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Information art


Information art

Information art (also 'data art' or 'informatism' ) is an emerging field of electronic art that synthesizes computer science, information technology, and more classical forms of art, including performance art, visual art, new media art and conceptual art. [1] Information Art often includes interaction with computers that generate artistic content based on the processing of large amounts of data.[2]


  • Background 1
  • Artistic practice 2
  • References 3
  • Further reading 4
  • See also 5
  • External links 6


Kynaston McShine's "Information"

Informatism follows on the 1970 exhibition organized by Kynaston McShine called "Information", held at the Museum of Modern Art in New York City - a show that formally established conceptual art as a leading tendency in the United States. Conceptual art had emerged simultaneously in dozens of international locations around 1966. [3] At the same time arose the activities of Experiments in Art and Technology known as E.A.T. [4]

Artistic practice

Information art data can be manifested using photographs, census data, micropayments, personal profiles and expressions, video clips, search engine results, digital painting, network signals, and prose.[5]


  1. ^ Edward A. Shanken has argued that little scholarship has explored the relationship between technology and conceptual art. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. Edward A. Shanken, ‘Art in the Information Age: Technology and Conceptual Art,’ in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004.
  2. ^ See Charlie Gere Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). ISBN 978-1-84520-135-7 This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of so-called ‘real-time’ digital technologies. It draws on the ideas of Jacques Derrida, Bernard Stiegler, Jean-François Lyotard and André Leroi-Gourhan, and looks at the work of Samuel Morse, Vincent van Gogh and Kasimir Malevich, among others.
  3. ^ See Lucy R. Lippard, Six Years: the Dematerialization of the Art Object From 1966 to 1972 (1973. Berkeley: University of California Press, 1997).
  4. ^ E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by Osaka, in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.
  5. ^ McKeough, Tim (February 29, 2008). "Frame That Spam! Data-Crunching Artists Transform the World of Information". Wired (CondéNet) (16.03). Retrieved 2008-03-05. 

Further reading

  • Alan Liu (2004). "The Laws of Cool: Knowledge Work and the Culture of Information", University of Chicago Press
  • Kenneth R. Allan, "Understanding Information," in Michael Corris (ed.), Conceptual Art, Theory, Myth, and Practice (Cambridge: Cambridge University Press, 2004), 144-68.
  • Roy Ascott (2003). Telematic Embrace. (Edward A. Shanken, ed.) Berkeley: University of California Press. ISBN 0-520-21803-5
  • Barreto, Ricardo and Perissinotto, Paula “the_culture_of_immanence”, in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. ISBN 85-7060-038-0.
  • Jack Burnham, (1970) Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc.
  • Bullivant, Lucy (2007). 4dsocial: Interactive Design Environments (Architectural Design). London: John Wiley & Sons. ISBN 978-0-470-31911-6
  • Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporary). London:Victoria and Albert Museum. ISBN 1-85177-481-5
  • Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. ISBN 0-470-09092-8
  • Oliver Grau, Virtual Art, from Illusion to Immersion, MIT Press/Leonardo Books, 2004, pp. 237-240, ISBN 0-262-57223-0
  • Paul, Christiane (2003). Digital Art (World of Art series). London: Thames & Hudson. ISBN 0-500-20367-9
  • Peter Weibel and Shaw, Jeffrey, Future Cinema, MIT Press 2003, pp. 472,572-581, ISBN 0-262-69286-4
  • Wilson, Steve Information Arts: Intersections of Art, Science and Technology Information Arts: Intersections of Art, Science, and Technology ISBN 0-262-23209-X
  • Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN LC 71-100683
  • Jack Burnham, ‘Systems Esthetics,’ Artforum (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: Tate Publishing, 2005)
  • Edward A. Shanken, ‘Art in the Information Age: Technology and Conceptual Art,’ in Michael Corris (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004).
  • Marga Bijvoet, (1997) Art as Inquiry: Toward New Collaborations Between Art & Science, Oxford: Peter Lang
  • Frank Popper (1993) Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, ISBN 0-8109-1928-1
  • Pavilion: Experiments in Art and Technology. Klüver, Billy, J. Martin, B. Rose (eds). New York: E. P. Dutton, 1972
  • Dick Higgins, ‘Intermedia’ (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970 (London: Tate Publishing, 2005)
  • Nicolas Bourriaud, Relational Aesthetics (Dijon: Les Presses du Réel, 2002, orig. 1997)
  • Charlie Gere Digital Culture (Reaktion, 2002) ISBN 978-1-86189-143-3

See also

External links

  • Intersections of Art, Technology, Science and Culture- Links
  • The Danish Artnode Foundation-Links
  • (FILE) Electronic Language International Festival.
  • Leonardo/The International Society for the Arts, Sciences and Technology
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