Hybridity, experimental practices that bridge the gaps between art, science, and technology, while supported throughout academia, is often driven by market interests, university corporatization, and technocratic and instrumental imperatives. Hybrid Practices, an anthology edited by David Cateforis, Steven Duval, and Shepherd Steiner, offers a critical perspective by reexamining hybridity during the Cold War period, 1963-1975, a period the editors argue was the greatest flowering of hybridity prior to present day. The “Long 1960s,” as they call this period, offered a “rich ecology of hybrid practices” . . . collaborative projects between artists and scientists, experiments in intermedia, “practitioners deliberately working across disciplines, effacing authorship for the purposes of activating the spectator, bridging gaps between art and government, or remapping the landscape of everyday life in terms of technological mediation” (1).

Για περισσότερα δες εδώ.