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1.  Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»and substantiates by his own frequent radio and TV appearances. Umberto Eco devoted the conclusion of his book about «the open artwork»[8] to live broadcast television experience, where he saw a structural relationship with the non-predetermined [more]  |
| 2. Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» into an art context in order to be noticed in the first place. As delineated by Umberto Eco in his influential book «The Open Work,» published in 1962, live broadcasts harbored the potential for real-time participation. («Exposition of [more] |
| 3. Oliver Grau «Immersion and Interaction
From Circular Frescoes to Interactive Image Spaces» [42] The history of interaction began before the computer era, cf. Söke Dinkla, Pioniere Interaktiver Kunst von 1970 bis heute, Ostfildern, 1997. Interaction is already the theme and a significant aspect of works by John Cage and Umberto Eco's «Opera Aperta»; cf. the text «Interaction, Participation, Networking.» [more] |
| 4. Rudolf Frieling «Form Follows Format
Tensions, Museums, Media Technology, and Media Art» impressive accounts of these tensioned- filled circumstances and embodiments of productive dysfunctionality. From the «open artwork» (Umberto Eco) and the musical practices of an artist like John Cage, a link leads to the first processual video [more] |
