Automotive Prosthetic: Technological Mediation and the Car - download pdf or read online

By Charissa N. Terranova

ISBN-10: 0292754043

ISBN-13: 9780292754041

Within the twenty-first century, we're always faced with the existential facet of technology—the relationships among id and the mechanizations that experience turn into extensions of the self. targeting one among humanity’s such a lot ubiquitous machines, car Prosthetic: Technological Mediation and the auto in Conceptual paintings combines severe conception and new media conception to shape the 1st philosophical research of the automobile inside works of conceptual paintings. those works are extensively outlined to surround a variety of artistic expressions, relatively in car-based conceptual artwork by way of either older, demonstrated artists and more youthful, rising artists, together with Ed Ruscha, Martha Rosler, Richard Prince, Sylvie Fleury, Yael Bartana, Jeremy Deller, and Jonathan Schipper.

At its center, the booklet deals an alternate formation of conceptual artwork understood in response to know-how, the physique relocating via area, and what artwork historian, curator, and artist Jack Burnham calls “relations.” This thought-provoking research illuminates the ways that the car turns into a naturalized extension of the human physique, incarnating new different types of “car art” and spurring a technological reframing of conceptual paintings. Steeped in a cosmopolitan tackle the picture and semiotics of the auto, the chapters probe the politics of materialism in addition to high/low debates approximately style, tradition, and artwork. the result's a hugely leading edge method of modern intersections of paintings and know-how.

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Additional info for Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art

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53 18 // Automotive Prosthetic Burnham’s idea of systems aesthetics emerged from a combination of careful scrutiny of the art of his time and the writing of the scientist Norbert Wiener. The differences between Wiener’s theory of cybernetics and Simondon’s mechanology reconfirm the connection between Burnham’s system aesthetics and the present book. We arrive, once again, at a crossroads. 4)? Broadly speaking, both offer articulations of technology at work within art—the former by way of the technogenesis of humans as binary code (their answers in the polling are reduced to “yes” or “no”) and the latter by way of a machine-­initiated car wreck.

24 The idea and temporal framing are now canonical. In viewing conceptualism as a finite movement within art, these histories, though seminal and extremely useful, bear a logic generated by “styles”—the writing and teaching of art history as a linear trajectory of one style subsuming and overcoming another in sequential fashion. In limiting conceptual art to a proscribed period, these historians fail to understand the fundamental paradigm shift that conceptual art initiated in the postwar period.

Mark B. N. ”41 In rethinking technology beyond writing, Hansen reevaluates the “wholesale re16 // Automotive Prosthetic pression . . 42 Hansen argues for a shift away from the language-­oriented and negative take on technology, or what he calls the technesis of the thinkers listed above, toward a position that is at once open and embodied. The problems of such approaches are thus not insurmountable. ”46 It is, reciprocally, the foreigner within us. Prosthetic: Between Mechanology and Cybernetics, Soma and System As does the car within art, the prosthetic device operates in manifold fashion.

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Automotive Prosthetic: Technological Mediation and the Car in Conceptual Art by Charissa N. Terranova


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