VART2226 – Class 07

Conceptual Art & Hypermedia

Internet Art

Schedule

Art produced by software

Software as art

Software art

Software art refers to works of art where the creation of

software, or concepts from software, play an important

role; for example software applications which were created

by artists and which were intended as artworks.

Cybernetics

Software art

Cybernetic Serendipity - Jasia Reichardt

Software art

At the ICA in London in 1968. It was the first exhibition that attempted to

demonstrate all aspects of computer-aided creative activity: art, music, poetry,

dance, sculpture, animation. The principal idea was to examine the role of

cybernetics in contemporary arts. The exhibition included robots, poetry, music

and painting machines, as well as all sorts of works where chance was an

important ingredient.

Exhibits in the show are either produced with a cybernetic device (computer) or

are cybernetic devices in themselves. They react to something in the

environment, either human or machine, and in response produce either sound,

light or movement.

Software art

Aaron – Harold Cohen

Aaron – Harold Cohen

Software – Jack Burnham, 1970

Software – Jack Burnham, 1970

As a follow-up to The Machine at the End of the Mechanical Age

(1968) exhibition.

Situated in the decline of the industrial machines and the rise of the

information technologies.

Show results of the scientific research experiments and projects from

conceptual art movement.

Software – Jack Burnham, 1970

Software also embraces other phenomenon such as social

conditioning, systems for self-regulating the human body, and the

management of public facilities.

Douglas Huebler

Variable Piece 4, Douglas Huebler

Visitors to the SOFTWARE exhibition are invited to participate in the transposition of

information from one location to another by following the procedure described below:

1. Write or print on this paper an authentic personal secret you have never revealed

before: of course, do not sign it.

2. Slip the paper into the slot of the box provided at this location. Complete the

exchange of your secret for that of another person by requesting a photo-copy of one

previously submitted.

To insure your anonymity incoming secrets will remain within the box for 24 hours

before being removed to be photo-copied and joining the "library" of secrets for future

exchange.

Architectural media group

Hans Haacke

Software – participating artists

Vito Acconci

David Antin

John Baldessari

Robert Barry

Donald Burgy

Paul Conly

Agnes Denes

John Giorno

Hans Haacke

Allan Kaprow

Joseph Kosuth

Les Levine

Theodor Holm Nelson

Nam June Paik

Alex Razdow

Sonia Landy Sheridan

Theodosius Victoria

Lawrence Weiner

Art & technology program

Focuses on the inquiries of the materials and concepts of science and

technology

Examines the possible material and tangible forms of science and

technology

Applies science and technology to create new material forms

Conceptual art

Analyze the ideas underlying the creation and perception of art

Employ text as a way to examine the gap between visual and verbal

languages as sign systems

De-emphasize the value traditionally associated to the materiality of

art objects and place greater emphasis on revealing the semantic

systems

Jack Burnham

An attempt to produce aesthetic sensations without the intervening

object.

Ideas of software and information technology as metaphors for art ,

i.e. software as aesthetic principle, concept, program; hardware as art

object.

Parallel to the aesthetic concepts of the actual art objects, which in

turn parallel hardware.

Les Levine

Most art ends up as information about art.

The artwork as an object was secondary to the expression of an idea

that becomes reality by simulating it.

Les Levine

All activities which have no connection with object or material mass are the

result of software. Images themselves are

hardware. Information about these

images is software… In many cases an object is of much

less value than the software concerning the object. The object is the end of a

system. The software is an open continuing system.

Les Levine

The experience of seeing something first hand is no longer of value in a

software controlled society, as anything seen through the media carries just as

much energy as first hand experience. We do not question

whether the things that happen on

radio or television have actually

occurred. The fact that we can confront them mentally through

electronics is sufficient for us to know that they exist...

Les Levine

In the same way, most of the art that is produced today ends up as

information about art.

Joseph Kosuth

Joseph Kosuth

Art as an idea as an idea.

The work not be able to be reduced to a mental image, but that it exist

as information free of any iconography.

The art consists of the action of placing this activity (investigation) in

an art context.

Sol Lewitt

Sol Lewitt

No matter what form it may finally have it must begin with an idea and

when an artist uses a conceptual form of art, it means that all of the

planning and decisions are made beforehand and the execution is a

perfunctory affair.

The idea becomes a machine that

makes the art.

Sol Lewitt

Sol Lewitt

Sol Lewitt

THE LOCATION OF A CIRCLE

1. From the center of the square, draw a line halfway

toward the upper right corner.

2. From the end of this line, draw a line to the midpoint

of the right side.

3. A point halfway between the midpoint of the right

side and the midpoint of the bottom side is the

center of a circle.

4. The diameter is the length of line 1. Draw the circle.

Yoko Ono – Cut Piece

Yoko Ono – Drawing

Yoko Ono – Drawing

Computer age

Back to the presence

Ars Electronica

Ars Electronica

Transmediale

ReadMe

ReadMe

ReadMe

Whitney Artport

Danielle Aubert – Excel

Danielle Aubert – Excel

Live coding

Jack Burnham

Information processing technology influences our notions about

creativity, perception, and the limits of art ... It ... is probably not the

province of computers and other telecommunication devices to

produce works of art as we know it; but they will, in fact be

instrumental in redefining the entire area of

aesthetic awareness.