Notes from Christiane Paul’s New Media in the White Cube and Beyond Chapter

“The public and audience often participate in the artwork-a role that runs counter to our idea of the museum as a shrine for contemplating sacred objects. All these issues require that art institutions, at least to some extent, reconfigure themselves and adapt to the demands of the art.”

“Gere also discussed how new media art conceptually affects the role of museums with regard to the notion of “real time.”  if the museum functions, among other things, as an archive and “cultural memory,”

How is this memory influenced by the acceleration of the real-time processing?

What might the archive of the future be?”

“For Huyssen the museum or gallery in current technological conditions might thus be a “place of resisitance to” and “contempation outside” the effects of “accelerating technical processess.”…Visits to most galleries and museums today make art seem still very much a matter of producing objects like paintings and sculptures.”

“A gallery such as Tate is both performative and constative. It creates the past it supposedly simply shows by what it chooses to buy, curate, conserve and display or accept as a donation.Thus it affects not just our understanding of  and accept to the past, but also our relation to the future by choosing the legacies that are available to us and to future generations.”

“Because new media art is deeply interwoven into our information society – the network structures and collaborative models that are creating new forms of cultural production and autonomy and profoundly shape today’s cultural climate [creates new “autonomous” spaces beyond museum and galleries.]”

^^ Highlighting the potential of new media

“Digital technologies are developing at a speed that forces the new media field to redefine itself continuously.”

^^ Addressing the “new” in new media

“The successful evasion of definitions is one of new media art’s greatest assets and a main reason why so many artists,
tors, and practitioners in general are attracted to this art form.”

“It is always dangerous to categorize an artistic practice, since to do so sets boundaries, smooths out rough areas, and includes a certain amount of generalization. At the same time, taxonomies provide an orientation. The characteristics and forms of new media outlined here and discussed throughout the book can be considered a preliminary and flexible construct for mapping a constantly changing territory.”

“We need to distinguish between digital art as a tool or a medium in discussing digital or new media art. Artists now commonly employ digital technology as a tool either to produce a more traditional art form (such as sculpture or a print) or a store and deliver works (a digitized version or a painting on the Internet or a video on a DVD.)….the latter largely represent object-oriented work museum are [already] equipped for and do not necessarily redefine models of presentation, curation, collection, and preservation. The lowest common denominator for defining new media seems to be thatit is computations and based on algorithm…New media is often characterized as process-oriented, time-based, dynamic and real-time; participatory, collaborative, and performative, modular, variable, generative, and customizable”

“Gere also points to the roots of new media in the military-industrial-academic complex (one could also add entertainment to the hyphenated term), which certainly complicates the reception of new media.”

^^ Refers to Charlie Gere’s essay in the volume

“As Jon Ippolito points out, any new media art has to multiply and mutate in order to survive, and a work often undergoes changes in personnel, equipment, and scale from one venue to the next. In his essay, “Death by Wall Label,” he uses the art institution’s standard method for “defining” a work-the wall label-as a starting point for exploring the documentation problems titles, and media.”

“New media art seems to call for “ubiquitous musuem” or “musuem without walls,” a parallel , distributed, living information space that is open to artistic interference – a spacce for exchange, collaborative creation, and a presentation that is transpatrrent and flexible….there is no doubt that tradtional art institutions must transform themselves if they want to accommodate new media art”

“New media art requires platforms of exchange – between artwork and audience or the public space of a gallery and public space of a network, for example.”

On installation of new media art: “The white cube creates a “sacred” space and a blank slate for contempulating objects. Most new media art is inherently performaitive and contextual – networked and connected to the “outside” – and often feels de-contextualized in a white space. The black box, the preferred space for film/ video projections and installations. does not necessarily provide better conditions. Unless new media works depend on specific lighting condtions – necause they incorporate light sensors or create an immersive space –… ”

“The presentation of Internet art in the museum of gallery space is one of the most problematic scenarios. Net art has been created to be seen by anyone (who has access to the network), anywhere, anytime, and does not necessarily need a museum”

“Some works of net art lend themselves to presentation in an installation and/or physical interface because they address notions of space. Others work well as a projection – works, especially that have not been created for a browser window and beg to get out of it. Still others need to maintain their inherent “netness” and rewquire one-on-one interaction by way of a computer with monitor. ”

“The least appropriate model for including net art in the gallery space gives visitors one computer on which all the net art projects in the exhibition can be explored, one viewer at a time..it runs counter to the very notion of a public space …[which] asks for better access than that. ”

Mapping Data Flow models:

On the internet: Maciej Wisniewski’s netomatTM, meta-browser that responds to words and phrases typed in by a viewer retrieves text, images and audio from the internet and flows them onto the screen without refard to their orignal display design.

a database of stories: DissemiNET

language and thought: Wattenberg and Walczak’s Apartment: Viewers with words and texts, creating a two-dimensional floor plan of rooms, similar to a blueprint…This structure is then translated into navigable three-dimensional dwellings composed of images that appear as a projection on the wall…Projecting the three-dimensional established the connectiion to the memory place (mentally incsribing words onto a wall) …gives an apporitunbty to ecperience the two- and three- dimenasional simultaneously, which is not possible on the Web site.

movments in physical/virtual space: Mark Napier’s Point to Point, visitor created the artwork with their movmenet in the space. which a vidoe camera “read” and displayed as lines of text projected on a wall behinfd them and Camouflage Town, a robot that lived in a museum space and could be controlled locally via the internet.

Lisa Jevbratt’s Mapping the Web Info111e and Alex Galloway and the Radical Software Group’s Carnivore

of Nam June Paik’s works-such as Magnet TV and TV Crown-investigated the “materiality” of television and video.

Exhibitions To Note

* Cybernetic Serendipity

– Catalog: cybernetic_serendipity

        – Website

* The Machine @ MoMA

– Catalog: MOMA The Machine

* 9 Evenings: Theatre and Engineering

        – Overview

        – Video documentation

* Les Immatériaux

        – Essay 1

        – Essay 2

        – Essay 3

* Jack Burnham

The Future of Responsive Systems in Art

        – Art and Technology The Panacea That Failed

        – Systems Esthetics

        – The Systems Approach

* Harold Cohen AARON

        – Info

        – PBS

        – Wiki

* Whole Earth Catalog

        – Spring 1969

Fall_1968.pdf

Website (all viewable online here)

Life Hacking Article

Wiki

Whole Earth Software Catalog

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