White heat cold logic : British computer art 1960-1980.

Contributor(s): Mason, Catherine | Lambert, Nicholas | Gere, Charlie | Brown, Paul.
Material type: materialTypeLabelBookPublisher: Cambridge, MA : MIT Press, c2008Description: x, 450 p. : ill. ; 24 cm.ISBN: 9780262026536.Subject(s): Art | Digital art | Computer art-Great Britain-History | Computers and artDDC classification: 709.04BRO
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Enhanced descriptions from Syndetics:

<p> The history of a pioneering era in computer-based art too often neglected by postwar art histories and institutions. </p> <p>Technological optimism, even utopianism, was widespread at midcentury; in Britain, Harold Wilson in 1963 promised a new nation "forged from the white heat of the technological revolution." In this heady atmosphere, pioneering artists transformed the cold logic of computing into a new medium for their art, and played a central role in connecting technology and culture. White Heat Cold Logic tells the story of these early British digital and computer artists--and fills in a missing chapter in contemporary art history.</p> <p>In this heroic period of computer art, artists were required to build their own machines, collaborate closely with computer scientists, and learn difficult computer languages. White Heat Cold Logic 's chapters, many written by computer art pioneers themselves, describe the influence of cybernetics, with its emphasis on process and interactivity; the connections to the constructivist movement; and the importance of work done in such different venues as commercial animation, fine art schools, and polytechnics.</p> <p>The advent of personal computing and graphical user interfaces in 1980 signaled the end of an era, and today we do not have so many dreams of technological utopia. And yet our highly technologized and mediated world owes much to these early practitioners, especially for expanding our sense of what we can do with new technologies.</p> <p> Contributors<br> Roy Ascott, Stephen Bell, Paul Brown, Stephen Bury, Harold Cohen, Ernest Edmonds, María Fernández, Simon Ford, John Hamilton Frazer, Jeremy Gardiner, Charlie Gere, Adrian Glew, Beryl Graham, Stan Hayward, Grisham Howard, Richard Ihnatowicz, Nicholas Lambert, Malcolm Le Grice, Tony Longson, Brent MacGregor, George Mallen, Catherine Mason, Jasia Reichardt, Stephen A. R. Scrivener, Brian Reffin Smith, Alan Sutcliffe, Doron D. Swade, John Vince, Richard Wright, Aleksandar Zivanovic</p>

Table of contents provided by Syndetics

  • Series Foreword (p. ix)
  • Acknowledgments (p. xi)
  • 1 Introduction (p. 1)
  • 2 Creative Cybernetics: The Emergence of an Art Based on Interaction, Process, and System (p. 9)
  • 3 Transmitting Art Triggers: The Early Interactive Work of Stephen Willats (p. 19)
  • 4 Interactive Architecture (p. 37)
  • 5 "Aesthetically Potent Environments," or How Gordon Pask Detourned Instrumental Cybernetics (p. 53)
  • 6 In the Beginning ... (p. 71)
  • 7 Cybernetic Serendipity Revisited (p. 83)
  • 8 The Technologies of Edward Ihnatowicz (p. 95)
  • 9 Forty Is a Dangerous Age: A Memoir of Edward Ihnatowicz (p. 111)
  • 10 From System to Software: Computer Programming and the Death of Constructivist Art (p. 119)
  • 11 Reconfiguring (p. 141)
  • 12 Reconstruction (p. 151)
  • 13 Technological Kindergarten: Gustav Metzger and Early Computer Art (p. 163)
  • 14 Patterns in Context (p. 175)
  • 15 Bridging Computing in the Arts and Software Development (p. 191)
  • 16 Two Cultures: Computer Art and the Science Museum (p. 203)
  • 17 Never the Same Again (p. 219)
  • 18 Which Art in Heaven (p. 229)
  • 19 The Routes toward British Computer Arts: The Role of Cultural Institutions in the Pioneering Period (p. 245)
  • 20 From Machine to Metaphor: Artists and Computers at Chelsea School of Art 1960-1980 (p. 265)
  • 21 From Systems Art to Artificial Life: Early Generative Art at the Slade School of Fine Art (p. 275)
  • 22 Connections: A Personal History of Computer Art Making from 1971 to 1981 (p. 291)
  • 23 My First Brush with Computer Graphics (p. 307)
  • 24 Conceptual Art, Language, Diagrams, and Indexes (p. 323)
  • 25 Constructive Computation (p. 345)
  • 26 PICASO at Middlesex Polytechnic (p. 361)
  • 27 From 0 to 1: Art Made between the Times of Having and Not Having a Computer (p. 377)
  • 28 The Aftermath of Early Computer Art: A Painter's Odyssey (p. 389)
  • The Ironic Heirs to Serendipity: British New Media Art, 1980s to Now (p. 29)
  • List of Contributors and Editors (p. 421)
  • Index (p. 431)