Editing Information art

{{short description|Emerging artforms inspired by data and information technology}}
'''Information art''', which is also known as '''informatism''' or '''data art''', is an art form that is inspired by and principally incorporates [[data]], [[computer science]], [[information technology]], [[artificial intelligence]], and related data-driven fields. The [[information revolution]] has resulted in over-abundant data that are critical in a wide range of areas, from [[Internet|the Internet]] to healthcare systems. Related to [[conceptual art]], [[electronic art]] and [[new media art]], informatism considers this new technological, economical, and cultural [[paradigm shift]], such that artworks may provide social commentaries, synthesize multiple disciplines, and develop new aesthetics.<ref>{{Cite book|title=Information arts : intersections of art, science and technology|first=Stephen|last=Wilson|date=2003|publisher=The MIT Press|isbn=9780262731584|oclc=813857815|url-access=registration|url=https://archive.org/details/informationartsi0000wils}}</ref> Realization of information art often take, although not necessarily, interdisciplinary and multidisciplinary approaches incorporating [[visual art|visual]], [[Sound art|audio]], [[data analysis]], [[performance art|performance]], and others.<ref>[[Edward A. Shanken]] has argued that little scholarship has explored the relationship between technology and [[conceptual art]]. He also claimed that there was an art-historical impetus to artificially distinguish information art from conceptual art. [[Edward A. Shanken]], 'Art in the Information Age: Technology and Conceptual Art,' in [[Michael Corris]] (ed.), Conceptual Art: Theory, Myth and Practice Cambridge: Cambridge University Press, 2004.</ref> Furthermore, physical and virtual installations involving informatism often provide [[Human–computer interaction|human-computer interaction]] that [[Generative art|generate]] artistic contents based on the processing of large amounts of data.<ref>See [[Charlie Gere]] ''Art, Time and Technology: Histories of the Disappearing Body'' (Berg, 2005). {{ISBN|978-1-84520-135-7}} This text concerns artistic and theoretical responses to the increasing speed of technological development and operation, especially in terms of  draws on the ideas of [[Jacques Derrida]], [[Bernard Stiegler]], [[Jean-François Lyotard]] and [[André Leroi-Gourhan]], and looks at the work of [[Samuel Morse]], [[Vincent van Gogh]] and [[Kasimir Malevich]], among others.</ref>

== Background ==
[[Image:Info1970.jpg|thumb|150px|Kynaston McShine's "Information"]]
Information art has a long history as visualization of qualitative and quantitative data forms a foundation in science, technology, and governance. [[Information design]] and [[Infographic|informational graphics]], which has existed before computing and the Internet, are closely connected with this new emergent art movement.<ref>{{Cite book|title=The visual display of quantitative information|author=Tufte, Edward R.|date=January 2001|publisher=Graphics Press |isbn=9780961392147|oclc=957020017|url=https://archive.org/details/visualdisplayofq00tuft}}</ref><ref>{{Cite book|title=Envisioning information|author=Tufte, Edward Rolf|year=1983 |publisher=Graphics Press |isbn=9780961392116|oclc=1015670579|url-access=registration|url=https://archive.org/details/envisioninginfor0000tuft}}</ref> An early example of informatism the 1970 exhibition organized called "Information" at the [[Museum of Modern Art]] in New York City (curated by [[Kynaston McShine]]). This is the time when [[conceptual art]] has emerged as a leading tendency in the [[United States]] and internationally.<ref>See [[Lucy R. Lippard]], ''Six Years: the Dematerialization of the Art Object From 1966 to 1972'' (1973. Berkeley: University of California Press, 1997).</ref> At the same time arose the activities of [[Experiments in Art and Technology]] known as E.A.T.<ref>E.A.T. followed from the event Nine Evenings: Theatre and Engineering, organised by [[Robert Rauschenberg]] and [[Billy Klüver]] at the Armoury Building, New York City, 13–22 October 1966 to promote the collaboration between artists and engineers. They also organised the Pepsi Pavilion at the World's Fair, [[Osaka]], in 1970. For a detailed discussion of the project see Bijvoet, Art as Inquiry, ch. 2.</ref>

== Contemporary practices ==
Information art are manifested using a variety of data sources such as [[photograph]]s, [[census]] data, [[video]] clips, [[search engine]] results, [[digital painting]], network signals, and others.<ref>{{cite magazine|author=McKeough, Tim|title=Frame That Spam! Data-Crunching Artists Transform the World of Information|url=https://www.wired.com/special_multimedia/2008/ff_dataart_1603|date=February 29, 2008|magazine=Wired|volume=16|issue=3|publisher=CondéNet|access-date=2008-03-05}}</ref> Often, such data are transformed, analyzed, and interpreted in order to convey concepts and develop aesthetics. When dealing with [[big data]], artists may use [[statistics]] and [[machine learning]] to seek meaningful patterns that drive audio, visual, and other forms of representations. Recently, informatism is used in interactive and [[Generative art|generative]] installations that are often dynamically linked with data and analytical pipelines.

== See also ==
===Examples===
* [[The Tempestry Project]]
* [[Warming stripes]] 
* [[Climate spiral]]

===Related subjects===
* [[Algorithmic art]]
* [[Climate change art]]
* [[Computer art]]
* [[Conceptual art]] 
* [[Data visualization]]
* [[Digital art]]
* [[Experiments in Art and Technology]]
* [[Generative art]]
* [[Knowledge visualization]]
* [[Post-conceptual art]]
* [[Roy Ascott]]
* [[Software art]]
* [[Systems art]]
* [[Systems thinking]]

==References==
{{reflist}}

==Further reading==
* Alan Liu (2004). "The Laws of Cool: Knowledge Work and the Culture of Information", [[University of Chicago Press]]
* Kenneth R. Allan, "Understanding ''Information''," in [[Michael Corris]] (ed.), Conceptual Art, Theory, Myth, and Practice (Cambridge: Cambridge University Press, 2004), 144-68.
* [[Roy Ascott]] (2003). Telematic Embrace. ([[Edward A. Shanken]], ed.) Berkeley: University of California Press. {{ISBN|0-520-21803-5}}
* Barreto, Ricardo and Perissinotto,  Paula  [https://web.archive.org/web/20080625200657/http://www.file.org.br/the_culture_of_immanence.doc  “the_culture_of_immanence”], in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). São Paulo, IMESP, 2002. {{ISBN|85-7060-038-0}}.
* [[Jack Burnham]], (1970) Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century (New York: George Braziller Inc.
* Bullivant, Lucy (2007). 4dsocial: Interactive Design Environments (Architectural Design). London: John Wiley & Sons. {{ISBN|978-0-470-31911-6}}
* Bullivant, Lucy (2006). Responsive Environments: architecture, art and design (V&A Contemporary). London:Victoria and Albert Museum. {{ISBN|1-85177-481-5}}
* Bullivant, Lucy (2005). 4dspace: Interactive Architecture (Architectural Design). London: John Wiley & Sons. {{ISBN|0-470-09092-8}}
* [[Oliver Grau]], [http://leonardo.info/isast/leobooks/books/grau.html ''Virtual Art, from Illusion to Immersion''], MIT Press/Leonardo Book Series ([[Leonardo, The International Society of the Arts, Sciences and Technology|Leonardo/ISAST]]), 2004, pp.&nbsp;237–240, {{ISBN|0-262-57223-0}}
* Paul, Christiane (2003). ''[[Digital Art]]'' (World of Art series). London: Thames & Hudson. {{ISBN|0-500-20367-9}}
* [[Peter Weibel]] and Shaw, Jeffrey, ''Future Cinema'', MIT Press 2003, pp.&nbsp;472,572-581, {{ISBN|0-262-69286-4}}
* Wilson, Steve [http://leonardo.info/isast/leobooks/books/wilson.html Information Arts: Intersections of Art, Science and Technology Information Arts: Intersections of Art, Science, and Technology], MIT Press/Leonardo Book Series ([[Leonardo/ISAST]]) {{ISBN|0-262-23209-X}}
* Kynaston McShine, "INFORMATION", New York, Museum of Modern Art., 1970, First Edition. ISBN LC 71-100683
* [[Jack Burnham]], 'Systems Esthetics,' [[Artforum]] (September, 1968); reprinted in Donna de Salvo (ed.), Open Systems: Rethinking Art C. 1970 (London: [[Tate Publishing Ltd|Tate Publishing]], 2005) 
* [[Edward A. Shanken]], 'Art in the Information Age: Technology and Conceptual Art,' in [[Michael Corris]] (ed.), Conceptual Art: Theory, Myth and Practice (Cambridge: Cambridge University Press, 2004). 
* Marga Bijvoet, (1997) Art as Inquiry: Toward New Collaborations Between Art & Science, Oxford: Peter Lang
*[[Frank Popper]] (1993) Art of the Electronic Age, Thames and Hudson Ltd., London, and Harry N. Abrams Inc, New York, {{ISBN|0-8109-1928-1}}
*Pavilion: [[Experiments in Art and Technology]]. Klüver, Billy, J. Martin, B. Rose (eds). New York: E. P. Dutton, 1972
* [[Dick Higgins]], 'Intermedia' (1966), reprinted in Donna De Salvo (ed.), Open Systems Rethinking Art c. 1970 (London: Tate Publishing, 2005)
* [[Nicolas Bourriaud]], Relational Aesthetics (Dijon: Les Presses du Réel, 2002, orig. 1997) 
* [[Charlie Gere]] ''Digital Culture'' (Reaktion, 2002) {{ISBN|978-1-86189-143-3}}

== External links ==
*[http://online.sfsu.edu/~infoarts/links/wilson.artlinks2.html Intersections of Art, Technology, Science and Culture- Links] {{Webarchive|url=https://web.archive.org/web/20120701182041/http://online.sfsu.edu/~infoarts/links/wilson.artlinks2.html |date=2012-07-01 }}
*[https://web.archive.org/web/20070202065830/http://www.artnode.org/index_frame.html The Danish Artnode Foundation-Links]
*[http://www.file.org.br (FILE)] Electronic Language International Festival.
*[http://www.leonardo.info Leonardo/The International Society for the Arts, Sciences and Technology]
*[http://www.datengraphie.de datengraphie (datagrafy) is art using data as direct material]


{{Information Art}}
[[Category:Computer art]]
[[Category:Artistic techniques]]
[[Category:Conceptual art|*]]
[[Category:Contemporary art]]
[[Category:Postmodern art|*Art]]
[[Category:Visual arts genres]]
[[Category:Museum of Modern Art (New York City) exhibitions|Information]]
[[Category:The arts]]
[[Category:Digital art]]