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This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott’s training and early work. The second park looks solely at Groundcourse, Ascott’s extraordinary pedagogical model for visual arts and cybernetics which used an integrative and systems-based model, drawing in behaviourism, analogue machines, performance and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.
The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations-from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.
This is the first full-length study about the British artist Roy Ascott, one of the first cybernetic artists, with a career spanning seven decades to date. The book focuses on his early career, exploring the evolution of his early interests in communication in the context of the rich overlaps between art, science and engineering in Britain during the 1950s and 1960s. The first part of the book looks at Ascott's training and early work. The second park looks solely at Groundcourse, Ascott's extraordinary pedagogical model for visual arts and cybernetics which used an integrative and systems-based model, drawing in behaviourism, analogue machines, performance and games. Using hitherto unpublished photographs and documents, this book will establish a more prominent place for cybernetics in post-war British art.
Working in 1970s Italy, a group of artists—namely Ugo La Pietra, Maurizio Nannucci, Francesco Somaini, Mauro Staccioli, Franco Summa, and Franco Vaccari—sought new spaces to create and exhibit art. Looking beyond the gallery, they generated sculptural, conceptual, and participatory interventions, called Arte Ambientale (Environmental Art), situated in the city streets. Their experiments emerged at a time of cultural crisis, when fierce domestic terrorism aggravated an already fragile political situation. To confront the malaise, these artists embraced a position of artistic autonomy and social critique, democratically connecting the city's inhabitants through direct art practices.
Promoting the expansion of art in society and education, this book highlights the significance of the arts as an instrument of social justice, inclusion, equity, and protection of the environment. Including twenty-seven diverse case studies of socially engaged art practice with groups like the Black Lives Matter movement, the LGBTQ community, and Rikers Island, this book guides art educators toward innovative, transdisciplinary, and diverse methodologies. A valuable resource on creating spaces for change, it addresses the relationships between artists and educators, museums and communities.
Play and the Artist’s Creative Process explores a continuity between childhood play and adult creativity. The volume examines how an understanding of play can shed new light on processes that recur in the work of Philip Guston and Eduardo Paolozzi. Both artists’ distinctive engagement with popular culture is seen as connected to the play materials available in the landscapes of their individual childhoods. Animating or toying with material to produce the unforeseen outcome is explored as the central force at work in the artists’ processes. By engaging with a range of play theories, the book shows how the artists’ studio methods can be understood in terms of game strategies.
Between the 1890s and the 1930s, movie going became an established feature of everyday life across America. Movies constituted an enormous visual data bank and changed the way artist and public alike interpreted images. This book explores modern painting as a response to, and an appropriation of, the aesthetic possibilities pried open by cinema from its invention until the outbreak of World War II, when both the art world and the film industry changed substantially. Artists were watching movies, filmmakers studied fine arts; the membrane between media was porous, allowing for fluid exchange. Each chapter focuses on a suite of films and paintings, broken down into facets and then reassembled to elucidate the distinctive art–film nexus at successive historic moments.
This book undertakes a critical reappraisal of Minimalism through an examination of three key painters: Robert Mangold, David Novros, and Jo Baer. By establishing their substantive engagements with Minimalist discourse, as well as their often overlooked artistic exchanges with their sculptor peers, it demonstrates that painting crucially informed the movement’s development, serving not only as an object of critique but also as a crucible for its most central tenets. It also poses broader disciplinary implications as it historicizes and challenges Minimalism’s "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts.
This is a lively and thought-provoking book about how to do creativity, unlock your potential, and make a difference. The artists, musicians, and writers we think of as ’very creative’ are just like us, except that they have spent time developing and realising ideas, and have found the confidence to share them with the world. None of this comes naturally. This wide-ranging book offers research, advice, and philosophy to fuel your understanding and passion for creativity. David Gauntlett draws on his own experiences of making music and experimenting with digital media alongside 25 years of researching creativity. Including insights from a diverse array of creators, this book highlights the vitality of the individual creative voice in a world where social media offers a weird mix of inspiration and suffocation, and our struggles for social justice are equally hopeful and upsetting. Creativity shows how vulnerability, experimentation, and courage can enable us to become bold and engaging creators.
This volume is a unique compendium of professional and practical knowledge on new paradigms and approaches in Teaching, Research, Innovation and Public Engagement that is currently missing from the Higher Education market. The intended audience includes healthcare, biomedical and physical sciences discipline specialists active in teaching, along with their students, science communicators associated with the above subjects and academics involved in relevant research/innovation. Its contents will be organised under the following three themes: 1) Scholarship of Teaching and Learning discussing pertinent knowledge, in this area, and inspiring educators to pursue similar medical humanities endeavours. The focus is on pedagogy/teaching including professional knowledge/expertise, reflections, literature reviews and evidence on a wide range of medical, biomedical and physical sciences topics interweaved with humanities. 2) Research and Innovation discussing novel work and paradigms as examples for future use/implementation. The focus is firstly on original research utilising cutting-edge technology and secondly on innovation with discussions around poetry and building communities. 3) Public Engagement discussing relevant science communication paradigms transferable to other settings and applications. The focus is on practical knowledge and examples from a wide range of healthcare and biomedical sciences topics interweaved with humanities while also exploring the hidden curriculum of public engagement and heritage practices through the lens of equality, diversity and inclusion. All chapter authors are renowned experts in their respective fields, who bring together a wealth of professional and practical knowledge, enriching the narrative of this edited book volume.