Sensate: A Journal for Experiments in Critical Media Practice (2012-)

Sensate is a peer-reviewed, issueless, open-access, media-based journal for the creation, presentation, and critique of innovative projects in the arts, humanities, and sciences. Its mission is to provide a scholarly and artistic forum for experiments in critical media practices that expand academic discourse by taking us beyond the margins of the printed page. Fundamental to this expansion is a re-imagining of what constitutes a work of scholarship or art.

Editors-in-Chief: Lindsey Lodhie, Peter McMurray, Joana Pimenta, and Elizabeth Watkins
Creative Commons 3.0 Attribution license

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Lygia Clark, Hélio Oiticica: Cartas, 1964-1974, 2nd ed. (1996/98) [Portuguese]

Correspondência trocada entre Lygia Clark e Hélio Oiticica.

“Lygia e Helio são os dois maiores artistas do experimentalismo nas artes plásticas brasileiras.”

Organized and With an Introduction by Luciano Figueiredo
With a Preface by Silviano Santiago
First published in 1996
Publisher Editora UFRJ, Rio de Janeiro, 1998
ISBN 8571081913
264 pages

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Lygia Clark: Lygia Clark (1980) [Portuguese]

Lygia Clark (1920–1988) was an artist best known for her painting and installation work. She was often associated with the Brazilian Constructivist movements of the mid-20th century and the Tropicalia movement. Even with the changes in how she approached her artwork, she did not stray far from her Constructivist roots. Along with artists Amilcar de Castro, Franz Weissmann, Lygia Pape and poet Ferreira Gullar, Clark co-founded the Neo-Concretist art movement. (from Wikipedia)

With texts by Ferreira Gullar, Mário Pedrosa, Lygia Clark
Publisher Funarto, Rio de Janeiro, 1980
60 pages
via Rafael Amambahy

Lygia Clark at Wikipedia

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Olga Goriunova (ed.): Readme 100: Temporary Software Art Factory (2006)

This book discusses projects and research completed in the framework of the Readme 100 Temporary Software Art Factory, which took place in Dortmund in November 2005 and was co-organized by Hartware MedienKunstVerein.

It deals with the topic of production as it relates to software, software art and software cultures. Thus, it focuses not only on software as a product itself, but also on the experiment of its production through methods including outsourcing, use of open source solutions and self-production. Topics addressed include economies of arts, desire and openness, harmony of markets, the unmarketable, reverse outsourcing, resistant mapping and others.

The result is a multi-faceted collection of project descriptions, illustrations, research texts and features relating to the theme of software art production.

Authors include: Amy Alexander, Inke Arns, Christophe Bruno, Javier Candeira, Yves Degoyon, Elpueblodechina, Olga Goriunova, Francis Hunger, Sven Konig, Eric Londaits, Alessandro Ludovico, Ilia Malinovsky, Alex McLean, Special guest, Julian Rohrhuber, Alexei Shulgin, Leonardo Solaas, Mitchell Whitelaw, Renate Wieser.

Publisher Hartware MedienKunstVerein, Dortmund, 2006
ISBN 3833443693
168 pages

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Johannes Itten: The Art of Color / The Elements of Color (1961-) [English/Spanish]

This is the most complete document of one of the landmarks of modern education in art – the famous Basic Course at the Bauhaus in Weimar, Germany. Itten was the teacher who organized it at the invitation of Walter Gropius. First published in 1961 when Itten was still alive, the book has been revised and updated by Itten’s widow, Anneliese Itten, and includes new material from the basic course at the Bauhaus, as well as visual examples and descriptions of the refinements made by Itten in later course in Berlin and Zurich.

The Art of Color: The Subjective Experience and Objective Rationale of Color
Originally published in German as Kunst der Farbe: Studienausgabe by Johannes Itten, Otto Maier Verlag, Ravensburg, 1961 and 1973
Publisher John Wiley & Sons, 1974
ISBN 0471289280
via lexnova

El Arte Del Color: Aproximación subjetiva y descripción objetiva del arte
Publisher Editorial Limusa, 2002
ISBN 9681840143
95 pages

The Elements of Color: A Treatise on the Color System of Johannes Itten Based on His Book The Art of Color
A simplified and condensed version of The Art of Color
Edited and With a Foreword and Evaluation by Faber Birren
Translated by Ernst van Hagen
Publisher Van Nostrand Reinhold Co., New York, 1970
ISBN 0442240384
95 pages

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The Art of Color (English, no images, MOBI)
El Arte Del Color (Spanish)
The Elements of Color (English, no OCR)

Gerald Janecek: Zaum: The Transrational Poetry of Russian Futurism (1996)

This is the most comprehensive treatment of a significant episode of the historical avant-garde period to which many refer but with little concrete background. According to Charlotte Douglas (Russian and Slavic Studies, NYU), Zaum “is an encyclopedic account of zaum or ‘beyonsense,’ the most distinctive feature of Russian avant-garde art and poetry early in the 20th century. Janecek has mined a myriad of arcane and inaccessible sources, gathered the entire historical record in one place, and made it readable and comprehensible. His account of zaum theory and practice will be indispensable for anyone interested in modern poetry and art. Certainly it will become a standard text for all students of Russian Futurism.”

Publisher San Diego State University Press, 1996
ISBN 1879691418, 9781879691414
428 pages
via greatjob

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See also Vladimir Markov’s Russian Futurism: A History

Kristoffer Gansing: Transversal Media Practices: Media Archaeology, Art and Technological Development (2013)

Transversal Media Practices work across specific situations of technological development, critically examining and redefining the terms of production in different media by bringing heterogeneous histories, institutions, actors and materialities into play with one another. This dissertation is all about trying out and refining the methodologies of such transversal media practices, in the end outlining a conceptual set of tools for further development.

Following the technological hype of the “digital revolution” of the mid-1990s, the field of new media studies gained popularity over a ten year period. This dissertation takes its cue from a historical turn in new media theory, and argues that it is time leave behind strict polarisations between old and new as well as analogue and digital. The study unfolds through two case-studies. The first, “The World’s Last Television Studio”, looks at tv-tv, an art and media-activist project that negotiates the sociocultural and material changes of the “old” and institutionalised mass medium of television. In the second case study, “The Art of the Overhead”, another old medium is engaged: the overhead projector – a quintessential 20th century institutional medium here presented as a device for rethinking the new through the old. The problematic of technological development, i.e. dealing with questions of how (media) technologies develop over time, forms the background to these two case studies. A key issue being how cultural and artistic practices dealing with the interaction of old and new media invite us to conceptualise technological development in new ways.

The emerging field of media archaeology is employed as a methodology in media studies and cultural production, comprising a theoretical and applied analysis of media history, materiality and practice. This transversal approach allows media archaeologists to deal with the relation between the old and the new in a non-linear way as well as to pay attention to the technical materiality of media. It is argued that the transversality of the media-archaeological approach should be seen in contrast to other conceptions of media history and technological development, such as progressivist, mono-medial and evolutionary ones. In this study, the author tries out the potential of media archaeology to reform our conception of media technologies, and eventually formulates a set of concepts for thinking and doing media archaeology as a transversal media practice. These tools are about the imaginary, residual and renewable dimensions of media technologies and are meant to assist in the opening up and intervening into processes of standardised media development.

On a general level the resulting set of tools for transversal media practices builds a bridge between theory and practice: they can be used for further research and cultural analysis where objects of study speak back to analytical concepts. At the same time these are tools for transversality that expand this form of cultural analysis in that the travelling between disciplines here also means a travelling between theory and practice. On a specific level, the tools enable this travel between theory and practice in media- and communication studies, and as such they contribute to the development of new practice-based methodologies in media research.

Doctoral dissertation in Media and Communications Studies
School of Arts and Communication, K3; Faculty of Culture and Society; Malmö University
Dissertation series in New Media, Public Spheres and Forms of Expression
Creative Commons Attribution-NonCommercial 3.0 Unported License
ISBN 9789171044815
350 pages

publisher
public defense of dissertation (17 May 2013, Malmö)
Media archaeology at Monoskop wiki (incl. source bibliography)

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