While information science draws distinctions between 'information',
signals and data, artists from the 1960s to the present have
questioned the validity and value of such boundaries. Artists have
investigated information's materiality, in signs, records and
traces; its immateriality, in hidden codes, structures and flows;
its embodiment, in instructions, social interaction and political
agency; its overload, or uncontrollable excess, challenging utopian
notions of networked society; its potential for misinformation and
disinformation, subliminally altering our perceptions; and its
post-digital unruliness, unsettling fixed notions of history and
place. This anthology provides the first art-historical
reassessment of information-based art in relation to data
structures and exhibition curation, examining landmark exhibitions
and re-examining work by artists of the 1960s to early 1980s, from
Les Levine and N.E.Thing Co. to General Idea and Jenny Holzer.David
Askewold, Iain Baxter, Guy Bleus, Heath Bunting, CAMP (Shaina Anand
& Ashok Sukumaran), Ami Clarke, Richard Cochrane, Rod
Dickinson, Hans Haacke, Graham Harwood, Jenny Holzer, Joseph
Kosuth, Christine Kozlov, Steve Lambert and the Yes Men, Oliver
Laric, Les Levine, Laszlo Moholy-Nagy, Muntadas, Erhan Muratoglu,
Raqs Media Collective, Erica Scourti, Stelarc, Thomson &
Craighead, Angie Waller, Stephen Willats, Young-Hae Chang Heavy
Industries, Elizabeth Vander Zaag. Writers include James Bridle,
Matthew Fuller, Francesca Gallo, Lizzie Homersham, Antony Hudek,
Eduardo Kac, Friedrich Kittler, Arthur and Marilouise Kroker, Scott
Lash, Alessandro Ludovico, Jean-Francois Lyotard, Charu Maithani,
Suhail Malik, Armin Medosch, Srinivas Aditya Mopidevi, Craig Saper,
Jorinde Seijdel, Tom Sherman, Felix Stalder, McKenzie Wark,
Benjamin Weil.
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