Abstract
Experiments in Art and Technology (E.A.T.) is an organization co-founded in 1966 by artists Robert Rauschenberg and Robert Whitman, and engineers Billy Klüver and Fred Waldhauer, in order to support collaboration between artists and engineers. The E.A.T. datascape is a digital instrument for analyzing the digitized traces left by its members via many available resources. Its aim is to study as closely as possible the complexity of collaborative interdisciplinary works. The E.A.T. datascape methodology makes it possible, by means of an anthropological action-centred approach, to go beyond the distinction between art history and art sociology and to renew the social history of art by challenging the notion of authorship and by describing the work as constituted by the intersection between heterogeneous trajectories, rather than an object within a context that would influence it, or constitute its environment. In other words, it allows us to reflect on what digital design does, in turn, to the social history of art, and to put forward hypotheses about what a digital social history of art might be or could offer to the study of complex, interdisciplinary projects that are multiplying in the contemporary art world.
Highlights
The E.A.T. datascape methodology makes it possible, usmjerenom na djelovanje, metodologija E.A.T datascapea by means of an anthropological action-centred approach, omogućuje nadilaženje razlike između povijesti umjetnosti i to go beyond the distinction between art history and art sociologije umjetnosti te obnavljanje socijalne povijesti um- sociology and to renew the social history of art by challengjetnosti dovođenjem u pitanje pojma autorstva i opisivanjem ing the notion of authorship and by describing the work djela kao sačinjenoga presijecanjem heterogenih trajektorija, as constituted by the intersection between heterogeneous a ne kao objekta u kontekstu koji bi na njega utjecao ili tvo- trajectories, rather than an object within a context that would rio njegovo okruženje
Razmišljanje o tome što digitalni dizajn čini zauzvrat za so- it allows us to reflect on what digital design does, in turn, to cijalnu povijest umjetnosti i iznošenje hipoteza o tome što the social history of art, and to put forward hypotheses about bi digitalna socijalna povijest umjetnosti mogla biti ili što bi what a digital social history of art might be or could offer mogla ponuditi istraživanju složenih interdisciplinarnih pro- to the study of complex, interdisciplinary projects that are jekata, kojih je sve više u svijetu suvremene umjetnosti
In other omogućuje nam razmišljanje o tome što digitalni dizajn čini words, it allows us to reflect on what digital design does, in zauzvrat za socijalnu povijest umjetnosti, kao i iznošenje turn, to the social history of art, and to put forward hypothehipoteza o tome što bi digitalna socijalna povijest umjet- ses about what a digital social history of art might be. nosti mogla biti
Summary
DJELOVANJA as of what it makes us do: from its conception and production to its exhibition and publication. The datascape’s visualizations help the art historian think in terms of accumulation (“and”) and not alternative (“or”), through the use of tags to describe the work and its phases, and the visualization of events occurring at the same time This cumulative approach partially corresponds to Lionel Ruffel’s definition of “the contemporary,” based on simultaneity and juxtaposition, and is, critical of historical sequentiality and linearity (associated with a modernist way)— it is probably more accurate to say in our case that we tend to combine rather than oppose the two approaches.. The datascape shows the possible versatility of people, sometimes committed to various kinds of activities, showing too, in the final analysis, the importance of unrealized projects (represented only by a grey “conception” phase) Such works are not well studied in art history as opposed to, say, the field of architecture, where unrealized projects are given much more prominence. The artist’s place is not devalued but is rather relativized
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