View source for --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
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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
tricky part
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.
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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.
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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.
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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.

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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. 
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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? 

Marcell Deschoun

#
31str1


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.

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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


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other work

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!