Scope and Contents This book was published on the occasion of an exhibition of Irma Balnk at the Galleria Spaziotemperaneo di Milano in November 2002. In his essay Gillo Dorfles describes Irma Blank's techniques for the blue paintings. "Indeed the artist uses both hands to fill with signs the vast canvases and the series of polyester sheets, all realized with a wholly manual, or rather 'corporal' technique. In fact, holding a bunch of ball-point pens in each hand, and giving each of these a synchronous rotary movement from the edge towards the centre, in close correspondence with her respiration and heartbeats, she impresses on the surface of the canvas, of polyester sheet, skeins of bright, stratified colours that - as the writing proceeds - thicken until they cover the whole surface of the painting, while maintaining imperceptible openings between one line and another: this is, in a sense, the breathing (the einatmen, or inhalation, and ausatmen, or exhalation) of the colour." -- Source of...

Scope and Contents Amazon.com: This book documents a short but intense artistic experiment that took place in Yugoslavia fifty years ago but has been influential far beyond that time and place: the "little-known story" of the advent of computers in art. It was through the activities of the New Tendencies movement, begun in Zagreb in 1961, and its supporting institution the Galerija suvremene umjetnosti that the "thinking machine" was adopted as an artistic tool and medium. Pursuing the idea of "art as visual research," the New Tendencies movement proceeded along a path that led from Concrete and Constructivist art, Op art, and Kinetic art to computer-generated graphics, film, and sculpture. With their exhibitions and conferences and the 1968 launch of the multilingual, groundbreaking magazine Bit International, the New Tendencies transformed Zagreb"”already one of the most vibrant artistic centers in Yugoslavia"”into an international meeting place where artists, engineers, and scientists from both...

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A collage held by the Sackner Archive is depicted on page 162. -- Source of annotation: Marvin or Ruth Sackner.

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The catalogue consists of photographs of pairs of hands and multiple pairs of hands, at times with accompanying text. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition focused on catalogues and documentation of poesia visivai. -- Source of annotation: Marvin or Ruth Sackner.

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For this exhibition Ori, envisioned a "virtual concert" from images of his work. -- Source of annotation: Marvin or Ruth Sackner.

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This issue was dedicated to the memory of Piero Manzoni and Yves Klein. Four issues were published and the Sackner Archive is missing No.1. -- Source of annotation: Marvin or Ruth Sackner.

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The covers of the folder are photographic reproductions of the poster in greatly reduced scale. -- Source of annotation: Marvin or Ruth Sackner.

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Exhibition was curated by Gillo Dorfles and Alain Arias-Misson. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Eugenio Miccini. -- Source of annotation: Marvin or Ruth Sackner.

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Edited by Eugenio Miccini. -- Source of annotation: Marvin or Ruth Sackner.

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This catalogue that was written by Gillo Dorfles depicts Ori's non-musical visual poems. -- Source of annotation: Marvin or Ruth Sackner.

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Also designated Edizioni di arte contemporanea catalogo n.4. -- Source of annotation: Marvin or Ruth Sackner.