| 000 | 07308cam a2200541 i 4500 | ||
|---|---|---|---|
| 003 | OCoLC | ||
| 005 | 20230526151404.0 | ||
| 008 | 160325s2016 enk b 001 0 eng d | ||
| 010 | _a 2016014554 | ||
| 011 | _aMARC Score : 10750(22250) : OK | ||
| 011 | _aDirect Search Result | ||
| 020 |
_a0262529343 _qpbk. (alk. paper) |
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| 020 |
_a9780262529341 _qpbk. (alk. paper) |
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| 020 | _a0854882480 | ||
| 020 | _a9780854882489 | ||
| 035 | _a(ATU)b20647748 | ||
| 035 | _a(OCoLC)945730189 | ||
| 037 |
_a174280 _bWorldwide Books |
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| 040 |
_aDLC _beng _erda _cDLC _dBDX _dYDXCP _dBTCTA _dOCLCF _dERASA _dYDX _dUAB _dCNNGC _dCAD _dPAU _dUKWOH _dP4A _dUBY _dUZ0 _dOCLCO _dLIP _dATU |
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| 042 | _apcc | ||
| 050 | 0 | 0 |
_aN6490 _b.I463 2016 |
| 082 | 0 | 0 |
_a709.04 _223 |
| 099 | _a709.04 INF | ||
| 245 | 0 | 0 |
_aInformation / _cedited by Sarah Cook. |
| 264 | 1 |
_aLondon : _b: _bWhitechapel Gallery ; _aCambridge, Massachusetts : _bThe MIT Press, _c2016. |
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| 300 |
_a237 pages ; _c21 cm. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_aunmediated _bn _2rdamedia |
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| 338 |
_avolume _bnc _2rdacarrier |
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| 490 | 1 | _aDocuments of contemporary art | |
| 504 | _aIncludes bibliographical references and index. | ||
| 505 | 0 | _aInformation that matters -- Information as environment -- Information embodied -- Information overload and its discontents -- What information wants -- | |
| 505 | 0 | _aINFORMATION AS MATTER. Aspects of telecommunications, 1992 / Eduardo Kac -- The information society, 2009 / Robin Mansell -- Fluxus as a laboratory, 1998 / Craig Saper -- Art in-formation: American art under the impact of new media culture, 2013 / Ursula Anna Frohne -- On projects of the 1970s, 2011 / David Askevold -- The dilemma of categories and the overdetermination of a business practice: N.E. Thing Co., 2010 / David Tomas -- 'Information' press release, 1970 / Elizabeth R. Shaw -- Information fall-out, 1971 / Les Levine -- THE INFORMATIONAL MILIEU. From over- to sub-exposure: The anamnesis of 'Les Immatériaux', 2009 / Antony Hudek -- The exhibition as emulator, 1999 / Jorinde Seijdel -- Contemporary art as 'Immateriaux', yesterday and today, 2015 / Francesco Gallo -- Primary devices, 1988 / Tom Sherman -- Jenny Holzer at the Guggenheim, 1990 / Peter Schjeldahl -- Congestion in the data flow: Erhan Muratoglu, I/O interface overbloated, 2006 / Basak Senova -- Error/Glitch/Noise: Observations on aesthetic forms of failure, 2013 / Charu Maithani -- Beacon, 2005- / Thomson & Craighead -- | |
| 505 | 0 | _aINFORMATION'S MODALITIES. Information economy, 2005 / Felix Stalder -- Involuntary flows and involuntary memory: In conversation with Arjun Mulder, 2003 / Scott Lash -- One thing leads to another, 1996 / Stephen Willats -- Moving between the past-present-future, 1997 / Stephen Willats -- I get tired, 2001 / Tom Sherman -- Nicetalky: In conversation with Poolside, 2002 / Elizabeth Vander Zaag -- Visualizing net activity: Stelarc, 2002 / Stephen Wilson -- Break the law of information: Notes on search engines and natural selection, 2003 / Matthew Fuller -- Solid seas and digital constellations, 2016 / Srinivas Aditya Mopidevi -- A life in AdWords, algorithms and data exhaust: In conversation with Marc Garrett, 2013 / Erica Scourti -- TOO MUCH INFORMATION. Communication: 44 statements, 1995 / Guy Bleus -- The artist's use of telecommunications, 1984 / Eric Gidney -- The world in 24 hours, 1982 / Robert Adrian X -- In conversation with Sarah Cook, 2003 / Heath Bunting -- The economy of art in the information age, 1998 / Armin Medosch -- Hacking the Xerox alphabet, 1996 / Arthur & Marilouise Kroker -- Consume without a screen, 2011 / Alessandro Ludovico -- A hacker manifesto, 2004 / McKenzie Wark -- On Wikipedia, cultural patrimony and historiography, 2010 / James Bridle -- Information and knowledge, 2005 / Suhail Malik -- In conversation with Sarah Cook, 2000 / Friedrich Kittler -- | |
| 505 | 0 | _aIn conversation with Gianfranco Mantegna, 1992 / Muntadas -- Muntadas: On translation: The internet project, 2002 / Benjamin Weil -- National heritage turns to InfoWar, 1998 / Mongrel/Harwood -- Civil networking in a hostile environment, 2000 / Veran Matic -- Linkania: The hyperconnected multitude, 2005 / Hernani Dimantas -- On the New York Times 'special edition', 2008 / Steve Lambert and the Yes Men -- Digital, aesthetic, ephemeral: A brief look at image and narrative, 2014 / Sheyma Buali -- Ami Clarke and Richard Cochrane: 'Low animal spirits', 2014 / Lizzie Homersham -- WHAT INFORMATION WANTS. Information: No theory, 1970 / Christine Kozlov -- Calling all agents, 2004 / International Necronautical Society -- A new public sphere, 2010 / Felix Stalder -- 1:1, 2002 / C5 -- The graph as landscape: Reflections on making packet-garden, 2008 / Julian Oliver -- Treaty card, 2004 / Cheryl L'Hirondelle -- A hole in the brain of the machine, 2000 / Marina Grzinic -- The database imaginary: Memory_Archive_Database, version 4.0, 2007 / Steve Dietz -- The goal is to transform a given zone: In conversation with Perspektive, 2002 / Young-Hae Chang Heavy Industries -- Ebay longing: Project notes, 2004 / Angie Waller -- In conversation with Domenico Quaranta, 2010 / Oliver Laric -- Closed circuit, 2012 / Steve Rushton and Rod Dickinson. | |
| 520 | _a"This anthology provides the first art-historical reassessment of information-based art in relation to data structures and exhibition curation. It examines such landmark exhibitions as "Information" at The Museum of Modern Art, New York, in 1970, and the equally influential "Les Immatériaux," initiated by the philosopher Jean-François Lyotard at the Centre Pompidou, Paris, in 1984. It reexamines work by artists of the 1960s to early 1980s, from Les Levine and N.E. Thing Co. to General Idea and Jenny Holzer, whose prescient grasp of information's significance resonates today. It also reinscribes into the narrative of art history technologically critical artworks that for years have circulated within new media festivals rather than in galleries. While information science draws distinctions between "information," signals, and data, artists from the 1960s to the present have questioned the validity and value of such boundaries. Artists have investigated information's materiality, in signs, records, and traces; its immateriality, in hidden codes, structures, and flows; its embodiment, in instructions, social interaction, and political agency; its overload, or uncontrollable excess, challenging utopian notions of networked society; its potential for misinformation and disinformation, subliminally altering our perceptions; and its post-digital unruliness, unsettling fixed notions of history and place."--The publisher. | ||
| 650 | 0 |
_aArt, Modern _y20th century _xThemes, motives. _9314054 |
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| 650 | 0 |
_aArt, Modern _y21st century _xThemes, motives. |
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| 650 | 0 |
_aInformation behavior. _9331633 |
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| 700 | 1 |
_aCook, Sarah, _d1974- _eeditor. _9447496 |
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| 730 | 0 | _aInformation (M.I.T. Press) | |
| 776 | 1 | 8 | _w(OCoLC)959030966 |
| 830 | 0 |
_aDocuments of contemporary art series. _9250194 |
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