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In Art as Information Ecology, Jason A. Hoelscher offers not only an information theory of art but an aesthetic theory of information. Applying close readings of the information theories of Claude Shannon and Gilbert Simondon to 1960s American art, Hoelscher proposes that art is information in its aesthetic or indeterminate mode-information oriented less toward answers and resolvability than toward questions, irresolvability, and sustained difference. These irresolvable differences, Hoelscher demonstrates, fuel the richness of aesthetic experience by which viewers glean new information and insight from each encounter with an artwork. In this way, art constitutes information that remains in formation---a difference that makes a difference that keeps on differencing. Considering the works of Frank Stella, Robert Morris, Adrian Piper, the Drop City commune, Eva Hesse, and others, Hoelscher finds that art exists within an information ecology of complex feedback between artwork and artworld that is driven by the unfolding of difference. By charting how information in its aesthetic mode can exist beyond today's strictly quantifiable and monetizable forms, Hoelscher reconceives our understanding of how artworks work and how information operates.
Sommario
Acknowledgments ix
Introduction. Art is Fuzzy Information 1
1. Art and Differential Objecthood 17
2. Aesthetic Entropy Machines 51
3. Butterfly Effects in Information Space 84
4. Information Efflorescence and the Aesthetic Singularity 119
5. Aesthetic Amplification and Adjacent Possibility 150
6. Complex Unities and Complex Boundaries 186
Conclusion. Information Entanglement and the Post-Evental Artworld 220
Notes 235
Bibliography 253
Index 267
Info autore
Jason A. Hoelscher
Riassunto
Drawing on close readings of 1960s American art, Jason A. Hoelscher offers an information theory of art and an aesthetic theory of information in which he shows how art operates as information wherein art's meaning cannot be determined.
