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Practicable : from participation to interaction in contemporary art /
Practicable : from participation to interaction in contemporary art /
edited by Samuel Bianchini and Erik Verhagen ; with the collaboration of Nathalie Delbard and Larisa Dryansky.
- xv, 930 pages ; 24 cm.
- Leonardo. .
- Leonardo book series. .
Includes bibliographical references (pages 809-848) and index.
Introduction : Practicable: art in the conditional -- I. From cybernetics onward : Gordon Pask's cybernetic systems: conversations after the end of the mechanical age -- The artist as homo arbiter formae: art and interaction in Jack Burnham's systems essays -- Two decades of interactive art: digital technologies and human experience -- II. Art scenes and movements in search of participation : Against the spectacle: the construction of situations -- From program to behavior: the experience of Arte Programmata in Italy, 1958-1968 -- "The breath is up to you": on some works by Hélio Oiticica, Lygia Clark, and Lygia Pape -- À la recherche d'un nouveau spectateur: the function and significance of play in the participatory environments of the Groupe de Recherche d'Art Visuel -- Katsuhiro Yamaguchi: performances and environments -- Tactical media and the aesthetics of participation -- III. From the vantage point of the humanities and social sciences : Echoes of pragmatism in current artistic practices -- Art/anthropology interventions -- Habitable: spectator participation in everyday life -- From the practice of roles to the facts of consciousness: art and its qualities -- Collaborating and participating: a connection worth examining -- Public operation: net art, sociology, and practicable media -- The contractual definition of the work of art: a contribution to the discussion of the dispositif in art -- IV. Art in action: on performance : Why participate?: On the concrete experience of participatory performances -- Haptic vision: the female body and "practicable" art -- Traveling microbus hordes: a mobile audience -- Demo n.0 -- V. Bringing about interaction, grasping, and seeing: exhibiting practicable works of art : Toward a dramaturgy of interactivity -- Stop, drop, and roll with it: curating participatory media art -- Taking hold of images: some thoughts on the free handling of photographs in contemporary art -- VI. Some key works: case studies : Robert Rauschenberg's Oracle: "a laboratory for testing perceptions" -- Lygia Clark's Caminhando -- Charlotte Posenenske: mimetic minimalism and practicability -- The artwork as password: on some pieces by Piotr Kowalski -- Robert Morris's Bodyspacemotionthings : participation reenacted -- "Therapeutic" participation: on the legacy of Bruce Nauman's Yellow room (triangular) and other works -- Welcome!: On Dan Graham's Opposing mirrors and video monitors on time delay -- On cruelty in art: Marina Abramović, Rhythm 0 -- Viewer-instrumented play: Very nervous system by David Rokeby -- When objects speak in images: Krzysztof Wodiczko's Homeless vehicle project as an instrument of public discussion -- Reflections on Jeffrey Shaw's Golden calf -- Janet Cardiff's Walks -- The gravity of art: on Carsten Höller's Untitled (Slide), 2011 -- Exhibiting the museum: the hybrid spaces of workspace unlimited -- VII. Words from artists and theoreticians: interviews : "Creating a living responsive environment" -- The action is the original -- From interaction to public authorship -- In search of relational art -- "Open fields of enactment" -- Reading beyond interactivity -- "Form is a position" -- Observational practice: a conversation on rhythm, pace, and crowd interaction -- "Is there a revolution?" -- "A direct dialogue with one's own perception" -- Everything is sculpture -- Out of control -- Blast theory: playing with publics -- "The granularity of participation" -- Critical design: art and politics of public spaces -- Exhibiting the visitor -- "I see each of my works as a tool" -- Composing the political arts: on the modes of being of artworks and their public -- "Use is almost meaning in three dimensions" -- "The myth of the active subject" / Samuel Bianchini and Erik Verhagen / Margit Rosen / Luke Skrebowski / Simon Penny / Vanessa Theodoropoulou / Emanuele Quinz / Glória Ferreira / Marion Hohlfeldt / Christophe Charles / Eric Kluitenberg / Jean-Pierre Cometti / Arnd Schneider / Anna Dezeuze / Pierre-Damien Huyghe / Véronique Goudinoux / Jean-Paul Fourmentraux / Judith Ickowicz / Katrin Gattinger / Giovanna Zapperi / Diedrich Diederichsen / Peter Lunenfeld / Jean-Louis Boissier / Sarah Cook / Nathalie Delbard / Christophe Leclercq / Anna Dezeuze / Renate Wiehager / Jean Christophe Bailly / Catherine Wood / Janet Kraynak / François Parfait / Gilles Froger / Jean Gagnon / Christophe Domino / Daniel Pinkas / Andrea Urlberger / Madeline Schwartzman / Dominique Moulon / Julie Martin interviewed by Christophe Leclercq / Franz Erhard Walther interviewed by Erik Verhagen / Jochen Gerz interviewed by Marion Hohlfeldt / Piero Gilardi interviewed by Emanuele Quinz / Peter Weibel interviewed by Marion Hohlfeldt / Masaki Fujihata interviewed by Dominique Cunin and Mayumi Okura / Thomas Hirschhorn interviewed by Eddie Panier / Jordan Crandall interviewed by Anna Zeitz / Rirkrit Tiravanija interviewed by Chantal Pontbriand / Seiko Mikami interviewed by Hiroko Myokam / Ernesto Neto interviewed by Glória Ferreira / Rafael Lozano-Hemmer interviewed by Alberto Sánchez Balmisa / Matt Adams interviewed by Frédérik Lesage / Usman Haque interviewed by Valérie Châ̂telet / HeHe (Helen Evans and Heiko Hansen) interviewed by Jean-Paul Fourmentraux / Lawrence Malstaf interviewed by Dominique Moulon / Jeppe Hein interviewed Frederik Schikowski / Bruno Latour interviewed by Samuel Bianchini and Jean-Paul Fourmentraux / Nicolas Borriaud interviewed by Larisa Dryansky / Claire Bishop interviewed by David Zerbib.
"How are we to understand works of art that are realized with the physical involvement of the viewer? A relationship between a work of art and its audience that is rooted in an experience that is both aesthetic and physical? Today, these works often use digital technologies, but artists have created participatory works since the 1950s. In this book, critics, writers, and artists offer diverse perspectives on this kind of "practicable" art that bridges contemplation and use, discussing and documenting a wide variety of works from the last several decades. The contributors consider both works that are technologically mediated and those that are not, as long as they are characterized by a process of reciprocal exchange. The book offers a historical frame for practicable works, discussing, among other things, the emergence and influence of cybernetics. It examines art movements and tendencies that incorporate participatory strategies; draws on the perspectives of the humanities and sciences; and investigate performance and exhibition. Finally, it presents case studies of key works by artists including and offers interviews with such leading artists and theoretici ans as Claire Bishop, Thomas Hirschhorn, Matt Adams of Blast Theory, Seiko Mikami and Bruno Latour. Numerous illustrations of artists and their works accompany the text"
9780262034753 0262034751
2016008327
Interactive art.
N7433.915 / .P73 2016
Includes bibliographical references (pages 809-848) and index.
Introduction : Practicable: art in the conditional -- I. From cybernetics onward : Gordon Pask's cybernetic systems: conversations after the end of the mechanical age -- The artist as homo arbiter formae: art and interaction in Jack Burnham's systems essays -- Two decades of interactive art: digital technologies and human experience -- II. Art scenes and movements in search of participation : Against the spectacle: the construction of situations -- From program to behavior: the experience of Arte Programmata in Italy, 1958-1968 -- "The breath is up to you": on some works by Hélio Oiticica, Lygia Clark, and Lygia Pape -- À la recherche d'un nouveau spectateur: the function and significance of play in the participatory environments of the Groupe de Recherche d'Art Visuel -- Katsuhiro Yamaguchi: performances and environments -- Tactical media and the aesthetics of participation -- III. From the vantage point of the humanities and social sciences : Echoes of pragmatism in current artistic practices -- Art/anthropology interventions -- Habitable: spectator participation in everyday life -- From the practice of roles to the facts of consciousness: art and its qualities -- Collaborating and participating: a connection worth examining -- Public operation: net art, sociology, and practicable media -- The contractual definition of the work of art: a contribution to the discussion of the dispositif in art -- IV. Art in action: on performance : Why participate?: On the concrete experience of participatory performances -- Haptic vision: the female body and "practicable" art -- Traveling microbus hordes: a mobile audience -- Demo n.0 -- V. Bringing about interaction, grasping, and seeing: exhibiting practicable works of art : Toward a dramaturgy of interactivity -- Stop, drop, and roll with it: curating participatory media art -- Taking hold of images: some thoughts on the free handling of photographs in contemporary art -- VI. Some key works: case studies : Robert Rauschenberg's Oracle: "a laboratory for testing perceptions" -- Lygia Clark's Caminhando -- Charlotte Posenenske: mimetic minimalism and practicability -- The artwork as password: on some pieces by Piotr Kowalski -- Robert Morris's Bodyspacemotionthings : participation reenacted -- "Therapeutic" participation: on the legacy of Bruce Nauman's Yellow room (triangular) and other works -- Welcome!: On Dan Graham's Opposing mirrors and video monitors on time delay -- On cruelty in art: Marina Abramović, Rhythm 0 -- Viewer-instrumented play: Very nervous system by David Rokeby -- When objects speak in images: Krzysztof Wodiczko's Homeless vehicle project as an instrument of public discussion -- Reflections on Jeffrey Shaw's Golden calf -- Janet Cardiff's Walks -- The gravity of art: on Carsten Höller's Untitled (Slide), 2011 -- Exhibiting the museum: the hybrid spaces of workspace unlimited -- VII. Words from artists and theoreticians: interviews : "Creating a living responsive environment" -- The action is the original -- From interaction to public authorship -- In search of relational art -- "Open fields of enactment" -- Reading beyond interactivity -- "Form is a position" -- Observational practice: a conversation on rhythm, pace, and crowd interaction -- "Is there a revolution?" -- "A direct dialogue with one's own perception" -- Everything is sculpture -- Out of control -- Blast theory: playing with publics -- "The granularity of participation" -- Critical design: art and politics of public spaces -- Exhibiting the visitor -- "I see each of my works as a tool" -- Composing the political arts: on the modes of being of artworks and their public -- "Use is almost meaning in three dimensions" -- "The myth of the active subject" / Samuel Bianchini and Erik Verhagen / Margit Rosen / Luke Skrebowski / Simon Penny / Vanessa Theodoropoulou / Emanuele Quinz / Glória Ferreira / Marion Hohlfeldt / Christophe Charles / Eric Kluitenberg / Jean-Pierre Cometti / Arnd Schneider / Anna Dezeuze / Pierre-Damien Huyghe / Véronique Goudinoux / Jean-Paul Fourmentraux / Judith Ickowicz / Katrin Gattinger / Giovanna Zapperi / Diedrich Diederichsen / Peter Lunenfeld / Jean-Louis Boissier / Sarah Cook / Nathalie Delbard / Christophe Leclercq / Anna Dezeuze / Renate Wiehager / Jean Christophe Bailly / Catherine Wood / Janet Kraynak / François Parfait / Gilles Froger / Jean Gagnon / Christophe Domino / Daniel Pinkas / Andrea Urlberger / Madeline Schwartzman / Dominique Moulon / Julie Martin interviewed by Christophe Leclercq / Franz Erhard Walther interviewed by Erik Verhagen / Jochen Gerz interviewed by Marion Hohlfeldt / Piero Gilardi interviewed by Emanuele Quinz / Peter Weibel interviewed by Marion Hohlfeldt / Masaki Fujihata interviewed by Dominique Cunin and Mayumi Okura / Thomas Hirschhorn interviewed by Eddie Panier / Jordan Crandall interviewed by Anna Zeitz / Rirkrit Tiravanija interviewed by Chantal Pontbriand / Seiko Mikami interviewed by Hiroko Myokam / Ernesto Neto interviewed by Glória Ferreira / Rafael Lozano-Hemmer interviewed by Alberto Sánchez Balmisa / Matt Adams interviewed by Frédérik Lesage / Usman Haque interviewed by Valérie Châ̂telet / HeHe (Helen Evans and Heiko Hansen) interviewed by Jean-Paul Fourmentraux / Lawrence Malstaf interviewed by Dominique Moulon / Jeppe Hein interviewed Frederik Schikowski / Bruno Latour interviewed by Samuel Bianchini and Jean-Paul Fourmentraux / Nicolas Borriaud interviewed by Larisa Dryansky / Claire Bishop interviewed by David Zerbib.
"How are we to understand works of art that are realized with the physical involvement of the viewer? A relationship between a work of art and its audience that is rooted in an experience that is both aesthetic and physical? Today, these works often use digital technologies, but artists have created participatory works since the 1950s. In this book, critics, writers, and artists offer diverse perspectives on this kind of "practicable" art that bridges contemplation and use, discussing and documenting a wide variety of works from the last several decades. The contributors consider both works that are technologically mediated and those that are not, as long as they are characterized by a process of reciprocal exchange. The book offers a historical frame for practicable works, discussing, among other things, the emergence and influence of cybernetics. It examines art movements and tendencies that incorporate participatory strategies; draws on the perspectives of the humanities and sciences; and investigate performance and exhibition. Finally, it presents case studies of key works by artists including and offers interviews with such leading artists and theoretici ans as Claire Bishop, Thomas Hirschhorn, Matt Adams of Blast Theory, Seiko Mikami and Bruno Latour. Numerous illustrations of artists and their works accompany the text"
9780262034753 0262034751
2016008327
Interactive art.
N7433.915 / .P73 2016
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