Tag: Arte electrónico

Art Ex Machina

Michael Noll, 1970

Bit International 1 The Theory Of Informations And The New Aesthetics

Bit International 1 The Theory Of Informations And The New Aesthetics, 1968

The New Media Reader

This reader collects the texts, videos, and computer programs—many of them now almost impossible to find—that chronicle the history and form the foundation of the still-emerging field of new media. General introductions by Janet Murray and Lev Manovich, along with short introductions to each of the texts, place the works in their historical context and explain their significance. The texts were originally published between World War II—when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared—and the emergence of the World Wide Web—when they entered the mainstream of public life. The texts are by computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. The contributors include (chronologically) Jorge Luis Borges, Vannevar Bush, Alan Turing, Ivan Sutherland, William S. Burroughs, Ted Nelson, Italo Calvino, Marshall McLuhan, Jean Baudrillard, Nicholas Negroponte, Alan Kay, Bill Viola, Sherry Turkle, Richard Stallman, Brenda Laurel, Langdon Winner, Robert Coover, and Tim Berners-Lee. The CD accompanying the book contains examples of early games, digital art, independent literary efforts, software created at universities, and home-computer commercial software. Also on the CD is digitized video, documenting new media programs and artwork for which no operational version exists. One example is a video record of Douglas Engelbart’s first presentation of the mouse, word processor, hyperlink, computer-supported cooperative work, video conferencing, and the dividing up of the screen we now call non-overlapping windows; another is documentation of Lynn Hershman’s Lorna, the first interactive video art installation.


Expanded Cinema

When  we  say  expanded  cinema  we  actually  mean  expanded  consciousness.  Expanded  cinema  does  not  mean  computer  films,  video  phosphors,  atomic  light,  or  spherical  projections.  Expanded  cinema isn’t a movie at all: like life it’s a process of becoming, man’s  ongoing historical drive to manifest his consciousness outside of his  mind,  in  front  of  his  eyes.  One  no  longer  can  specialize  in  a  single  discipline  and  hope  truthfully  to  express  a  clear  picture  of  its  relationships in the environment. This is especially true in the case of  the intermedia network of cinema and television, which now functions  as nothing less than the  nervous system of mankind