| Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers. |
Cybernetic Serendipity (1968): 4 Text passages
| Hits |
1.  Dieter Daniels «Media → Art / Art → Media
Forerunners of media art in the first half of the twentieth century»TV zapping and web surfing.[21] The critical-destructive strategy: Guy Debord and film At the age of just under twenty, Guy Debord attached himself to the Lettrist movement around Isidore Isou, which attracted his attention because of the scandal they [more]  |
| 2. Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s» artistic attitudes and changes in the media landscape will be revealed. Even in the 1950s, Lucio Fontana, John Cage and Guy Debord were staking out possible artistic positions relating to television, radio and film, ranging from total enthusiasm to radical [more] |
| 3. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» 1957 to 1972, but built on the radical film experiments and written theses on the «Society of the Spectacle» that Guy Debord had been producing since the early 1950s: «The construction of situations begins on the ruins of the modern [more] |
| 4. Inke Arns «Social Technologies
Deconstruction, subversion, and the utopia of democratic communication» was founded in 1957 by Lettrists, the Cobra group of artists and the Imaginist Bauhaus movement.[5] In the person of Guy Debord among others it formulated a radical social critique and also a radical critique of the media society. It rejected [more] |
