User:Yoana Buzova/small seminar

Key words : icon, modification, recombination, remodulation, remix, remake, reenactment, amateur(wild) images, self-broadcast

Reading Jos de Mul's text, Jordine Seijdel's text "Wild images" and Lev Manovic's 'What comes after Remix?" links and connections of transformations of value and aesthetic experience show up. Lets start with the artwork, the one that possessed a cult value. The symbol, the icon, the distant, almost magical piece that had a strong aura and authenticity. With the drastic mechanical reproduction( especially by means of print, photography and film) the aura was almost completely lost, only to make room for the exhibition value ( the endless reproduction of copies). Exhibition value applies not only to cultural but also to political experience. moving away from the cult, we feel the ambiguity of reproduction and this implements as well when we speak of the era of digital recombination.

This new age is built on virtual data. Culturally, databases may urge an almost infinite number of recombinations that bring about the return of the aura in the present "age of informatization". That transforms human experience. We no longer want only to 'see' but to 'be', so gradually we all have an urge to become a part of the database, to get closer to the super sensible. as in Jos de Mul's example of the website Mega Mona Lisa, where users are invited to make their own version of Leonardo's Mona Lisa. In the age of digital databases everything is an object for manipulation. The cult of artwork is expressed trough the remake, the remix, through 'being' it. This becomes a form of ritual, a return to the unique function of the artwork. Reenacting iconic images removes the distance (unapproachability) that Walter Benjamin describes as a major quality of the cult image. Though this time this has an opposite effect. The context of remixes and remakes starts to lose meaning, as long as they exist.The cult of an artwork is expressed trough the remake, through the mix with other work. This becomes once again a form of ritual, a return to the unique function of the artwork. It doesn't matter if they are a parody or a mockery, this still feeds into the spiritual meaning and increases the aura of the original.

In a social and political context, computerisation and democratised digital production and distribution media (cameras, internet,mobile multifunctional devices) makes anyone a journalist and introduces the flood of 'wild (amateur) images' into the public domain. It all results in a data flood, a constant record of events that exist solely to be archived, therefore to live becomes 'to pose'. Visibility and transparency are desires that lead us to participatory surveillance and 'broadcasting ourselves'.

In the end the borders between icons, remakes, remixes, reality and manipulation get extremely blurry and it is hard to be sure of authenticity. At least we are left with the endless recombinations of our database age that brings us closer to the rise of aura.

Reference texts:

Jos de Mul, The Work of art in the Age of Digital Recombination

Jorinde Seijdel, Wild Images

Lev Manovich, What comes after Remix?

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