Mediating Internet Art Curatorial Modes in Tangible and Virtual Domains
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The Archival Media Art Experience
The Archival Media Art Experience Master Thesis Handed in to School of Music, Music Therapy, Psychology, Communication, Art & Technology (MPACT) Aalborg University Head of Department Tom Nyvang, Ph.D and the Media Arts Cultures Consortium Course Media Arts Cultures 1st Supervisor Morten Søndergaard, Ph.d. By: Emőke Majohunbo Bada inscription number: 01564275 January 2018 Abstract Topic: The Archival Media Art Experience Author: Emőke Majohunbo Bada Supervisor: Morten Søndergaard, Ph.d. Course/Year: Media Arts Cultures, 2015-2017 4th Semester Placement: Aalborg University Pages: 91 Content: The most immediate way of experiencing an art piece is personal contact with the artefact itself, however often due to the physical limitations of both art object and art consumer, the viewer’s opportunity of encountering an given work in real life and real time is not always feasible. Archives, through media technologies, allow people to experience artworks from a distance. As a result the experience the artwork supplies may change. What factors determine this change, are they apparent to viewers of archives? Before investigating archival art experiences, the following main terms: experience, engagement, media art, technology, internet and archive need to be explored thoroughly. The following authors such as Dewey, Fenner, Ricardo, Zielinksi, Idhe, Hine, Hogan and Manoff are but a few of those whom the thesis bases its theory upon. As all experiences are highly personal phenomena, therefore interviewing people about their experiences was chosen as method for gathering such information. To guide the participants in the research, five different media artworks were chosen carefully as case studies to observe the particulars of the archival experience. -
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Special Issue: Rethinking Affordance Once Again, the Doorknob: Media Theory Vol. 3 | No. 1 | 49-72 © The Author(s) 2019 Affordance, Forgiveness, and CC-BY-NC-ND http://mediatheoryjournal.org/ Ambiguity in Human-Computer Interaction and Human-Robot Interaction OLIA LIALINA Merz Akademie, Stuttgart, Germany Abstract Based on the author‟s keynote lecture at the 2018 „Rethinking Affordance‟ symposium (Stuttgart, Germany), this essay offers a comprehensive survey of the tensions between J.J. Gibson‟s and Don Norman‟s perspectives on the concept of affordance, and formulates an incisive critique of how Norman reconfigured Gibson‟s initial theory. The essay‟s key arguments are triangulated in a critical dialogue between design practices, affordance theory, and a critical reading of design pedagogy. Drawing on her own practice as a pioneering net artist and digital folklore researcher, the author moves from early internet design practices through human-computer interaction and user experience design towards a speculative consideration of the affordances of human- robotic interaction. Keywords AI, Affordance, Interface Design, UX Introduction This essay aims to rethink the concept of affordance through a triangulated analysis of correspondence with design practitioners, critical re-readings of canonical texts, and reflexive engagement with my own creative and pedagogical practices. As both a net artist and an instructor in the field of digital design, I strive to reflect critically on the medium that I work with, in part by way of exploring and showing its underlying properties. Furthermore, as a web archivist and digital folklore researcher, I am also Media Theory Vol. 3 | No. 1 | 2019 http://mediatheoryjournal.org/ interested in examining how users deal with the worlds that they are thrown into by designers. -
Postinternet, Its Art and (The) New Aesthetic
POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education POSTINTERNET, ITS ART AND (THE) NEW AESTHETIC — A Conceptual Framework for Art Education Elina Nissinen Master of Arts thesis, 30 ECTS Supervisor Kevin Tavin Master’s Program in Art Education Department of Art Aalto University School of Arts, Design and Architecture 2018 Author Elina Nissinen Työn nimi Postinternet, Its Art and (The) New Aesthetic – A Conceptual Framework for Art Education Department Department of Art Degree programme Master’s program in Art Education Year 2018 Number of pages 83 Language English Abstract As one might expect from terms employing the prefixes ‘post’ or ‘new,’ combined with the words ‘internet,’ ‘art,’ and ‘aesthetic,’ postinternet, postinternet art (PIA), and New Aesthetic ((the) NA) are broad and disputable concepts. I started this study because I noticed that these ambiguous, yet widely- discussed terms were hardly acknowledged in art education. This thesis provides a conceptual framework for postinternet, PIA, and (the) (the) NA through a critical review of the literature. Postinternet and (the) NA are notions and phenomena that signpost an era and a condition of unprecedented pace of computation-driven transformations in the human culture. They continue the list of theoretical neologisms indicating the changes brought about by the post-conditions. This thesis establishes that postinternet, PIA, and (the) NA are characterized through their paradoxical relation to time and temporality at conceptual and thematical levels. Obsessed with novelty, these terms attempt to break off from their “previous,” while, starting from their titles, simultaneously anchoring themselves to the past. Postinternet is a notion that describes the inescapable consequences of the intermixing of the online and offline, the omnipresence of the internet. -
A Critical Analysis of Art in the Post- Internet Era Mark Gens
Art Post Internet A Critical Analysis of Art in the Post- Internet Era Mark Gens Te ability of technology to transform art, artist, and art world is not a new concept. Te impact of digital technology and the Internet is yet another dynamic force. What is taking place is a redefnition of authorship, collaboration, and materiality as well as a need for new theoretical and aesthetic notions of how – and where – art is made, viewed, marketed and collected. Tese factors, the ever-expanding World Wide Web, and the pervasive individual ownership of networked devices by most of the privileged world, have ushered in what some refer to as the Post-Internet era. Rather than focusing on the validity of the highly-debated term “Post-Internet” this paper will focus on the developmental shift to which the term refers. Tis shift is an important marker in the movement of ideas and criticality, culture, and context. It is necessary to consider the digital art predecessors to the Post-Internet era. However, the exhibition Art Post-Internet, held at the Ullens Center for Contemporary Art in Beijing, China in the spring of 2014, is vital for its well-articulated curatorial perspective. Although the signifcance of the Post-Internet era is still being determined and defned at this moment, Art Post-Internet has made great strides in solidifying its look, methods, context and meaning. Post-Internet is not the end of an era, but rather a poignant marker with lasting potential in the continuum of art history. Mark Gens is a multi-media artist, student, and writer in New York City. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Asymmetrical Response
303 East 8th Avenue Tuesday to Saturday Vancouver, British Columbia Noon to 5:00 pm PST V5T 1S1 Canada September 9th - October 22nd 2016 Asymmetrical Response Cory Arcangel Olia Lialina In military parlance the terms have been active throughout. With this asymmetrical and symmetrical are transition to mass medium, digitality employed to refer to political provocations has become a normative experience. and diplomatic démarches, escalation Omnipresent and increasingly invisible and tension, and power dynamics of the technology has focused attention on the highest order. Not specific to war, these content of our digital lives, the outputs of terms also refer more generally to a set technology. Lialina and Arcangel remain of conditions that define our relationship adamantly preoccupied with the medium to power. specificity—hardware, software and networks—that generates this content, Since their first meeting on the eve of Y2K, and most significantly, the diminishing Russian -born Olia Lialina, one of the best status of the computer user within. known participants in the 1990s net.art scene, and American artist Cory Arcangel In the early years of the world wide web have been involved in a deeply symmetrical users created content for their personal relationship. Uniting them is an abiding web pages through html code, the preoccupation with the relationship technological frame in which the content between people and their computers, appeared, affording them a degree of in particular computers connected to agency over their online presence. In the the internet. Their awareness of the era of social media and template-based cultural implications of the internet’s web pages, it is nearly impossible to use technical context—as it has shifted from our computers, or express ourselves a tool for military communications, to on the web in ways other than what is the “information superhighway” that dictated to us by Apple or Facebook. -
Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character
Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character Amber Boardman A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Art and Design Faculty of Art and Design October 2018 Thesis/Dissertation Sheet Surname Boardman Given Name Amber Degree PhD Faculty Art and Design School Art and Design Thesis Title Laughing at Our Inadequacies: Contemporary Cartoonish Painting, Internet Culture and the Tragicomic Character Abstract This practice-based project examines ‘cartoonish painting’, an emerging trend of contemporary figurative painting which draws on links between cartoons, humour, narrative, character and bodily transformation. In my practice, cartoonish painting depicts and comments on the endless desire to transform body and self as promoted by Internet culture and social media. This thesis argues that the social media driven desire for self-improvement—bodily alteration and transformations of the self—creates a tragicomic effect that unfolds through the devices of narrative and character. I examine the still influential, Romantic theory of character developed by William James. James articulated well-rounded characters evolve over time through a series of identifications with external others. This thesis proposes that James’s formulations about character retain currency, as people identify with depictions of idealised bodies, high-performing and socially sanctioned selves disseminated through the Internet. This thesis argues, however, that this aspirational selfhood and identifying with idealised others creates feelings of inadequacy. The ideology of a striving, perfected self in search of the ‘American Dream’ will be analysed through Henri Bergson’s theory of the comic. Bergson argued that the failure of machine-like pursuits uncontrolled by consciousness can be manifested through comic depictions of the human body. -
Brave: Reimagining Teen Arts Education
BRAVE REIMAGINING TEEN ARTS EDUCATION REIMAGINING TEEN ARTS EDUCATION BRAVE BRAVE REIMAGINING TEEN ARTS EDUCATION Jill Medvedow & Monica Garza CONTENTS COVER 60 KEVIN GARCIA LUNA ESCOS 13 62 FOREWORD JASON MORAN 15 69 JILL MEDVEDOW OKWUI OKPOKWASILI Lead support for Teen Programs provided by Wagner Foundation. 18 74 PAT FRAZIER JOSEPH REUBEN QUINTO 20 ELIZABETH ALEXANDER 78 MATTHEW RITCHIE Teen Programs are made possible in part by the Institute of Museum and Library Services, 26 Award Number MA-10-17-0447-17. DONOVAN BIRCH, JR. 86 Additional support is provided by the Surdna Foundation; the Rowland Foundation, Inc.; JACLYN ROESSEL The Corkin Family; John Hancock; the Mabel Louise Riley Foundation; the Diversifying 33 Art Museum Leadership Initiative, funded by the Walton Family Foundation and the Ford Foundation; The Angell Foundation; the William E. Schrafft and Bertha E. Schrafft Charitable TURAHN DORSEY 93 Trust; Vertex; The Willow Tree Fund; the Nathaniel Saltonstall Arts Fund; the Mass Cultural STEVE SEIDEL Council; the Robert Lehman Foundation; the Deborah Munroe Noonan Memorial Fund, Bank of 42 America, N.A., Trustee; MFS Investment Management; the Plymouth Rock Foundation; the Jean Gaulin Foundation; the Thomas Anthony Pappas Charitable Foundation, Inc.; and Santander. KIMBERLY DREW 98 AKIR STUART 50 KAISHA GERHARDT 102 The views, findings, conclusions or recommendations expressed in this publication do DENISE MONTGOMERY not necessarily represent those of the Institute of Museum and Library Services. 55 SANDRA 106 Download this publication at icaboston.org/brave JACKSON-DUMONT AJ HOWELL Cover: Kevin Garcia, Untitled, 2019. / 6 SYDNEY ENAHJAH BOBB BROWN is a Black, queer, femme poet is a recent alum of the Teen Arts from Dorchester, Massachusetts. -
MATTHEW RITCHIE Born 1964 Lives and Works
MATTHEW RITCHIE Born 1964 Lives and works in New York City EDUCATION 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts SOLO EXHIBITIONS 2016 Montserrat College of Art, Beverly, MA, ”Matthew Ritchie,” April 28 – June 18 2014 Food and Drug Administration, Silver Springs, MD, “The Garden at This Hour,” October 1 – ongoing Andrea Rosen Gallery, New York, NY, “Ten Possible Links,” September 12 – October 22 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, long- term exhibition of commissioned sound works Institute of Contemporary Art, Boston, MA, “Remanence/Remonstrance,” February 28 – March 1, 2015 (catalogue) 2013 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, “The Morning Line,” September 15 – present Baldwin Gallery, Aspen, CO, “Slow Light,” July 26 – September 2 2012 Barbican Theatre, London, UK, “The Long Count,” February 2 – 4 2011 L&M Arts, Los Angeles, CA, November 2 – December 10 Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria, “The Morning Line,” June 7 – November 20 (catalogue) Holland Festival, Amsterdam, “The Long Count,” June 1 – 2 2010 Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, May 22 – September 19 (catalogue) 2009 Andrea Rosen Gallery, New York, NY, “Line Shot,” October 23 – December 2 Southbank Centre, London, UK, "Paradise Lost,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, June c/o - Atle Gerhardsen, Berlin, Germany, "The Need Fire,” May 1 – July 2008 Centro Andaluz de Arte Contemporáneo, Seville, Spain, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, October 2 – January 11, 2009 (catalogue) White Cube, London, UK, “Ghost Operator,” May 20 – June 28 2007 St. -
New Media Art and Institutional Critique: Networks Vs
New Media Art and Institutional Critique: Networks vs. Institutions Christiane Paul New media art has inspired a variety of dreams about our technological future, among them the dream of a more or less radical reconfiguration of museums and art institutions. As a process-oriented art form that is inherently collaborative, participatory, networked and variable, new media practice tends to challenge the structures and logic of museums and art galleries and reorients the concept and arena of the exhibition. New media art seems to call for a "ubiquitous museum" or "museum without walls," a parallel, distributed, living information space open to artistic interference—a space for exchange, collaborative creation, and presentation that is transparent and flexible. This notion of an "open museum" reaches further than the concept of a postmodern museum without walls outlined by Rosalind Krauss, (1) according to which architectural structures create a visually and physically decentring movement by opening relational spaces in a referential process that continuously questions formal order. By virtue of its highly contextual and often networked nature, new media art both extends beyond the walls and structures of the museum and, at times, undermines the museum's very logic of exhibition and collection. The fact that new media art has its roots in the military-industrial-academic complex and is closely linked to "entertainment systems" adds further contexts. While all art forms and the movements that sustain them are embedded in a larger cultural context, new media can never be understood from a strictly art historical perspective: the history of technology and media sciences plays an equally important role in the formation and reception of new media art practices. -
Curriculum Vitae of Robert Spahr
07/16/20 CURRICULUM VITAE OF ROBERT SPAHR I. PROFESSIONAL AFFILIATION AND CONTACT INFORMATION Associate Professor with Tenure Digital Media Arts Acting Interim Chair Department of Radio, Television and Digital Media Department of Cinema and Photography College of Mass Communication and Media Arts Southern Illinois University Carbondale [email protected] [email protected] Online Portfolio (Recent Work) https://www.robertspahr.com/recentwork/ Complete Online Portfolio https://www.robertspahr.com Student Work https://www.robertspahr.com/studentwork/ II. EDUCATION 1991 Parsons School of Design / The New School, New York, NY Master of Fine Arts, Sculpture, Magna Cum Laude 1988 Art Academy of Cincinnati, College of Art & Design, Cincinnati, OH Bachelors of Fine Arts, Sculpture, Magna Cum Laude III. PROFESSIONAL EXPERIENCE 2020-present Acting Interim Chair, Department of Radio, Television and Digital Media Department of Cinema and Photography Southern Illinois University, Carbondale IL 2015-present Associate Professor with Tenure, Department of Cinema and Photography, Southern Illinois University, Carbondale IL Curriculum Vitae of Robert Spahr Page 1 of 36 2016-2019 Coordinator of the Peace Studies Minor, The course of study is interdisciplinary, designed to provide undergraduates with a better understanding of the causes of war and violence, the history of war and peace, and alternatives to violence in thought and practice. 2016 Academic Sabbatical. During the fall semester I continued to develop analog images and objects based on auto-generated computational art. Traveled to London, England, to research original documents in the British Museum, Glasgow, Scotland to study the design of Charles Rennie Mackintosh, and to Moscow, Russia to research Russian Icon paintings and Constructivism in the Tretyakov Gallery, as well as Constructivist and Soviet architecture. -
Matthew Ritchie's Universal Quest
Matthew Ritchie with Aranda\ Lasch Arup AGU: The Morning Line , 2008-2009. Commissioned by Thyssen-Bornemisza Art Contemporary. Installation view: Schwarzenbergplatz, Vienna June 7, 2011 - June 1, 2012. Photo by Jakob Polacsek at its worst at the beginning and at Matthew Ritchie’s Universal Quest the end. In his apocalyptic video “Monstrance” at L & M Arts, Los Angeles, Venice Beach and “The Morning Line” in Vienna, Austria, organized projections, like Augur (L & M Arts, by Thyssen-Bornemisza Art Contemporary 2011), we see the sun from the deepness of the murky water, then by Emese Krunák-Hajagos closer to the surface a single cell outline. Later creatures emerge out of How would God, if he were an artist about the beginning and about the the water and start to move. Then a and a scientist, see our universe from particles from which the universe came tremendous wind whips over the beginning to end in fast-forward? We into being, “Since it is almost impos- landscape. Fires burn living things into can see the artistic/scientific answer to sible to understand them as they were metal sculptural skeletons while a huge that question in Matthew Ritchie’s then; as infinite points, bound in an wire ball – an atomic model of some multimedia works. The objects he indecomposable continuum, let’s look chemical – rolls over everything. In this creates are monumental and extremely at them as they would become. They vision the world remains, but without exciting. were so many and they had waited for humans, a very sad conclusion. Ritchie started to think about the so long.