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Abstract
Rapidly changing technology transformed not only military affairs in the half century before 1914 but also the printing industry. In particular, images of all kinds became available to the public on an unprecedented scale. This allowed governments to call on artists both to propagandize the war effort and record the world-historical events. In the images they created during the Great War, official war artists did much to shape the public perceptions of such novel technologies as the tank. Especially in the robust war art programs of Britain and France, artists emphasized the blank menace of machines without evidence of human agency. Images of implacable machines rearing over blasted landscapes appeared in salons, books, magazines, newspapers, and in the new medium of film. The images sank home. During the interwar period, military mechanization incorporated tanks into armored forces that projected that same menace and invincibility on a larger scale, the very characteristics that commended tank forces to totalitarian regimes.

This article thinks with disability theory and artistic praxis to explore how disabled artists repurpose and invent technologies in artistic processes designed to enact care and access, extend embodiment, satiate the senses, and create crip culture. Drawing on four examples, we claim that disabled artists are creative technologists whose non-normative culture-making practices approach accessibility as a transmethodological process that requires and generates new forms of interconnected technology and artfulness. Disabled artists, as "creative users," change the uses and outcomes of technology, dis-using technologies in ways that lead to a more dynamic understanding of access and with it, of crip cultures as processual, artful, and political.

In North America, there are over one hundred programs and labs committed to collaborative experimentation in art and technology. This article examines the current prominence of art and technology labs in the context of the resurgence of collaborative practice in the arts, not only between artists, but also among a wide range of cross-disciplinary groupings of designers, scientists, engineers, scholars, and others. The push for collaboration in the arts is part of a recalibration of the meaning of "research" as it is understood by arts practitioners, and among the legacies of institutional critique has been the expanded engagement of artists in contexts that move beyond galleries and museums and into, among other places, universities, businesses, science and tech labs, and research facilities. At the same time, the massive growth of the tech sector has given rise to a new generation of speculative research enterprise, from Google to SpaceX, which shares, to some degree, the expansive research and development horizons of advanced art. Some of the most prominent current art and tech projects explicitly draw on the legacy of precursor programs from the 1960s to establish a lineage and to confer art historical legitimacy on the new versions. This article examines two art and tech projects, at MIT and the Los Angeles County Museum of Art (LACMA), and their strategic deployment of their 1960s antecedents: György Kepes's Center for Advanced Visual Studies (CAVS) and Maurice Tuchman's Art & Technology program (A&T), respectively. This examination argues that the loss of a radical vision that preceded the 1960s labs rendered them untenable and explores how the art and technology labs furthered a larger shift from progressive liberalism to neoliberalism. While these earlier projects were short-lived and the targets of considerable criticism, not least because of their connections with military and corporate clients, in the twenty-first century the legacies of CAVS and A&T have been unproblematically reclaimed. Contemporary art and tech projects, we argue, are in danger of succumbing to the same techno-utopianism as their 1960s iterations, and the same military-industrial allegiances that tainted the earlier projects continue to underpin twenty-first-century collaborations.

This paper explores the various ways in which art and new technologies converge in Latin America from a political and social perspective. Through the analysis of a number of art works and projects produced in the last decade in Brazil, Chile, Colombia, Mexico and Peru we observe different ways of responding to the dilemmas posed by recent history, poverty, exclusion,gender, migration and ecological problems. The paper will propose a systematization of these art works following three main lines: a) practices that denounce, b) practices that dismantle, and c) practices that propose alternatives. These categories help us to understand the transformationsstemming from the interaction of art, science and technology, revealing the new role adopted by the artists within a "˜post-autonomous' practice in the field of art. Ultimately, this systematization will help us to identify new patterns or trends among the dissident voices in Latin America under the conditions imposed by the Neoliberal logic.