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A visual history of the electronic age captures the collision of technology and art―and our collective visions of the future.
A hidden history of the twentieth century’s brilliant innovations―as seen through art and images of electronics that fed the dreams of millions.
A rich historical account of electronic technology in the twentieth century, Inside the Machine journeys from the very origins of electronics, vacuum tubes, through the invention of cathode-ray tubes and transistors to the bold frontier of digital computing in the 1960s.
But, as cultural historian Megan Prelinger explores here, the history of electronics in the twentieth century is not only a history of scientific discoveries carried out in laboratories across America. It is also a story shaped by a generation of artists, designers, and creative thinkers who gave imaginative form to the most elusive matter of all: electrons and their revolutionary powers.
As inventors learned to channel the flow of electrons, starting revolutions in automation, bionics, and cybernetics, generations of commercial artists moved through the traditions of Futurism, Bauhaus, modernism, and conceptual art, finding ways to link art and technology as never before.
A visual tour of this dynamic era, Inside the Machine traces advances and practical revolutions in automation, bionics, computer language, and even cybernetics. Nestled alongside are surprising glimpses into the inner workings of corporations that shaped the modern world: AT&T, General Electric, Lockheed Martin.
While electronics may have indelibly changed our age, Inside the Machine reveals a little-known explosion of creativity in the history of electronics and the minds behind it.
154 color illustrations- Sales Rank: #830148 in Books
- Published on: 2015-08-17
- Original language: English
- Number of items: 1
- Dimensions: 9.60" h x .90" w x 7.90" l, .0 pounds
- Binding: Hardcover
- 272 pages
Review
“Fascinating…. [A] fantastically geeky visual tour of tech industry history as seen through the lens of the commercial art that helped popularize it.” (Meg Miller - Fast Company)
“Attentive readers of Prelinger’s lively chronology will come away with an appreciation of how the visual representations of technology are integral to our understanding of it.” (Chris Rasmussen - Bookforum)
“Unusual and insightful…. Filled with retro tech-industry ads, magazine covers and other commercial artworks, this erudite book takes readers on a cultural history tour that sharply reveals ‘art’s ability to touch the intangible and render it visible.’” (John Wilwol - San Francisco Chronicle)
“[An] unusual and compelling study.” (Nature)
“An essential and eye-popping visual history of electronics, a glimpse of the electronic infrastructure captured in the brief moment before it miniaturized down to a scale too small for the eye to see, disappearing from our ordinary view forever, even as it burrowed into our buildings, streets, vehicles and even our bodies.” (Cory Doctorow coeditor of Boing Boing and author of In Real Life and Information Doesn’t Want to Be Free)
“A highly original cultural history of 20th-century technology examined through the lens of commercial art…. Sophisticated in its grasp of science and technological history but also accessible to general readers.” (Kirkus Reviews)
“A tour de force of the computer and electronic age that takes readers on a fascinating voyage that spans everything from graphic renderings of theoretical space gondolas to depictions of transistors as the route to utopia. Like Trevor Paglen’s exploration of the visual aspects of secrecy, Megan Prelinger’s Inside the Machine provides readers with a unique window into the history of electronics and computer science during the Cold War, and beyond. Merging science with art, Prelinger challenges our linear notions of scientific progress, helping us see a new dimension to our modern technological world.” (Sharon Weinberger, author of Imaginary Weapons: A Journey Through the Pentagon’s Scientific Underworld)
“Because electrons are mostly invisible, our visualizations of them tell us more about our dreams than about electrons. This cool and unusual book gathers our earliest collective dreams about circuits and electronics and makes them visible. It got me thinking about our assumptions for tomorrow. I love it when a book like this makes me see the world differently.” (Kevin Kelly, senior maverick for Wired magazine and author of What Technology Wants)
About the Author
Megan Prelinger is a cultural historian and archivist, and the author of Another Science Fiction: Advertising the Space Race 1957–1962. She is cofounder and information designer of the Prelinger Library in San Francisco, where she lives.
Most helpful customer reviews
2 of 3 people found the following review helpful.
An Idiosyncratic Yet Worthwhile Effort
By chemical007
As an engineer, I am always receptive to efforts to bridge the gap between art, culture, history, and technology.
And I am always nearly disappointed. Particularly egregious examples are the sad efforts to interpret particle physics with art, as in the case of "resident artists at CERN" or galleries of symbolic paintings of gluons at Stanford. The burden of failure to accomplishment this fusion must surely lie primarily with the artist, who rarely is tutored sufficiently in the demanding details of the science he/she is supposed to describe graphically or via the written word. It gets clumsy, awkward and inevitably acquires that comical aspect ascribed to "interpretive dance" by cynics.
Prelinger's work narrowly misses these shortcomings, and yet, in certain dimensions, rises to the level of admirable academic cultural analysis. The selection of art and photography that depicts the subject matter through time is extremely pithy and selective and would qualify as a fine art book in and of itself. They are artistically absorbing and evocative of the period they represent, qualifying in and of themselves as an education in the subject matter at hand.
Significant problems arise when Prelinger undertakes further deconstruction with a painfully contrived prose style very much in the "psychobabble mode", using arcane and arch language shabbily gilded with a faux academic patina reminiscent of of a pretentious first-year art student attempting to impress anyone who might overhear them at a coffeehouse. Yes, something did happen and it bears examining, but that can accomplished with a straightforward elucidation that bypasses the tedious pedantry imposed here.
The author also displays a considerable uncertainty about technology, waffling unsteadily at points and at other times simply being wholly incorrect - vacuum tubes are labelled as semiconductor technology, for instance. It is obvious she shrinks from a deeper technical comprehension in favor of an artistic interpretation. This is a pity, because the reader can sense Prelinger has the necessary intellectual chops to fully explore what must historically be the most influential shaping of the human consciousness by technology and its attendant media ever.
Having been exposed to such grave shortcomings, I nevertheless felt attracted to this book and certainly felt it can hold the informed reader's attention. If you can filter out the pseudo-chic posings of the literary style, there is some serious grist to be milled and, when the author finds surer footing, a very solid exposition unfolds that can lead the technical mind into areas of artistic inquiry that would normally be inaccessible. The treatment of punch cards, paper tape, magnetic tape, for example, and their representation in industrial art and advertising was eye-opening, and at times riveting. Intervals of sound and compelling critical interpretation appear at sufficient frequency throughout the book to command the reader's respect and hold their attention. The fundamental construction of the narrative often survives the inadvertently camp treatment and presents as a nice balance of rigor and deft artistic insight - the book unfolds with a smoothness similar to a nicely-engineered car travelling down a well-maintained highway with pleasant views to the left and right.
In summation, I can easily see technically-savvy denizens of the electronics culture, particularly those old enough to have personally experienced the earlier histories explored here, grousing unhappily at the numerous historical and scientific errors, frumping at the literary affectations and yet still persevering and ultimately concluding it was an informative and worthwhile read.
0 of 0 people found the following review helpful.
One Star
By jim litwin
An awful book. Elementary insights.
1 of 3 people found the following review helpful.
Technology through the lens of art: the graphical presentation of tubes, transistors, computers, & more
By John E. Branch Jr.
In this book, cultural historian Megan Prelinger surveys the visual presentation of advances in electronics. To study how increasingly abstract developments were given tangible form in order to convey them to businesses, workers in the field, and the general public is an ingenious and provocative idea. But reading the book provides a mixed experience.
Anyone who grew up learning about the scientific and technical developments she chronicles in her text is likely to trip repeatedly over her descriptions, and a reader who doesn’t already know may come away misinformed or confused. For instance, Prelinger speaks of vacuum tubes “sorting” electrons, when a better term would be controlling or modulating their flow, and she seems unclear on a few aspects of computers and programming. And yet the book’s bountiful illustrations are wondrous, almost flashback-inducing for anyone whose experience goes back very far. In her commentary, Prelinger now and then serves up bits of jargon, but she’s almost uniformly clear and insightful, helping the reader more fully to see and understand what one is looking at in the artwork.
The visual system makes up a substantial part of the human brain, and as ancient cave paintings suggest, our grasp of the world has always relied on our ability to represent it graphically. Yet the 20th century may be the first we could call the age of the image, as it was also the beginning of the electronic age. Despite its missteps, Prelinger’s act of visual archaeology in this book does a service to both.
(This is a condensed version of a review posted at Goodreads. It can be found at [...])
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