If we are to believe the ancient writers, bronze was by far the most important medium of sculpture in classical antiquity. Bronzes covered a wide range of periods and cultures, depicting the hieratic and the comic, myths and scenes from daily life. This book contains the record of a symposium held in connection with the first international exhibition of Greek, Etruscan, and Roman bronze sculpture held at the Fogg Art Museum in 1967. The project was a joint endeavor of neighboring institutions Harvard and M.I.T. to meld the "two worlds" of art historian and technologist to such an extent that each might come to understand the basic methodologies of the other. The book is organized so that the more technical chapters precede those with an art-historical bent. Summaries of symposium discussions and introductions to each section have been carefully prepared by the editors in an attempt to interrelate the papers and to raise some broader questions for future study. Art is in intimate and continual contact with technology, writes Cyril Stanley Smith; technical examination of a work of art brings the viewer into contact with the object's background and into the shaping processes used by the artist. Arthur Steinberg points out that it is equally important to view a particular technology in its cultural context, to determine ancient industrial practices and the relation of the technology to ancient societies. The chapters in Part 1 discuss and summarize some of the most compelling problems encountered in the effort of scientists, art historians, and archaeologists to comprehend the technological context in which ancient bronzes—implements, vessels, armor, and large and small statues—were produced. Specific areas of investigation are bronze joining, chemical analysis of Greek and Roman statuary bronzes, the corrosion products of bronzes (patinas), the mechanics of corrosion, and the conservation of art objects. In a more general sense, these chapters illustrate the trend of cooperation of archaeologists with chemists, geologists, physicists, metallurgists, mineralogists, and conservators to analyze and interpret their finds. Chapters in Part 2 are concerned with Oriental and Orientalizing bronzes. Contributors raise questions as to the transmission or diffusion of subjects, motifs, and techniques from one culture to another; how these elements were passed on, by whom, and why. Part 3 considers votive and decorative Roman and Etruscan bronzes, raising some complicated aesthetic and technological questions as to why these bronzes have been judged "second rate" adaptations of Greek prototypes. Chapters in this section reassess the bronzes in terms of their function, the market, and the workshop, suggesting that these pieces fulfilled certain specific requirements of the culture that produced them. The book's last section contains reflections on the decline, survival, and revival of ancient bronzes; why they are collected and how they may be authenticated.

Learn how to use digital technologies to provide a rich new entry-point for art students to make meaning, express their thoughts, and visualize their ideas. Through the lens of artistic development, this book offers a rich scope and sequence of over 50 technology-based art lessons. Each lesson plan includes the art activity, learning level, lesson objective, developmental rationale, list of materials, and suggested questions to motivate and engage students. The authors’ pedagogical approach begins with inquiry-based exploratory activities followed by more in-depth digital art lessons that relate to students’ interests and experiences. With knowledge of how technology can be used in educationally sound ways, educators are better equipped to advocate for the technological resources they need. By incorporating technology into the art classroom—as a stand-alone art medium or in conjunction with traditional studio materials—teachers and students remain on top of 21st-century learning with increased opportunities for innovation. Book Features: Guidance for technology use in the K–12 art curriculum, including specifics for adopting sequential strategies in each grade.Cost-effective strategies that place teachers and students in a position to explore and learn from one another.Developmental theories to help art teachers and curriculum designers successfully incorporate new media.Engaging digital art lessons that acknowledge the role technologies play in the lives of today’s young people.Novel approaches to art education, such as distance learning, animation, 3D printing, and virtual reality.

Produced as part of the Art and Virtual Environment Project conducted at the Banff Centre for the Arts in Banff, Canada from 1991 to 1994.

A sourcebook of documentation on women artists at the forefront of work at the intersection of art and technology. Although women have been at the forefront of art and technology creation, no source has adequately documented their core contributions to the field. Women, Art, and Technology, which originated in a Leonardo journal project of the same name, is a compendium of the work of women artists who have played a central role in the development of new media practice.The book includes overviews of the history and foundations of the field by, among others, artists Sheila Pinkel and Kathy Brew; classic papers by women working in art and technology; papers written expressly for this book by women whose work is currently shaping and reshaping the field; and a series of critical essays that look to the future. Artist contributors Computer graphics artists Rebecca Allen and Donna Cox; video artists Dara Birnbaum, Joan Jonas, Valerie Soe, and Steina Vasulka; composers Cecile Le Prado, Pauline Oliveros, and Pamela Z; interactive artists Jennifer Hall and Blyth Hazen, Agnes Hegedus, Lynn Hershman, and Sonya Rapoport; virtual reality artists Char Davies and Brenda Laurel; net artists Anna Couey, Monika Fleischmann and Wolfgang Strauss, Nancy Paterson, and Sandy Stone; and choreographer Dawn Stoppiello; critics include Margaret Morse, Jaishree Odin, Patric Prince, and Zoe Sofia

This book focuses on the artistic process, creativity and collaboration, and personal approaches to creation and ideation, in making digital and electronic technology-based art. Less interested in the outcome itself – the artefact, artwork or performance – contributors instead highlight the emotional, intellectual, intuitive, instinctive and step-by-step creation dimensions. They aim to shine a light on digital and electronic art practice, involving coding, electronic gadgetry and technology mixed with other forms of more established media, to uncover the practice-as-research processes required, as well as the collaborative aspects of art and technology practice.

But as art history itself is being reshaped by the culture of technology, his nuanced meditations from the 1950s on the intricate intersection of technology and art gain heightened value. The concrete objects that Francastel examines are for the most part from the architecture and design of the late nineteenth to mid-twentieth century. Through them he engages his central problem: the abrupt historical collision between traditional symbol-making activities of human society and the appearance in the nineteenth century of unprecedented technological and industrial capabilities and forms.

An introduction to the work and ideas of artists who use—and even influence—science and technology. A new breed of contemporary artist engages science and technology—not just to adopt the vocabulary and gizmos, but to explore and comment on the content, agendas, and possibilities. Indeed, proposes Stephen Wilson, the role of the artist is not only to interpret and to spread scientific knowledge, but to be an active partner in determining the direction of research. Years ago, C. P. Snow wrote about the "two cultures" of science and the humanities; these developments may finally help to change the outlook of those who view science and technology as separate from the general culture. In this rich compendium, Wilson offers the first comprehensive survey of international artists who incorporate concepts and research from mathematics, the physical sciences, biology, kinetics, telecommunications, and experimental digital systems such as artificial intelligence and ubiquitous computing. In addition to visual documentation and statements by the artists, Wilson examines relevant art-theoretical writings and explores emerging scientific and technological research likely to be culturally significant in the future. He also provides lists of resources including organizations, publications, conferences, museums, research centers, and Web sites.