| dc.identifier.uri | http://hdl.handle.net/11401/78304 | |
| dcterms.abstract | Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. Second, Western art music composer Richard Maxfield mobilized chance techniques and indeterminacy to resist scientific and philosophical determinism’s pervasive influences upon post-1945 art and life. Third, author and playwright Samuel Beckett conjectured that ubiquitous recording might become problematic to the quality of experiential life in technologically mediated environments. This study analyzes musical, cinematic, theatrical, and computational works of art from an art historical perspective that is broadly informed by film history, media studies, the Frankfurt School, post-structuralism, gender studies, and queer theory. | |
| dcterms.available | 2020-04-03 | |
| dcterms.contributor | Advisors: Uroskie, Andrew V.; Belisle, Brooke; Gaboury, Jacob; Elcott, Noam M. | |
| dcterms.creator | Hartnett, Gerald J. | |
| dcterms.date | 2018 | |
| dcterms.dateAccepted | 2018-07-03T17:28:14Z | |
| dcterms.dateSubmitted | 2018-07-03T17:28:14Z | |
| dcterms.description | Department of Art History and Criticism | |
| dcterms.description | Dissertation | |
| dcterms.extent | 287 pages | |
| dcterms.format | application/pdf | |
| dcterms.identifier | http://hdl.handle.net/11401/78304 | |
| dcterms.identifier | Hartnett_grad.sunysb_0771E_13640.pdf | |
| dcterms.issued | 2018-01-01 | |
| dcterms.language | en | |
| dcterms.provenance | Submitted by Jason Torre (fjason.torre@stonybrook.edu) on 2018-07-03T17:28:14Z
No. of bitstreams: 1
Hartnett_grad.sunysb_0771E_13640.pdf: 14533672 bytes, checksum: 1c19b3203dad2238bee6c8be81515a7d (MD5) | |
| dcterms.provenance | Made available in DSpace on 2018-07-03T17:28:14Z (GMT). No. of bitstreams: 1
Hartnett_grad.sunysb_0771E_13640.pdf: 14533672 bytes, checksum: 1c19b3203dad2238bee6c8be81515a7d (MD5)
Previous issue date: 2018-01-01 | |
| dcterms.publisher | Stony Brook University | |
| dcterms.subject | Cybernetics, Motion pictures, Art—History, Experimental Film, Music History, Music—History and criticism, Media Art History, Sound Art | |
| dcterms.title | Recorded Objects: Time Based, Technologically Reproducible Art, 1954-1964 | |
| dcterms.type | Text | |
