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Collaging Information: The Artist, the Librarian, the Artist/Librarian Several years after becoming a professional librarian in 1972, I became involved in Mail Art. This international network of cooperating artists has expanded my vision of both the world and the profession. Over the years, I have taken it upon myself to document various aspects of Mail Art, which would have remained unexamined without the involvement of someone both actively participating in the medium and in possession of professional research skills. In so doing, I have been able to integrate two important facets of my life.
Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.
An investigation of digital archiving as an integral technology of warfare and how artists respond to these changes. Digital and data technologies are actively transforming the archives of contemporary warfare. Bringing together a range of scholarly perspectives and artistic practices, (W)ARCHIVES investigates digital archiving as an integral technology of warfare and how artists respond to these changes. Throughout the book, the (w)archive emerges as a term to grasp the extended materiality of war today, wherein digital archiving intersects with images, bodies, senses, infrastructures, environments, memories, and emotions. The essays explore how this new digital materiality of war reconfigures the archival impulses that have shaped artistic practices over the last decades, and how archives can be mobilized to articulate political demands, conjure new forms of evidence, and make palpable the experience of living with war.
Introduced by Clive Phillpot, and including artists and writers such as Gustav Metzger, Bruce McLean, Barbara Steveni, John Latham, Barry Flanagan, Edward Burra, Penelope Curtis, and Neal White, "All This Stuff "breaks new ground in the field of archive theory. It documents the innovative ways in which the arts are challenging the distinctions, processes, and crossovers between artworks and archives. This critical reexamination exemplifies how the field of art archiving is changing theory and practice as well as our understanding of what an archive is, or could be. Valuable insights are given into the archival process and the book also explores how archives can be made accessible and the unpredictable ways in which they may be explored and reinterpreted in the future.
The journey through the creation of the groundbreaking video games continues with this breathtaking volume, featuring hundreds of pieces of concept art, design notes, and creator retrospectives from the original team behind the making of Final Fantasy X, Final Fantasy XI, Final Fantasy XII, Final Fantasy XIII, and Final Fantasy XIV. Art, commentary, and lore from a transformative era in the indispensable role-playing franchise, collected in a beautifully printed 300-plus-page hardcover. Foray into one of gaming's most iconic properties, exploring beautiful art and incisive commentary behind five of the most memorable entries in the Final Fantasy saga. Final Fantasy Ultimania Archive Volume 3 authentically translates original Japanese source material to present unparalleled access for a Western audience. This incredible tome is a must-have addition to any Final Fantasy enthusiast's collection.
Two works -- Conceptual and material aspects of media art -- Musical roots of performed and performative media -- Zen for film -- Changeability and multimedia art -- Time and conservation -- Heterotemporalities -- The material and the immaterial archive -- Archival implications -- Conclusion: the many archai of conservation and curation
Fluid access indicates the interminability of the processes of archiving performance-based arts and their continued transformation, as well as their repeated appropriation in exhibitions, reenactments and scientific analysis. Fluid access is based on processes of collecting and ordering as well as on various medial forms of recording. The readability of the archives artefacts is determined by their medial character. The international network that has evolved since 2009 with each edition of the online journal MAP media archive performance places these aspects at the center of its ongoing reflections. The exchange between artistic practice and scientific analysis highlights the importance of gaining fluid access to performance history. Including contributions from Ieva Astahovska, Gabriele Blome, Barbara B�scher, Daryl Chin, Barbara Clausen, Franz Anton Cramer, Scott deLahunta and Florian Jenett, Wolfgang Ernst, Ulrike Hanstein, Susanne Holschbach, Jana Hor�kov�, Barbora Klimov�, Babette Mangolte, Eric Morill, Andi Otto, Laurence Rassel, Heike Roms, Stefanie Schulte Strathaus, Otmar Wagner and Florian Feigl, Isa Wortelkamp.
On the leading edge of trauma and archival studies, this timely book engages with the recent growth in visual projects that respond to the archive, focusing in particular on installation art. It traces a line of argument from practitioners who explicitly depict the archive (Samuel Beckett, Christian Boltanski, Art & Language, Walid Raad) to those whose materials and practices are archival (Mirosław Bałka, Jean-Luc Godard, Silvia Kolbowski, Boltanski, Atom Egoyan). Jones considers in particular the widespread nostalgia for ‘archival’ media such as analogue photographs and film. He analyses the innovative strategies by which such artefacts are incorporated, examining five distinct types of archival practice: the intermedial, testimonial, personal, relational and monumentalist.
Everybody collects something, sometime. Many artists have discovered collecting and saving as a means of artistic expression and have made the storage of objects and information the subject of their work. This ranges from digital memory to rows and stacks of materials to shelves, packaging crates, installations, and entire areas filled with diverse objects stored systematically or in states of utter chaos.