--speculative scenarios nts--
How would you define a digital aesthetic, and how does it relate to contemporary art? possibilities; the separation between the front- and backend of the artwork, where the back-end could be a complex mathematical language and the front-end could be abstract visuals; new forms of connectivity reconfiguration of space and time. participatory and interactive artworks is the consideration of response as a medium. participant changes the work.
any artwork is ‘interactive’, in the sense that it involves a mental activity --- this is only to understand the artwork; althout the artwork can be interpreted differently a shift in aesthetics ( felt strongly in the DADA movement ) to the point that computer art and code can be deeply aesthetic in a conceptual way
museums have difficulty accepting computer-based art, because they aren’t always aware of the evolving relationship between the front- and the back-end?
New media art looks at many of the same themes and issues that have been discussed in art for centuries; to name a few: the construction of identity, representation, abstraction, realism, etc
So it is important to document their history and, in order to do this, we need more momentum and funding, which in turns requires acceptance within the art world at large.
looking forward to joining but not willing to change. are digital artists are unwilling to make curatorial decisions such as naming the best digital artist or specifying important periods, events or people.
But the nature of new media art runs counter to the infrastructure of museums in many ways: the medium itself and the decentralisation it entails; the fact that most digital art doesn’t rely on the museum and gallery to be ‘distributed’ to the public; the question of authorship – very often digital works are created by collaborative teams, or artists create a framework and the artwork is then executed by the audience. New media doesn’t necessarily support the ‘single star’ system of the traditional art world.
New media art runs counter to museum infrastructures in so many ways, from the ‘materiality’ or rather ‘immateriality’ of the work and the question of what constitutes the art object, to open modes of creation and distribution systems that do not rely on the white cube. organisation of museums will need to change if they want to accommodate this art.
Why would the new art want to be part of this structure? new media is doing well on its natural enviornment ( internet ) its very wide recognised and maybe if it was standing in the museum, it would be less known. But if digital media is not considered in relation to more traditional art forms, we’re constructing two different kinds of art history. This separation would lead to? Artists are in contact with each other, but again you don’t see these exchanges in the museum world itself.
link the resurgence of performance art to digital art
All these works exist within a space of participation and performativity that, in my opinion, is a reflection on the culture in which we live. Artists engaging in these more traditional practices are also reflecting on the conditions of a digital society, which have been created through connectivity and the participatory nature of digital technologies.
Although, I think it is problematic to speak about art in direct connection to a brand name, another question that comes up is how these artworks should be understood and recognised, and their effects classified in the constantly expanding and evolving technological landscape that is primarily geared towards commercial interests?
This theme envelopes into the developing of web 2.0
Changing art by filtering it through these web platforms these platforms are no medium or art form, they are just a technical platform I also don’t think there is any tool in the world that intrinsically promotes creativity. Some tools might be better suited for creative endeavours than others, but there is a lot more to creativity than just creating a platform and a tool.
Light Heavy Weight Curating
From virtual to augment reality The stuff of which the world is made now
The heaviness of the material turn is inscribed into the computational: hyperstimulation, corporate control, an overflow of mass-produced material, big data, massive scale, and software undercoating, in which the users are illiterate but creative (or not, or both).
The novel lightness is about staying afloat or, rather, remaining operational at whatever depth is required.
Such language-based metaphors should not lure us into the realm of representation; the devices need to be as much reflective of ‘formal language elements’ as of ‘procedural entities’4 or, rather, performances
all forms the inventory of computational living matter.
Computational matter is profoundly aesthetic, social and luxurious.6 This luxury, absolute excessiveness of culture, of aesthetic germination, expands spaces, out of which multiple creative acts sprout for no reason at all.
This lightness takes a heavy toll: the aesthetic work brought to life by such germinations cannot be brushed aside, but the vocabulary and devices for making sense of it are yet to be developed.
Today, no-one suffering logorrhea faces the dark oblivion of the table drawer in which the manuscript is tucked away: blogorrhea perpetuated by ’Rasputins of prose’8 is a vital creative excess forging and making use of the new conditions, in which the absurd and unneeded, the undescribed, that which has no immediate value but propels itself, through humans, computers, networks, languages, images, is welcome.
The welcome it receives is not even always capitalist, but it is computational and computationally socio-cultural
data driven curation is very light for the traditional way
Rémi Gaillard’ PRANKING http://nimportequi.com Individual and collective effort, or the vicissitudes of the condition that might be called creatorrhea couples with network specificity and plays out globally through very careful entanglement of the aesthetic, performative, linguistic, visual and computational.
The pre youtuber Gaillard is the early YouTuber, who performs and develops his personae in response to the platform as well as the techno-societal culture of the early Web
meme was born from the architectonics of the participatory life Meme as a form of habituation of images
4chan unfolded over time as an exercise in luring the technical and the human into editing, reposting and spreading them. within 4chan and between 4chan and other networks can also be seen as a new curatorial biomechanics.
TRANSLATIONS in artworks to be shown in museums
Confronted lightly and omnipresently with the new aesthetic values ceaselessly churned out by the operations of computational matter, the curator’s or art institution’s work is heavy.
The new capitalist forms – ludic and cognitive capitalism – appropriate desiring production in its infancy, a half-virtual state, capture and capitalise upon the living drives of matter turned computational, where the condition of its being computational is among the leading changes that enable such appropriation.
To imagine outside and before the appropriation capitalist march, attuned to change and reliant on the imaginativeness of its new subjects
Curators are having a hard time dealing with it. When memes were initially being produced as an aesthetic form, they were not only not quite based on social-networks and not quite capitalist, but also outside art. Their environment is some where and ended up rather secluded.
A return to the animated gif is undoubtedly more complex than exploitation: it builds on the sentimentalism of retro as well as working on a production of a new type of time – the extended present.
A computational and curatorial device of such a type could be imagined as the one opening artistic vocabulary to the people by building on one of the most powerful gestures of the music of the last century.
a curation of subjectivity outside art? A biomechanical curating of creative matter?
Renata Litvinova once said in an interview that nothing has a meaning of its own and it is only what you assign and creatively produce as a meaning, in entanglement with various forces, that becomes one, with all its force and inevitability
Her acute sensitivity to the condition of today can be extended to curating and the future of art and memory institutions too: when there are no clear boundaries, routines and institutional practices to produce forms of art, subjects and knowledge such as the ones we are used to knowing, it is what we, as part of computational matter, strive for, produce and sense out, that becomes.
The museums - funded - and have to keep up to date.
- Museum selling a work. people went crazy.
the museum cant sell any works! only sold to the comitions A conservetive idea for protecting art. ( national pride :D ) All restricted by the funders.
digitising artwork - opening the archive to the public
athics of a museum
The computational is needed because, a person is unable to watch the abundance of the videos.
Youtubre filtering information for you, although the museum does it also! The museum has to be transparent to be about their disiciouns.
- youtube dealing with deleted material much more complicated TRACING VIDEOS, so they keep it
Aesthetics from not a semantics point of view. The method of the proccess of the back end.
The beauty of efecientsy, of simplicity in programing. The aesthetics always related the matterial.
Brings out a certain type of esthetics.
Axiomatic nature of computing The txt mises examples!!! too abstract!