nØ1se exhibition catalogue (2000)

Catalogue for the multi-site multimedia exhibition in Cambridge and London (January-May 2000), devised by artist, Adam Lowe, and, historian of science, Simon Schaffer, and organised around three key themes in “digitality”:

Universal Language
Pattern Recognition
Data Synæsthetics

nØ1se is not limited to electronic media, but traces the digital imagination from such myths as Noah’s Ark, through the early modern experiments of Charles Babbage’s Difference Engine and Morse’s Telegraph, up to today’s charge coupled devices (CCDs), robotics and beyond.. It highlights digitality in history, technology, art and science, drawing upon a wide range of objects and images from artists and scientists around the globe — everything from 3000BC artefacts to the latest state-of-the-art pictures of the surface of atoms.

Catalogue contributors: Tabatha Andrews, William Armstrong, Art and Language, Charles Babbage, Stephen Baker, Joe Banks, Richard Barbrook, William Bateson, Evgen Bavcar, Robin Boast, Patrick Blackett, Jerry Brotton, Soraya de Chadarevian, Adrian Cussins, Su Dalgleish, John Dee, Umberto Eco, Richard Feynman, Manuel Franquelo, Peter Galison, Joy Garnett, Merrill Garnett, Joseph Grigely, Roger Guillemin, Sebastian Guillié, Mercurius Van Helmont, Lynn Hershman, Jeff Hughes, Margaret Watts Hughes, Lisa Jardine, Bill Jones, Athanasius Kircher, Bruno Latour, Malcom Longair, Mike Lynch, Paul D Miller (aka DJ Spooky), Iwan Morus, Gracie Ngale Morton, Sven Nebel, Joseph Nechvatal, Ben Neill, Pictic Balls, Roy Porter, Marc Quinn, Jonathan Ree, Michael Rees, Giles Revell, Kathleen Rogers, Romandson, Brian Rotman, Stan Vanderbeek, Tom Van Sant, Ludwig Von Siegen, Julian Simmons, Nicola Schwartz, Lillian Schwartz, Robert Shannon, Bessie Nakamarra Sims, Paddy Japaljarri Sims, Brian Cantwell Smith, Luc Steels, Bruce Sterling, Jozue Tanaka, John Tchalenko, Dave Tovee, John Tresch, Burhan Tufail, John Tresch, Catherine Wagner, Piers Wardle, Peter Weibel, CTR Wilson, John Wilkins, John Woodward, Charles Wynn-Williams.

Edited by Alfred Birnbaum
Conceived of and designed by Adam Lowe
Published by Kettle’s Yard, Cambridge UK, 2000
ISBN: 0907074782, 978-0907074786
118 pages

exhibition website

View online (Section 1; HTML articles)
View online (Section 2; HTML articles)
View online (Section 3; HTML articles)

John E. Bowlt (ed.): Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934 (1976)

Statements by Russian artists and critics presented together with concise commentaries reveal the problems and ideology of early-twentieth-century Russian art.

Translated by John E. Bowlt
Publisher Viking Press, 1976
The Documents of 20th-Century Art series
ISBN 067061257X, 9780670612574
360 pages

Review: Robert C. Williams (Slavic Review 1977).

PDF (20 MB, updated on 2012-7-17)

Manfred Mohr: Computer Graphics. Une esthétique programmée, catalogue (1971) [French/English]

In 1970 Pierre Gaudibert, director of Animation-Recherche-Confrontation (ARC) at the Musée d’Art Moderne de la Ville de Paris, visited the computer center of the Meteorology Institute in Paris, Avenue Rapp, where Manfred Mohr conducted his research in computer graphics. Gaudibert was so impressed by what he saw that he subsequently invited Mohr to prepare a show of his work at the Museum.

An exhibition by Manfred Mohr, featuring for the first time, a one-person show in a museum of works entirely calculated by a digital computer and drawn by a plotter. The show consisted of 28 drawings framed and displayed on the wall; a Benson 1286 drawing machine (plotter) and its magnetic tape drive installed at the museum; a large white panel, a sort of guest book, where visitors could write comments of whatever they wished to say.

Catalog printed for this occasion containts texts by three authors and all 28 drawings from the show.

ARC – Musée d’Art Moderne de la Ville de Paris, 11 May – 6 June 1971
48 pages

About the exhibition

PDF (20 MB)
JPGs