At a Distance: Precursors to Art and Activism on the

Networked collaborations of artists didn't commence on the net. during this multidisciplinary examine the perform of paintings that happens throughout a distance—geographical, temporal, or emotional—theorists and practitioners study the ways in which artwork, activism, and media essentially reconfigured one another in experimental networked initiatives of the Seventies and Eighties. through supplying a context for this work—showing that it used to be formed by means of various mixes of social kinfolk, cultural options, and political and aesthetic concerns—At a Distance successfully refutes the generally approved concept that networked artwork is technologically made up our minds. Doing so, it presents the ancient grounding wanted for a extra whole realizing of today’s practices of net artwork and activism and indicates the chances inherent in networked practice.

At a Distance lines the historical past and thought of such experimental paintings tasks as Mail artwork, sound and radio artwork, telematic artwork, assemblings, and Fluxus. even if the initiatives differed, a conceptual wondering of the “art object,” mixed with a political undermining of dominant paintings institutional practices, lively so much distance paintings. After a bit that units this paintings in old and demanding viewpoint, the e-book provides artists and others excited by this paintings “re-viewing” their work—including experiments in “mini-FM,” telerobotics, networked psychoanalysis, and interactive booklet building. eventually, the e-book recasts the historical past of networks from the views of politics, aesthetics, economics, and cross-cultural research.

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Discussions of art and technology, postformalism, and conceptualism each contributed elements of a specifically electronic, computational, or digital aesthetic. Theoretical writings came from cybernetics, science fiction, information sciences, and fine arts, to name just the major tributaries of the interdisciplinary stream that swelled the emerging critical discourse of new media, a field loosely defined to include digitally based works as well as experimental uses of analog production, recording, and projection devices.

The global village was not the only or even the main “spiritual” force around for distance artists. The influence of “the East” had been significant throughout modernism, and Buddhism certainly was important for many artists. 47 This is very different, however, from the apocalyptic or utopian drive, which operated for some other artists. My point here is not to assert Buddhism or anything else as the spiritual basis for distance artists, or even to say that all had a spiritual basis or concern. Rather I would simply note that where spiritual concerns did operate, it was more in a deep, constructive way, rather than as an analysis or afterthought.

30. , 8. Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed. : MIT Press, and Karlsruhe, Germany: ZKM Center for Art and Media, 2001), 155. 33. , Henry M. : MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s influential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufficient object, immanentist aesthetics (6–9).

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