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Technology, time and space in modern...

Ran, Faye.

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Technology, time and space in modern and postmodern art from Cubism to Installation Art.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Technology, time and space in modern and postmodern art from Cubism to Installation Art./
Author:	Ran, Faye.
Description:	552 p.
Notes:	Director: Christine Nystrom.
Contained By:	Dissertation Abstracts International59-05A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9832762
ISBN:	059185855X

Technology, time and space in modern and postmodern art from Cubism to Installation Art.
Ran, Faye.

Technology, time and space in modern and postmodern art from Cubism to Installation Art. - 552 p.

Director: Christine Nystrom.

Thesis (Ph.D.)--New York University, 1998.

Media ecology theory is concerned with the role of communication technology in reshaping cultural conceptions, values, and practices. In the realm of aesthetic inquiry, media ecology deals not only with the ways in which technological change is implicated in cultural conceptions of art, but also with how an art piece communicates and how it affects human perceptions, feelings, concerns, understandings, and values. My objective in this study was to explore these questions with reference to the emergence, development, structure, and functions of the postmodern art form called "Installation" or "Installation Art." More specifically, my objective was to trace the ways in which changes in nineteenth- and twentieth-century technologies for representing experience symbolically, reproducing symbolic forms, and transmitting them across space and time amplified changing cultural conceptions of space and time, and how these technologies and space-time conceptions together fostered both the change in world-view generally called "Postmodernism" and the development of Installation Art as a distinctively postmodern aesthetic form. In effect, therefore, this study explored the interactions of technology (particularly, technologies of symbolic representation, reproduction, and transmission), cultural conceptions of space-time, and the evolution of arts forms through an extended case study of the development of Installation Art from its origins in Cubism to the present. In the course of this case study, I also proffer a definition of the norms and/or objective criteria for Installation Art, examine the questions it attempts to ask, and offer an interpretation of the meanings it tries to create and communicate.

ISBN: 059185855XSubjects--Topical Terms:

635474
Art History.

Technology, time and space in modern and postmodern art from Cubism to Installation Art.
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100 1 $a Ran, Faye. $3 1260247
245 1 0 $a Technology, time and space in modern and postmodern art from Cubism to Installation Art.
300 $a 552 p.
500 $a Director: Christine Nystrom.
500 $a Source: Dissertation Abstracts International, Volume: 59-05, Section: A, page: 1371.
502 $a Thesis (Ph.D.)--New York University, 1998.
520 $a Media ecology theory is concerned with the role of communication technology in reshaping cultural conceptions, values, and practices. In the realm of aesthetic inquiry, media ecology deals not only with the ways in which technological change is implicated in cultural conceptions of art, but also with how an art piece communicates and how it affects human perceptions, feelings, concerns, understandings, and values. My objective in this study was to explore these questions with reference to the emergence, development, structure, and functions of the postmodern art form called "Installation" or "Installation Art." More specifically, my objective was to trace the ways in which changes in nineteenth- and twentieth-century technologies for representing experience symbolically, reproducing symbolic forms, and transmitting them across space and time amplified changing cultural conceptions of space and time, and how these technologies and space-time conceptions together fostered both the change in world-view generally called "Postmodernism" and the development of Installation Art as a distinctively postmodern aesthetic form. In effect, therefore, this study explored the interactions of technology (particularly, technologies of symbolic representation, reproduction, and transmission), cultural conceptions of space-time, and the evolution of arts forms through an extended case study of the development of Installation Art from its origins in Cubism to the present. In the course of this case study, I also proffer a definition of the norms and/or objective criteria for Installation Art, examine the questions it attempts to ask, and offer an interpretation of the meanings it tries to create and communicate.
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