By Sarah M. Schlachetzki
Why do jap artists group up with engineers which will create so-called machine paintings? what's a nanoscientist's motivation in drawing close the artworld? long ago few years, there was a impressive elevate in makes an attempt to foster the alternate among artwork, know-how, and technology – an alternate occurring in academies, museums, or perhaps in study laboratories. Media artwork has confirmed specially very important within the discussion among those cultural fields. This publication is a contribution to the present debate on paintings & technology, interdisciplinarity, and the discourse of innovation. It seriously assesses inventive positions that seem because the ongoing try and localize art's place inside technological and societal switch – among now and the future.
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Additional resources for Fusing Lab and Gallery: Device Art in Japan and International Nano Art
Example text
What is the significance of a rather small group of engineers, artists, and one art theoretician gathering around one umbrella term – a term with which it positions itself in a national and international media art context? By studying the underlying network structure of the actors in the field, I regard the Device Art model illustrative of general given factors in the Japanese media art scene. Device Art can function as a lesson toward a deepened understanding of media art’s position in Japan specifically, and generally of the electronic arts in a societal setting between technological progress and the gallery space.
22 The supportive structure of a field, its financial sources, and patronizing institutions are always meaningful with respect to the freedom of action of its ‘players’. 23 In taking a sociological stance and looking at the media art scene in Japan, specifically in Tokyo, I hope to find expedient explanations for the rhetorics employed by its actors and offer a better understanding of how art positions itself in a society in which technology could hardly be of higher significance. In order to shed light on institutional entanglements and the regulatory framework affecting media artists, scholars, and individuals from the engineering field alike, I deem 21 | Machiko Kusahara in an interview with the author, Toyama Campus, Waseda University, Tokyo, July 29, 2009.
It was constructed in the 1960s, planned specifically in order to foster scientific research in Japan, built around the University of Tsukuba and a large number of independent research institutes. Naming his series of musical instruments after this place, Tosa ironically hints at their status as being intrinsically linked to the years of Japanese technological leadership. Ironical is the fact that the Tsukuba instruments are simple electronical items “played by the movement of motors and/or electromagnets at 100V and make […] a sound by practically beating/knocking a substance”.