Systems theory emerged in the mid-20th century along with related theories such as Cybernetics and Information Theory. Recently it has included Complexity Theory, Chaos Theory and Social Systems Theory. Systems theory understands phenomena in terms of the systems of which they are part. This book is about a systems theoretical approach to thinking about art. It examines what it means to look to systems theory both for its implications for artistic practice and as a theory of art. This publication provides a sustained discussion on the application of systems theory to an account of art.

By the early 1960s, theorists like Lévi-Strauss, Lacan, Foucault, and Barthes had created a world ruled by signifying structures and pictured through the grids of language, information, and systems. Artists soon followed, turning to language and its related forms to devise a new, conceptual approach to art making. Examining the ways in which artists shared the structuralist devotion to systems of many sorts, Systems We Have Loved shows that even as structuralism encouraged the advent of conceptual art, it also raised intractable problems that artists were forced to confront. Considering such notable art figures as Mary Kelly, Robert Morris, Robert Smithson, and Rosalind Krauss, Eve Meltzer argues that during this period the visual arts depicted and tested the far-reaching claims about subjectivity espoused by theorists. She offers a new way of framing two of the twentieth century’s most transformative movements—one artistic, one expansively theoretical—and she reveals their shared dream—or nightmare—of the world as a system of signs. By endorsing this view, Meltzer proposes, these artists drew attention to the fictions and limitations of this dream, even as they risked getting caught in the very systems they had adopted. The first book to describe art’s embrace of the world as an information system, Systems We Have Loved breathes new life into the study of conceptual art.

In this unique book the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmonds’ art from the late 1960s to the present day. Edmonds’ inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, constructive artists and computer technologists, provides the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmonds’ work in the context of contemporary art history.

"In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schoffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer's role as an inextricable part of the system. Jack Burnham's 1968 Artforum essay 'Systems Aesthetics' and his 1970 'Software' exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century. Systems traces this radical shift in aesthetics from its roots in mid twentieth-century general systems theory, cybernetics, and artificial intelligence to the cutting-edge science of the present. The collected texts examine the connections between advanced technological systems, our bodies and minds; the relation of musical to spatial and architectural structures; and the ways in which systems-based art projects can create self-generating entities and networks, alter our experience of time, change the configurations of social relations, cross cultural borders, and interact with threatened ecosystems."--

From currency and maps to heavily censored newspapers and television programming, Art Systems explores visual forms of critique and subversion during the height of Brazilian dictatorship, drawing sometimes surprising connections between artistic production and broader processes of social exchange during a period of authoritarian modernization. Positioning the works beyond the prism of politics, Elena Shtromberg reveals subtle forms of subversion and critique that reinvented the artists’ political terrain. Analyzing key examples from Cildo Meireles, Antonio Manuel, Artur Barrio, Anna Bella Geiger, Sonia Andrade, Geraldo Mello, and others, the book offers a new framework for theorizing artistic practice. By focusing on the core economic, media, technological, and geographic conditions that circumscribed artistic production during this pivotal era, Shtromberg excavates an array of art systems that played a role in the everyday lives of Brazilians. An examination of the specific historical details of the social systems that were integrated into artistic production, this unique study showcases works that were accessed by audiences far outside the confines of artistic institutions. Proliferating during one of Brazil’s most socially and politically fraught decades, the works—spanning cartography to video art—do not conform to an easily identifiable style, form, material use, or medium. As a result of this breadth, Art Systems gives voice to the multifaceted forces at play in a unique chapter of Latin American cultural history.

The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. Contributors. Cristina Albu, Amanda Boetzkes, Brianne Cohen, Kris Cohen, Jaimey Hamilton Faris, Christine Filippone, Johanna Gosse, Francis Halsall, Judith Rodenbeck, Dawna Schuld, Luke Skrebowski, Timothy Stott, John Tyson

If engineering is the art and science of technical problem solving, systems architecting happens when you don't yet know what the problem is. The third edition of a highly respected bestseller, The Art of Systems Architecting provides in-depth coverage of the least understood part of systems design: moving from a vague concept and limited resources