<nettime> Fwd: book promotion for machines

[Andreas Broeckmann via nettime-l <nettime-l@lists.nettime.org>]

folks, i suggest that we should laugh and not cry about this... (some of 
you must be getting the same messages.)

you don't have to read all of this LLM-generated stuff, but 'scan' it, 
and then make sure to scroll down to the second message, and compare.

i guess that the proposed promotional efforts might fare well with 
content-hungry bots.

and remember to always look on the bright side of life.

-a

-------- Weitergeleitete Nachricht --------
Betreff: 	Art history & technical systems positioning for Machine Art in 
the Twentieth Century.
Datum: 	Mon, 17 Aug 2026 15:12:59 +0100
Von: 	Elena Jones <elena.j.promotions@gmail.com>
An: 	abroeck@hgb-leipzig.de

Hi Andreas,

After spending time reviewing /Machine Art in the Twentieth Century/, I 
wanted to reach out and congratulate you on publishing such a vital, 
historically grounded, and theoretically rich contribution to media art 
history and technology studies. Tracing the century-long continuum of 
machine art rather than treating digital art as a sudden rupture fills a 
crucial methodological need.

What stayed with me most was how seamlessly you connect early 
twentieth-century avant-garde practices with late-century algorithmic 
and cybernetic art. Framing works by artists like David Rokeby, Stelarc, 
and Seiko Mikami within a broader lineage of systems thinking and 
machine aesthetics gives art historians and media theorists a powerful 
analytical framework.

I also want to highlight how effectively you articulate the shift from 
mechanical coupling to ecological systems thinking and its impact on 
human subjectivity. This conceptual bridge makes the volume deeply 
relevant to contemporary debates surrounding AI, posthumanism, and 
autonomous systems.

By the end of the text, it is clear that /Machine Art in the Twentieth 
Century/ stands as a benchmark reference that will continue to shape how 
researchers interpret technological aesthetics.

I can easily see /Machine Art in the Twentieth Century/ being widely 
adopted across graduate and upper-level undergraduate seminars in media 
art history, contemporary art theory, digital humanities, and technology 
studies, as well as being acquired by museum libraries, research 
archives, and university libraries globally.

My name is Elena Jones, and I work with academic authors, art 
historians, and press teams to help strengthen discoverability, course 
adoption, and library acquisitions tailored to the core strengths of 
major scholarly titles.

If it makes sense, I would be glad to send over a brief proposal with a 
few positioning ideas to help introduce /Machine Art in the Twentieth 
Century/ directly to target art history departments, media research 
centers, and academic libraries globally.

Warm regards,

Elena Jones


-------- Weitergeleitete Nachricht --------
Betreff: 	Curatorial history & postmodern theory positioning for The 
Making of Les Immatériaux.
Datum: 	Tue, 18 Aug 2026 05:56:53 +0100
Von: 	Elena Jones <elena.j.promotions@gmail.com>
An: 	abroeck@hgb-leipzig.de


Hi Andreas,

After spending time reviewing /The Making of Les Immatériaux/, I wanted 
to reach out and congratulate you on publishing such an essential, 
meticulously researched, and field-defining contribution to exhibition 
history and media theory. Documenting the practical and conceptual 
genesis of Lyotard’s landmark 1985 project fills a crucial gap in 
curatorial scholarship.

What stayed with me most was how effectively you balance high-level 
philosophical analysis with granular institutional history. 
Reconstructing the organizational, spatial, and technical challenges 
faced by Lyotard and Chaput provides curatorial theorists and historians 
with a masterclass in how complex postmodern ideas take physical shape.

I also want to highlight how relevant this history remains today. As 
contemporary curators navigate artificial intelligence, digital 
networks, and virtual exhibition spaces, your detailed account of /Les 
Immatériaux/ offers a vital historical anchor for understanding early 
technological exhibitions.

By the end of the text, it is clear that /The Making of Les Immatériaux/ 
serves as a benchmark archival study that will become required reading 
for curatorial programs worldwide.

I can easily see this volume being widely adopted across graduate 
seminars in curatorial studies, art history, media theory, museum 
studies, and continental philosophy, as well as being acquired by museum 
research libraries, contemporary art archives, and academic institutions 
globally.

My name is Elena Jones, and I work with academic authors, art 
historians, and press teams to help strengthen discoverability, course 
adoption, and library acquisitions tailored to the core strengths of 
major scholarly titles.

If it makes sense, I would be glad to send over a brief proposal with a 
few positioning ideas to help introduce /The Making of Les Immatériaux/ 
directly to target curatorial studies departments, museum research 
centers, and academic libraries globally.

Warm regards,

Elena Jones.

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