Advertisement

Between Worshipers, Priests and the Nuke: An Introduction to the Cultural and Social History of Early Computer Art

  • German Alfonso Nunez
Chapter
Part of the Springer Series on Cultural Computing book series (SSCC)

Abstract

This article presents a cultural and historical view of early computer art and the contributions of computing and cybernetics as part of a larger trend and common intellectual ancestry.

References

  1. Amadae SM (2003) Rationalizing capitalist democracy: the Cold War origins of rational choice liberalism. University of Chicago Press, ChicagoGoogle Scholar
  2. Baumann S (2007) A general theory of artistic legitimation: how art worlds are like social movements. Poetics 35(1):47–65.  https://doi.org/10.1016/j.poetic.2006.06.001CrossRefGoogle Scholar
  3. Bense M (2011) Aesthetics and programming. In: Rosen M (ed) A little-known story about a movement, a magazine, and the computer’s arrival in art: New Tendencies and Bit International, 1961–1973. ZKM, Karlsruhe, pp 296–399Google Scholar
  4. Blaug M (2003) The formalist revolution of the 1950s. J Hist Econ Thought 25(2):145–156.  https://doi.org/10.1080/1042771032000083309CrossRefGoogle Scholar
  5. Chomsky N (1953) Systems of syntactic analysis. J Symbolic Logic 18(3):242–256.  https://doi.org/10.2307/2267409CrossRefzbMATHGoogle Scholar
  6. Edwards PN (1996) The closed world: computers and the politics of discourse in Cold War America. Inside Technology. MIT Press, Cambridge, MAGoogle Scholar
  7. Erickson P, Klein JL, Daston L, Lemov RM, Sturm T, Gordin MD (2013) How reason almost lost its mind: the strange career of Cold War rationality. The University of Chicago Press, Chicago, LondonCrossRefGoogle Scholar
  8. Goodyear, Anna C. (2008) From technophilia to technophobia: the impact of the vietnam war on the reception of “Art and Technology” 41(2):169–173Google Scholar
  9. Klütsch C (2007) Computer graphic-aesthetic experiments between two cultures. Leonardo 40(5):421–453. http://www.jstor.org/stable/20206475CrossRefGoogle Scholar
  10. Klütsch C (2012) Information aesthetics and the Stuttgart School. In: Higgins H, Kahn D (eds) Mainframe experimentalism: early computing and the foundations of the digital arts. University of California Press, Berkeley, pp 65–89Google Scholar
  11. Krier JE, Gillette, CP (1985) The un-easy case for technological optimism. Mich L Rev 84:405–429. http://repository.law.umich.edu/cgi/viewcontent.cgi?article=1927&context=articlesCrossRefGoogle Scholar
  12. Maier CS (1977) The politics of productivity: foundations of American international economic policy after World War II. Int Org 31(4):607–633.  https://doi.org/10.1017/S0020818300018634CrossRefGoogle Scholar
  13. Mohr M (2015) Statement. In: Shanken EA (ed) Systems: documents of contemporary art. Whitechapel Gallery, MIT Press, London, Cambridge, MA, pp 160–162Google Scholar
  14. Nake F (1971) There should be no computer art. In: G. Metzger (ed) PAGE 18: bulletin of the computer arts society, The Computer Art Society, London. http://computer-arts-society.com/document/43000
  15. Nake F (2008) Behind the Canvas: an algorithmic space. Reflections of digital art. In: Chart conference proceedings, vol 11. Birkbeck, University of London. http://www.chart.ac.uk/chart2008/papers/nake-koster.pdf
  16. Noll AM (1966) Human or machine: a subjective comparison of Piet Mondrian’s “Composition with lines” (1917) and a computer-generated picture. Psychol Rec 16:1–10. http://noll.uscannenberg.org/Art%20Papers/Mondrian.pdfMathSciNetCrossRefGoogle Scholar
  17. Noll AM (2016) An interview conducted by Mary Ann Hellrigel and Michael Geselowitz. In: IEEE History Center, 10 May 2016. http://ethw.org/Oral-History:A._Michael_Noll
  18. Nunez GA (2016) Between Technophilia, cold war and rationality: a social and cultural history of digital art. University of the Arts London, PhD, LondonGoogle Scholar
  19. Pion GM, Lipsey MW (1981) Public attitudes toward science and technology: what have the surveys told us? Pub Opin Q 45(3):303–316.  https://doi.org/10.2307/2748607CrossRefGoogle Scholar
  20. Shanken EA (2016) Contemporary art and new media: digital divide or hybrid discourse? In: Paul C (ed) A companion to digital art. Wiley Blackwell, Malden, MA, pp 463–481Google Scholar
  21. Taylor GD (2014) When the machine made art: the troubled history of computer art. Bloomsbury Academic, New York and London. http://public.eblib.com/choice/publicfullrecord.aspx?p=1650669
  22. Turner F (2006) From counterculture to cyberculture: Stewart Brand, the whole earth network, and the rise of digital utopianism. University of Chicago Press, ChicagoCrossRefGoogle Scholar
  23. Turner F (2014) The corporation and the counterculture: revisiting the Pepsi Pavilion and the politics of cold war multimedia. Velvet Light Trap 73(1):66–78. https://muse.jhu.edu/journals/the_velvet_light_trap/v073/73.turner.htmlCrossRefGoogle Scholar
  24. Usselmann R (2003) The dilemma of media art: cybernetic serendipity at the ICA London. Leonardo 36(5):389–396. https://muse.jhu.edu/journals/leonardo/v036/36.5usselmann.pdfCrossRefGoogle Scholar
  25. Wiener N (1964) God and Golem Inc: a comment on certain points where cybernetics impinges on religion. MIT Press, Cambridge, MACrossRefGoogle Scholar
  26. Wiener N (1950/1989) The human use of human beings: cybernetics and society, 2nd (1st edn, 1950). Free Association, LondonGoogle Scholar

Copyright information

© Springer-Verlag London Ltd., part of Springer Nature 2018

Authors and Affiliations

  • German Alfonso Nunez
    • 1
  1. 1.SydneyAustralia

Personalised recommendations