By Annmarie Chandler, Norie Neumark
Networked collaborations of artists didn't start on the web. In this multidisciplinary examine the perform of paintings that happens throughout a distance -- geographical, temporal, or emotional -- theorists and practitioners research the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked tasks of the Nineteen Seventies and Nineteen Eighties. via supplying a context for this paintings -- exhibiting that it was once formed through various mixes of social family, cultural ideas, and political and aesthetic issues -- At a Distance successfully refutes the commonly permitted concept that networked paintings is technologically decided. Doing so, it presents the ancient grounding wanted for a extra entire figuring out of contemporary practices of net paintings and activism and indicates the chances inherent in networked practice.At a Distance strains the heritage and idea of such experimental artwork initiatives as Mail artwork, sound and radio artwork, telematic paintings, assemblings, and Fluxus. even if the tasks differed, a conceptual wondering of the "art object," mixed with a political undermining of dominant artwork institutional practices, lively such a lot distance paintings. After a piece that units this paintings in ancient and important viewpoint, the e-book provides artists and others fascinated with this artwork "re-viewing" their paintings -- together with experiments in "mini-FM," telerobotics, networked psychoanalysis, and interactive ebook development. eventually, the booklet recasts the background of networks from the views of politics, aesthetics, economics, and cross-cultural analysis.
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Additional resources for At a distance : precursors to art and activism on the Internet
16 From the late 1950s through the pumped-up decade of the 1960s, a veritable frenzy of activity seemed to break with every remaining trace of traditional artistic practice. By the 1970s, electronic and digital media were conspicuous elements of a new visual arts landscape. Each area of ﬁne art was receptive to new media to differing degrees. In video and performance, electronic instruments and devices met little resistance. These were ﬂuid areas of activity, not legacy bound, and reaching to innovation didn’t require overcoming entrenched attitudes.
The chapters in part II approach their subjects more intimately, written as they are by or with people who were involved in the projects discussed. Although the chapters in this part of the volume are in a sense more a documenting and revisiting of the projects, some authors do also discuss critical issues where they were foregrounded by the artists involved in the projects. The writing styles in this part of the book are more informal than in the previous, including ﬁrst-hand anecdotes and archival material.
109. 7. Ibid. Norie Neumark 20 8. , 103–104. 9. Ibid. 10. , 267 n. 2. 11. Jacques Derrida, The Post Card: From Socrates to Freud and Beyond, trans. Alan Bass (Chicago: University of Chicago Press, 1987), 64–65. Thanks to John Ricco for alerting me to the Blanchotian waiting at the heart of Mail Art and e-mail. 12. Klaus Beyrer, quoted in Siegert, Relays, 11. 13. Derrida, Post Card, 65–66. 14. Avital Ronell, The Telephone Book: Technology, Schizophrenia, Electric Speech (Lincoln: University of Nebraska Press, 1989).