Thanks for sharing these thoughts on Bishop, David.
However, given your critique, the details of which I agree with completely, I’m
wondering why you consider her writing worth engaging at all. Honestly, I find
it little more than reactionary/disciplinary boundary policing. It’s actually
Claire Bishop's radical compliance is most compellingly argued for in the fo=
llowing passage:
the saga suggests why a new term was required that retained an aesthetic d=
imension whilst dispensing with much of the onerous historical baggage.
This certain historical amnesia is obscured by
Hi,
it is indeed perplexing that Bishop manages to write a pretty good book
about participation whilst leaving out any mentioning of media art or
digital art or whatever you call it. I do not concur however, that this
is the main problem. It is equally problematic, as David does, to
perpetuate
Claire Bishop's radical compliance is most compellingly argued for in the fo=
llowing passage:
the saga suggests why a new term was required that retained an aesthetic d=
imension whilst dispensing with much of the onerous historical baggage.
This certain historical amnesia is obscured by
Thanks Will for your detailed resonse its much appreciated.. just a couple of
initial points.
Bishop's narrative sticks to the most concrete manipulations of sensory
experience - representation, sculpture, and performance.
There is an important exception (and a brief departure from Bishop's
Dear nettimers,
on this day of the Facebook Farewell Party, which will be held tonight in the
National Theater in Amsterdam on Leidseplein our Institute of Network Cultures
is very proud to present the release of:
In the Facebook Aquarium—The Resistable Rise of Anarcho-Capitalism by Ippolita
