By Therese Tierney
This visually wonderful, conceptually wealthy and inventive e-book investigates the cultural connection among new media and architectural imaging. via a number fabric, from theoretical texts to experimental layout initiatives, Tierney explores notions of what the architectural photo potential today.
Within the book’s visually ingenious layout framework, summary area engages discourses from structure, visible and cultural reports to computing device technology and communications know-how to offer an in-depth multi-media case examine. Tracing a provisional heritage of the subject, the e-book additionally lends a provocative and multivalent realizing to the complicated family members affecting the architectural snapshot at the present time.
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Extra info for Abstract Space: Beneath the Media Surface
While isolated moments of critique and experimentation existed—such as the Situationists or Canbera—the majority of architects were preoccupied with the demands of a rapidly expanding economy. 14 Conceptual art and architecture It was 1969 when philosopher and social critic Michel Foucault, in The Archaeology of Knowledge, ventured that the crisis of classical thought was a crisis produced by a loss of ground. Within the field of art, this loss was accompanied by the loss of an art-product produced on the basis of a desire to represent.
In Turin, Italy, Arte Povera challenged the assumption that only marble or bronze were suitable materials for artwork. Trash or refuse, industrial materials, even people, as well as immaterial substances such as moisture, sound, or energy, any of these could be art. Concurrently, art-and-technology questioned what type of media is inherent to artistic expression: only normative inert media? Instead, conceptual artists believed that art expressions could be gestured, spoken, written, acted, filmed, industrially produced, or conceptualized.
The work of art might exist as a momentary, time-based action, such as performance, as in the example of Arte Povera artist Michelangelo Pistoletto’s Ball of Newspapers (Minus Objects) (1966–1968). As event and performance, the immense papier mâché ball was rolled through the streets of Turin and filmed. Later, the ball, as sculpture, was enclosed in a metal cage and retitled Mappamondo (Globe); this version appeared in an exhibition in Amalfi. 23 But foremost, and above all, was the investigative and participatory process.