Den levande skulpturen: en semiotisk studie av den cybernetiska konstens syfte och kommunikativa särmärke
Sammanfattning: This study examines the theoretical conception and communicate aspects of Cybernetic art on the background of an analysis of Edward Ihnatowicz’s sculpture The Senster from 1970. It also examines the role of the artist as an engineer with Claude Lévi-Strauss notion on bricolage as a vantage point. This research draws upon a multitude of theoretical perspective which involves cybernetics, postmodernism and media theory. The Senster is studied as a document and work using Roland Barthes’ semiotic method and theory in The Rhetoric of the Image. The result shows that Cybernetic art destabilized the power ratio between the viewer and the work of art by creating a fully formed interaction between the two. It also shows that Cybernetic art is an overlooked and disregarded movement in canonical Art history based upon arguments that not only are historiographically vague, but also to some extent false or oversimplified.
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