DOCSLIB.ORG

Art, Technology, Consciousness Mind@Large

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art, Technology, Consciousness Mind@Large Art, Technology, Consciousness mind@large Edited by Roy Ascott intellect Art, Technology, Consciousness mind@large Edited by Roy Ascott First Published in Hardback in 2000 in Great Britain by Intellect Books, PO Box 862, Bristol BS99 1DE, UK Intellect Books, ISBS, 5804 N.E. Hassalo St, Portland, Oregon 97213-3644, USA Copyright ©2000 Intellect Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopy- ing, recording, or otherwise, without written permission. Consulting Editor: Masoud Yazdani Copy Editor: Peter Young A catalogue record for this book is available from the British Library Electronic ISBN 1-84150-814-4 / Hardback ISBN 1-84150-041-0 Printed and bound in Great Britain by Cromwell Press, Wiltshire Acknowledgements There are many individuals to thank for their help in bringing this book into being. In addition to the authors themselves, my colleagues and students in CAiiA-STAR, the editorial support team at ACES, and the staff of Intellect, thanks are due to Professor Ken Overshott, Principal of the University of Wales College Newport, for his continuing support. Contents Preface Beyond Boundaries 2 Edge-Life: technoetic structures and moist media – Roy Ascott Towards a Third Culture | Being in Between – Victoria Vesna The Posthuman Conception of Consciousness: a 10-point guide – Robert Pepperell Genesis: a transgenic artwork – Eduardo Kac Techno-Darwinism: artificial selection in the Electronic age – Bill Hill Not Science, or History: post digital biological art and a distant cousin – Michael Punt The Imagination of Matter, Pre-Columbian Cultural DNA and Maize Cultivation – Kathleen Rogers Meaning and Emotion 33 Capacity to Conceive New Meanings by Awareness of Conscious Experience – Michio Okuma & Isao Todo Motioning Toward the Emergent Definition of E-phany Physics – Bill Seaman Emotion Spaces Created from Poems – Tsutomu Miyasato The Process Appears: representation and non-representation in computer-based art – Christiane Heibach Towards a Physics of Meaning – John Sanfey Inquiry into Allegorical Knowledge Systems for Telematic Art – Tania Fraga Making Emotional Spaces in the Secret Project: building emotional interactive spaces – Richard Povall The Spectator Project: a multi-user narrative in ‘Mediaspace’ – Mike Phillips et al Interactive Media and the Construction of Dramatic Narrative: becoming and identity in contemporary American drama – Rhona Justice-Malloy Two Portraits of Chief Tupa Kupa: the image as an index of shifts in human consciousness – Niranjan Rajah Transmodalities 84 The Gift of Seeing: nineteenth century views from the field – Amy Ione Rendering the Viewer Conscious: interactivity and dynamic seeing – Tiffany Holmes The Mind’s Eye – Nina Czegledy Forms of Behaviour and a New Paradigm of Perception to the Production of New Sounds – Edson S. Zampronha Music Video, Technology and the Reversal of Perspective – Kevin Williams Paradigms of Change in Music and in Digital Communication – Dante Tanzi The Space of an Audiovisual Installation within a Real and a Virtual Environment – Dimitrios Charitos and Coti K ‘Give us the Funk…’ Machine Autonomy meets Rhythmic Sensibility – Jonathan Bedworth and Ben Simmonds The Synesthetic Mediator – Malin Zimm Location 129 Places of Mind: implications of narrative space for the architecture of information environments – Peter Anders Crystal Palace to Media Museum: a conceptual framework for experience and sight – Kylie Message Disturbing Territories – Shaun Murray Being @ Installations: the space-time of technoetics – Royden Hunt Evolutionary Algorithms in Support of Architectural Ground Plan Design – Tomor Elezkurtaj Mind Theory 155 There is no Intelligence – Ted Krueger Toward a Theory of Creative Inklings – Liane Gabora The Bicameral Mind and the Split-Brain Human Computer Interface – Gregory P Garvey Attractors and Vectors: the nature of the meme in visual art – Nicholas Tresilian Geo-Aesthetics of Quasi-Objects – Milan Jaros A Quantum Mechanical Model of Consciousness – John Cowley Conceptor: a model of selected consciousness features including emergence of basic speech structures in early childhood – Konrad R. Fialkowski and Boleslaw K. Szymanski The Twin-Data-Stream Theory of Consciousness – Paul Ableman Kantian Descriptive Metaphysics and Artificial Consciousness – Susan A.J.Stuart and Chris H. Dobbyn Towards a Physics of Subjectivity – Stephen Jones Preface The articles in this book are written by artists and scientists presenting papers at the Third International CAiiA-STAR Research Conference, Consciousness Reframed, at the University of Wales College, Newport (UWCN) in August 2000. The work of CAiiA-STAR <caiia-star.net> embodies artistic and theoretical research in new media and telematics, including aspects of artificial life, telepresence, immersive VR, robotics, technoetics, non linear narrative, ubiquitous computing, performance, computer music, and intelligent architecture, involving a wide range of technological systems, interfaces, and material structures. As such it can be seen as a microcosm of a widely based and complex field which is developing internationally. While this means that a great diversity of issues are addressed, it is possible to discern a common thread in the emergent discourse of this field. This commonality of ideas embraces a radical rethinking of the nature of consciousness, awareness, cognition and perception, with mind as both the subject and the object of art. As in our previous book, Reframing Consciousness, the approaches represented here are multidisciplinary and multicultural, offering many dynamic, compelling and provocative strategies, imaginative projects and creative lines of inquiry. Their purpose is to identify key questions rather than to provide definitive answers, to pursue creative implications rather than prescriptive explanations. Within a technological context, the book addresses contemporary theories of consciousness, subjective experience, the creation of meaning and emotion, the modalities of the senses, and relationships between cognition and location. Its focus is both on and beyond the digital culture, seeking to embrace the world of neurons and molecules, and to assimilate new ideas emanating from the physical sciences. At the same time spiritual aspects of human experience are considered along with the artistic implications of non- ordinary states of awareness. For additional information on the authors, please consult the Intellect website <www.intellectbooks.com>, and the last page of this book for their email details. Roy Ascott Director – CAiiA-STAR 1 Beyond Boundaries Edge-Life: technoetic structures and moist media Roy Ascott Life @ the edge of the Net Just as the development of interactive media in the last century transformed the world of print and broadcasting, and replaced the cult of the objet d’art with a process-based culture, so at the start of this century we see a further artistic shift, as silicon and pixels merge with molecules and matter. And just as broadcast radio, TV and the interactivity of the Net changed entirely the way we lived at the end of the 20th century, so now in daily life, our habits, attitudes and ambitions are undergoing a further transformation. We can call this Edge-Life since we are re-defining completely our identity, our social structures, and our picture of the world, here at the edge of the Net where the virtual flows seamlessly into the actual, the transient into the fixed, and the metaphysical into the material. Between the dry world of virtuality and the wet world of biology lies a moist domain, a new interspace of potentiality and promise. I want to suggest that Moistmedia (comprising bits, atoms, neurons, and genes) will constitute the substrate of the art of our new century, a transformative art concerned with the construction of a fluid reality. This will mean the spread of intelligence to every part of the built environment coupled with recognition of the intelligence that lies within every part of the living planet. This burgeoning awareness is technoetic: techne and gnosis combined into a new knowledge of the world, a connective mind that is spawning new realities and new definitions of life and human identity. This mind will in turn seek new forms of embodiment and of articulation. At the same time, as we seek to enable intelligence to flow into every part of our manmade environment, we recognise that Nature is no longer to be thought of as ‘over there’, to be viewed in the middle distance, benign or threatening as contingency dictates. It is no longer to be seen as victim ecology, fragile or fractious, according to our mode of mistreatment. Technology is providing us with the tools and insights to see more deeply into its richness and fecundity, and above all to recognise its sentience, and to understand how intelligence, indeed, consciousness, pervades its every living part. The mind of Gaia, set in de Chardin’s noosphere, is becoming amplified and perhaps transformed by the technoetic effects of human connectivity, ubiquitous computing and other far-reaching consequences of the Net. But, as multimedia gives way to moistmedia, and interactive art takes on a more psychoactive complexion, consciousness remains the great mysterium, just as intelligent artificial life remains the great challenge. For some years now artists working at the edge of the Net have been exploring the nature of consciousness and the potential
Load more

Recommended publications
  • Cartography and Mapping Visualizations—A Genealogy of Space
    THE PARSONS INSTITUTE 68 Fifth Avenue 212 229 6825 FOR INFORMATION MAPPING New York, NY 10011 piim.newschool.edu and artists, such as Buckminster Fuller and Roy Ascott,2 Cartography and Mapping developing devices for territorial knowledge and research- Visualizations—A Genealogy ing the common social understandings under a single, self- of Space: Digitization and Visual comparative, world map. Artist Ursula Biemann also maps matters on geopolitics, mineral resources, and material Representation of Knowledge as Art wars. In her work, she depicts the artist as a change-agent who can help solve problems for society using archives, LAURA GARCIA, MA libraries, and databases. One such example she presents is the history of the Caucasus/Caspian crude oil and gas pipelines that travel KEYWORDS Art and memory, art and technology through East/Middle East roads. This is a geopolitical awareness, genealogy of space, phenomenology, artwork that contributes to developing the aesthetics psychogeography, visual displacement of spaces. Considering artworks using mapping, docu- mental, archives, or databases. These strategies for DATE 2012–2013 social observation can be artistically rendered as car- tographic, databases, or other mapping formats. These URL http://cartographies-of-non-place.blogspot.co.uk/ representational systems can be said to include examples from video.art to net.art, and belong to communication ABSTRACT Since the end of the Cold War art and technol- and social sciences. Using documents and aesthetics of ogy awareness theory has emerged in response to concur- process, art, and language artworks based upon extensive rently developing forms of new media. This theory re- lists, alphabetical orders, archives, etc., 1970s conceptual sponds to digitization as it arises out of analogue systems art tried to resolve the tensions between art and memory.
    [Show full text]
  • Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
    CONTENTS 6 28—29 Foreword SOS – Save Our Sculpture 8—11 30—31 Brave Art For A Brave New World Out There Now 12—15 32—33 Harlow Sculpture Town Get Involved 16—17 34 Art For The People Acknowledgements 18—19 Private Public Art 20—21 City Sculpture Project All images and text are protected by copyright. No part of this book may be reprinted or reproduced 22—23 in any form or by any electronic means, without written permission of the publisher. © Historic England. Sculpitecture All images © Historic England except where stated. Inside covers: Nicholas Monro, King Kong for 24—27 the City Sculpture Project, 1972, the Bull Ring, Our Post-War Public Art Birmingham. © Arnolfini Archive 4 Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow Out There: Our Post-War Public Art 5 FOREWORD Winston Churchill said: “We shape our buildings and afterwards our buildings shape us”. The generation that went to war against the Nazis lost a great many of their buildings – their homes and workplaces, as well as their monuments, sculptures and works of art. They had to rebuild and reshape their England. They did a remarkable job. They rebuilt ravaged cities and towns, and they built new institutions. From the National Health Service to the Arts Council, they wanted access-for-all to fundamental aspects of modern human life. And part of their vision was to create new public spaces that would raise the spirits. The wave of public art that emerged has shaped the England we live in, and it has shaped us.
    [Show full text]
  • The Cybernetic Brain
    THE CYBERNETIC BRAIN THE CYBERNETIC BRAIN SKETCHES OF ANOTHER FUTURE Andrew Pickering THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON ANDREW PICKERING IS PROFESSOR OF SOCIOLOGY AND PHILOSOPHY AT THE UNIVERSITY OF EXETER. HIS BOOKS INCLUDE CONSTRUCTING QUARKS: A SO- CIOLOGICAL HISTORY OF PARTICLE PHYSICS, THE MANGLE OF PRACTICE: TIME, AGENCY, AND SCIENCE, AND SCIENCE AS PRACTICE AND CULTURE, A L L PUBLISHED BY THE UNIVERSITY OF CHICAGO PRESS, AND THE MANGLE IN PRAC- TICE: SCIENCE, SOCIETY, AND BECOMING (COEDITED WITH KEITH GUZIK). THE UNIVERSITY OF CHICAGO PRESS, CHICAGO 60637 THE UNIVERSITY OF CHICAGO PRESS, LTD., LONDON © 2010 BY THE UNIVERSITY OF CHICAGO ALL RIGHTS RESERVED. PUBLISHED 2010 PRINTED IN THE UNITED STATES OF AMERICA 19 18 17 16 15 14 13 12 11 10 1 2 3 4 5 ISBN-13: 978-0-226-66789-8 (CLOTH) ISBN-10: 0-226-66789-8 (CLOTH) Library of Congress Cataloging-in-Publication Data Pickering, Andrew. The cybernetic brain : sketches of another future / Andrew Pickering. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-226-66789-8 (cloth : alk. paper) ISBN-10: 0-226-66789-8 (cloth : alk. paper) 1. Cybernetics. 2. Cybernetics—History. 3. Brain. 4. Self-organizing systems. I. Title. Q310.P53 2010 003’.5—dc22 2009023367 a THE PAPER USED IN THIS PUBLICATION MEETS THE MINIMUM REQUIREMENTS OF THE AMERICAN NATIONAL STANDARD FOR INFORMATION SCIENCES—PERMA- NENCE OF PAPER FOR PRINTED LIBRARY MATERIALS, ANSI Z39.48-1992. DEDICATION For Jane F. CONTENTS Acknowledgments / ix 1. The Adaptive Brain / 1 2. Ontological Theater / 17 PART 1: PSYCHIATRY TO CYBERNETICS 3.
    [Show full text]
  • Get Smart with Art Is Made Possible with Support from the William K
    From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Systems in the Post-War Art School: Basic Design, Groundcourse and Hornsey Catherine Sloan VOLUME I PhD The University of Edinburgh 2013 1 THE UNIVERSITY OF EDINBURGH ABSTRACT OF THESIS Regulation 3.1.14 of the Postgraduate Assessment Regulations for Research Degrees refers These regulations are available via: http://www.ed.ac.uk/schools-departments/academic- services/policies-regulations/regulations/assessment Name of Candidate: Catherine Sloan Address : 10/2 Dalmeny Street, Edinburgh Postal Code: EH6 8RA Degree: Doctor of Philosophy Title of Thesis: Systems in the Post-War Art School: Basic Design, Groundcourse and Hornsey No. of words in the main text of Thesis: 85,000 This thesis makes the first sustained attempt to locate post-war British art school pedagogy in relation to systems-inspired cultural practice after World War II.
    [Show full text]
  • Art Trails in Alabama Public Art Members Alabama State Council on the Arts
    ALABAMA Volume XXI, Number 2ARTS Art Trails in Alabama Public Art Members Alabama State Council on the Arts BERNICE PRICE CHAIRMAN Montgomery REBECCA T. B. QUINN VICE CHAIRMAN Huntsville FRANK HELDERMAN SECRETARY Florence EVELYN ALLEN Birmingham JULIE HALL FRIEDMAN Fairhope RALPH FROHSIN, JR. Alexander City DOUG GHEE Anniston ELAINE JOHNSON Dothan DORA JAMES LITTLE Auburn JUDGE VANZETTA PENN MCPHERSON Montgomery VAUGHAN MORRISSETTE Mobile DYANN ROBINSON Tuskegee JUDGE JAMES SCOTT SLEDGE Gadsden CEIL JENKINS SNOW Birmingham CAROL PREJEAN ZIPPERT Eutaw Opinions expressed in AlabamaArts do not necessarily reflect those of the Alabama State Council on the Arts or the State of Alabama. ALABAMAARTS In this Issue Volume XXI Public Art Trails in Alabama Number 2 Public Art in Alabama 3 Al Head, Executive Director, ASCA 4 Discovering Public Art: Public Art Trails in Alabama Georgine Clarke, Visual Arts Program Manager, ASCA 6 Continuing the Trail New Deal Art in Alabama Post Offices 42 and Federal Buildings On the cover: Roger Brown Autobiography in the Shape of Alabama (Mammy’s Door) (recto), 1974 Oil on canvas, mirror, wood, Plexiglas, photographs, postcards, and cloth shirt 89 x 48 x 18 inches Collection of Museum of Contemporary Art, Chicago, gift of Maxine and Jerry Silberman Photography © Museum of Contemporary Art, Chicago ©The School of the Art Institute of Chicago and the Brown family. Roger Brown, (1941-1997) was born in Hamilton, Alabama and later moved to Opelika. From the 1960’s he made his home in Chicago, where he graduated from The School of the Art Institute of Chicago and played a significant role in the city’s art scene for over 30 years as one of the Chicago Imagist artists.
    [Show full text]
  • TEFAF Catalogue, Entitled Sei (Awakening), Marks the Kanata Aesthetic, and We Are Proud to Have Represented Him for Over 25 Years
    TEFAF MAASTRICHT 2021 TEFAF 2021 A LIGHTHOUSE A LIGHTHOUSE CALLED KANATA CALLED KANATA TEFAF Maastricht 2021 11th - 19th September Early Access (9th) VIP Preview (10th) Our Raison D'etre Yufuku Gallery ended its 27 years of existence in June 2020, and from its ashes was borne Indeed, a foreign audience has long supported Japanese aesthetics, and were often the first A Lighthouse called Kanata. to pick up on the beauty of things that the Japanese themselves could not see. Ukiyoe, Jakuchu, the Gutai School and the Mono-ha, Sugimoto, Kusama … these Japanese artists Kanata means “Beyond” or “Far Away” in Japanese, a romantic ideal imbued by the two and movements were virtually forgotten within Japan, yet had garnered global recognition CLAY GLASS characters that comprise it, literally meaning “Towards” and “You.” Towards you, I wish by its appreciation in Europe and America. Likewise, by highlighting Japanese aesthetics to be, but you are far away. This is a quintessentially Japanese ideal, filled with ambiguity outside of Japan, we hope for greater recognition of today’s artists by those who are willing Sueharu Fukami 8 Niyoko Ikuta 24 and nuance. to support them. And ultimately, it is our hope that such international recognition will go on to influence Japanese audiences, thereby reintroducing and reimporting our aesthetics Ken Mihara 10 Sachi Fujikake 26 Like much in our language, it gives the impression that you, of all persons, is far from me, within and throughout Japan. This will then lead to instil in future generations the beauty Keizo Sugitani 12 Masaaki Yonemoto 28 and yet, we long and yearn to be together.
    [Show full text]
  • London's Urban Landscape
    London’s Urban Landscape London’s London’s Urban Landscape is the first major study of a global city to adopt a materialist perspective and stress the significance of place and the built environment to the urban landscape. Edited by Christopher Tilley, the volume is inspired by phenomenological thinking and presents fine-grained ethnographies of the practices of everyday life in London. In doing so, it charts a unique perspective on the city that integrates ethnographies of daily life with an analysis of material culture. The first part of the volume considers the residential sphere of urban life, discussing in detailed case studies ordinary residential streets, housing estates, suburbia and London’s mobile ‘linear village’ of houseboats. The second part analyses the public sphere, including ethnographies of markets, a park, the social rhythms of a taxi rank, and graffiti and street art. London’s Urban Landscape returns us to the everyday lives of people and the manner in which they understand their lives. The deeply sensuous character of the embodied experience of the city is invoked in the thick descriptions of entangled relationships between people and places, and the paths of movement between them. What stories do door bells and house facades tell us about contemporary life in a Victorian terrace? How do antiques acquire value and significance in a market? How does living in a concrete megastructure relate to the lives of the people who dwell there? These and a host of other questions are addressed in this fascinating book that will London’s appeal widely to all readers interested in London or contemporary urban life.
    [Show full text]
  • 1 Survey-Dada
    A&EMSURVEY.qxd 1/10/08 17:51 Page 4 Phaidon Press Limited Regent's Wharf All Saints Street London N1 9PA Phaidon Press Inc. ART AND ELECTRONIC 180 Varick Street New York, NY 10014 www.phaidon.com First published 2009 © 2009 Phaidon Press Limited All works © the artists or the estates of MEDIA the artists unless otherwise stated. ISBN: 0 7148 4782 8 A CIP catalogue record of this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of Phaidon Press. Designed by Hoop Design Printed in Hong Kong cover, Ben Rubin and Mark Hansen Listening Post 2001–03 inside flap, James Turrell Catso, Red, 1967, 1994 pages 2–3 Robert Rauschenberg with Billy Klüver Soundings 1968 page 4 Charlotte Moorman and Nam June Paik TV Bra 1975 back cover and spine, interior page, Tanaka Atsuko Electric Dress 1957 EDITED BY EDWARD A. SHANKEN A&EMSURVEY.qxd 1/10/08 17:51 Page 6 CHARGED ENVIRONMENTS page 96 PREFACE EDWARD A. DOCUMENTS page 190 WORKS page 54 LE CORBUSIER, Iannis XENAKIS, Edgard VARÈSE Philips Pavilion, 1958 page 97 Carolee SCHNEEMANN with E.A.T. Snows, 1967 page 98 John CAGE Imaginary Landscape No. 4 (1951), 1951 page 99 SHANKEN page 10 MOTION, DURATION, ILLUMINATION MOTION, DURATION, ILLUMINATION PULSA Boston Public Gardens Demonstration, 1968 page 100 Frank GILLETTE and Ira SCHNEIDER Wipe Cycle, 1968 page 100 page 55 Robert RAUSCHENBERG with Billy KLÜVER Soundings, 1968 page 100 László MOHOLY-NAGY Light-Space Modulator, 1923–30 page 55 page 193 Wolf VOSTELL and Peter SAAGE Electronic Dé-Coll/age Happening Room (Homage à Dürer), 1968 page 101 Naum GABO Kinetic Construction (Standing Wave), 1919–20 page 56 Ted VICTORIA Solar Audio Window Transmission, 1969–70 page 102 Thomas WILFRED Opus 161, 1965–6 page 57 Wen-Ying TSAI with Frank T.
    [Show full text]
  • The History of John Bull
    The History of John Bull John Arbuthnot Project Gutenberg Etext of History of John Bull, by J. Arbuthnot Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. *It must legally be the first thing seen when opening the book.* In fact, our legal advisors said we can't even change margins. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. Title: The History of John Bull Author: John Arbuthnot May, 2001 [Etext #2643] Project Gutenberg Etext of History of John Bull, by J. Arbuthnot ******This file should be named jhnbl10.txt or jhnbl10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, jhnbl11.txt VERSIONS based on separate sources get new LETTER, jhnbl10a.txt This eText was prepared by Les Bowler, St. Ives, Dorset. Project Gutenberg Etexts are usually created from multiple editions, all of which are in the Public Domain in the United States, unless a copyright notice is included. Therefore, we usually do NOT keep any of these books in compliance with any particular paper edition. We are now trying to release all our books one month in advance of the official release dates, leaving time for better editing.
    [Show full text]
  • Art in the Information Age: Technology and Conceptual
    S A I N G D Art in the Information Age: G R C A U P L H T Technology and Conceptual Art U A R R E T A B S T R A C T Edward A. Shanken Art historians have generally drawn sharp distinctions be- tween conceptual art and art- and-technology. This essay reexamines the interrelationship of these tendencies as they developed in the 1960s, focus- n the mid-1960s, Marshall McLuhan prophesied protocols of computer software and ing on the art criticism of Jack I Burnham and the artists in- that electronic media were creating an increasingly intercon- the increasingly “dematerialized” cluded in the Software exhibition nected global village. Such pronouncements popularized the forms of experimental art, which that he curated. The historiciza- idea that the era of machine-age technology was drawing to a the critic interpreted, metaphori- tion of these practices as close, ushering in a new era of information technology. Sens- cally, as functioning like informa- distinct artistic categories is ing this shift, Pontus Hultén organized a simultaneously nos- tion processing systems. Software examined. By interpreting talgic and futuristic exhibition on art and mechanical included works by conceptual artists conceptual art and art-and- technology as re¯ections and technology at the Museum of Modern Art in New York such as Les Levine, Hans Haacke constituents of broad cultural (MOMA) in 1968. The Machine: As Seen at the End of the Me- and Joseph Kosuth, whose art was transformations during the chanical Age included work ranging from Leonardo da Vinci’s presented beside displays of tech- information age, the author 16th-century drawings of !ying machines to contemporary nology including the "rst public ex- concludes that the two tenden- cies share important similarities, artist-engineer collaborations selected through a competition hibition of hypertext (Labyrinth, an and that this common ground organized by Experiments in Art and Technology, Inc.
    [Show full text]
  • MEMORIAL TEXT NARRATIVES in BRITAIN C.1890-1930
    MEMORIAL TEXT NARRATIVES IN BRITAIN c.1890-1930 by SONIA LETITIA BATTEN A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Medieval and Modern History School of Historical Studies The University of Birmingham March 2011 ABSTRACT This thesis seeks to explore the memorial texts that developed as a result of the First World War, composed primarily by those whose sons, husbands and fathers had died between 1914 and 1918. Visitors to the military cemeteries of the First World War are interested to read the inscriptions left by the bereaved at the foot of individual headstones, yet this aspect of post-war commemoration is still largely unexplored. This thesis seeks to explore these responses: by considering the process through which the bereaved were permitted to select inscriptions, the sources from which they derived consolation, and the narratives that they pursued throughout the post-war period to 1930. Parallel to these permanent headstone inscriptions are considered the ephemeral commemoration of the newspaper in memoriam column, a source of material that has received scant attention but which promises a rich glimpse into the conventions of early-twentieth-century mourning – conventions which are still resonant almost a century after the First World War broke out. To contextualise post- war responses, the thesis introduces commemorative practices used to remember those who died in the South African War and in the sinking of the Titanic, many of which were used again in the aftermath of 1918. ACKNOWLEDGEMENTS I would like to thank the following individuals and members of the following institutions for their help and advice.
    [Show full text]