Hanakam & Schuller are tricksters. As artists and researchers, they remodel the rules of fine art, creating idiosyncratic orders and new world designs incorporated in videos and objects. The artefacts of the two artists from Vienna are "Gestalt-changers"; they change their outer shape and re-appear in a number of different contexts. The trickster art book illustrates the oeuvre and provides an insight into its making using multi-page photo spreads from video stills, and production photographs. The Arkadikon essay captures readers and leads them to contemporary hypothetical landscapes, deconstructing them as modern surrogates of an increasingly virtual world. The artists discuss ideal, pop, aura and abduction with Angela Stief, Anselm Franke, Uta Grosenick, Annette Hünnekens, Wolfgang Ullrich, Lois Weinberger, Stephanie Weber und Oliver Zybok.

この20年を彩ったメディア芸術のベストセレクション作品解説と、都内全域に広がるメディア芸術スポット101施設のガイド、マップ付。

Vols. for 1964- have guides and journal lists.

"This volume, presenting Calle's installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist." -- from www.artbook.com/9782365111171.html (viewed 20 October 2017).

Artwork by Bjarne Melgaard. Edited by Ann Demester. Contributions by Jan Hoet.

Exhibiting artists: Stefania Batoeva, Olga Chernysheva, Igor Eskinja, AnnaJermolaewa, Vikenti Komitski, Jan Mancuska, Boris Mikhailov, Kiril Prashkov, Anri Salaand Nebojsa Seric Shoba. Calvert22 is delighted to present Photo I, Photo You, the fourth exhibition at the contemporary art space in Shoreditch. Curated by Iara Boubnova, the exhibition will present works by leading Russian and Eastern European artists who invite the viewer to reconsider, revisit and rediscover what they think they know through a series of mixed media works. Through photography, video, found and ready-made objects, the artists in Photo I, Photo You use means that maintain close links to reality and its people, locations and buildings. In so doing, they find a lighter and more delicate context for concrete impressions and experiences."

Why the card catalog—a “paper machine” with rearrangeable elements—can be regarded as a precursor of the computer. Today on almost every desk in every office sits a computer. Eighty years ago, desktops were equipped with a nonelectronic data processing machine: a card file. In Paper Machines, Markus Krajewski traces the evolution of this proto-computer of rearrangeable parts (file cards) that became ubiquitous in offices between the world wars. The story begins with Konrad Gessner, a sixteenth-century Swiss polymath who described a new method of processing data: to cut up a sheet of handwritten notes into slips of paper, with one fact or topic per slip, and arrange as desired. In the late eighteenth century, the card catalog became the librarian's answer to the threat of information overload. Then, at the turn of the twentieth century, business adopted the technology of the card catalog as a bookkeeping tool. Krajewski explores this conceptual development and casts the card file as a “universal paper machine” that accomplishes the basic operations of Turing's universal discrete machine: storing, processing, and transferring data. In telling his story, Krajewski takes the reader on a number of illuminating detours, telling us, for example, that the card catalog and the numbered street address emerged at the same time in the same city (Vienna), and that Harvard University's home-grown cataloging system grew out of a librarian's laziness; and that Melvil Dewey (originator of the Dewey Decimal System) helped bring about the technology transfer of card files to business.