This book is the first comprehensive, indeed encyclopedic, show of artists' engagement with artificial light since the exhibition KUNSTLICHTKUNST (1966) in the Van Abbe Museum, Eindhoven, the Netherlands. Many artistic statements are releaved, and signal works of many creators of Light Art that have been forgotten are presented
The kinetic century, from Takis to Kentridge Artists have long been fascinated by the creative possibilities of electricity. This catalog gathers works from 1920 to the present, in video, sound, mechanical sculpture and computer-based art by Mary Ellen Bute, William Kentridge, Christina Kubisch, Zdenek Pešánek, Anna Ridler, Takis, Steina, Woody Vasulka and others.
A guide to idioms used in Spanish and English. It is filled with 4,000 idioms arranged according to Spanish keywords; 1,800 Spanish keywords and their English equivalents; 1,800 example sentences for guidance in usage; 8,000 matching English expressions; and an English-Spanish Index.
On the legacy of Xenakis’ innovations in music notation for contemporary composersTrained in mechanical engineering, Greek-French composer Iannis Xenakis (1922-2001) transformed mathematical models into architectonic musical entities.In the late 1970s Xenakis developed a digital apparatus that rendered waveforms drawn on a tablet as musical compositions. The device was called UPIC, or Unité Polyagogique Informatique du CEMAMu, named for the French contemporary music research institute that Xenakis had helped found a decade earlier. The device proved to be an essential tool for the development of contemporary music―a version of the software is still used by today’s composers.Featuring archival materials, this book examines the origins of Xenakis’ UPIC. It also serves as a compositional tool: embedded QR codes allow readers to create their own sound-images from UPIC compositions.
Combining traditional film technologies and computerized military programs for tracking, identifying, and targeting, Jordan Crandall's seven-part video installation Drive depicts movement through means that go miles beyond the conventions of cinema. In Drive, as elsewhere today, bodies and physical movements are no longer objects of representation, but collated and processed computer data from thermal imaging machines and night vision optical devices. Movements are no longer depicted; they are tracked. Drive observes the new human relationships that develop through a structure otherwise associated with a hunter observing his prey. Also included in this volume are Crandall's collected projects and writings.
An investigation of the consequences of a society becoming inhabitants of information space explains how it is radically altering the public sphere, the private sphere, and the possibilities of creativity in the networked sphere. Original.
The global institutionalization of contemporary art is still in its early stages. Although there has been a rise in global art production and the number of biennials, contemporary art struggles to establish itself in museums outside the West, which may influence the future of these institutions. While migration is a significant issue for artists, public museums face the challenges posed by globalization. This book focuses on the reciprocal relationship between contemporary non-Western art and local museums worldwide. It features a collection of essays from art critics, anthropologists, and museum curators who explore the evolving identity of museums from diverse perspectives. The critical essays were developed for two international conferences, alongside selected texts that provide insightful analyses of the current landscape. PETER WEIBEL, an internationally recognized media and conceptual artist, curator, and theorist, has been influential since the 1960s, viewing artistic creativity as an open-ended endeavor. He served as the head of ZKM, Karlsruhe until 2020 and has been the director of the Peter Weibel Research Institute for Digital Culture at the Universität für angewandte Kunst in Vienna since 2017.
The Cinematic Imaginary After Film
Throughout the history of cinema, a radical avant-garde has existed on the fringes of the film industry. A great deal of research has focused on the pre- and early history of cinema, but there has been little speculation about a future cinema incorporating new electronic media. Electronic media have not only fundamentally transformed cinema but have altered its role as a witness to reality by rendering "realities" not necessarily linked to documentation, by engineering environments that incorporate audiences as participants, and by creating event-worlds that mix realities and narratives in forms not possible in traditional cinema. This hybrid cinema melds montage, traditional cinema, experimental literature, television, video, and the net. The new cinematic forms suggest that traditional cinema no longer has the capacity to represent events that are themselves complex configurations of experience, interpretation, and interaction.This book, which accompanies an exhibition organized by the ZKM Institute for Visual Media, explores the history and significance of pre-cinema and of early experimental cinema, as well as the development of the unique theaters in which "immersion" evolved. Drawing on a broad range of scholarship, it examines the shift from monolithic Hollywood spectacles to works probing the possibilities of interactive, performative, and net-based cinemas. The post-cinematic condition, the book shows, has long roots in artistic practice and influences every channel of communication.
What happens when beliefs are interwoven with personal revenge?After a terrorist attack on a café in London, Clint Maitland and Ben-Zion Mahmudi, both CIA agents, face Zaynab Kahn, widow of the terrorist. Having been brought in for questioning, Zaynab's interview begins a cat and mouse game of strike, retreat and revenge amongst the three of them.The hunt starts in London, progresses to South Africa, and then explodes in the horn of Africa. Zaynab is determined to lead Islamic militant extremist groups to attack the western world. Clint is equally determined to stop her. But at what personal cost to both of them?