In what ways can ideology be viewed as a factor in the mounting and reception of Jack Burnham’s Software in New York, and Jasia Reichardt’s Cybernetic Serendipity in London?

INTRODUCTION The following is, more or less, the dissertation submission I made for my Masters In Art History, 2018-2020 and finally awarded in early 2021. The dissertation compares two seminal Computer Art exhibitions and how they were positioned in relation to the art and the curatorial choices. The first exhibition, Cybernetic Serendipity (1968) was curated by the […]