Jujube/synopsis: Difference between revisions
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'''The Glitch Moment(um): A Void in Techno-Culture (p.29-31)''' | |||
The author argues that glitch disrupts the flow of the technology which delivers the content (eg. broadcast TV). Glitch reveals the involvement of the machine in front of the user/reader/viewer and raises the question of authorship. It encourages the audience to reflect on the medium/media. | The author argues that glitch disrupts the flow of the technology which delivers the content (eg. broadcast TV). Glitch reveals the involvement of the machine in front of the user/reader/viewer and raises the question of authorship. It encourages the audience to reflect on the medium/media. | ||
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(I question its effectiveness.) | (I question its effectiveness.) | ||
'''The Glitch Art Genre: Between the Void and Commoditized Form (p.55-56) + The Genre Paradox (p.57-58)''' | |||
Glitch art represents unstable processes and the associated conceptual thinking. Rather than inventing new terms for artworks that incorporate this representation (which does not differentiate between disruption and commodity) — it clarifies to theorize glitch art as a genre with thematic content, iconography and narrative structure. The genre fulfills the expectations to exploit the medium and question "the use and function of technologies, their conventions and expectations." | Glitch art represents unstable processes and the associated conceptual thinking. Rather than inventing new terms for artworks that incorporate this representation (which does not differentiate between disruption and commodity) — it clarifies to theorize glitch art as a genre with thematic content, iconography and narrative structure. The genre fulfills the expectations to exploit the medium and question "the use and function of technologies, their conventions and expectations." | ||
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(See footnotes on p56 for literature on genre.) | (See footnotes on p56 for literature on genre.) | ||
'''The Emancipation of Dissonance Glitch (p.65-66)''' | |||
Glitch questions authorship and technology used to convey that. It is a critical reflection on the medium and creates awareness among the spectators. | Glitch questions authorship and technology used to convey that. It is a critical reflection on the medium and creates awareness among the spectators. | ||
("Gentrified errors" is a good phrase.) | ("Gentrified errors" is a good phrase.) | ||
Revision as of 12:04, 12 November 2018
Comparative Criticism
New Aesthetics - James Bridle
New Dark Age [1], ibid
Kenneth Goldsmith
Synopsis
International Art English
Original text: International Art English (by Alix Rule & David Levine)
In International Art English (acronym IAE), the authors present a linguistic study of the anglophone language surrounding contemporary art, and illustrate the discourse development of contemporary art through the adoption of this language. For this purpose, the authors analyze 13 years of e-flux announcements, the most widely-read listserv by an increasingly global contemporary art field through algorithms from Sketch Engine, a linguistic analysis tool.
They investigate the vocabulary, syntax, semantics and genealogy of the text (referred to as the corpus). They suggest that IAE originates from the highbrow criticism journal October from 1976, where editors changed the discourse of art criticism and translated French post-structuralist texts from Barthes, Baudrillard and Deleuze as well as the Germany's Frankfurt School. This editorial bias gave the language lexical peculiarities from French (e.g. the suffixes -ion, -ity, -ality, and -ization) and German (e.g. the prefixes para-, proto-, post-, hyper-).
The authors thus summarize the traits of IAE, such as: the acquisition of alien functions by ordinary words, the emphasis of otherwise redundant pairings and the fondness towards using more words instead of fewer. They thus demonstrate IAE as a distinctive language circulated in contemporary art, proliferated by the spread of biennials and the enabling of the internet.
The authors place the IAE in its own categories similar to that of a technical language (such as that shared among academics or car mechanics). They observe that although old users of the IAE came from academia and formal art criticism, new users are from increasingly diverse origin: notably, gallerists, curators and the artists themselves (for writing press releases, grant proposals and artist statements). These new users perpetuate the language and stylize the discourse with ever-changing trend.
The authors conclude that art criticism is in crisis and the future of IAE will be an implosion.
The Glitch Moment(um)
by Rosa MenkMan
The Glitch Moment(um): A Void in Techno-Culture (p.29-31)
The author argues that glitch disrupts the flow of the technology which delivers the content (eg. broadcast TV). Glitch reveals the involvement of the machine in front of the user/reader/viewer and raises the question of authorship. It encourages the audience to reflect on the medium/media.
(I question its effectiveness.)
The Glitch Art Genre: Between the Void and Commoditized Form (p.55-56) + The Genre Paradox (p.57-58)
Glitch art represents unstable processes and the associated conceptual thinking. Rather than inventing new terms for artworks that incorporate this representation (which does not differentiate between disruption and commodity) — it clarifies to theorize glitch art as a genre with thematic content, iconography and narrative structure. The genre fulfills the expectations to exploit the medium and question "the use and function of technologies, their conventions and expectations." Under a common genre the materiality of glitch can be studied closely.
The challenge (or paradox) of the genre framework is the difficulty to distinguish a deliberate, considered work involving glitch (and its process) from something that merely appropriates the retro-nostalgic aesthetics. Constant improvements in technology renders previous versions of it obsolete. Because of that, glitch exists anachronistically outside of the serious intention of a genre (eg. "faux vintage" filter on Instagram). It calls for the spectator's knowledge in "media technology texts, aesthetics and machinic processes" to recognize glitch art and the message within.
(See footnotes on p56 for literature on genre.)
The Emancipation of Dissonance Glitch (p.65-66)
Glitch questions authorship and technology used to convey that. It is a critical reflection on the medium and creates awareness among the spectators.
("Gentrified errors" is a good phrase.)