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Category: Books

Paralelo Texts Available Online

An international networking event about art, technology and environment took place in 2009 in Sao Paulo. Now, the main texts by Brazilian, Dutch and English writers, researchers and practitioners have been compiled in both a book and online format.

BOOK: Towards an Immersive Intelligence, by Joseph Nechvatal

Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality

by Joseph Nechvatal

EDGEWISE PRESS, founded in 1995, is dedicated to publishing quality books with an emphasis on art, art criticism, aesthetics, philosophy, fiction and verse. It maintains editorial seats in New York and Paris. All of its books are first edition paperbacks, sewn, bound and printed in Turin, Italy, with a two-color front and backcover, with a black and white photograph of the author on the frontispiece.

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Artists Re:thinking Games Book Launch

Come and celebrate with the recent publication of ‘Artists Re: Thinking Games’.

This is an unmissable event for all artists/gamers with a presentation by respected game artist Dr Mary Flanagan, a guest appearance by Jeremy Bailey and a display of some of the gameart featured in the book as well as an introduction by the editors.

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Book Launch, LOW COST DESIGN. A book by Daniele Pario Perra with the partecipation of Emiliano Gandolfi Beppe Finessi, Francesco Morace, Pierluigi Sacco

This Book is founded on a principle upheld by leading designers: the best project is not necessarily the one that is patented, that is created by architectural firms or at the computer by leading companies, but rather the one that springs from the simplicity of daily life. Starting from this concept, Daniele Pario Perra presents here the results of a vast research project carried out between Northern Europe and the Southern Mediterranean, in the course of which he documented thousands of examples of spontaneous creativity, creating a visual dictionary that strikes a constant balance between poetic skill and technological skill. The ideas presented are classified according to different levels of research and design categories, and stimulate reflection on the recovery and re-use ofmaterials. This is a book that involves us by taking a far-reaching, free-ranging, eclectic and radical look at our daily life.

LOW-COST DESIGN: conversation between Daniele Pario Perra and Emiliano Gandolfi
DESIGN IS EVERYWHERE: or the necessity is always the mother of invention by Beppe Finessi
LOW-COST DESIGN: a catalogue of objects and behaviours that define the post-surrealist scenario of the future by Francesco Morace
MODIFICATION: as social sculture by Pier Luigi Sacco

OBJECTS – categories: elementary, developed, optimized, elaborate, complete. ACTIONS categories: private territorial planning, creative commerce, interactions between public and private, personal solutions to the shortcomings of public services, social and commercial communications, personal security.

Low Cost Design
20 x 28 cm
216 pages
320 colour illustrations
paperback with flaps
italian/english edition
EAN 97888-3661665-7

Daniele Pario Perra is a relational artist, researcher and designer engaged in exhibitions, research projects and teaching. His work ranges across different disciplines: art, design, sociology, anthropology, architecture and geopolitics. Has taught at the Faculty of Architecture of La Sapienza University in Rome, at the Delft University of Technology and the Milan Polytechnic. His workshops Fantasy Saves the Planning, Art Shakes the Politics, Fresco Urban Removals, Design on the Cheap have had several editions in major European cities.

Low Cost Design is a work in progress: contributions feedback and suggestions!/pages/Low-Cost-Design/119616614737505?ref=ts


with Pierluigi Sacco and Piero Orlandi
friday 21 may 4 p.m.
Festival dell’Arte Contemporanea FAENZA
Piazza del Popolo Padiglione Viaggiando

with Emiliano Gandolfi
wednesday 26 may 4 p.m.
Art Amsterdam 2010 XXmultiple gallery
stand no.99 hall 8
Europaplein 22 AMSTERDAM

Two books on New Media and Literature Edited by Peter Gendolla and Jörgen Schäfer

Literature in computer-based and networked media does not only transform literary structures, interfaces, and genres – as a teaching-subject, it also re-configures curricular frameworks.

Peter Gendolla and Jörgen Schäfer (University of Siegen, Germany) for the past years continuously have examined the transformations in literary communication in numerous books and articles as well as lectures and classes.

They now have edited two new books, which present various contributions from distinguished international scholars in literary studies, media theory and computer sciences (Transcript Verlag, Bielefeld, Germany, distributed in the U.S. by Transaction Publishers, March 2010):

“Beyond the Screen. Transformations of Literary Structures, Interfaces and Genres” (Jörgen Schäfer, Peter Gendolla, eds.)

and – in collaboration with Roberto Simanowski –

“Reading Moving Letters. Digital Literature in Research and Teaching. A Handbook” (Roberto Simanowski, Jörgen Schäfer, Peter Gendolla, eds.)

Tensta konsthall is proud to announce the launch of the book 163 04/VENEZIA NEW YORK PARIS

The book release will take place at Kulturhuset in Stockholm on December 17th between 6pm and 8pm and will coincide with an open public debate. The book 163 04/ VENEZIA NEW YORK PARIS documents the three-year pedagogical project 16304/, a collaboration between Tensta Konsthall, Tensta High School and the University of Arts, Crafts and Design in Stockholm. The project’s aim was to see in what ways it is possible to broaden the recruitment possibilities to art schools by young people with differing ethnic and cultural backgrounds. The book is divided into three sections Venice, New York and Paris – the three international destinations for the project and contains texts written by the involved students, teachers and artists form the participating institutions. The book was designed by the leading young Swedish graphic designer Parasto Backman. The public debate will include politicians, educators, artists and students who will discuss the issue of student recruitment to cultural institutions in Sweden today.

For press images, contact Ida Ömalm Ronvall at

Tensta Konsthall
Taxingegränd 10
163 04 Spånga
Stockholm, Sweden
Phone: +46 8 36 07 63
Fax: +36 8 36 25 60
Open Wednesday to Saturday 12 noon – 5pm

Tensta Konsthall is supported by Swedish Arts Council, The City of Stockholm, Stockholm County Council, The Foundation for the Culture of the Future and The Swedish Inheritance Fund.


Creating Insecurity: art and culture in the age of security edited by Wolfgang Sützl & Geoff Cox

Giorgio Agamben | Konrad Becker | Bureau of Inverse Technology | Geoff Cox | Florian Cramer | glorious ninth | Brian Holmes | carlos katastrofsky | Martin Knahl | Norbert Koppensteiner | Daniela Ingruber | The Institute for Applied Autonomy | Naeem Mohaiemen | Mukul Patel | Luis Silva | Wolfgang Sützl | Tiziana Terranova | McKenzie Wark

‘Today we are facing extreme and most dangerous developments in the thought of security. In the course of a gradual neutralisation of politics and the progressive surrender of traditional tasks of the state, security imposes itself as the basic principle of state activity. What used to be one among several decisive measures of public administration until the first half of the twentieth century, now becomes the sole criterion of political legitimation. The thought of security entails an essential risk. A state which has security as its sole task and source of legitimacy is a fragile organism; it can always be provoked by terrorism to become itself terrorist.’

Following the words of Giorgio Agamben (from his 2001 article ‘On Security and Terror’), security has become the basic principle of international politics after 9/11, and the ‘sole criterion of political legitimation’. But security – reducing plural, spontaneous and surprising phenomena to a level of calculability – also seems to operate against a political legitimacy based on possibilities of dissent, and stands in clear opposition to artistic creativity. Being uncalculable by nature, art is often incompatible with the demands of security and consequently viewed as a ‘risk’, leading to the arrest of artists, and a neutralisation of innovative environments for the sake of security.

Yet precisely the position of art outside the calculable seems to bring about a new politicisation of art, and some speak of art as ‘politics by other means’. Has art become the last remaining enclave of a critique of violence? Yet how ‘risky’ can art be?

Immersive Ideals / Critical Distances (Paperback)

This book researches into the ideals behind Virtual Reality technology (and its central property of total-immersion) by looking at VR through the prism of a philosophy of visual art. Its conclusive understanding is achieved through a broad formulation of an aesthetic theory of immersive consciousness (indicative of an emerging immersive culture) by joining choice immersive examples of simulacra technology into mental connections with relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy.

* Paperback: 592 pages
* Publisher: LAP Lambert Academic Publishing (July 7, 2009)
* Language: English
* ISBN-10: 3838304454
* ISBN-13: 978-3838304458

BOOK: Towards an Immersive Intelligence, by Joseph Nechvatal

Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality

by Joseph Nechvatal

EDGEWISE PRESS, founded in 1995, is dedicated to publishing quality books with an emphasis on art, art criticism, aesthetics, philosophy, fiction and verse. It maintains editorial seats in New York and Paris. All of its books are first edition paperbacks, sewn, bound and printed in Turin, Italy, with a two-color front and backcover, with a black and white photograph of the author on the frontispiece.

Price of regular editions: $10.00 each.
Discount schedule: 2-4 books, 20% per title; 5 or more, 40% per title
Add $2.00 for postage and handling for the first book and $.25 for each subsequent book. Add $1.00 N.Y. State Sales tax where applicable.
Make checks payable to EDGEWISE PRESS, INC., and mail to: Edgewise Press 24 Fifth Ave. No. 224 New York, N.Y. 10011
For further information contact Richard Milazzo, Howard Bates Johnson, or Joy L. Glass at 212-982-4818, or 212-982-1364 (fax).

Joseph Nechvatal
93 Blvd Raspail 75006 Paris



BOOK: A Computer in the Art Room by Catherine Mason, Reviewed by Molly Hankwitz

A Computer in the Art Room: The Origins of British Computer Arts: 1950-80
by Catherine Mason, Norfolk: JJG Publishing, 2008.

Reviewed by Molly Hankwitz

This book is a work of art history analyzing the many contributions made by British artists and scientists to the development of computer art in England and its simultaneous impact and origins internationally. Special attention is paid to the development of new arts curriculum and education for artists during the post-war period. Art is a political battlefield when it comes to how and what is taught. Remarkably the arrival of the personal computer and networked computing as well as associated equipment: plotters, printers, and the monitor – began having an impact on artists in the 1950s when it was perceived to be an instrument through which one could express oneself. With many color plates and a fine art approach to the research, Catherine Mason has drawn together a unique collection of some of the most well known British art groups and institutions to have influence upon cultural acceptance and arts education.

The relationship between The Independent Group and the Institute of Contemporary Art’s (ICA) forms the basis of much of the analysis, as the ICA was a meeting ground and support for the minds of the Independent Group. Lesser known, but keenly important artists such as Edward Ihnatowicz are written about in great detail, as well as their original works, the Senster, for example, and reactions to it, are described in great detail. Thus the text is a compelling portrayal of how important artists worked against the grain of longstanding, traditional arts education in the United Kingdom’s college degree system in order to push for new approaches and ideas. Cybernetics, computer science, robotics, telemetry, as well as ‘interactivity’, ‘participatory’ and ‘process-driven’ art forms are shown to be the intellectural mainstays of avant-garde ideas at the time and are discussed in depth. Great attention is placed upon the overlaps between college arts education, vocational education in polytechnics, ‘think tanks’, fine art departments and the forces shaping government support and reports upon them.

Edward Ihnatowicz working on his computer-controlled sculpture, The Senster, at University College, London c. 1970

Curiously, because fine arts schools such as the prestigious and elitist Royal College of Art were generally the last to accept any cross over between art and technology, while the polytechnics, largely focused upon vocational training and design, more readily hired artists to work in them. Hence, newer ideas were sometimes tested outside of London. Experimental exhibitions, however, generally pushed computer arts into the realm of the visible for the general public.Richard Hamiltons ‘Growth and Form’ and ‘Man, Motion and Machine’ as well as the Independent Groups ‘This is Tomorrow’, ‘Cybernetic Serendipity’ (1968) and numersos others, are discussed by Mason as having huge influence upon the critical art audience and in helping to publicize and lend authority to ideas. Mason cross references her research between the inventions of one artist and the influence had on others. Stephen Willats, Roy Ascot, IIhnatowicz, Lawrence Alloway, Lynda Brockbank, Noel Forster, Brian Eno (a student at Ipswich College), and especially Gustav Metzger, Victor Pasmore, Richard Hamilton, Storm Cornock and others are discussed. Thus, the rise of less restrictive and more experimental and process-oriented sensibilities — in contrast to the traditional methods brought about by allegiance to John Ruskin and William Morris– began to appear in fine arts programs throughout England from the early sixties onwards. Roy Ascott’s revolutionary ‘Groundwork’ foundation course introducted to Ealing and Ipswich colleges was had controversial influence.

The legendary Slade School of Fine Art Experimental Department (University College London) was among the first inter-disciplinary programs to prosper around the teaching of computer art. Because the introduction of computer technology to creative work usually centered around design applications, it was less common and understood in fine art programs of the time. The Slade deparment was experimental, but also highly successful. Hamilton, Eduardo Paolozzi, and William Turnbull as well as other members of the Independent Group had attended Slade in the 1940s and their reputations helped its experimental growth as an institution. From William Coldstream’s influence onward and including the appointment of Rudolf Wittkower and others into the faculty presents a curious case of collaboration between fine artists, arts councils, funders, and faculty. Moreover, the department developed when “it was clear that art was evolving alongside the social and political changes of the 1960s” (2008, 174) In 1969, Bernard Cohen, in particular, pushed for study in art and electronics and in 1970 the influential Computer Arts Society held ‘An Evening of Computer Art and Composition.’ (ibid, 175) which consisted mostly of performance based works of computer poetry, light/sound performance by John Lifton, choreographed ‘dance’ routines by computers by John Landsdown, and so forth. (ibid, 175). In 1970, Systems Group founder, Malcom Hughes created the first computer curriculum for Slade. His own work was influenced by the process-driven epistemology of Pasmore and used mathematical and generative concepts. Works cited from Slade’s department are drawings and machines of Stephen Scrivener, CAD drawings of Chris Briscoe created on the CRT at the Slade studio and many others. In 1977 Slade owned a ‘technology lab’consisting of a customized computer stacked with a teletype used for alpha-numeric input and output, a storage oscilloscope used for graphic output and the plotter built by Briscoe. (ibid, 181)

The apparent, driving force of Mason’s book is her interest in bringing to light the contributions of major players and thinkers, who along with like minded British scientists, engineers, funders and officials – at times influenced by work in the United States or Germany – were attempting to forge especially creative links between art, science and technology. Mason directs the reader to a wealth of information and background as to the role computers played in artmaking during the post-war period, including attitudes towards culture and machines, publications on similar ideas, as well as disparate strands of thought considered in regards to their use. The author manages an articulate history of art and education as well as offering substantial insight into how the role of the artist was in the midst of changing as a result of increasingly global, computerized culture. She shows how this extraordinarly early experimental work was often funded through collaboration with IBMs European offices, via appeals to international exhibitions, and was presented to the public at large. The book is a set of rarely published facts and ideas collected into one text; a vision, especially, of how British arts education was underpinned by various tensions and forces in the arts, and how these tensions had historic foundations. That a post-modern sensibility towards networks and machines was emerging is an understatement, yet the relationship of art, science and technology went back at least to Prince Albert’s designs for Albertopolis which combined arts and science museums along one ring road. The British Science museum as well as the V&A are residuals of his utopia.

Many of the ideas conceived during the decades of the sixties and seventies as a response to reactionary concepts – ideas of interactivity and connectivity, for example – are peculiarly visionary when laid aside theory and use of networked art today. Information and art, art and machines, have become increasingly indistinguishable and, indeed, perhaps overly alike. The book is very informative for those interested in the emergence of electronic media art in Great Britain and relationships between British art and its influence.

Mason, C. A Computer in the Art Room. Norfolk, 2008.
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