Relive : Media Art Histories PDF
Preview Relive : Media Art Histories
Relive Leonardo Roger F. Malina, Executive Editor Sean Cubitt, Editor-in-Chief Virtual Art: From Illusion to Immersion, Oliver Grau, 2003 Women, Art, and Technology, edited by Judy Malloy, 2003 Protocol: How Control Exists after Decentralization, Alexander R. Galloway, 2004 At a Distance: Precursors to Art and Activism on the Internet, edited by Annmarie Chandler and Norie Neumark, 2005 The Visual Mind II, edited by Michele Emmer, 2005 CODE: Collaborative Ownership and the Digital Economy, edited by Rishab Aiyer Ghosh, 2005 The Global Genome: Biotechnology, Politics, and Culture, Eugene Thacker, 2005 Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 New Media Poetics: Contexts, Technotexts, and Theories, edited by Adalaide Morris and Thomas Swiss, 2006 Aesthetic Computing, edited by Paul A. Fishwick, 2006 Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation, Steve Dixon, 2006 MediaArtHistories, edited by Oliver Grau, 2006 From Technological to Virtual Art, Frank Popper, 2007 META/DATA: A Digital Poetics, Mark Amerika, 2007 Signs of Life: Bio Art and Beyond, Eduardo Kac, 2007 The Hidden Sense: Synesthesia in Art and Science, Cretien van Campen, 2007 Closer: Performance, Technologies, Phenomenology, Susan Kozel, 2007 Video: The Refl exive Medium, Yvonne Spielmann, 2007 Software Studies: A Lexicon, Matthew Fuller, 2008 Tactical Biopolitics: Theory, Practice, and the Life Sciences, edited by Beatriz da Costa and Kavita Philip, 2008 White Heat and Cold Logic: British Computer Art 1960– 1980, edited by Paul Brown, Charlie Gere, Nicholas Lambert, and Catherine Mason, 2008 Curating New Media Art, Beryl Graham and Sarah Cook, 2010 Green Light: Notes toward an Art of Evolution, George Gessert, 2010 Enfoldment and Infi nity: An Islamic Genealogy of New Media Art, Laura U. Marks, 2010 Synthetics: Aspects of Art & Technology in Australia, 1956– 1975, Stephen Jones, 2011 Hybrid Cultures: Japanese Media Arts in Dialogue with the West, Yvonne Spielmann, 2012 Walking and Mapping: Artists as Cartographers, Karen O’ Rourke, 2012 Relive: Media Art Histories, edited by Sean Cubitt and Paul Thomas, 2013 See h ttp://mitpress.mit.edu for a complete list of titles in this series. Relive Media Art Histories edited by Sean Cubitt and Paul Thomas The MIT Press Cambridge, Massachusetts London, England © 2 013 M assachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. For information, please email [email protected] or write to Special Sales Depart- ment, The MIT Press, 55 Hayward Street, Cambridge, MA 02142. This book was set in Stone Sans and Stone Serif by Toppan Best-set Premedia Limited, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Relive : media art histories / edited by Sean Cubitt and Paul Thomas. pages cm. — (Leonardo book series) Includes bibliographical references and index. ISBN 978-0-262-01942-2 (hardcover : alk. paper) 1. New media art— Historiography. I. Cubitt, Sean, 1953– editor of compilation. NX456.5.N49R45 2013 776 — dc23 2013000049 10 9 8 7 6 5 4 3 2 1 Contents Series Foreword ix Introduction: The New Materialism in Media Art History 1 Sean Cubitt and Paul Thomas I Considering the Methods of Media Art History 1 From Time-Lapse to Time Collapse or From Representation to Presentation 25 Zhang Ga 2 Pre-Socratic Media Theory 39 Brogan Bunt 3 Writing Media Art into (and out of) History 51 Darren Tofts 4 Viewer as Performer or Rhizomatic Archipelago of Interactive Art 65 Ryszard W. Kluszczynski 5 Reprogramming Systems Aesthetics: A Strategic Historiography 83 Edward A. Shanken II Doing Media Art History: Europe 6 Histories of Networks and Live Meetings — Case Study: [New] Tendencies, 1961 – 1973 (1978) 99 Darko Fritz 7 The First Computer Art Show at the 1970 Venice Biennale: An Experiment or Product of the Bourgeois Culture? 119 Francesca Franco vi Contents 8 Between Punched Film Stock and the First Computers: The Work of Konrad Zuse 135 Andr é s Burbano 9 Polish Digital Poetry: Lack of “ Prehistoric ” Artifacts or Missing Narrative? 149 Monika Gó rska-Olesi n´ ska III Doing Media Art History: New Zealand and Australia 10 Bush Video: Toward a New Secular Electronic Notion of the Divine 169 Stephen Jones 11 Erewhon: Media, Ecology, and Utopia in the Antipodes 191 Susan Ballard 12 Media Archeological Undertakings: Toward a Cartography of Australian Video Art and New Media 209 John Conomos 13 Australian Video Art Histories: A Media Arts Archaeology for the Future 221 Ross Harley IV Artifi cial Life from Hardware to Wetware 14 Let Me Hear My Body Talk, My Body Talk 235 Douglas Kahn 15 The Living Effect: Autonomous Behavior in Early Electronic Media Art 257 Caroline Seck Langill 16 Remediating Still Life, Pencils of Nature, and Fingerprints: Transhistorical Perspectives on Biotechnological Art 275 Jens Hauser 17 Relationship of Art and Technology: Edward Ihnatowicz’ s Philosophical Investigation on the Problem of Perception 309 Joanna Walewska 18 The Cadaver, the Comatose, and the Chimera: Avatars Have No Organs 325 Stelarc Contents vii V Imagining the Future 19 Re:Copying-IT-RIGHT AGAIN 337 Jon Cates 20 Visual Digitality: Toward Another Understanding 347 Martin Constable and Adele Tan 21 Lifebox Immortality and How We Got There 357 Rudy Rucker and Leon Marvell List of Contributors 371 Index 377 Series Foreword Leonardo/International Society for the Arts, Sciences, and Technology (ISAST) Leonardo/International Society for the Arts, Sciences, and Technology (ISAST) and the affi liated French organization Association Leonardo have some very simple goals: 1. To document and make known the work of artists, researchers, and scholars interested in the ways that the contemporary arts interact with science and technology 2. To create a forum and meeting places where artists, scientists, and engineers can meet, exchange ideas, and, when appropriate, collaborate 3. To contribute, through the interaction of the arts and sciences, to the creation of the new culture that will be needed to transition to a sustainable planetary society When the journal L eonardo was started some forty years ago, these creative disci- plines existed in segregated institutional and social networks, a situation dramatized at that time by the “ two-cultures ” debates initiated by C. P. Snow. Today we live in a different time of crossdisciplinary ferment, collaboration, and intellectual confronta- tion enabled by new hybrid organizations, new funding sponsors, and the shared tools of computers and the Internet. Above all, new generations of artist-researchers and researcher-artists are now at work individually and in collaborative teams bridging the art, science, and technology disciplines. For some of the hard problems in our society, we have no choice but to fi nd new ways to couple the arts and sciences. Perhaps in our lifetime we will see the emergence of new “ Leonardos, ” creative individuals or teams that will not only develop meaningful art for our times but also drive new agendas in science and stimulate technological innovation that addresses today ’ s human needs.
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