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001 978-981-10-4705-3
003 DE-He213
005 20210118153614.0
007 cr nn 008mamaa
008 170614s2017 si | s |||| 0|eng d
020 _a9789811047053
_9978-981-10-4705-3
024 7 _a10.1007/978-981-10-4705-3
_2doi
050 4 _aHM623
072 7 _aJFC
_2bicssc
072 7 _aSOC026000
_2bisacsh
072 7 _aJBCC
_2thema
082 0 4 _a306
_223
100 1 _aChau, Christina.
_eauthor.
_4aut
_4http://id.loc.gov/vocabulary/relators/aut
245 1 0 _aMovement, Time, Technology, and Art
_h[electronic resource] /
_cby Christina Chau.
250 _a1st ed. 2017.
264 1 _aSingapore :
_bSpringer Singapore :
_bImprint: Springer,
_c2017.
300 _aVI, 148 p.
_bonline resource.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 1 _aSpringer Series on Cultural Computing,
_x2195-9056
505 0 _aIntroduction -- Revolutions -- Directions in Kinetic Art -- Systems Aesthetics -- Digital Determinism -- Three Key Influences of the Kinetic Aesthetics -- Your Negotiable Panorama -- Our Consciousness of Time.
520 _aThis book explores the ways in which artists use technology to create different perceptions of time in art in order to reflect on contemporary relationships to technology. By considering the links between technology, movement and contemporary art, the book explores changing relationship between temporality in art, art history, media art theory, modernity, contemporary art, and digital art. This book challenges the dominant view that kinetic art is an antiquated artistic experiment and considers the changing perception of kinetic art by focusing on exhibitions and institutions that have recently challenged the notion of kinetic art as a marginalised and forgotten artistic experiment with mechanical media. This is achieved by deconstructing Frank Popper’s argument that kinetic art is a precursor to subsequent explorations in the intersections between art, science and technology. Rather than pandering to the prevailing art historical assumption that kinetic sculpture is merely a precursor to art in a digital culture, the book proposes that perhaps kineticism succeeded too well, where movement has become a ubiquitous element of the aesthetic of contemporary art. If, as Boris Groys has recently suggested, installation has become the dominant mode of art in the contemporary age, then movement in real time with the viewer is used to aestheticise and explore the facets of our peculiar time.
650 0 _aCultural studies.
650 0 _aApplication software.
650 0 _aCulture—Study and teaching.
650 0 _aCommunication.
650 1 4 _aCultural Studies.
_0http://scigraph.springernature.com/things/product-market-codes/X22040
650 2 4 _aComputer Appl. in Arts and Humanities.
_0http://scigraph.springernature.com/things/product-market-codes/I23036
650 2 4 _aCultural Theory.
_0http://scigraph.springernature.com/things/product-market-codes/411130
650 2 4 _aInformation Systems Applications (incl. Internet).
_0http://scigraph.springernature.com/things/product-market-codes/I18040
650 2 4 _aMedia and Communication.
_0http://scigraph.springernature.com/things/product-market-codes/412010
710 2 _aSpringerLink (Online service)
773 0 _tSpringer eBooks
776 0 8 _iPrinted edition:
_z9789811047046
776 0 8 _iPrinted edition:
_z9789811047060
776 0 8 _iPrinted edition:
_z9789811352065
830 0 _aSpringer Series on Cultural Computing,
_x2195-9056
856 4 0 _uhttps://doi.org/10.1007/978-981-10-4705-3
912 _aZDB-2-SCS
999 _c453552
_d453552
942 _cEB
506 _aAvailable to subscribing member institutions only. Доступно лише організаціям членам підписки.
506 _fOnline access from local network of NaUOA.
506 _fOnline access with authorization at https://link.springer.com/
506 _fОнлайн-доступ з локальної мережі НаУОА.
506 _fОнлайн доступ з авторизацією на https://link.springer.com/