Information art

Information art, which is also known as informatism or data art, is emerging artforms that are inspired by and principally incorporate data, computer science, information technology, artificial intelligence, and related data-driven fields. The information revolution has resulted in over-abundant data that are critical in a wide range of areas, from the Internet to healthcare systems. Related to conceptual art, electronic art and new media art, informatism considers this new technological, economical, and cultural paradigm shift, such that artworks may provide social commentaries, synthesize multiple disciplines, and develop new aesthetics.[1] Realization of information art often take, although not necessarily, interdisciplinary and multidisciplinary approaches incorporating visual, audio, data analysis, performance, and others.[2] Furthermore, physical and virtual installations involving informatism often provide human-computer interaction that generate artistic contents based on the processing of large amounts of data.[3]

Background
Kynaston McShine's "Information"

Information art has a long history as visualization of qualitative and quantitative data forms a foundation in science, technology, and governance. Information design and informational graphics, which has existed before computing and the Internet, are closely connected with this new emergent art movement.[4][5] An early example of informatism the 1970 exhibition organized called "Information" at the Museum of Modern Art in New York City (curated by Kynaston McShine). This is the time when conceptual art has emerged as a leading tendency in the United States and internationally.[6] At the same time arose the activities of Experiments in Art and Technology known as E.A.T.[7]

Contemporary practices

Information art are manifested using a variety of data sources such as photographs, census data, video clips, search engine results, digital painting, network signals, and others.[8] Often, such data are transformed, analyzed, and interpreted in order to convey concepts and develop aesthetics. When dealing with big data, artists may use statistics and machine learning to seek meaningful patterns that drive audio, visual, and other forms of representations. Recently, informatism is used in interactive and generative installations that are often dynamically linked with data and analytical pipelines.

See also

Examples

References
  1. Wilson, Stephen (2003). Information arts : intersections of art, science and technology. The MIT Press. ISBN 9780262731584. OCLC 813857815.
  2. Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, 'Art in the Information Age: Technology and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice Cambridge: Cambridge University Press, 2004.
  3. See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
  4. Tufte, Edward R. The visual display of quantitative information. ISBN 9780961392147. OCLC 957020017.
  5. Tufte, Edward Rolf. Envisioning information. ISBN 9780961392116. OCLC 1015670579.
  6. See Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972 (1973. Berkeley: University of California Press, 1997).
  7. E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by Robert Rauschenberg and Billy Klüver at the Armoury Building, New York City, 13–22 October 1966 to promote the collaboration between artists and engineers. They also organised the Pepsi Pavilion at the World's Fair, Osaka, in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.
  8. McKeough, Tim (February 29, 2008). "Frame That Spam! Data-Crunching Artists Transform the World of Information". Wired. CondéNet (16.03). Retrieved 2008-03-05.

Further reading
  • Alan Liu (2004). "The Laws of Cool: Knowledge Work and the Culture of Information", University of Chicago Press
  • Kenneth R. Allan, "Understanding Information," in Michael Corris (ed.), Conceptual Art, Theory, Myth, and Practice (Cambridge: Cambridge University Press, 2004), 144-68.
  • Roy Ascott (2003). Telematic Embrace. (Edward A. Shanken, ed.) Berkeley: University of California Press. ISBN 0-520-21803-5
  • Barreto, Ricardo and Perissinotto, Paula “the_culture_of_immanence”, in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN 85-7060-038-0.
  • Jack Burnham, (1970) Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc.
  • Bullivant, Lucy (2007). 4dsocial: Interactive Design Environments (Architectural Design). London: John Wiley & Sons. ISBN 978-0-470-31911-6
  • Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporary). London:Victoria and Albert Museum. ISBN 1-85177-481-5
  • Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8
  • Oliver Grau, Virtual Art, from Illusion to Immersion, MIT Press/Leonardo Book Series (Leonardo/ISAST), 2004, pp. 237–240, ISBN 0-262-57223-0
  • Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
  • Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0-262-69286-4
  • Wilson, Steve Information Arts: Intersections of Art, Science and Technology Information Arts: Intersections of Art, Science, and Technology, MIT Press/Leonardo Book Series (Leonardo/ISAST) ISBN 0-262-23209-X
  • Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN LC 71-100683
  • Jack Burnham, 'Systems Esthetics,' Artforum (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: Tate Publishing, 2005)
  • Edward A. Shanken, 'Art in the Information Age: Technology and Conceptual Art,' in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004).
  • Marga Bijvoet, (1997) Art as Inquiry: Toward New Collaborations Between Art & Science, Oxford: Peter Lang
  • Frank Popper (1993) Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, ISBN 0-8109-1928-1
  • Pavilion: Experiments in Art and Technology. Klüver, Billy, J. Martin, B. Rose (eds). New York: E. P. Dutton, 1972
  • Dick Higgins, 'Intermedia' (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970 (London: Tate Publishing, 2005)
  • Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002, orig. 1997)
  • Charlie Gere Digital Culture (Reaktion, 2002) ISBN 978-1-86189-143-3
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.