MIT Press Ltd strana 2 z 3

A monumental, lavishly illustrated book that offers the first global portrait of a complex and definition-defying genre of cultural production. Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production--one that has virtually redefined contemporary art practice. Living as Form grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems. Living as Form contains commissioned essays from noted critics and theorists who look at this phenomenon from a global perspective and broaden the range of what constitutes this form.

How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neill examines the emergence of independent curatorship and the discourse that helped to establish it. O'Neill describes how, by the 1980s, curated group exhibitions--large-scale, temporary projects with artworks cast as illustrative fragments--came to be understood as the creative work of curator-auteurs. The proliferation of new biennials and other large international exhibitions in the 1990s created a cohort of high-profile, globally mobile curators, moving from Venice to Paris to Kassel. In the 1990s, curatorial and artistic practice converged, blurring the distinction between artist and curator. O'Neill argues that this change in the understanding of curatorship was shaped by a curator-centered discourse that effectively advocated--and authorized--the new independent curatorial practice. Drawing on the extensive curatorial literature and his own interviews with leading curators, critics, art historians, and artists, O'Neill traces the development of the curator-as-artist model and the ways it has been contested. The Culture of Curating and the Curating of Culture(s) documents the many ways in which our perception of art has been transformed by curating and the discourses surrounding it.

Redefining curatorial practice for those working with new kinds of art. As curator Steve Dietz has observed, new media art is like contemporary art--but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks are difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology and present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice. It helps curators of new media art develop a set of flexible tools for working in this fast-moving field, and it offers useful lessons from curators and artists for those working in such other areas of art as distributive and participatory systems. The authors, both of whom have extensive experience as curators, offer numerous examples of artworks and exhibitions to illustrate how the roles of curators and audiences can be redefined in light of new media art's characteristics. Rethinking Curating offers curators a route through the hype around platforms and autonomous zones by following the lead of current artists' practice.

How information can make us happy or miserable, and why we sometimes avoid it and sometimes seek it out. How much information is too much? Do we need to know how many calories are in the giant vat of popcorn that we bought on our way into the movie theater? Do we want to know if we are genetically predisposed to a certain disease? Can we do anything useful with next week's weather forecast for Paris if we are not in Paris? In Too Much Information, Cass Sunstein examines the effects of information on our lives. Policymakers emphasize "the right to know," but Sunstein takes a different perspective, arguing that the focus should be on human well-being and what information contributes to it. Government should require companies, employers, hospitals, and others to disclose information not because of a general "right to know" but when the information in question would significantly improve people's lives. Sunstein argues that the information on warnings and mandatory labels is often confusing or irrelevant, yielding no benefit. He finds that people avoid information if they think it will make them sad (and seek information they think will make them happy). Our information avoidance and information seeking is notably heterogeneous--some of us do want to know the popcorn calorie count, others do not. Of course, says Sunstein, we are better off with stop signs, warnings on prescriptions drugs, and reminders about payment due dates. But sometimes less is more. What we need is more clarity about what information is actually doing or achieving.

How companies like Amazon and Netflix know what "you might also like" the history, technology, business, and social impact of online recommendation engines. Increasingly, our technologies are giving us better, faster, smarter, and more personal advice than our own families and best friends. Amazon already knows what kind of books and household goods you like and is more than eager to recommend more; YouTube and TikTok always have another video lined up to show you; Netflix has crunched the numbers of your viewing habits to suggest whole genres that you would enjoy. In this volume in the MIT Press's Essential Knowledge series, innovation expert Michael Schrage explains the origins, technologies, business applications, and increasing societal impact of recommendation engines, the systems that allow companies worldwide to know what products, services, and experiences "you might also like." Schrage offers a history of recommendation that reaches back to antiquity's oracles and astrologers; recounts the academic origins and commercial evolution of recommendation engines; explains how these systems work, discussing key mathematical insights, including the impact of machine learning and deep learning algorithms; and highlights user experience design challenges. He offers brief but incisive case studies of the digital music service Spotify; ByteDance, the owner of TikTok; and the online personal stylist Stitch Fix. Finally, Schrage considers the future of technological recommenders: Will they leave us disappointed and dependent-or will they help us discover the world and ourselves in novel and serendipitous ways?

How to think about what it means to look and see: a guide for navigating the complexities of visual culture. The visual surrounds us, some of it invited, most of it not. In this visual environment, everything we see--color, the moon, a skyscraper, a stop sign, a political poster, rising sea levels, a photograph of Kim Kardashian West--somehow becomes legible, normalized, accessible. How does this happen? How do we live and move in our visual environments? This volume in the MIT Press Essential Knowledge series offers a guide for navigating the complexities of visual culture, outlining strategies for thinking about what it means to look and see--and what is at stake in doing so. Visual culture has always been inscribed by the dominant and by domination. This book suggests how we might weaponize the visual for positive, unifying change. Drawing on both historical and contemporary examples--from Judy Chicago's The Dinner Party and Beyoncé and Jay-Z at the Louvre to the first images of a black hole--Alexis Boylan considers how we engage with and are manipulated by what we see. She begins with what what is visual culture, and what questions, ideas, and quandaries animate our approach to the visual? She continues with where where are we allowed to see it, and where do we stand when we look? Then, who whose bodies have been present or absent from visual culture, and who is allowed to see it? And, finally, when is the visual detached from time? When do we see what we need to see?

The theory and practice of bio art, a new art form that uses the materials and processes of biotechnology, with examples of work by such prominent artists as Eduardo Kac and Marc Quinn. Bio art is a new art form that has emerged from the cultural impact and increasing accessibility of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists. Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo. (A celebrated example is Eduardo Kac's own GFP Bunny, centered on Alba, the transgenic fluorescent green rabbit.) The creations of bio art become a part of evolution and, provided they are capable of reproduction, can last as long as life exists on earth. Thus, bio art raises unprecedented questions about the future of life, evolution, society, and art. The contributors to Signs of Life articulate the critical theory of bio art and document its fundamental works. The writers--who include such prominent scholars as Barbara Stafford, Eugene Thacker, and Dorothy Nelkin--consider the culture and aesthetics of biotechnology, the ethical and philosophical aspects of bio art, and biology in art history. The section devoted to artworks and artists includes George Gessert's Why I Breed Plants, Oron Catts and Ionat Zurr's Semi-Living Art, Marc Quinn's Genomic Portrait, and Heather Ackroyd and Dan Harvey's Chlorophyll.

Essays and images that map art's new sonic cosmos, illustrated in color throughout. This milestone volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established sound art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive exhibition at ZKM Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art. The book begins with an extensive overview by volume editor Peter Weibel that considers the history of sound as media art, examining work by visual artists, composers, musicians, and architects alike. Subsequent essays examine sound experiments in antiquity, sonification of art and science, and internet-based sound art. Contributors then survey the global field of sound art research and practice, in essays that describe the past, present, and future of sound art in Germany, Japan, China, the United States, the United Kingdom, Russia, Canada, Turkey, Australia, and Scandinavia. The texts are accompanied by an extensive photographic documentation of the ZKM exhibition. Texts by Achille Bonito Oliva, Dmitry Bulatov, Germano Celant, Seth Cluett, Christoph Cox, Julia Gerlach, Ryo Ikeshiro und/and Atau Tanaka, Caleb Kelly, Brandon LaBelle, Christof Migone, László Moholy-Nagy, Daniel Muzyczuk, Tony Myatt, Irene Noy, Giuliano Obici, Carsten Seiffarth und/and Bernd Schulz, Başak Şenova, Linnea Semmerling, Morten Sondergaard, Alexandra Supper, David Toop und/and Adam Parkinson, Peter Weibel, Dajuin Yao, Siegfried Zielinski

An art-historical perspective on interactive media art that provides theoretical and methodological tools for understanding and analyzing digital art. Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork and then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance--with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

The historical roots, key practitioners, and artistic, theoretical, and technological trends in the incorporation of new media into the performing arts. The past decade has seen an extraordinarily intense period of experimentation with computer technology within the performing arts. Digital media has been increasingly incorporated into live theater and dance, and new forms of interactive performance have emerged in participatory installations, on CD-ROM, and on the Web. In Digital Performance, Steve Dixon traces the evolution of these practices, presents detailed accounts of key practitioners and performances, and analyzes the theoretical, artistic, and technological contexts of this form of new media art. Dixon finds precursors to today's digital performances in past forms of theatrical technology that range from the deus ex machina of classical Greek drama to Wagner's Gesamtkunstwerk (concept of the total artwork), and draws parallels between contemporary work and the theories and practices of Constructivism, Dada, Surrealism, Expressionism, Futurism, and multimedia pioneers of the twentieth century. For a theoretical perspective on digital performance, Dixon draws on the work of Philip Auslander, Walter Benjamin, Roland Barthes, Jean Baudrillard, and others. To document and analyze contemporary digital performance practice, Dixon considers changes in the representation of the body, space, and time. He considers virtual bodies, avatars, and digital doubles, as well as performances by artists including Stelarc, Robert Lepage, Merce Cunningham, Laurie Anderson, Blast Theory, and Eduardo Kac. He investigates new media's novel approaches to creating theatrical spectacle, including virtual reality and robot performance work, telematic performances in which remote locations are linked in real time, Webcams, and online drama communities, and considers the extratemporal illusion created by some technological theater works. Finally, he defines categories of interactivity, from navigational to participatory and collaborative. Dixon challenges dominant theoretical approaches to digital performance--including what he calls postmodernism's denial of the new--and offers a series of boldly original arguments in their place.

Essays on computer art and its relation to more traditional art, by a pioneering practitioner and a philosopher of artificial intelligence. In From Fingers to Digits, a practicing artist and a philosopher examine computer art and how it has been both accepted and rejected by the mainstream art world. In a series of essays, Margaret Boden, a philosopher and expert in artificial intelligence, and Ernest Edmonds, a pioneering and internationally recognized computer artist, grapple with key questions about the aesthetics of computer art. Other modern technologies--photography and film--have been accepted by critics as ways of doing art. Does the use of computers compromise computer art's aesthetic credentials in ways that the use of cameras does not? Is writing a computer program equivalent to painting with a brush? Essays by Boden identify types of computer art, describe the study of creativity in AI, and explore links between computer art and traditional views in philosophical aesthetics. Essays by Edmonds offer a practitioner's perspective, considering, among other things, how the experience of creating computer art compares to that of traditional art making. Finally, the book presents interviews in which contemporary computer artists offer a wide range of comments on the issues raised in Boden's and Edmonds's essays.

A fully updated and expanded edition of Don Norman's classic and influential work, which pioneered the application of cognitive science to design. Even the smartest among us can feel inept as we try to figure out the shower control in a hotel or attempt to navigate an unfamiliar television set or stove. When The Design of Everyday Things was published in 1988, cognitive scientist Don Norman provocatively proposed that the fault lies not in ourselves, but in design that ignores the needs and psychology of people. Fully revised to keep the timeless principles of psychology up to date with ever-changing new technologies, The Design of Everyday Things is a powerful appeal for good design, and a reminder of how-and why-some products satisfy while others only disappoint.

Connections and clashes between new and old media, as told by interviewees ranging from the founder of Twitter to the publisher of the New York Times. Mainstream media, often known simply as MSM, have not yet disappeared in a digital takeover of the media landscape. But the long-dominant MSM?television, radio, newspapers, magazines, and books?have had to respond to emergent digital media. Newspapers have interactive Web sites; television broadcasts over the Internet; books are published in both electronic and print editions. In Designing Media, design guru Bill Moggridge examines connections and conflicts between old and new media, describing how the MSM have changed and how new patterns of media consumption are emerging. The book features interviews with thirty-seven significant figures in both traditional and new forms of mass communication; interviewees range from the publisher of the New York Times to the founder of Twitter. We learn about innovations in media that rely on contributions from a crowd (or a community), as told by Wikipedia's Jimmy Wales and Craigslist's Craig Newmark; how the band OK Go built a following using YouTube; how real-time connections between dispatchers and couriers inspired Twitter; how a BusinessWeek blog became a quarterly printed supplement to the magazine; and how e-readers have evolved from Rocket eBook to QUE. Ira Glass compares the intimacy of radio to that of the Internet; the producer of PBS's Frontline supports the program's investigative journalism by putting documentation of its findings online; and the developers of Google's Trendalyzer software describe its beginnings as animations that accompanied lectures about social and economic development in rural Africa. At the end of each chapter, Moggridge comments on the implications for designing media. Designing Media is illustrated with hundreds of images, with color throughout. A DVD accompanying the book includes excerpts from all of the interviews, and the material can be browsed at www.designing-media.com. Interviews with: Chris Anderson, Rich Archuleta, Blixa Bargeld, Colin Callender, Fred Deakin, Martin Eberhard, David Fanning, Jane Friedman, Mark Gerzon, Ira Glass, Nat Hunter, Chad Hurley, Joel Hyatt, Alex Juhasz, Jorge Just, Alex MacLean, Bob Mason, Roger McNamee, Jeremy Merle, Craig Newmark, Bruce Nussbaum, Alice Rawsthorn, Anna Rosling Rönnlund, Hans Rosling, Ola Rosling, Paul Saffo, Jesse Scanlon, DJ Spooky, Neil Stevenson, Arthur Sulzberger Jr., Shinichi Takemura, James Truman, Jimmy Wales, Tim Westergren, Ev Williams, Erin Zhu, Mark Zuckerberg

A pioneer in interaction design tells the stories of designers who changed the way people use everyday things in the digital era, interviewing the founders of Google, the creator of The Sims, the inventors and developers of the mouse and the desktop, and many others. Digital technology has changed the way we interact with everything from the games we play to the tools we use at work. Designers of digital technology products no longer regard their job as designing a physical object—beautiful or utilitarian—but as designing our interactions with it. In Designing Interactions, award-winning designer Bill Moggridge introduces us to forty influential designers who have shaped our interaction with technology. Moggridge, designer of the first laptop computer (the GRiD Compass, 1981) and a founder of the design firm IDEO, tells us these stories from an industry insider's viewpoint, tracing the evolution of ideas from inspiration to outcome. The innovators he interviews—including Will Wright, creator of The Sims, Larry Page and Sergey Brin, the founders of Google, and Doug Engelbart, Bill Atkinson, and others involved in the invention and development of the mouse and the desktop—have been instrumental in making a difference in the design of interactions. Their stories chart the history of entrepreneurial design development for technology. Moggridge and his interviewees discuss such questions as why a personal computer has a window in a desktop, what made Palm's handheld organizers so successful, what turns a game into a hobby, why Google is the search engine of choice, and why 30 million people in Japan choose the i-mode service for their cell phones. And Moggridge tells the story of his own design process and explains the focus on people and prototypes that has been successful at IDEO—how the needs and desires of people can inspire innovative designs and how prototyping methods are evolving for the design of digital technology. Designing Interactions is illustrated with more than 700 images, with color throughout. Accompanying the book is a DVD that contains segments from all the interviews intercut with examples of the interactions under discussion. Interviews with: Bill Atkinson, Durrell Bishop, Brendan Boyle, Dennis Boyle, Paul Bradley, Duane Bray, Sergey Brin, Stu Card, Gillian Crampton Smith, Chris Downs, Tony Dunne, John Ellenby, Doug Englebart, Jane Fulton Suri, Bill Gaver, Bing Gordon, Rob Haitani, Jeff Hawkins, Matt Hunter, Hiroshi Ishii, Bert Keely, David Kelley, Rikako Kojima, Brenda Laurel, David Liddle, Lavrans Lovlie, John Maeda, Paul Mercer, Tim Mott, Joy Mountford, Takeshi Natsuno, Larry Page, Mark Podlaseck, Fiona Raby, Cordell Ratzlaff, Ben Reason, Jun Rekimoto, Steve Rogers, Fran Samalionis, Larry Tesler, Bill Verplank, Terry Winograd, Will Wright

Applying the principles of human-centered design to real-world health care challenges, from drug packaging to early detection of breast cancer. This book makes a case for applying the principles of design thinking to real-world health care challenges. As health care systems around the globe struggle to expand access, improve outcomes, and control costs, Health Design Thinking offers a human-centered approach for designing health care products and services, with examples and case studies that range from drug packaging and exam rooms to internet-connected devices for early detection of breast cancer. Written by leaders in the field—Bon Ku, a physician and founder of the innovative Health Design Lab at Sidney Kimmel Medical College, and Ellen Lupton, an award-winning graphic designer and curator at Cooper Hewitt Smithsonian Design Museum—the book outlines the fundamentals of design thinking and highlights important products, prototypes, and research in health design. Health design thinking uses play and experimentation rather than a rigid methodology. It draws on interviews, observations, diagrams, storytelling, physical models, and role playing; design teams focus not on technology but on problems faced by patients and clinicians. The book's diverse case studies show health design thinking in action. These include the development of PillPack, which frames prescription drug delivery in terms of user experience design; a credit card–size device that allows patients to generate their own electrocardiograms; and improved emergency room signage. Drawings, photographs, storyboards, and other visualizations accompany the case studies. Copublished with Cooper Hewitt, Smithsonian Design Museum