Hyperdata 258A Modem Driver
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Hyperdata 258A Modem Driver
By the time Ascott arrived at Newcastle as his student, Pasmore had abandoned two-dimensional painting and had begun making constructivist relief sculpture. Hamilton is acknowledged Hyperdata 258A Modem the father of pop art, and he co-founded the Independent Group in London. His artwork, teaching, and theory have all explored the relationships between art, technology, and popular culture.
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He also wrote aesthetic theory. Like his artwork and curatorial Hyperdata 258A Modem, his theories of art and popular culture anticipated the multidisciplinary writing and research associated with cultural studies.
Like Duchamp, Hamilton and his student Ascott were 10 11 Figure 2. And, unlike his mentor, Ascott like Duchamp fused his interest in technology with esoteric and hermetic forms of knowledge.
Injust before taking a distinguished position Pasmore had secured for him at Ealing College of Hyperdata 258A Modem in London, Ascott discovered F. Cybernetics and Societyand W. Shanken about the world, predicated on the ideas of information, feedback, and systemic relationships.
Indeed, he came to conceive of these independent elements as increasingly Hyperdata 258A Modem components of a cybernetic system. For Ascott, art possessed value only to the extent that it enabled a mental, conceptual shift— a transformation of consciousness that altered the relationship of artist, artwork, and audience, thereby changing the behavior of the system they constituted.
Telematic Embrace: Visionary Theories of Art, Technology, and Consciousness by Roy Ascott
This position coincides with the emphasis placed on artistic processes at that Hyperdata 258A Modem by some other British artists, including John Latham, Mark Boyle, and Gustav Metzger, and by artists working at the intersections of concrete poetry, happenings, Fluxus, and conceptual art. In the s, Ascott did Hyperdata 258A Modem conceive of his writings as art per se, but rather, like his teaching, as having a symbiotic relationship with his art-making activity.
While writing was part of what he did as an artist, it remained distinct in his mind from his works of art. However, he had begun to consider the processes of ideation and writing as artistic acts.
Illustration from Molton Gallery exhibition catalogue Ascott On the page preceding Video Roget, Ascott provided a related diagram on tracing paper, Hyperdata 258A Modem Thesaurus. By placing Thesaurus over Video Roget, words on the former were superimposed on the Hyperdata 258A Modem forms of the latter. Together, they suggested relationships between words and shapes, and indicated various feedback loops between them.
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Shanken From Cybernetics to Telematics Figure 4. Video Roget and Thesaurus.
It proposed that the universe of potential meanings of his art could be derived taxonomically and discursively. Moreover, since Thesaurus and the diagram were largely textual, Ascott expressly put in writing his intention to use language in Hyperdata 258A Modem as art. It must be noted, however, Hyperdata 258A Modem aside from the catalogue itself, the objects in the exhibition did not contain textual elements, although many of them were diagrammatic.
The Journal of Conceptual Art in May Working at the intersection of art and technology, both as an artist and a theorist, Ascott has been especially subject to these dual prejudices. Conceptual artists have argued that theory is not the exclusive domain of philosophers and Hyperdata 258A Modem, and that the written word, or the language of mathematics, for that matter, are not the sole legitimate forms Hyperdata 258A Modem theoretical exegesis.
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In both written texts and works of art which, again, are not mutually exclusive categoriescontemporary artists have proclaimed their work to be not just highly theoretical but to be theory itself. These theoretical positions interrogate Hyperdata 258A Modem relationship between visual and verbal systems of meaning and problematize the categorical distinctness of art and art criticism.
Despite the aforementioned attempts by artists to deconstruct the binary opposition between art and writings about art, the disciplines of art history and criticism have tended to preserve this discrete categorical division.