000			02038nam a22003618i 4500
001			387783
005			20170630135058.0
008			150107s2016 enk f 000|0|eng|d
020			_a9780854882342 (pbk.) : _c£15.95
020			_a0854882340
035			_a(StDuBDS)9780854882342
040			_aStDuBDS _beng _cStDuBDS _erda
072		7	_aART _2eflch
072		7	_aART _2ukslc
082	0	4	_223
245	0	0	_aSystems / _cedited by Edward A. Shanken.
264		1	_aLondon : _bWhitechapel Gallery, _c2015.
300			_a240 pages ; _c21 cm.
336			_atext _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
490	1		_aDocuments of contemporary art
520	8		_aIn the late 1950s experiments such as the cybernetic sculptures of Nicolas Schoffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Sonia Sheridan and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasize organism over mechanism, dynamic processes of interaction among elements, and the observer's role as an inextricable part of the system. Jack Burnham's 1968 Artforum essay 'Systems Aesthetics' and 1970 'Software' exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the 21st century. This anthology traces this radical shift in aesthetics from its roots in mid 20th-century general systems theory, cybernetics and artificial intelligence to cutting-edge science in the present.
521			_aSpecialized.
650		0	_aArt _xThemes, motives.
650		7	_aArt and Design. _2eflch
650		7	_aArt and Design. _2ukslc
700	1		_aShanken, Edward A., _d1964- _eeditor.
710	2		_aWhitechapel Art Gallery, _epublisher.
830		0	_aDocuments of contemporary art.
942			_n0
999			_c53609 _d53609