The Future Is Present : Art, Technology, and the Work of Mobile Image
Book Details
Format
Paperback / Softback
ISBN-10
0262548070
ISBN-13
9780262548076
Publisher
MIT Press Ltd
Imprint
MIT Press
Country of Manufacture
US
Country of Publication
GB
Publication Date
Jun 18th, 2024
Print length
330 Pages
Weight
540 grams
Dimensions
15.30 x 22.80 x 2.30 cms
Product Classification:
The arts: general issues
Ksh 7,400.00
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A critical history of the pioneering art and technology group Mobile Image and their prescient work in communications, networking, and information systems.
In The Future Is Present, Philip Glahn and Cary Levine tell the fascinating history of the visionary art group Mobile Imagefounded by Kit Galloway and Sherrie Rabinowitz in 1977which appropriated emerging technologies, from satellites to electronic message platforms. Based in Los Angeles, this under-studied collective worked amid urban crisis, a techno-boom, consolidating media power, and ascendant neoliberal politics. Mobile Image challenged fundamental conventions of the public sphere, democracy, communication, and political participation, as well as notions of power, representation, and identity.
Glahn and Levine argue not only for the historical importance of Mobile Image, but also for a critical artistic process that is at once analytic and transformative. They weave themes such as embodiment and its mediation, public/private dialectics, and techno-utopian vision throughout the book, binding these projects to discourses around race, gender, and class, as well as margin and center, the local and the global. In todays world of ubiquitous digital re/production, networking, and social media, The Future Is Present shows how the work of Mobile Image continues to have profound implications for art, technology, and the politics of public and private experience.
In The Future Is Present, Philip Glahn and Cary Levine tell the fascinating history of the visionary art group Mobile Imagefounded by Kit Galloway and Sherrie Rabinowitz in 1977which appropriated emerging technologies, from satellites to electronic message platforms. Based in Los Angeles, this under-studied collective worked amid urban crisis, a techno-boom, consolidating media power, and ascendant neoliberal politics. Mobile Image challenged fundamental conventions of the public sphere, democracy, communication, and political participation, as well as notions of power, representation, and identity.
Glahn and Levine argue not only for the historical importance of Mobile Image, but also for a critical artistic process that is at once analytic and transformative. They weave themes such as embodiment and its mediation, public/private dialectics, and techno-utopian vision throughout the book, binding these projects to discourses around race, gender, and class, as well as margin and center, the local and the global. In todays world of ubiquitous digital re/production, networking, and social media, The Future Is Present shows how the work of Mobile Image continues to have profound implications for art, technology, and the politics of public and private experience.
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