Titlebook: Art in the City, the City in Art; Elisha Masemann Book 2024 The Editor(s) (if applicable) and The Author(s) 2024 Contemporary Art.Urban ar

ETHER

肉體

Extreme Photonics & Applicationsly engaged projects. Each section examines how artists have displaced dominant urban networks and systems of control. Network interventions undermine a growing ubiquity of media or surveillance to expose the cooperation of big data and neo-panopticism. Networked participation practices redeploy comm

Desert

Art in the City, the City in Art978-981-99-6042-2Series ISSN 2634-5463 Series E-ISSN 2634-5471

embolus

https://doi.org/10.1007/978-981-99-6042-2Contemporary Art; Urban art intervention; Socially-engaged art; Concept city; Urban humanities

orthodox

geometrician

言外之意

Visual-Field

Efim Pelinovsky,Christian Kharifngton and Indianapolis, 1994), along with questions of alterity and subjectivity. These works prepare the ground for analyses of embodied performances that disrupt an urban materiality of regulated bodies to subvert the city’s ideological function or use.

秘密會(huì)議

Extreme Photonics & Applicationsa, 2015b) have critiqued a series of issues in networked societies, such as the mutations of panopticism and the hyper-attention state. There is a growing sense in which digital technology is not so much located in the city, but the city in the technology, given the time, communication and economic

摻和

Applications of Coherent Raman Scattering,ce art’s subversive qualities. I argue that, as acts of non-compliance in the networked city, key practices break with contrived systems of information exchange or cognitive control, exposing the impacts of these on urban communities, and may instigate moments of ‘cognitive dissonance,’ as theorised