EXPOSIÇÃO MACHINE ART, MOMA, 1934: O ARTEFACTO DE USO EXPOSTO NO MUSEU

2021 ◽  
pp. 140-170
Author(s):  
António Bernardo Mendes de Seiça da Providência
Keyword(s):  
Machine Art

Speech recognition by machine—art or science?

1971 ◽  
Vol 17 (8) ◽  
pp. 302 ◽  
Author(s):  
R.W.A. Scarr
Keyword(s):  
Speech Recognition ◽  
Machine Art

scholarly journals Survival Research Laboratories: A Dystopian Industrial Performance Art

Arts ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 17
Author(s):  
Nicolas Ballet
Keyword(s):  
Performance Art ◽  
Mechanical Performance ◽  
Common Interest ◽  
The Novel ◽  
Performance Group ◽  
Leading Role ◽  
Industrial Culture ◽  
Industrial Performance ◽  
Machine Art ◽  
Group Survival

This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash! by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge.

The recording machine: art and fact during the Cold War

The Sixties ◽  
2018 ◽  
Vol 11 (1) ◽  
pp. 126-128
Author(s):  
Ina Blom
Keyword(s):  
Cold War ◽  
Machine Art ◽  
The Cold War

Ecology Machine

2017 ◽  
Author(s):  
Andreas Broeckmann
Keyword(s):  
Human Body ◽  
Ecological Crisis ◽  
Ecological Art ◽  
Joseph Beuys ◽  
Systemic Factors ◽  
Machine Art ◽  
Neutral Media ◽  
The 1960S ◽  
Environmental Understanding

The final chapter develops the hypothesis that towards the end of the twentieth century there is a fundamental shift in the understanding of the machine, and thus also of machine art. This shift is effected by the emergence, since the 1960s, of the paradigms of systems thinking and of ecology which conceive nature, the environment as well as the human body as systemic factors and inscribe them into a technological understanding of the world. The chapter looks at early examples of ecological art, especially by Joseph Beuys, Hans Haacke, and Otto Piene, which show how closely related are the conceptions of ecology and technology in their works. Detailed analyses of later works by Knowbotic Research, Marko Peljhan and Seiko Mikami show how the systemic, environmental understanding of technology increasingly decouples the relation of machine and human subjectivation. Seiko Mikami’s work in particular questions the position of the human body and its faculties in relation to technical systems which in her installations change from being neutral media interfaces into autonomous, solitary machine subjects, articulating the “ecological” crisis of the machine as a crisis of human subjectivity.

Creating “(Social) Network Art” with NodeXL

2017 ◽  
pp. 342-393
Author(s):  
Shalin Hai-Jew
Keyword(s):  
Social Media ◽  
Big Data ◽  
Social Network ◽  
Network Analysis ◽  
Web 2.0 ◽  
Data Visualization ◽  
Network Graph ◽  
Social Media Platforms ◽  
Machine Art ◽  
Social Sharing

If human-created objects of art are historically contingent, then the emergence of (social) network art may be seen as a product of several trends: the broad self-expression and social sharing on Web 2.0; the application of network analysis and data visualization to understand big data, and an appreciation for online machine art. Social network art is a form of cyborg art: it melds data from both humans and machines; the sensibilities of humans and machines; and the pleasures and interests of people. This chapter will highlight some of the types of (social) network art that may be created with Network Overview, Discovery and Exploration for Excel (NodeXL Basic) and provide an overview of the process. The network graph artwork presented here were all built from datasets extracted from popular social media platforms (Twitter, Flickr, YouTube, Wikipedia, and others). This chapter proposes some early aesthetics for this type of electronic artwork.

Machine-Age Exposition (New York, 1927)

2018 ◽  
Author(s):  
Antoniette M. Guglielmo
Keyword(s):  
New York ◽  
Mass Production ◽  
Technological Progress ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Industrial Arts ◽  
Machine Age ◽  
Commercial Space ◽  
Machine Art

The Machine-AgeExposition took place from 16–28 May 1927 at 119 West 57th Street in Steinway Hall, a commercial space in Manhattan, New York. It exposed the American public to the machine-age aesthetic: a modernist style based upon a belief in technological progress. The style emphasized the qualities of mass production, streamlined design, functionality, dynamism, and force. Jane Heap (1883–1964) of the Little Review Gallery was the main organizer, bringing together engineers and artists to rally momentum for this strain of modernist art. The installation juxtaposed works of architecture, engineering, industrial arts, high-modernist painting, and sculpture in order to emphasize their "inter-relation and inter-influence," as advertised on the exposition flyer. The Machine-Age Exposition highlighted a commonality among these disciplines in their exaltation of the beauty of machinery and celebration of innovation and progress. The exposition celebrated the machine-age aesthetic, as did other exhibitions, most notably Machine Art (1929) at the Museum of Modern Art.

The Machine : Art of Craftmaster

2008 ◽  
Vol 111 (1081) ◽  
pp. 952-953
Author(s):  
Kazuhiro SUZUKI
Keyword(s):  
Machine Art

scholarly journals La pintura como huella: fotografía y pintura en la obra de Gerhard Richter.

2018 ◽  
pp. 264
Author(s):  
Víctor Murillo Ligorred
Keyword(s):  
Traditional Procedure ◽  
Palabras Clave ◽  
Gerhard Richter ◽  
Machine Art ◽  
The 1960S ◽  
Abstract Work ◽  
A Current ◽  
Present Text

El presente texto aborda la cuestión del concepto de índex en la obra pictórica de Gerhard Richter. Esta cualidad de lo fotográfico revierte en la pintura abstracta de los años ochenta en tanto que huella. Para ello, primero se analiza el índex desde la mecanicidad, la tecnicidad y el antiestilo, con el que Richter trabaja sus obras. Para después, analizar cómo el índex, desde su categoría de huella, muestra el rastro de los aparatos por los que fue creado el cuadro. Richter traslada al mundo de la pintura la técnica fotográfica, entrando en un debate de lo fotográfico por la vía de la suplantación de lo pictórico. Un análisis que justifica sus modos de hacer y explica la naturaleza mecánica de sus pinturas. Palabras clave Índex, fotografía, pintura, Gerhard Richter, anti estilo Abstract The present text approaches the work of Gerhard Richter in terms of footprint or index, concept by which better understand the ways of painting of the German artist from 1962. For do this, we analyze how the concept of index works both in the photo-paintings of the 1960s and in the abstract work of the eighties and nineties. It is studied how their ways of doing have to do with a machine art and not with the traditional procedure of painters to create paintings. Afterwards, the debate focuses on the technicality, the mechanicity and the anti-style characteristic of the photo-paintings and the abstract paintings understood as a footprint, far from conventional painting and without any type of artifice. A current reading on the iconic that explores the new languages of the artistic from the mechanicity of the technique in the slide that arises from the photographic to the pictorial. Keywords Índex, photografy, painting, Gerhard Richter, anti-style

Epilogue: Fantasies of Destruction

2017 ◽  
Author(s):  
Andreas Broeckmann
Keyword(s):  
Human Power ◽  
Paul Virilio ◽  
Creative Art ◽  
Machine Art ◽  
Critical Discourses

The short epilogue of this book on machine art revisits some of the key themes of the book by introducing the accident as a notion that features not only in critical discourses on technology like that of French theoretician Paul Virilio, but also in a variety of artistic practices. Gustav Metzger’s concept of “auto-destructive art” marks a prominent example of the critical stance that artists have taken against the imagined, destructive and anti-human power of technology. The author reflects on the question why Metzger’s promise of a “machine art” that would articulate auto-destructive and auto-creative art, remained unfulfilled. By way of conclusion, it speculates whether the experimental machine artworks by Austrian artist Herwig Weiser provide this articulation by questioning the very logic of technics and by inventing alternative techno-logics for the materials and concepts of a contemporary technoculture.

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