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Numerous illustrations of artists and their works accompany the text.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eContributors\u003c\/b\u003e\u003cbr\u003e Matt Adams (Blast Theory), Jean-Christophe Bailly, Samuel Bianchini, Claire Bishop, Jean-Louis Boissier, Nicolas Bourriaud, Christophe Charles, Valerie Ch telet, Jean-Pierre Cometti, Sarah Cook, Jordan Crandall, Dominique Cunin, Nathalie Delbard, Anna Dezeuze, Diedrich Diederichsen, Christophe Domino, Larisa Dryansky, Gl ria Ferreira, Jean-Paul Fourmentraux, Gilles Froger, Masaki Fujihata, Jean Gagnon, Katrin Gattinger, Jochen Gerz, Piero Gilardi, Veronique Goudinoux, Usman Haque, Helen Evans and Heiko Hansen (HeHe), Jeppe Hein, Thomas Hirschhorn, Marion Hohlfeldt, Pierre-Damien Huyghe, Judith Ickowicz, Eric Kluitenberg, Janet Kraynak, Bruno Latour, Christophe Leclercq, Frederik Lesage, Rafael Lozano-Hemmer, Peter Lunenfeld, Lawrence Malstaf, Julie Martin, Seiko Mikami, Dominique Moulon, Hiroko Myokam, Ernesto Neto, Mayumi Okura, Eddie Panier, Fran oise Parfait, Simon Penny, Daniel Pinkas, Chantal Pontbriand, Emanuele Quinz, Margit Rosen, Alberto Sanchez Balmisa, Frederik Schikowski, Arnd Schneider, Madeline Schwartzman, Luke Skrebowski, Vanessa Theodoropoulou, Rirkrit Tiravanija, Andrea Urlberger, Erik Verhagen, Franz Erhard Walther, Peter Weibel, Renate Wiehager, Catherine Wood, Giovanna Zapperi, Anne Zeitz, David Zerbib\u003c\/p\u003e \u003cp\u003eEdited bySamuel BianchiniandErik Verhagen with the collaboration ofNathalie DelbardandLarisa Dryansky.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49727401918737,"sku":"NGR9780262034753","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0262034751.jpg?v=1788869269"},{"product_id":"making-sense-book-simon-penny-9780262538237","title":"Making Sense","description":"\u003cb\u003eWhy embodied approaches to cognition are better able to address the performative dimensions of art than the dualistic conceptions fundamental to theories of digital computing.\u003c\/b\u003e \u003cp\u003eIn \u003ci\u003eMaking Sense\u003c\/i\u003e, Simon Penny proposes that internalist conceptions of cognition have minimal purchase on embodied cognitive practices. Much of the cognition involved in arts practices remains invisible under such a paradigm. Penny argues that the mind-body dualism of Western humanist philosophy is inadequate for addressing performative practices. Ideas of cognition as embodied and embedded provide a basis for the development of new ways of speaking about the embodied and situated intelligences of the arts. Penny argues this perspective is particularly relevant to media artspractices.\u003c\/p\u003e \u003cp\u003ePenny takes a radically interdisciplinary approach, drawing on philosophy, biology, psychology, cognitive science, neuroscience, cybernetics, artificial intelligence, critical theory, and other fields. He argues that computationalist cognitive rhetoric, with its assumption of mind-body (and software-hardware) dualism, cannot account for the quintessentially performative qualities of arts practices. 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Adema explores alternative, more ethical models of authorship; constructs an alternative genealogy of openness; and examines opportunities for intervention in current cultures of knowledge production. 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Debunking conventional wisdom, Century reclaims innovation from both its present-day devotees and detractors by revealing how experimental artists critically challenge as well as discover and extend the capacities of new technologies.\u003cbr\u003e \u003cbr\u003e Century offers a series of detailed cross-media case studies that illustrate the cross-fertilization of art, technology, and policy. These cases span animation, music, sound art and acoustic ecology, cybernetic cinema, interactive installation art, virtual reality, telecommunications art, software applications, and the emergent metadiscipline of human-computer interaction. They include Norman McLaren's \"proto-computational\" film animations; projects in which the computer itself became an agent, as in computer-aided musical composition and choreography; an ill-fated government foray into interactive networking, the videotext system Telidon; and the beginnings of virtual reality at the Banff Centre. 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In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic \"polymedium,\" malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions.\u003cbr\u003e \u003cbr\u003e Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. 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