User:Mihail Bakalov/Trimester 1/THEMATIC SEMINAR/Notes13.10
Original aesthetics, digital folklor notes
Organisation is this sence is the manner by which art reveals itself and speaks, a modality of formation that is collective and political. Agents of such organizational processes differ
the mode of operation of the dogmatic museum gave way to the mode of curatorship in the beginning of the twentieth century -> overthrowing of traditional organizational tendecies was first sensed throught the accomplishment s of the avant-gardes whose bodies of work could themselves be seen as a series of collective gathering and exhibitions
The metaphysics of organization then performs a similar operation, of making happen and making sense of/structuring instances of matter while being materially separate from them, if materialized at all, whereas the matter would not be performed in any manner.
Pierre Bourdieu - his figure of the cultural field as a subfield of restricted production is organized hierarchically, existing as a structured space with its own laws of functioning, independent of but reflecting the laws of economy and politics.
two directions of struggle define the structure and the development of the field : the opposotopn between the subfield of restricted production and the subfield of large-scale production(econimic capital, fighting to define the positions of art and artist) and the struggle within the field of restricted production( among the positions) between what that field constitutes as the consecrated avant-garde and the new avant-garde.
the second struggle takes the form of questioning the essence of the genre and establishing a return to its origin, thus providing a history of purification as the narrative of the field. such manoeuvre coexist with relations that are agents in the field, relations in turn mediated by the structure of relations between institutions possessing authority.
Organizational aesthetics is a concept conceived to address the emergence of art in a way that does not start with the end product and the structures within is embedded but instead unfolds through aesthetic production, through autocreativity to actualize culture.
Certainly, with organizational aesthetics it is more convenient to address contemporary ciltural movements at times when organizational relations become core and what used to be the core becomes the outside. Ideal forms could not be infected, an operation of becoming that is inside and outside at the same time is more interesting as it is liminal, wide open, turbid, and prone to constamination with manifold parasites.
Technological and cultural subjectification grow through each other.
Curatorship pruduces art by displaying and writing about it and by putting art into relationships, spaces, organizations and markets.
At the same time, the technical here should not be regarded in any deterministic or essentialist manner and the growing sensibility of the role of the technical or automation for the sake of the argument, should not cloak its actualization with and through the human, the social and the political.
ADrian Machenzie - within software-saturated domains, not everything results from code but everything Â´boils down to codeÂ´/
Interface and structure , all the strata that make up and art platform: database, administation, an accept/reject email template, titles, uses, relationships, dynamics, amplification of aesthetics endeavour... all come together in variable combinations as the regularities of organizational aesthetics, playing out in the unfolding of the digital forms of art.
online lybrary for software art. links together artist provides a platform fot them The practice asked questions about what software is and what it does in relation to objects, subjects, ways of doing and making, agency, sensibility and culture. how does the aesthetics of code couple with the artistic, medical, managerial or teaching culture gated through software? What are the concepts and forms of software that become dominating forces in the practices structured by software?
Software art is an aesthetic current, sets of objects, processes, ocncepts, and figures, that focus on software as means of symbolic and material expression. Spftware expresses power dynamics, runs systems of profiling and segmentation, creates and circulates sensibilities, lures into specific kinds of sociotechnical interaction.
WHether critical subjective humorous, homemade, or businesslike, software art focus on the materiality of software as an open potentiality.
some categories of the software art festival: Aesthetics of error as general area of work politically oriented
Pit Schultz› emulated modernism
emailing the moderater to create a category for your work ^^
Digital folklore must not search for an authenticity of different sorts, but instead must be made availavle for conceptual operations that endow it with a means of enunciation of certain sensibilities.
remorks elements that are to an extent typical. Thus, one of its features can be its variability
Norton commands !
some works as pranks, mockery and deformations which were at first sight mere experiments afterwards reborn in example iOS
Anti- surfing clubs
anti surfers claim to undergo a certain fetishization of surfing, an exstasy in front of an infinite data pool and a human massivity to add to the scent of artist groups blogs.
Found objects and projects made of or with them form the basis of the art-surfing club, which together with member, explores the meterial and the aesthetics of the digital. what they work on is a profound engagement with the creative unfolding of digital culture as it occurs in all its gory detail.
too few ideas for too many brains :D
their operation thrives on a digitally nuanced aesthetic exploration and amplification of what is happening, through means of reposotioning, referentiality, intensification, promotion, sociality and humour.
Potency of Art
Art platforms assemble objects, networks, technologies and desires to work in culture and make art.
Migration of the AURA
a fake copy that most people woukd be impressed by ( overr brightness, saturated...) - perfecet match with the posters and sliders sold in the gallerys bookshop
a cultural rape very much in the mind of all Venetians :D
the composition with the other paintings and the room design all affects perception
the de- then re-materialisation of the paonting of Veronese. the facsimile seemed in the end more real then the restored and enchanced original.
the aura of the original had migrated
claims to be the original in order to hide the fact that it is an expensive copy of one of its cheap copies!
original possesses an aura, this mysterious and mystical quality that no second hand version will ever get
If no copies of the Mona Lisa existed would we pursue it with such energy
The intensity of the search for the original depends on the amount of passion and the number of interests trigge red by its copies.
considering the value of either the original or its reproduction
A given work of art should be compared not to any isolated locus but to a river's catchment, complete with its estuaries, its many tributaries, its dramatic rapids, its many meandering turns and, of course, also, its several hidden sources.
trajectory or career of a work of art!
want to argue that a badly reproduced original risks disappearing while a well accounted for original may continue to enhance its originality and to trigger new copies.
facsimiles, especially those relying on complex (digital) techniques, are the most fruitful way to explore the original and even to help redefine what originality actually is.
word "copy" does not need to be so derogatory, since it comes from the same etymology as "copious," and thus designates a source of abundance
Is originality something that is fecund enough to produce an abundance of copies?
original means nothing but to be the origin of a long lineage. Something which has no progeny, no reproduction, and no inheritors is not called original but rather sterile or barren
We attribute to the author (even though his very existence cannot be specified) the power of each of the successive reinterpretations by saying that "potentially" all of them "were already" there in the Ur text which we simultaneously know to be wrong and perfectly right since I willingly add my little expansion to the "unlimited" fecundity of this collectivephenomenoncalled "The Iliad".
If it is so unlimited, it is because I push the limit a little bit more.
penetrate inside this inherent greatness, you need to bring with you all of the successive versions, adaptations and accommodations.
Before the birth of Isaac, Abraham was a despised, barren old man. That he became "the Father of three religions" is a result of what happened to Isaac, and, subsequently, what happened to every one of his later sons and daughters.
if we stop interpreting, if we stop rehearsing, if we stop reproducing, the very existence of the original is at stake!
We have no difficulty raising questions about the quality of the entire trajectory when dealing with the performing arts, such as dance, music and theatre.
So free are we from the comparison with any "original", that it is perfectly acceptable to evaluate a replay by saying: "I would never have anticipated this; it is totally different from the way it has been played before
In performance art, the aura keeps migrating and might very well come back suddenly... or disappear altogether.
a feat that poor Berlioz never managed to witness since he never had the money nor the orchestra to play his original work in full...)
It seems almost impossible to say that the facsimile of Veronese's Nozze di Cana is not about falsification but it is a stage in the verification of Veronese's achievement, a part of its ongoing biography.
Case of performance art, we don't distinguish between an original and a copy, but rather between successive versions of the same play each designated by the label "version n", "version n+1", "versionn+2", etc.
because of an exceptionally good "revival", the genius of the real King Lear has been "instantiated" more fully than any time before or later). In those cases, the trajectory is composed of segments made, so to speak, of the same stuff or that at least require a roughly similar mobilizati on of resources.
Because it remains in the same frame, encoded in the same pigments, entrusted to the same institution, one cannot help having the impression that every reproduction will be so much easier to do and that there will be no possible comparison of quality between the various segments of the trajectory.
depends just as much on the differential of efforts, of costs, of techniques as on any substantial distinction between the successive versions of the same painting
Before being able to defend itself for re-enacting the original well or badly, a facsimile is discredited beforehand because it is associated with a gap in techniques of reproduction, a gap which is based on a misunderstanding of photography as an index of reality
and now in the digital age... what about effort
Monastery - all facsimiles but Here again, the aura was able to travel and might very well have migrated to the newest and latest copy excellently done on one of the best parchments and double checked against the best earlier sources.
after the invention of the printing press copyyyy, no effort time skill
the autograph manuscript now turned into the original
We happily stamp successive renderings of the "same" argument with "version 1", "version 2", "version n" while the notion of the author has become just as fuzzy as that of the auraâ€”not to mention what happens to copyright royalities. -->wikipedia
One cannot help suspecting that there is in painting, in architecture, in sculpture, in objects in general, a sort of stubborn persistence that makes the association of a place, an original and some aura impossible to separate.
For paintings, too, existence precedes essence. To have a continuing substance they need to be able to subsist.
Such is the justification for all the restorations: if you don't do something, time will eat up that painting as certainly as the building in which it is housed will decay, or as surely as the institutions supposed to take care of it will start decomposing
For a work of art to survive, it requires an ecology just as complex as one needed to maintain the natural character of a natural park
not so much to differentiate the original from the facsimiles, but to be able to tell apart the good reproduction from the bad one.
no copy no existance
other ways to copy registering all its surface effects in 3-D and restored the copy instead of the work itself
this is a necessity of existenceâ€”but that the first relies on a notion of reproduction that makes the original disappear for ever while the second adds originality to the original version by offering it new dimensions without jeopardizing the penultimate version
rises the Q can any originality be added?
originality does not come to a work of art in bulk; it is rather made of different components, each of which can be inter-related to produce a complex whole.
The tomb was never made to be visited and the physical and climatic conditions inside the tomb are incompatible with mass tourism. As a result, the tomb is deterioriating rapidly and glass panels have had to be installed to protect the walls from accidental dam age and wear and tear.
A third element of originality has to do with the surface features of a work.
plaster cast in the british museum ruined some stuff
the criteria to distinguish between good and bad transformations
bad name for facsimiles digital facsimiles new twists giving a new handle to give to the notion of originality
crucial to discriminate between good and bag reproduction