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001386260 08204 $$a709.04/07$$223
001386260 1001_ $$aSutton, Gloria,$$eauthor.
001386260 24514 $$aThe experience machine :$$bStan VanderBeek's Movie-Drome and expanded cinema /$$cGloria Sutton.
001386260 264_1 $$aCambridge, Massachusetts ;$$aLondon, England :$$bThe MIT Press,$$c[2015]
001386260 300__ $$a1 online resource (xiv, 257 pages).
001386260 336__ $$atext$$btxt$$2rdacontent
001386260 337__ $$acomputer$$bc$$2rdamedia
001386260 338__ $$aonline resource$$bcr$$2rdacarrier
001386260 4901_ $$aLeonardo
001386260 506__ $$aAccess limited to authorized users.
001386260 520__ $$aIn 1965, the experimental filmmaker Stan VanDerBeek (1927-1984) unveiled his Movie-Drome, made from the repurposed top of a grain silo. VanDerBeek envisioned Movie-Drome as the prototype for a communications system--a global network of Movie-Dromes linked to orbiting satellites that would store and transmit images. With networked two-way communication, Movie-Dromes were meant to ameliorate technology's alienating impulse. In The Experience Machine, Gloria Sutton views VanDerBeek--known mostly for his experimental animated films--as a visual artist committed to the radical aesthetic sensibilities he developed during his studies at Black Mountain College. She argues that VanDerBeek's collaborative multimedia projects of the 1960s and 1970s (sometimes characterized as "Expanded Cinema"), with their emphases on transparency of process and audience engagement, anticipate contemporary art's new media, installation, and participatory practices. VanDerBeek saw Movie-Drome not as pure cinema but as a communication tool, an "experience machine." In her close reading of the work, Sutton argues that Movie-Drome can be understood as a programmable interface. She describes the immersive experience of Movie-Drome, which emphasized multi-sensory experience over the visual; display strategies deployed in the work; the Poemfield computer-generated short films; and VanDerBeek's interest, unique for the time, in telecommunications and computer processing as a future model for art production. Sutton argues that visual art as a direct form of communication is a feedback mechanism, which turns on a set of relations, not a technology.--Publisher website.
001386260 588__ $$aOCLC-licensed vendor bibliographic record.
001386260 60010 $$aVanderbeek, Stan$$xCriticism and interpretation.
001386260 650_0 $$aNew media art.
001386260 650_0 $$aTechnology and the arts.
001386260 650_0 $$aArt$$xHistory.
001386260 653__ $$aDIGITAL HUMANITIES & NEW MEDIA/New Media Art
001386260 653__ $$aARTS/Art History/Contemporary Art
001386260 653__ $$aARTS/Photography & Film/General
001386260 655_0 $$aElectronic books
001386260 852__ $$bebk
001386260 85640 $$3MIT Press$$uhttps://univsouthin.idm.oclc.org/login?url=https://doi.org/10.7551/mitpress/9666.001.0001?locatt=mode:legacy$$zOnline Access through The MIT Press Direct
001386260 85642 $$3OCLC metadata license agreement$$uhttp://www.oclc.org/content/dam/oclc/forms/terms/vbrl-201703.pdf
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001386260 980__ $$aEBOOK
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001386260 983__ $$aOnline