New Tendencies: Art at the Threshold of the Information Revolution (1961 - 1978)

New Tendencies: Art at the Threshold of the Information Revolution (1961 - 1978)

by Armin Medosch

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Product Details

ISBN-13: 9780262034166
Publisher: MIT Press
Publication date: 06/10/2016
Series: Leonardo
Pages: 408
Product dimensions: 7.10(w) x 9.10(h) x 1.20(d)
Age Range: 18 Years

About the Author

Armin Medosch was a Vienna-based artist, writer, and curator.

What People are Saying About This

Christiane Paul

This book brings much needed attention to the importance of New Tendencies, the groundbreaking art movement that emerged in the former Yugoslavia in the 1960s. Carefully researched and deeply insightful, Medosch's overview illustrates that New Tendencies was much more than a highly relevant exhibition series: a playing field for exploring key ideas of the information revolution, from cybernetic control systems and networked communication to information aesthetics and digital art as visual research. A must read for anyone interested in the evolution of contemporary digital art and its complex technological and socio-political histories.

From the Publisher

Armin Medosch's New Tendencies develops a 'deep archeology' of technological revolution in Croatian,Yugoslavian, and International neo-avant-garde in the 1960s and 1970s. This book is an analytical guide to the media, conceptual, and political transformation of late modernist epistemology of art. The author comparatively discusses relations between the socialist and western techno-utopian and, at the same time,critical artistic projects. His epistemology of art offers mapping of scientific, electronic, proto-cybernetic, computers oriented and conceptually developed artistic research between techno-positivism and techno-criticism, between neoconstructivism and conceptual art.

Miško Šuvakovic , Professor of Art Theory and Dean of Faculty for Media and Communications, Belgrade; coeditor of Impossible Histories: Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918–1991

This book brings much needed attention to the importance of New Tendencies, the groundbreaking art movement that emerged in the former Yugoslavia in the 1960s. Carefully researched and deeply insightful, Medosch's overview illustrates that New Tendencies was much more than a highly relevant exhibition series: a playing field for exploring key ideas of the information revolution, from cybernetic control systems and networked communication to information aesthetics and digital art as visual research. A must read for anyone interested in the evolution of contemporary digital art and its complex technological and socio-political histories.

Christiane Paul , Adjunct Curator of New Media Arts, Whitney Museum, Associate Professor, School of Media Studies, The New School

Endorsement

This book brings much needed attention to the importance of New Tendencies, the groundbreaking art movement that emerged in the former Yugoslavia in the 1960s. Carefully researched and deeply insightful, Medosch's overview illustrates that New Tendencies was much more than a highly relevant exhibition series: a playing field for exploring key ideas of the information revolution, from cybernetic control systems and networked communication to information aesthetics and digital art as visual research. A must read for anyone interested in the evolution of contemporary digital art and its complex technological and socio-political histories.

Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum, Associate Professor, School of Media Studies, The New School

Miško Šuvaković

Armin Medosch's New Tendencies develops a 'deep archeology' of technological revolution in Croatian,Yugoslavian, and International neo-avant-garde in the 1960s and 1970s. This book is an analytical guide to the media, conceptual, and political transformation of late modernist epistemology of art. The author comparatively discusses relations between the socialist and western techno-utopian and, at the same time,critical artistic projects. His epistemology of art offers mapping of scientific, electronic, proto-cybernetic, computers oriented and conceptually developed artistic research between techno-positivism and techno-criticism, between neoconstructivism and conceptual art.

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