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Books > Arts & Architecture > History of art / art & design styles > From 1900 > Art styles, 1960 - > Electronic & video art
Library of Light brings together established and emerging
practitioners who work with light, as material or subject, from
theatre, music, performance, fine art, photography, film, public
art, holography, digital media, architecture, and the built
environment, together with curators, producers and other experts.
Structured around twenty-five interviews and four thematic essays -
Political Light, Mediating Light, Performance Light and Absent
Light - the book aims to broaden our understanding of light as a
creative medium and examines its impact on our cultural history and
the role it plays in the new frontiers of art, design and
technology. Illustrated with colour photographs and images of
installations, sculptures, architectural projects, interventions in
public space and works in virtual reality, the book includes
interviews and contributions by: David Batchelor, Rana Begum, Robin
Bell, Jason Bruges (Jason Bruges Studio), Anne Bean and Richard
Wilson (The Bow Gamelan), Laura Buckley, Mario Caeiro, Paule
Constable, Ernest Edmonds, Angus Farquhar (NVA), Rick Fisher, Susan
Gamble and Michael Wenyon, Jon Hendricks, ISO Studio, Susan Hiller,
Michael Hulls and Russell Maliphant, Cliff Lauson, Chris Levine,
Michael Light, Joshua Lightshow, Liliane Lijn, Rafael
Lozano-Hemmer, Manu Luksch, Mark Major (Speirs + Major), Helen
Marriage (Artichoke), Anthony McCall, Gustav Metzger, Haroon Mirza,
Yoko Ono, Katie Paterson, Andrew Pepper, Mark Titchner, Andi
Watson.
Against Immediacy is a history of early video art considered in
relation to television in the United States during the 1960s and
1970s. It examines how artists questioned the ways in which "the
people" were ideologically figured by the commercial mass media.
During this time, artists and organizations including Nam June
Paik, Juan Downey, and the Women's Video News Service challenged
the existing limits of the one-to-many model of televisual
broadcasting while simultaneously constructing more democratic,
bottom-up models in which the people mediated themselves. Operating
at the intersection between art history and media studies, Against
Immediacy connects early video art and the rise of the media screen
in gallery-based art to discussions about participation and the
activation of the spectator in art and electronic media, moving
from video art as an early form of democratic media practice to its
canonization as a form of high art.
Just as the AutoCAD software continues to be improved and
perfected, so does the Beginning AutoCAD (R) Exercise Workbook.
This work is truly the ideal package from which to learn AutoCAD,
whether you're a complete beginner, or simply learning about the
latest features. The new AutoCAD 2022 software includes features
such as Installer, which reduces the number of steps needed for the
initial install, Share Current Drawing, allowing other users to
view or edit a drawing in the online AutoCAD Web application, and
Trace, encouraging collaboration on drawing changes using the
AutoCAD Web and Mobile apps. Readers can download the provided
templates used for drawings in the book from the Industrial Press
website. Expert author duo Shrock and Heather share their knowledge
with students and instructors, including plenty of inside tips and
dozens of exercises to help users get comfortable and see real
progress. NEW AND/OR IMPROVED FEATURES IN BEGINNING AUTOCAD 2022:
Redesigned Start Tab-There are three main sections that provide
access to recent work, enabling users to carry on where they left
off, and offering them access to online saved drawing files.
(Included in Lesson 1) Count-The new Count feature allows users to
count the instances of objects and Blocks that are placed in their
drawing. (Included in Lesson 29) Floating Drawing Tabs-Users can
now drag a drawing file Tab from the main AutoCAD application
window to make it a separate drawing file window. This is extremely
useful for those with two or more monitors. (Included in Lesson 2)
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