User:Elleke Hageman/Trimester1/Thematic/Notes 3

Organisational Aesthetis, digital Folklore and Software

The process by which something becomes art, especially if it's actualisation ins not manifested merely in an individual project but is instead a set of practices an artistic current a cultural movement or an aesthetic storm inevitably to connect to the question of organization in one manner or another.

“General laws”

The complexity of organisational aesthetics the cultural field as a subfield of restricted production “the rules of art” bordieu what used to be core becomes outside and organizational relations become core.

Pierre bourdieu a well connected network of relation is vulnerable. Bernard Stiegler

The collective becoming of art is associated with curating. As new media changes the constitution of these spheres and the energies feeding them as well as the networks of prduction of the works et curatorship as a practice finds itself transformed and seeeks new concepts to catch up with the new speeds. The development of the tdigital media have changed the fields of art urban life and economics at the root.

Not everything results from code but everything boils down to code

Every art platform runs through software based relations. Collectivity

2001 artistic festival launched the artistic software catagory – artistic software became a hype. 1990's should not be seen as a breach in time.

In defense of the poor image.

The poor imahe is a copy in motion. Bad qualiti and a has been changed of format endlessly. It transfoms quality into accessibility, exhibition value into cult value, contemplation into distraction.

The image is liberated from it's vaults and liberated into digital uncertainty at the expensive of it's own substancy. It becomes a visual idea.

1. low resolutions Foxus is identified as a class position, a position of ease and privilege (in woody allens film) being out of focus lowers ones value of an image. The contemporary hierarchy is not only based on sharpness, but also and primarily on resolution. The rich image established its own set of hierarchies with more technologies offering more and more possibilities to creatively degrade it.

2. Resurrection (as Poor images).

Nikos

poor images The circulation of poor images creates visual bonds. By losing it' s She needs to find value in this kind of image.

On olga aesthetics the software is a tool of production. We loose who is really the author.

Max The number of times it's been copied isn't a certainty for quality. You can't quantify quality like that. Feedback and discourse you can't measure quality by that. You can't value art by the number of times it's reetweeted. We're working out ways to sell digital art.

Tamas 10 years ago would've made more sense because then you had to downscale an image even more. Amateurishly reproduced they need to have credtit as well. Aesthetics olga -

ad Relating it to your own practice Leave the distinction between high art and low art. Where value and authenticity. How can you use the network that is very small and raise it to another level (about olga organisational esthetics). Digital art is moving into the market. Folklore ndoesn't change very much over the years. The essence stays the same.

Luisa There is capital in everything, you just have to assign who's going to take the money.