art that couples the machine to the body, mechanically or cybernetically. Finally, Broeckmann argues that systems thinking and ecology have brought about a fundamental shift in the meaning of technology, which has brought with it a rethinking of human subjectivity. He examines a range of artworks, including those by the Japanese artist Seiko Mikami, whose work exemplifies the shift.
Author: Arthur I. Miller
Publisher: MIT Press
ISBN: 0262539624
Category : Computers
Languages : en
Pages : 429
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Book Description
An authority on creativity introduces us to AI-powered computers that are creating art, literature, and music that may well surpass the creations of humans. Today's computers are composing music that sounds “more Bach than Bach,” turning photographs into paintings in the style of Van Gogh's Starry Night, and even writing screenplays. But are computers truly creative—or are they merely tools to be used by musicians, artists, and writers? In this book, Arthur I. Miller takes us on a tour of creativity in the age of machines. Miller, an authority on creativity, identifies the key factors essential to the creative process, from “the need for introspection” to “the ability to discover the key problem.” He talks to people on the cutting edge of artificial intelligence, encountering computers that mimic the brain and machines that have defeated champions in chess, Jeopardy!, and Go. In the central part of the book, Miller explores the riches of computer-created art, introducing us to artists and computer scientists who have, among much else, unleashed an artificial neural network to create a nightmarish, multi-eyed dog-cat; taught AI to imagine; developed a robot that paints; created algorithms for poetry; and produced the world's first computer-composed musical, Beyond the Fence, staged by Android Lloyd Webber and friends. But, Miller writes, in order to be truly creative, machines will need to step into the world. He probes the nature of consciousness and speaks to researchers trying to develop emotions and consciousness in computers. Miller argues that computers can already be as creative as humans—and someday will surpass us. But this is not a dystopian account; Miller celebrates the creative possibilities of artificial intelligence in art, music, and literature.
Author: Jennifer Jane Marshall
Publisher: University of Chicago Press
ISBN: 0226507173
Category : Art
Languages : en
Pages : 237
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Book Description
In 1934, New York’s Museum of Modern Art staged a major exhibition of ball bearings, airplane propellers, pots and pans, cocktail tumblers, petri dishes, protractors, and other machine parts and products. The exhibition, titled Machine Art, explored these ordinary objects as works of modern art, teaching museumgoers about the nature of beauty and value in the era of mass production. Telling the story of this extraordinarily popular but controversial show, Jennifer Jane Marshall examines its history and the relationship between the museum’s director, Alfred H. Barr Jr., and its curator, Philip Johnson, who oversaw it. She situates the show within the tumultuous climate of the interwar period and the Great Depression, considering how these unadorned objects served as a response to timely debates over photography, abstract art, the end of the American gold standard, and John Dewey’s insight that how a person experiences things depends on the context in which they are encountered. An engaging investigation of interwar American modernism, Machine Art, 1934 reveals how even simple things can serve as a defense against uncertainty.
Author: Ezra Pound
Publisher: Duke University Press
ISBN: 9780822317654
Category : Fiction
Languages : en
Pages : 196
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Book Description
Machine Art and Other Writings documents the wide proportions of Pounds's polemic against the abstractions of modernism and reveals the extent to which he was at odds with the metaphysical assumptions of his time. The volume, edited by Ardizzone, is the result of years of systematic and intensive study of Pound's manuscripts, including glosses from the texts of his personal library.
Author: Museum of Modern Art (New York, N.Y.)
Publisher:
ISBN: 9780870701351
Category : Technology & Engineering
Languages : en
Pages : 124
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Book Description
In 1934 the five-year-old Museum of Modern Art, New York, opened an exhibition of machine-inspired design. Some 100 objects formed the basis for this collection of new ideas in modern design for industrial, commercial and domestic objects.
Author: Sofian Audry
Publisher: MIT Press
ISBN: 0262367106
Category : Art
Languages : en
Pages : 215
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Book Description
An examination of machine learning art and its practice in new media art and music. Over the past decade, an artistic movement has emerged that draws on machine learning as both inspiration and medium. In this book, transdisciplinary artist-researcher Sofian Audry examines artistic practices at the intersection of machine learning and new media art, providing conceptual tools and historical perspectives for new media artists, musicians, composers, writers, curators, and theorists. Audry looks at works from a broad range of practices, including new media installation, robotic art, visual art, electronic music and sound, and electronic literature, connecting machine learning art to such earlier artistic practices as cybernetics art, artificial life art, and evolutionary art. Machine learning underlies computational systems that are biologically inspired, statistically driven, agent-based networked entities that program themselves. Audry explains the fundamental design of machine learning algorithmic structures in terms accessible to the nonspecialist while framing these technologies within larger historical and conceptual spaces. Audry debunks myths about machine learning art, including the ideas that machine learning can create art without artists and that machine learning will soon bring about superhuman intelligence and creativity. Audry considers learning procedures, describing how artists hijack the training process by playing with evaluative functions; discusses trainable machines and models, explaining how different types of machine learning systems enable different kinds of artistic practices; and reviews the role of data in machine learning art, showing how artists use data as a raw material to steer learning systems and arguing that machine learning allows for novel forms of algorithmic remixes.
Author: Megan Prelinger
Publisher: W. W. Norton & Company
ISBN: 0393248372
Category : Technology & Engineering
Languages : en
Pages : 561
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Book Description
A visual history of the electronic age captures the collision of technology and art—and our collective visions of the future. A hidden history of the twentieth century’s brilliant innovations—as seen through art and images of electronics that fed the dreams of millions. A rich historical account of electronic technology in the twentieth century, Inside the Machine journeys from the very origins of electronics, vacuum tubes, through the invention of cathode-ray tubes and transistors to the bold frontier of digital computing in the 1960s. But, as cultural historian Megan Prelinger explores here, the history of electronics in the twentieth century is not only a history of scientific discoveries carried out in laboratories across America. It is also a story shaped by a generation of artists, designers, and creative thinkers who gave imaginative form to the most elusive matter of all: electrons and their revolutionary powers. As inventors learned to channel the flow of electrons, starting revolutions in automation, bionics, and cybernetics, generations of commercial artists moved through the traditions of Futurism, Bauhaus, modernism, and conceptual art, finding ways to link art and technology as never before. A visual tour of this dynamic era, Inside the Machine traces advances and practical revolutions in automation, bionics, computer language, and even cybernetics. Nestled alongside are surprising glimpses into the inner workings of corporations that shaped the modern world: AT&T, General Electric, Lockheed Martin. While electronics may have indelibly changed our age, Inside the Machine reveals a little-known explosion of creativity in the history of electronics and the minds behind it.
Author: Joanna Zylinska
Publisher:
ISBN: 9781785420856
Category :
Languages : en
Pages : 178
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Book Description
In AI Art, Joanna Zylinska cuts through the smoke and mirrors surrounding the current narratives of computation, robotics and Artificial Intelligence. Offering a critique of the political underpinnings of AI and its dominant aesthetics, this book raises broader questions about the conditions of art making, creativity and labour today.
Author: Grant D. Taylor
Publisher: Bloomsbury Publishing USA
ISBN: 1623565618
Category : Social Science
Languages : en
Pages : 353
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Book Description
Considering how culturally indispensable digital technology is today, it is ironic that computer-generated art was attacked when it burst onto the scene in the early 1960s. In fact, no other twentieth-century art form has elicited such a negative and hostile response. When the Machine Made Art examines the cultural and critical response to computer art, or what we refer to today as digital art. Tracing the heated debates between art and science, the societal anxiety over nascent computer technology, and the myths and philosophies surrounding digital computation, Taylor is able to identify the destabilizing forces that shape and eventually fragment the computer art movement.
Author: Joshua Shannon
Publisher: Yale University Press
ISBN: 0300228449
Category : Art
Languages : en
Pages : 241
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Book Description
A revealing look at the irrevocable change in art during the 1960s and its relationship to the modern culture of fact This refreshing and erudite book offers a new understanding of the transformation of photography and the visual arts around 1968. Author Joshua Shannon reveals an oddly stringent realism in the period, tracing artists’ rejection of essential truths in favor of surface appearances. Dubbing this tendency factualism, Shannon illuminates not only the Cold War’s preoccupation with data but also the rise of a pervasive culture of fact. Focusing on the United States and West Germany, where photodocumentary traditions intersected with 1960s politics, Shannon investigates a broad variety of art, ranging from conceptual photography and earthworks to photorealist painting and abstraction. He looks closely at art by Bernd and Hilla Becher, Robert Bechtle, Vija Celmins, Douglas Huebler, Gerhard Richter, and others. These artists explored fact’s role as a modern paradigm for talking, thinking, and knowing. Their art, Shannon concludes, helps to explain both the ambivalent anti-humanism of today’s avant-garde art and our own culture of fact.
