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.

Expanding the horizon of established accounts of Central European art under socialism, this book uncovers the neglected history of artistic engagement with the natural environment in the Eastern Bloc. The turbulent legacy of 1968, which saw the confluence of political upheaval, spread of counterculture, rise of ecological consciousness, and emergence of global conceptual art, provides the setting for Maja Fowkes’s innovative reassessment of the environmental practice of the Central European neo-avant-garde. Focussing on artists and artist groups whose ecological dimension has rarely been considered, including the Pécs Workshop from Hungary, OHO in Slovenia, TOK in Croatia, Rudolf Sikora in Slovakia, and the Czech artist Petr Štembera, 'The Green Bloc: Neo-avant-garde Art and Ecology under Socialism' brings to light an array of distinctive approaches to nature, from attempts to raise environmental awareness among socialist citizens to the exploration of non-anthropocentric positions and the quest for cosmological existence in the midst of red ideology. Embedding artistic production in social, political, and environmental histories of the region, this book reveals the Central European artists’ sophisticated relationship to nature, at the precise moment when ecological crisis was first apprehended on a planetary scale.

The first survey of its kind to explore contemporary art that focuses on ecology From land art and earthworks in the 1960s to conceptual art of the new millennium, ecology-focused art has been a prominent genre in the art world for decades. This book offers a look into the recent explosion in contemporary art that deals directly with nature, the environment, climate change, and ecology. Organized into six thematic chapters, Art & Ecology Now moves through the various levels of artists’ engagement, from those who document and reflect on nature, to those who use the physical environment as the raw material for their art, and committed activists who set out to make art that transforms both our attitudes and our habits. More than 300 color illustrations feature the work of over 90 artists, including Allora & Calzadilla, Edward Burtynsky, Tue Greenfort, Hans Haacke, Eva Jospin, Nadav Kander, Yao Lu, David Maisel, Gustav Metzger, Svetlana Ostapovici, Nyaba Leon Ouedraogo, Berndnaut Smilde, and more.

According to virtually every business writer, we are in the midst of a new "information age," one that will revolutionize how workers work, how companies compete, perhaps even how thinkers think. And it is certainly true that Information Technology has become a giant industry. In America, more that 50% of all capital spending goes into IT, accounting for more than a third of the growth of the entire American economy in the last four years. Over the last decade, IT spending in the U.S. is estimated at 3 trillion dollars. And yet, by almost all accounts, IT hasn't worked all that well. Why is it that so many of the companies that have invested in these costly new technologies never saw the returns they had hoped for? And why do workers, even CEOs, find it so hard to adjust to new IT systems? In Information Ecology, Thomas Davenport proposes a revolutionary new way to look at information management, one that takes into account the total information environment within an organization. Arguing that the information that comes from computer systems may be considerably less valuable to managers than information that flows in from a variety of other sources, the author describes an approach that encompasses the company's entire information environment, the management of which he calls information ecology. Only when organizations are able to combine and integrate these diverse sources of information, and to take them to a higher level where information becomes knowledge, will they realize the full power of their information ecology. Thus, the author puts people, not technology, at the center of the information world. Information and knowledge are human creations, he points out, and we will never excel at managing them until we give people a primary role. Citing examples drawn from his own extensive research and consulting including such major firms as A.T. & T., American Express, Ford, General Electric, Hallmark, Hoffman La Roche, IBM, Polaroid, Pacific Bell, and Toshiba Davenport illuminates the critical components of information ecology, and at every step along the way, he provides a quick assessment survey for managers to see how their organization measures up. He discusses the importance of developing an overall strategy for information use; explores the infighting, jealousy over resources, and political battles that can frustrate information sharing; underscores the importance of looking at how people really use information (how they search for it, modify it, share it, hoard it, and even ignore it) and the kinds of information they want; describes the ideal information staff, who not only store and retrive information, but also prune, provide context, enhance style, and choose the right presentation medium (in an age of work overload, vital information must be presented compellingly so the appropriate people recognize and use it); examines how information management should be done on a day to day basis; and presents several alternatives to the machine engineering approach to structuring and modeling information. Davenport makes explicit what many managers already know in their gut: that useful information flow depends on people, not equipment. In Information Ecology he paves the way for all managers to build a more competitive, creative, practical information environment for their companies.

A "dirty materialist" ride through the media cultures of pirate radio, photography, the Internet, media art, cultural evolution, and surveillance.

"A valuable overview of the writings and history of one of the twentieth century's finest minds."---Val Smith, University of Kansas --

A call for informed, responsible engagement with information technology at the local level. The common rhetoric about technology falls into two extreme categories: uncritical acceptance or blanket rejection. Claiming a middle ground, Bonnie Nardi and Vicki O'Day call for responsible, informed engagement with technology in local settings, which they call information ecologies. An information ecology is a system of people, practices, technologies, and values in a local environment. Nardi and O'Day encourage the reader to become more aware of the ways people and technology are interrelated. They draw on their empirical research in offices, libraries, schools, and hospitals to show how people can engage their own values and commitments while using technology.