• 主题
高级搜索  >
历史搜索 清空历史
首页> 外文学位 >Art in the information age: Cybernetics, software, telematics, and the conceptual contributions of art and technology to art history and theory.
【24h】

Art in the information age: Cybernetics, software, telematics, and the conceptual contributions of art and technology to art history and theory.

机译：信息时代的艺术：控制论，软件，远程信息处理以及艺术和技术对艺术历史和理论的概念性贡献。

获取原文
获取原文并翻译 | 示例
页面导航
  • 摘要
  • 著录项
  • 相似文献
  • 相关主题

摘要

This dissertation argues that the artistic use of technology demands greater recognition. Scholarship on twentieth century art generally has ignored or disparaged the artistic current otherwise known as Art and Technology. Art History has failed to recognize and incorporate into its canons the rich historical and theoretical underpinnings of this tendency. This oversight is especially conspicuous in the literature's inability to grasp how the sciences and technologies particular to the Information Age have shaped the formal and conceptual development of art since 1945.; The research presented here employs a synthetic method drawing on diverse disciplines, archival research, correspondence, and personal interviews. The work of British artist Roy Ascott and American art critic Jack Burnham furnish central practical and theoretical frameworks and are discussed in detail. Their contributions support the dissertation's thesis that the cultural manifestations of the late twentieth century can be better understood by closely analyzing the scientific and technological developments that have played a central role in shaping society. This study does not privilege science and technology as the engines of discovery that drive subsequent cultural developments, but demonstrates how artists have integrated art with science and technology in a praxis that interrogates key aspects of western epistemology and aesthetics.; The dissertation examines how this praxis seeks to challenge conventional models of communication, such as aesthetic exchanges in which an authorial message is embedded in an object by an artist and decoded by an audience. By contrast, many works of Art and Technology (and artists' theories about them) explicitly propose that richer forms of meaning can arise from a multi-directional flow of information in discursive networks. Such works stress the processes of artistic creation and audience participation. They emphasize the dematerialized forms of ideation and collaboration rather than the materiality of concrete art objects. The dissertation problematizes these aesthetic theories, but maintains that artistic meaning in the Information Age is not embedded in manipulation, and distribution of information.
机译：本文认为，技术的艺术运用需要更大的认可度。二十世纪艺术的奖学金通常忽略或贬低了艺术潮流，即所谓的艺术与技术。艺术史未能认识到这种趋势的丰富历史和理论基础并将其纳入规范。自从1945年以来，文学无法掌握信息时代特有的科学和技术如何影响艺术的形式和概念发展，这种监督尤为突出。本文介绍的研究采用综合方法，涉及多种学科，档案研究，书信和个人访谈。英国艺术家罗伊·阿斯科特（Roy Ascott）和美国艺术评论家杰克·伯纳姆（Jack Burnham）的作品提供了中心的实践和理论框架，并进行了详细讨论。他们的贡献支持了论文的论点，即通过仔细分析在塑造社会中起着核心作用的科学技术发展，可以更好地理解二十世纪后期的文化表现。这项研究并没有将科学和技术视为推动随后文化发展的发现引擎，而是证明了艺术家如何在实践中将艺术与科学与技术融为一体，以质疑西方认识论和美学的关键方面。本文研究了这种实践如何试图挑战传统的交流模式，例如审美交流，其中作者将消息嵌入艺术家体内并由听众解码。相比之下，许多艺术与技术作品（以及艺术家关于它们的理论）明确提出，丰富的意义形式可以来自于话语网络中的多方向信息流。这些作品强调艺术创作和观众参与的过程。他们强调构思和协作的非物质化形式，而不是具体艺术品的实质性。论文对这些美学理论进行了问题化，但认为信息时代的艺术意义并未嵌入信息的操纵和分配中。

著录项

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱：kefu@zhangqiaokeyan.com

京公网安备：11010802029741号 ICP备案号：京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有

  • 客服微信

  • 服务号