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The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts. -
Det Universella Språket Efterkrigstidens Abstrakta Konst The
ISBN: 978-91-87968-99-0 GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET NIONDE NUMRET OMSLAGSBILD / COVER IMAGE AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope LENNART RODHE, ROTOR, Namnet är hämtat från ett instrument som den inflytelserike museimannen Benjamin 1954, GÖTEBORGS KONSTMUSEUM, Det universella språket Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren möjlighet att fok- © LENNART RODHE / BILDUPPHOVSRÄTT 2018. usera på konsten i de, enligt upphovsmannen, ofta alltför stora och tätt hängda musei- The Universal Language Det universella språket salarna. Ett finns på Göteborgs konstmuseum, sannolikt inköpt av Axel L Romdahl. LENNART RODHE, ROTOR, Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en glesare 1954, GOTHENBURG MUSEUM OF ART, Efterkrigstidens hängningsideologi vann mark under mellankrigstiden. Ändå kan nog många mu- © LENNART RODHE / BILDUPPHOVSRÄTT 2018. Decennierna efter andra världskriget dominerade abstraktionen seibesökare känna igen sig i det som Gilman beskriver som ett av museiväsendets det internationella konstlivet. Abstrakt var synonymt med modern, abstrakta konst grundproblemen: den museitrötthet som infinner sig redan efter ett par salar. Redan men abstraktionen betraktades också som ett universellt språk som vid sekelskiftet stod det klart att museernas själva essens – att samla och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. renodlat konstens egentliga innehåll, bestående av färg- och form- Sovring blir med tiden lika viktigt som samlande. relationer. Med utgångspunkt i Göteborgs konstmuseums, Konst- Kristoffer Arvidsson hallen Göteborgs, Moderna Museets och Liljevalchs konsthalls ut- Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instrument vill vi ställningshistorik under perioden 1945–1970, undersöker Kristoffer bidra till att rama in, lyfta fram och intensivt studera frågor som vi ser som betydelse- Arvidsson idéer om vad som är nationellt och internationellt, kultur- fulla. -
Media Ecologies: Materialist Energies in Art and Technoculture, Matthew Fuller, 2005 Media Ecologies
M796883front.qxd 8/1/05 11:15 AM Page 1 Media Ecologies Media Ecologies Materialist Energies in Art and Technoculture Matthew Fuller In Media Ecologies, Matthew Fuller asks what happens when media systems interact. Complex objects such as media systems—understood here as processes, or ele- ments in a composition as much as “things”—have become informational as much as physical, but without losing any of their fundamental materiality. Fuller looks at this multi- plicitous materiality—how it can be sensed, made use of, and how it makes other possibilities tangible. He investi- gates the ways the different qualities in media systems can be said to mix and interrelate, and, as he writes, “to produce patterns, dangers, and potentials.” Fuller draws on texts by Félix Guattari and Gilles Deleuze, as well as writings by Friedrich Nietzsche, Marshall McLuhan, Donna Haraway, Friedrich Kittler, and others, to define and extend the idea of “media ecology.” Arguing that the only way to find out about what happens new media/technology when media systems interact is to carry out such interac- tions, Fuller traces a series of media ecologies—“taking every path in a labyrinth simultaneously,” as he describes one chapter. He looks at contemporary London-based pirate radio and its interweaving of high- and low-tech “Media Ecologies offers an exciting first map of the mutational body of media systems; the “medial will to power” illustrated by analog and digital media technologies. Fuller rethinks the generation and “the camera that ate itself”; how, as seen in a range of interaction of media by connecting the ethical and aesthetic dimensions compelling interpretations of new media works, the capac- of perception.” ities and behaviors of media objects are affected when —Luciana Parisi, Leader, MA Program in Cybernetic Culture, University of they are in “abnormal” relationships with other objects; East London and each step in a sequence of Web pages, Cctv—world wide watch, that encourages viewers to report crimes seen Media Ecologies via webcams. -
Fondazioneremobianco
FondazioneRemoBianco RemoBiancoFoundation Testi: Sara Miele Traduzioni: Daniela Brambati, Sara Miele Grafica: Cristina Zingoni ©Fondazione Remo Bianco Finito di stampare nel Settembre 2013 II Edizione Marzo 2014 FondazioneRemoBianco Editoriale Editorial Milano negli anni del secondo dopoguerra During the years after the second world war e successivamente negli anni del boom and following this period also in the years of economico, è stata fucina di importanti the economic boom, Milan forged important scoperte e innovazioni artistiche: basti pensare discoveries and artistic innovations; just think alle ricerche di Lucio Fontana o di Piero of the research work of Lucio Fontana or Piero Manzoni e di molti altri artisti, architetti e Manzoni and of many other artists, architects designer che hanno contribuito allo sviluppo and designers who contributed to the artistic artistico e culturale della città. and cultural progress of the city. E’ in questa atmosfera culturalmente, e non solo economicamente, produttiva che It is in this productive atmosphere, culturally il giovane Remo Bianco, grazie a Filippo De andnot only economically, that the young Pisis, conosce e instaura una profonda amicizia Remo Bianco, thanks to Filippo De Pisis, meets con l’imprenditore e mecenate milanese che and establishes a profound friendship with the gli sarà a fianco e lo sosterrà tutta la vita, entrepreneur and Milanese patron who will be permettendogli di seguire tutte le strade by his side and will support him throughout his della sua vitalità artistica. La sua sarà una lifetime, allowing him to follow all the roads vita da “ricercatore solitario”, come si era of his artistic vitality. His will be the life of a autodefinito, sempre pronto a sperimentare “solitary researcher”, as he self-defined himself. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Yaacov Agam. Transformable - Transformables
1 [AGAM]..YAACOV AGAM. New York, Marlborough-Gerson Gallery 1966. 22x21. 52 pp. including 4 pages on one folding leaf. More than 70 photos and reproductions including 10 in colour. Pictorial wrappers. 200 2 [AGAM]..YAACOV AGAM. TRANSFORMABLE - TRANSFORMABLES. New York, Galerie Denise René, 1971. 26x21. 52 pp. + 6 opaque leaves with drawings. 76 photos, 26 full-page including 2 in colour, plus 12 portrait photos etc. Pictorial wrappers. Exhibition publication with introduction by Jean-Jacques Lévèque. 300 4 3 Alechinsky, Pierre / Christian Dotremont. ABSTRATES. Printed in Denmark (Copenhagen) by Permild & Rosengreen 1963. Colour lithograph 64x87 with text rendered in "tapuscrit. No. 14 of 25 numbered copies, signed in pencil by Alechinsky. This copy also has a pencil inscription "Pour mon ami Rune J. / Christian Dotremont" (to the Swedish artist Rune Jansson). Very weak damp streak in lower left corner, otherwise fine. A collaboration of the two Cobra co-founders consisting of a vivid colour print made by Alechinsky around a text by Dotremont. 5000 4 Alechinsky, Pierre. L'AVENIR DE LA PROPRIETÉ. (Paris), Yves Rivière, 1972. 31x21. 64 pp. + a loosely inserted colour etching signed by Alechinsky. 35 facsimile reproductions including 15 full- or double-page. A beautiful copy in pictorial covers with protective glassine wrapper, kept in the original decorated slipcase. No. 159 of 999 copies, signed by Alechinsky and Rivière. From the total edition of 999, this is one of 151 copies numbered 100-250 and provided with an original colour etching printed on an 18th-century manuscript leaf. The etching is signed by Alechinsky and numbered 59 (of 151 plus 16 H.C. -
I Luoghi Del Contemporaneo. Contemporary Art Venues 2012
Direzione generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee ; i luoghi del contemporaneo2012 contemporary art venues © Proprietà letteraria riservata Gangemi Editore spa Piazza San Pantaleo 4, Roma www.gangemieditore.it Nessuna parte di questa pubblicazione può essere memorizzata, fotocopiata o comunque riprodotta senza le dovute autorizzazioni. Le nostre edizioni sono disponibili in Italia e all’estero anche in versione ebook. Our publications, both as books and ebooks, are available in Italy and abroad. ISBN 978-88-492-7531-5 Direzione generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee i luoghi del contemporaneo2012 contemporary art venues a cura di Maria Grazia Bellisario e Angela Tecce i luoghi del contemporaneo 2012 Ministero per i beni e le attività culturali Ministro per i beni e le attività culturali Comitato Scientifico: Lo studio è stato realizzato da Lorenzo Ornaghi Maddalena Ragni, Direttore Generale PaBAAC Sottosegretario di Stato Presidente Roberto Cecchi Coordinamento Scientifico: Maria Grazia Bellisario, Carlo Fuortes Segretario Generale Direttore Servizio Architettura e Arte Contemporanee, Antonia Pasqua Recchia Coordinatore scientifico Coordinamento Operativo: Alessandro Ricci Angela Tecce, Studio e pubblicazione promossi da: Direttore Castel Sant’Elmo, Responsabile del progetto Coordinamento del Gruppo di Lavoro: Direzione Generale per il paesaggio, le belle arti, Orietta Rossi Pinelli l’architettura e l’arte contemporanee, Maria Vittoria Marini Clarelli, Servizio -
Arte Moderna E Contemporanea
A R T E M O D E R N A E CONTEMPORANEA ESPOSIZIONE MILANO Via Vivaio, 24 da giovedì 7 giugno a martedì 12 giugno ore 10:00 - 19:00 ASTA MILANO Via Vivaio, 24 mercoledì 13 giugno ore 18:00 ESPERTI Jacopo Antolini Responsabile Dipartimento [email protected] Carolina Orlandini Esperto [email protected] SEDI DIPARTIMENTI MILANO ARTE MODERNA E CONTEMPORANEA Benedetta Schiavi RESPONSABILE DIPARTIMENTO 20122 - Via Vivaio, 24 Jacopo Antolini +39 02 4950 1546 [email protected] [email protected] ESPERTO Carolina Orlandini TORINO [email protected] Cristian Mondino 10128 - Via Vincenzo Gioberti, 78 GIOIELLI E OROLOGI +39 011 1893 8618 [email protected] RESPONSABILE DIPARTIMENTO Ilaria Ciatti [email protected] FIRENZE ESPERTO Carolina Orlandini Patrik Launo 50144 - Via Guido Monaco, 29 [email protected] +39 055 016 8735 [email protected] JUNIOR EXPERT - GIA GRADUATE GEMOLOGIST Maria Vittoria Bignardi [email protected] STAMPE E DISEGNI RESPONSABILE DIPARTIMENTO Antonio Berni [email protected] DIPINTI ANTICHI E DEL XIX SECOLO RESPONSABILE DIPARTIMENTO Andrea Morra [email protected] ARCHEOLOGIA E OGGETTI D’ARTE RESPONSABILE DIPARTIMENTO Neri Mannelli [email protected] 6 OPERE DEL SECONDO FUTURISMO LOTTI 1 - 18 Aeropitura non significa tanto imetere nela pitura degli elementi figurativi nuovi: eliche – aeroplani – atmosfera ec., quanto dare ai pitori nuove e più vaste posibilità di ispirazione. […] Volare significa aprire e areare la fantasia, purificarla dale inevitabili scorie pasatiste che impediscono il libero e rapido spiegarsi dele sue ali. Gerardo Dotori, da Mostra Futurista di aeropitura e scenografia, Galeria Pesaro, Milano, otobre – novembre 1931 La sezione che presentiamo è dedicata a un’accurata futurista dal 1909 al 1944, chiamando “secondo” futurismo il periodo selezione di opere di alcuni artisti che hanno operato successivo al 1920 ed esaminandolo principalmente nel campo della in seno al cosiddetto Secondo Futurismo. -
Brief CV (Pdf)
Antoinette LaFarge CV Professor of Digital Media, Department of Art, Claire Trevor School of the Arts, UC Irvine 92697, U.S.A. email: [email protected] url: http://www.antoinettelafarge.com/ Research Interests My beat is virtuality and its discontents. Areas of special inquiry include impersonation and improvisation, mixed realities, constructed narrative, technology-mediated performance, online role-play and avatarism, fictive art, and design for communication. I work with both traditional and digital media, although nearly all my projects are heavily computer-mediated and usually require custom programming. Many recent projects have involved telematic performance and virtual role-playing environments. Teaching Positions University of California, Irvine (1999-present) Professor of Digital Media, Dept. of Art (2010-present) Associate Dean for Graduate Affairs, Claire Trevor School of the Arts (2009-2013, 2014-15) Associate Professor of Digital Media, Dept. of Studio Art (2003-10) Assistant Professor of Digital Media, Dept. of Studio Art (1999-2003) Program faculty, Arts Computation Engineering (ACE) Program (2003-2010) Affiliated faculty, Center in Law, Society, and Culture (2008-present) Associate Director, Game Culture & Technology Laboratory (2003-2012) Director of Academic Computing, Claire Trevor School of the Arts (2004-2012) School of Visual Arts, New York (1995-99) Adjunct faculty, M.F.A. program in Computer Art. Adjunct faculty, M.F.A. program in Photography & Related Media. Lecturer, Internet courses and workshops in the Continuing Education program. Publications * = peer reviewed ** = book ** Monkey Encyclopedia W. ICI Press, 2019. * "Alive in the Now: Ekphrasis in Philip K. Dick and William Gibson." MOSF Journal of Science Fiction 2:1 (September 2017). -
Maria Papa. L'oeil Et La Main
MARIA PAPA. L’OEIL ET LA MAIN Luca Pietro Nicoletti Introduction «Maria Papa» affirmait Raffaele Carrieri dans un article brillant de 1967 « ressemble […] à un charpentier opiniâtre, sa résistance est plus forte que la pierre. Sur les chantiers, on la surnomme Maria la Polonaise. Tout le monde sait qu’elle est née à Varsovie et qu’elle habite à Paris. Mais comment peut-on s’appeler Rostkowska quand on travaille le marbre ?»1. A l’époque où le poète et critique d’art se posait cette extravagante question, dans ce qui est peut-être l’un des plus beaux textes dédiés à son œuvre, Maria Papa Rostkowska travaillait depuis un an à Querceta où, après avoir remporté, sur proposition de Jean Arp, le prix de la Nelson William and Noma Copley Foundation, elle avait été invitée au Symposium du Marbre par les Usines Henraux, dont le mécénat éclairé, de concert avec le critique d’art Giuseppe Marchiori, visait à réévaluer «l’art difficile du marbre» que les sculpteurs tendaient à délaisser au profit d’autres matériaux. Mais avant d’arriver en Versilie, l’existence de Maria Papa a des accents européens: polonaise de naissance, française d’adoption et italienne par vocation. Amoureuse de Paris, qui l’accueille alors qu’elle vient d’avoir vingt ans et sera à l’origine de sa forte attraction pour l’art de la sculpture, elle se construira progressivement une identité d’artiste italienne. On peut en effet s’étonner qu’après avoir organisé ses premières expositions sous le nom de «Papa Rostkowska», elle décide, au début des années 1970, d’abandonner son nom polonais, de prononciation difficile pour un public méditerranéen, pour ne conserver que celui de son mari italien, Giuseppe Papa, l’éditeur d’art et écrivain plus connu sous le nom Serge Poliakoff, Maria Papa, s.d. -
NS /DE: Network Radio Business
ISSUE NUMBER 955 THE INDUSTRY'S NEWSPAPER AUGUST 21, 1992 Tough Times Continue In /NS /DE: Network Radio Business NEW LOOK FOR ABC, Westwood One involved in latest wave NEW ROCK of layoffs; ABC cancels evening talk shows Beginning with this issue, R &R Last week, two major radio In a memo to his staff, ABC heralds New Rock's continued networks relayed signals that Radio Networks President Bob growth by significantly their economic woes are contin- Callahan said the reductions uing, with little hope of immedi- were the culmination of a three - expanding the music and ate recovery. ABC Radio Net- month effort to consolidate its editorial coverage of this exciting works laid off a reported 51 em- operations with those of its Sa- format: ployees last Friday (8/14), tellite Music Network sub- while Westwood One pink -slip- sidiary. Chart now includes four -week ped 15 fulltimers from the NBC/ "These decisions involve the trending, emphasis tracks, and Mutual newsroom. relocation of some employees to Dallas, where SMN is based, individual rotations and the reduction cf some other New & Active and Significant staff whose job duties became Action lists debut Station Trading Blitz Begins duplicative in the melding of these operations," Callahan Shawn Alexander's column Karmazin uses new duopoly rules to pick up cash -flow stations in stated in the memo. appears weekly, featuring tips Cook Inlet $100 million An ABC staff member, who Chicago, Boston, and Atlanta from for asked not to be identified, said on programming, promotion, 100 positions were either elimin- Striking fast to take advant- properties. -
Destination Unknown: Experiments in the Network Novel
UNIVERSITY OF CINCINNATI DATE: November 25, 2002 I, Scott Rettberg , hereby submit this as part of the requirements for the degree of: Doctorate of Philosophy (Ph.D.) in: The Department of English & Comparative Literature It is entitled: Destination Unknown: Experiments in the Network Novel Approved by: Thomas LeClair, Ph.D. Joseph Tabbi, Ph.D. Norma Jenckes, Ph.D. Destination Unknown: Experiments in the Network Novel A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctorate of Philosophy (Ph.D.) in the Department of English and Comparative Literature of the College of Arts and Sciences 2003 by Scott Rettberg B.A. Coe College, 1992 M.A. Illinois State University, 1995 Committee Chair: Thomas LeClair, Ph.D. Abstract The dissertation contains two components: a critical component that examines recent experiments in writing literature specifically for the electronic media, and a creative component that includes selections from The Unknown, the hypertext novel I coauthored with William Gillespie and Dirk Stratton. In the critical component of the dissertation, I argue that the network must be understood as a writing and reading environment distinct from both print and from discrete computer applications. In the introduction, I situate recent network literature within the context of electronic literature produced prior to the launch of the World Wide Web, establish the current range of experiments in electronic literature, and explore some of the advantages and disadvantages of writing and publishing literature for the network. In the second chapter, I examine the development of the book as a technology, analyze “electronic book” distribution models, and establish the difference between the “electronic book” and “electronic literature.” In the third chapter, I interrogate the ideas of linking, nonlinearity, and referentiality.