I think basically we all need to meet up more often!
On 30 Sep 2015 22:11, "Annie Abrahams" wrote:
> hi Randall,
>
> I am not necesarrily asking for more, better media, for more livelyness, I
> am not sure I want more ...
> I would like a content re-de-placement, more of the
hi Randall,
I am not necesarrily asking for more, better media, for more livelyness, I
am not sure I want more ...
I would like a content re-de-placement, more of the processes going on
(artistic and organisational) and les about results and "look what I have
done" I would like that there would
http://conversations.e-flux.com/t/geert-lovink-on-social-media-and-the-arts/2581
"The absence at the 2015 Venice Bienale of digital arts and internet works
says it all. Curators are afraid to admit they are clueless and continue
their ignorant attitude towards art that deals with the digital in a
I think Geert is probably correct though - seems to me the art
"establishment" aren't interested in internet/ digital art, though maybe
they have a different view of it from us on here. The art world remains a
mystery to me, so I may well be wrong. Thank god for Furtherfield, and I
would love to
Well, happy to post polemics, it's a kind of a hobby. :^}.
I think there has been a tendency for mainstream curators to approach more
recent digitally-mediated works as if they were in effect a sort of hybrid
old media, while still neglecting both historical and current "pure"
digital media. This
I see the relevance in this approach, allthough I have to say its allready
to late for that criticism no?
Moreover, is he really interested in art?
If yes, as Marc says, where are the references and the names ?
And why is Venice Biennial important?To whom
2015-09-30 15:36 GMT+03:00
I am one of those who isn't really waiting for curators to pick up digital
art. The so-called art world is institutional, capitalistic, elitist - it
thrives on money.
In this article Geert says something very interesting to me :
" We need to design new ‘stages’ where we can act out our collective
Hi Paul,
Geert needs to be more specific and highlight the curators who are 'not'
scared and who have been showing technical artwork such as Furtherifeld
& others - his words are not grounded and are too absolute, they do not
reflect reality...
marc
September 30, 2015
Turbulence.org Commission: "How to Look at Artist Networks" by Angie
Waller, with Jonathan Butterick
http://turbulence.org/commissions/howtolook
"How to Look at Artist Networks" allows you to search 60,280 names in the
Google Knowledge Graph to see if they are more closely
Answering my own question! This article talks about post internet art and
how it's replaced net art...
http://www.artspace.com/magazine/interviews_features/trend_report/post_internet_art-52138
"While Net Art refers to art that uses the Internet as its medium and
cannot be experienced any other
Annie your description sounds completely sublime, I’m not really sure what it
entails but I envision something that is more like chat and less like email,
more spontaneous in its transmission and feedback, and less cluttered in our
inboxes. A flow rather than discreet dispatches.
From:
Hi Annie,
Sorry if my writing may seem a little weird today -- it's to do with having
an extremely painful tooth ache at the moment, whilst being pretty busy at
the same time.
Anyway,
Regarding Netbehaviour being a 'semi-closed network', it's an interesting
question because it's not like
Hi Paul, Dave, Annie & all,
Regarding Geert's interview -- I actually agree with most of what he says.
In fact, I tend to agree with most of his ideas and writings.
I think as a group, we're in tune (usually coincidentally with his
reflections) but, living through them within a grounded context,
hiyas,
* The http://turbulence.org/commissions/howtolook post seems like a time
quirk link here..
* I think its interesting that actually doing stuff linked to
net/digital/code/etc. seems to render the context/institutional critique
approach a bit disposable, I think..
Precisely because the
Fascinating read. On gallery and museum embrace of post-internet art, I
think there are two things going on. First of all, it's new and it's
acceptance in galleries and museums is probably not much greater than
internet art's acceptance was when it was new. Second of all, most of it
takes forms
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