Caroline A. Jones es Profesora de Historia del Arte en el MIT, donde su trabajo profundiza en la intrincada relación entre la experiencia encarnada, la tecnología y el arte contemporáneo. Como editora, selecciona colecciones que exploran cómo la percepción sensorial se cruza con los avances tecnológicos en el mundo del arte. Sus perspicaces análisis ofrecen a los lectores nuevas perspectivas sobre la cultura visual, promoviendo una comprensión más profunda de cómo las prácticas artísticas modernas se involucran y dan forma a nuestra percepción del mundo. Fomenta una apreciación más matizada de las dimensiones sensoriales y tecnológicas dentro del arte.
The Formation of the Nineteenth- and Twentieth-century Collections of the Harvard University Art Museums
Major works of Picasso, Gris, Beckmann, Brancusi, Matisse, Pollock, Kiefer on early collecting of modern art; enlivening text on art galleries, dealers, artists, critics.
In our digital age, "skin" and "control" evoke, respectively, a program's faceplate screen and the key in the bottom left corner of the keyboard. MIT-based media artist Chris Csikszentmihlyi calls up other, older technological references, to an airplane's exterior and a control panel, with two large-scale installations at New York's Location One. "Skin" is the partial fuselage of a Boeing 737, inside of which viewers can feel the vibrations of a plane in flight and hear the muffled conversations of passengers. "Control" is roughly modeled on panels used in Chernobyl's nuclear reactor, which a viewer can manipulate while also wondering what kind of control he gains by his interaction. The two projects provide a visceral understanding of our dependence on complex technologies and the vulnerability they engender.