The Artist As Inventor

Today the media arts not only address the great themes of our times, they inhabit the very media of which they speak. The contemporary is global, but only because of the media that enable globalisation. Those media are almost nowhere apparent in the mainstream practice of art that we see in biennials from Venice to Sao Paolo. The media arts reflect back to us our present condition, and in the archive present us with the ghosts of what we were, and what we failed to become. This book brings the reader into the centre of these strange encounters, introducing us to the rich legacies and futures of the most important arts of the last hundred years. It also looks ahead to the future and asks what happens to the condition of being human within the new constellation into which we are entering?

"Using both historical and contemporary examples, this publication traces the complex relationships between art, technology, and science, focusing on technological and artistic media from the nineteenth century to the present day." "The interplay of technological invention and artistic innovation requires a variety of methods, ranging from the fine arts and cultural studies to the history of science and media archaeology. Among the key themes, which the contributions examine from a variety of perspectives, are: the status of technology as a shared feature of or "boundary object" between art and science; the conflicts among ethical, aesthetic, and economic values in the system of art versus that of technology; the paradox that inventions are regarded as achievements of individual geniuses but can actually only be made and successfully applied if they have been sanctioned by the sociohistorical zeitgeist."--BOOK JACKET.

This new series explores the lives of the men and women who had a profound influence on the shaping of the world--particularly the ways in which the sciences, arts, and letters are perceived by the modern observer, Ideally suited for school reports, these books are fully documented, with sidebars that provide background information about each subject. This series meets world history curriculum standards.

"Larry Shiner challenges our conventional understandings of art and asks us to reconsider its history entirely, arguing that the category of ine art is a modern invention - and that the lines drawn between art and craft emerged only as the result of key European social transformations during the long eighteenth century"--Publisher's description.

As his editor John L. Stanley points out, Georges Sorel was "that fascinating polymath." This volume, the third in his selected works in the English language published by Transaction, emphasizes Sorel's extraordinary writings in the philosophy of science, religion, culture, and art. For those who know Sorel only as author of Reflections on Violence, the present volume will come as a forceful reminder of the range and depth of Sorelian efforts to construct a world view. Sorel is throughout concerned with the moral development of human beings. In this sense, his writings on politics are of a piece with his writings on religion, "facticity" of human history and society. Sorel's earliest writings were on religion, and key portions of that period are reflected in selections here. And he went on from there to study the sociology of science, the ways in which science fits into the cultural history of civilization and present day social relationships of industrial society. Stanley provides a profound framework based on two decades of close study and translation of Sorel's texts. He helps to explain how the partial theories of Sorel lead to holistic intellectual consequences, how the psychological method does not foreclose political activism, and how historical limits can be transformed against a background of aesthetics or considerations of taste. He shows that Sorel comes as a close as Manheim and Simmel and Durkheim to the creation of a modern social science--albeit he lacks the overall philosophical theorems of people like Marx and Weber. In Sorel we have a first-class mind at work. And in Stanley, we have a first-class analyst at work. Together, the volume adds up to something special for the political scientist, sociologist, art historian, theologian--in short for those to whom the ideal of a human science endures. John L. Stanley is professor of political science at the University of California at Riverside. He is the author of The Sociology of Virtue: The Political and Social Theories of Georges Sorel. He has written many articles and reviews on the history of European political theory. With his wife, Charlotte Stanley, he has been long engaged in the translation of the works of Georges Sorel.

The Independent Inventor Most persons have at some time in their lives invented somethin- perhaps a gadget for making some task easier or a method for increas ing the economy of an everyday operation. Aside from a certain degree of personal satisfaction, the great majority of these inven tions have never yielded their creators any amount of real return. In many instances, the fault has been with the inventor himself, who made little or no effort beyond writing down the bright idea. In a significant number of cases, however, the problem has arisen from a general lack of knowledge of what to do about a promising idea. The individual who works full time in a non-technical job usually has no guidance for proceeding in a logical, professional way towards effec tive development and utilization of his invention. Several other factors are responsible for the considerable waste we see in the handling of inventions. Perhaps the most significant of these factors is an incomplete awareness of prior art. A stenographer dreams up a device to facilitate the distribution of incoming mail. She feels that the idea is so simple that others must have patented it long ago and so she goes no further with the concept. At the other extreme is the garage mechanic who invents a new type of wrench.

Young Leonardo da Vinci was very curious. He would closely observe the world around him and pay great attention to details. If you look at his work, you will notice a keen sense of details. It’s as if he memorized and replicated every little thing he sees. This art history lesson for kids will give you a glimpse into the curious mind of Leonardo. Grab a copy today!

An investigation of artists' engagement with technical systems, tracing art historical lineages that connect works of different periods. “Machine art” is neither a movement nor a genre, but encompasses diverse ways in which artists engage with technical systems. In this book, Andreas Broeckmann examines a variety of twentieth- and early twenty-first-century artworks that articulate people's relationships with machines. In the course of his investigation, Broeckmann traces historical lineages that connect art of different periods, looking for continuities that link works from the end of the century to developments in the 1950s and 1960s and to works by avant-garde artists in the 1910s and 1920s. An art historical perspective, he argues, might change our views of recent works that seem to be driven by new media technologies but that in fact continue a century-old artistic exploration. Broeckmann investigates critical aspects of machine aesthetics that characterized machine art until the 1960s and then turns to specific domains of artistic engagement with technology: algorithms and machine autonomy, looking in particular at the work of the Canadian artist David Rokeby; vision and image, and the advent of technical imaging; and the human body, using the work of the Australian artist Stelarc as an entry point to art that couples the machine to the body, mechanically or cybernetically. Finally, Broeckmann argues that systems thinking and ecology have brought about a fundamental shift in the meaning of technology, which has brought with it a rethinking of human subjectivity. He examines a range of artworks, including those by the Japanese artist Seiko Mikami, whose work exemplifies the shift.