DOCSLIB.ORG

Selling and Collecting Art in the Network Society

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Selling and Collecting Art in the Network Society PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. I want to express my gratitude to Josep Lladòs and Joan Pujolar, directors of who participated in the survey, and all those who kindly agreed to be interviewed. Martin the programme during the period of my study, for the possibility of developing a doctoral John Callanan’s perspective as an artist helped me in shaping the questions of the survey, research with the support of outstanding experts beyond geographical constraints. while his unconditional support for my project $8,793 Worth of [Art] made it possible to add this publication to Merkske’s catalogue. I am thankful to him for his generosity. I am, as well, indebted to the persons who helped me in this process. I owe the initial inspiration for this dissertation to artist Carlo Zanni, whose work has My thesis directors, Dr. Pau Alsina and Dr. Natàlia Cantó, have provided staunch support focused on Internet art, with a particular attention to the art market. The process of my and guidance since the early stages of this research. I wish to thank them further for research has been supported by our continuous exchange of reflections and comments, sharing their different perspectives on the subject, enriching my own approach to the which started when I published on Rhizome a brief post about his work Altarboy. Since interactions among contemporary art, new media, and the art market. Moreover, I am then, I have been fortunate to count on him as an interlocutor and a friend. particularly obliged to Pau Alsina for his counseling during the many years in which we have explored how art intersects with science, technology, and society, and the energizing The final stages of this research have been facilitated by several other professionals whom I discussions we have had while attending festivals and symposia. am grateful to call friends. Lorena Fernández helped me fight my Spaniard instincts when writing in English (any left mistakes are entirely my fault), while Jordi Cerdà assisted me Dr. Raquel Rennó has been enormously generous in her assistance to this research, firstly in the layout of this document with his expertise in graphic design. by enabling me to present part of my findings in a seminar organized by the Grupo de estudos em práticas artísticas, espacialidade e ciências da vida at the Universidade Federal I have dedicated this dissertation to my brother David. A computer engineer, he convinced de Juiz de Fora (Brazil) and secondly by her constructive reading of my thesis. For this, I our family to buy a Sony MSX computer in the eighties, then a Mac Classic and newer am deeply grateful to her, as well as to Dr. Francesc Nuñez, who, as a member of thesis models of Apple computers ever since. To our parents, Juan and Sofía, I will always be committee, has provided useful suggestions that have helped me enhance the final output. thankful for teaching me two different ways of seeing life, both equally interesting. Ian, The continuous conversation and mutual support with fellow researcher Vanina Hoffman Teo and Gina complete our modern family: each in their own way have contributed to has also provided a critical feedback to pursue this dissertation. this research. Finally, my deepest gratitude goes to Dory and Max. They make me smile every day, and without them, nothing could be possible. Writing for several online and print publications has been an important part of the development of this thesis. It has given me the opportunity to contact numerous professionals, whom I have interviewed over the last years. Through these interviews, I have been able to contrast the testimonies of those involved in the subject under study. This has been possible thanks to the trust put on me by Fernando Galán, director of art. es contemporary art magazine; Isabelle Lelarge, director of ETC Media art magazine; and Mónica Bello, director of the VIDA Art and Artificial Life International Awards. To all of them I wish to say thank you. It has been a pleasure and a privilege to talk to so many outstanding artists and other professionals of the art world. Most of them have been remarkably unsparing with their time, engaging in long and fruitful conversations. For this reason I am particularly indebted to Manfred Mohr, Rafael Lozano-Hemmer, Wolf Lieser, Mauro Ceolin, Steve Sacks, Jonathon Carroll, Christa Sommerer, Aram Bartholl, Evan Roth, LIA, Nicolas CONTENTS 2.2 Survey: are you a new media artist? 109 2.2.1 Census of new media artists 109 2.2.2 Elaboration of the survey 112 2.2.2.1 Objectives 112 INTRODUCTION 10 2.2.2.2 Elaboration and distribution 113 2.2.2.3 Response 122 I. Preface 11 2.2.3 Survey analysis 125 II. Context and objetives of the dissertation 13 2.2.4 Conclusions 147 III. Research question 16 2.3 Career options: academy, advertising and the art market 150 IV. Methodology 17 2.3.1 Academic research 151 2.3.2 Art market 153 1. CONTEMPORARY ART AND NEW MEDIA 22 2.3.3 Industry 156 1.1 New Media Art: an unfortunate term 23 3. NEW MEDIA AND THE ART MARKET 160 1.1.1 A taxonomical tradition 23 1.1.2 Art of the future 27 3.1 Art versus commerce 161 1.1.3 The role of award categories 31 3.2 Artworks as commodities and digital files 167 1.2 The artification of new media art 38 3.3 White cubes and black boxes 171 1.2.1 What (and when) is artification? 38 3.4 Net art and the art market: no to maybe to yes 177 1.2.2 From graffiti to Street Art 41 3.5 Strategies for selling online art 182 1.2.3 Ten processes of artification in new media art 44 3.5.1 Transfer 183 1.2.4 Rise of the YouTube cam-girl 52 3.5.2 Access 191 1.3 Digital divides 55 3.5.3 Adaptation 196 1.3.1 Divergent discourses 55 3.5.4 Crowdfunding 200 1.3.2 Controversies and blind spots 61 3.6 Art for mobile platforms 207 1.3.3 A matter of habitus 65 3.7 New media art galleries 215 1.4 Art after the Internet 69 3.7.1 Seasoned galleries 220 1.4.1 From post-media to digital culture 69 3.7.1.1 Postmasters (New York) 220 1.4.2 Post-Internet Art 72 3.7.1.2 bitforms (New York) 223 1.4.2.1 Towards a definition of Post-Internet art 72 3.7.1.3 DAM (Berlin) 229 1.4.2.2 The artwork on the Internet and in the gallery 76 3.7.2 Emerging galleries 232 1.4.2.3 Promoting Post-Internet 81 3.7.2.1 Carroll/Fletcher (London) 232 1.4.2.4 Post-Internet as a professional network 87 3.7.2.2 XPO Gallery (Paris) 235 1.5 The newcomers 95 3.7.2.3 Transfer (New York) 238 3.7.3 Converging paths 240 2. THE NEW MEDIA ARTIST’S PERSPECTIVE 98 3.8 The online contemporary art market 244 3.8.1 Saatchi Online 249 2.1 Patterns of recognition 99 3.8.2 VIP Art Fair / Artspace 251 2.1.1 Artists as pawns 99 3.8.3 Sedition 256 2.1.2 Four circles of recognition 101 3.8.4 Artsy 261 2.1.3 After the award ceremony 104 3.8.5 Paddle8 264 3.8.6 Amazon Fine Art 269 LIST OF TABLES 3.9 Digital art frames 271 3.9.1 FRAMED* 272 TABLES 3.9.2 Electric Objects 275 Table 1. Obstacles and facilitators in the process of artification 40 3.9.3 Meural 278 Table 2. The ten constituent processes of artification applied to Street Art 43 Table 3. Obstacles and facilitators in the recognition of new media art 50 3.9.4 Depict 280 Table 4.
Load more

Recommended publications
  • Does the Planned Obsolescence Influence Consumer Purchase Decison? the Effects of Cognitive Biases: Bandwagon
    FUNDAÇÃO GETULIO VARGAS ESCOLA DE ADMINISTRAÇÃO DO ESTADO DE SÃO PAULO VIVIANE MONTEIRO DOES THE PLANNED OBSOLESCENCE INFLUENCE CONSUMER PURCHASE DECISON? THE EFFECTS OF COGNITIVE BIASES: BANDWAGON EFFECT, OPTIMISM BIAS AND PRESENT BIAS ON CONSUMER BEHAVIOR. SÃO PAULO 2018 VIVIANE MONTEIRO DOES THE PLANNED OBSOLESCENCE INFLUENCE CONSUMER PURCHASE DECISIONS? THE EFFECTS OF COGNITIVE BIASES: BANDWAGON EFFECT, OPTIMISM BIAS AND PRESENT BIAS ON CONSUMER BEHAVIOR Applied Work presented to Escola de Administraçaõ do Estado de São Paulo, Fundação Getúlio Vargas as a requirement to obtaining the Master Degree in Management. Research Field: Finance and Controlling Advisor: Samy Dana SÃO PAULO 2018 Monteiro, Viviane. Does the planned obsolescence influence consumer purchase decisions? The effects of cognitive biases: bandwagons effect, optimism bias on consumer behavior / Viviane Monteiro. - 2018. 94 f. Orientador: Samy Dana Dissertação (MPGC) - Escola de Administração de Empresas de São Paulo. 1. Bens de consumo duráveis. 2. Ciclo de vida do produto. 3. Comportamento do consumidor. 4. Consumidores – Atitudes. 5. Processo decisório – Aspectos psicológicos. I. Dana, Samy. II. Dissertação (MPGC) - Escola de Administração de Empresas de São Paulo. III. Título. CDU 658.89 Ficha catalográfica elaborada por: Isabele Oliveira dos Santos Garcia CRB SP-010191/O Biblioteca Karl A. Boedecker da Fundação Getulio Vargas - SP VIVIANE MONTEIRO DOES THE PLANNED OBSOLESCENCE INFLUENCE CONSUMERS PURCHASE DECISIONS? THE EFFECTS OF COGNITIVE BIASES: BANDWAGON EFFECT, OPTIMISM BIAS AND PRESENT BIAS ON CONSUMER BEHAVIOR. Applied Work presented to Escola de Administração do Estado de São Paulo, of the Getulio Vargas Foundation, as a requirement for obtaining a Master's Degree in Management. Research Field: Finance and Controlling Date of evaluation: 08/06/2018 Examination board: Prof.
    [Show full text]
  • Discovering Our True Identity Consumerism Can Encourage the Least Attractive Human Traits— Avarice, Aggression, and Self-Centeredness
    Discovering Our True Identity Consumerism can encourage the least attractive human traits— avarice, aggression, and self-centeredness. By giving us a new identity as members of God’s Body, the Eucharist can form us in fidelity, other-centeredness, and proper joy, which are counter- Christian Reflection cultural to the ethos of consumer culture. A Series in Faith and Ethics Prayer Scripture Reading: 1 Corinthians 11:17-34 Responsive Reading† Bread of the world, in mercy broken, Wine of the soul, in mercy shed, Focus Article: By whom the words of life were spoken, Discovering Our True And in whose death our sins are dead. Identity Look on the heart by sorrow broken, (Consumerism, pp. 32-38) Look on the tears by sinners shed; Suggested Articles: And be Thy feast to us the token, That by Thy grace our souls are fed. Which Kingdom? (Consumerism, pp. 83-89) Reflection Past the Blockade “Consumerism is more than the mere creation and consumption (Consumerism, pp. 48-50) of goods and services,” Medley writes. It encourages the mis- taken belief that our needs can only be satisfied by excessive consumption. Soon consumers “need to need and desire to de- sire. Instead of consuming goods themselves, they consume the meanings of goods as those have been constructed through ad- vertising and marketing. In a sense, they become what they buy.” Examples are easy to find: we buy “Harley-Davidson motorcycles to symbolize personal freedom, Nike shoes to sug- gest ‘I want to be like Mike,’ and clothing from Abercrombie and Fitch to communicate chic casualness.” We buy self-images that are greedily centered on competition and self-promotion.
    [Show full text]
  • Conspiracy Lecture V2, ROTTERDAM, Curated by Stephen Kovats
    Conspiracy Lecture V2, ROTTERDAM, curated by Stephen Kovats Introduction by Stephen Kovats TANGENT_CONSPIRACY V2_Institute for the Unstable Media 20.00, Friday, December 01, 2006 www.v2.nl Long before a clandestine military-academic collaboration created the 1960's ARPANET the speculative mechanisms of conspiracy theories have fueled global events. The internet and it's growing Web 2.0 counterpart have moved beyond the realm of information exchange and redundancy to become the real-time fora of narrative construction. Fuelling and fanning all forms of popular speculation the net now creates its own post-modern mythologies of world domination, corporate control and government induced fear fetishism. If the net itself is not a conspirative construct designed to control and influence global intellectual expression then, rumour has it, it plays the central role in implying as much. Has the internet now become a self-fullfiling prophecy of its own destructive speculation? V2_, in collaboration with the Media Design group of the Piet Zwart Institute, invites you to join Florian Cramer, Claudia Borges, Hans Bernhard and Alessandro Ludovico in an evening of net-based conspiracy built upon abrasive speculation, conjectural divination and devious webbots. ------------------ Alessandro Ludovico, editor in chief of Neural, has been eavesdropped upon electronically for most of his life due to his hacktivist cultural activities. Promoting cultural resistance to the pervasiveness of markets, he is an active supporter of ideas and practices that challenge the flatness of capitalism through self-organized cooperation and cultural production. Since 2005 he has been collaborating with Ubermorgen and Paolo Cirio in conceptually conspiring against the smartest marketing techniques of major online corporations.
    [Show full text]
  • Tommy Clarke 18 Wolf Ademeit 20 Yann Arthus-Bertrand
    Contents 2 The Frame & Arts 4 Samsung Collection 6 Curation Story Artist Profiles 8 Bohnchang Koo 10 Luisa Lambri 12 ruby onyinyechi amanze 14 Todd Eberle 16 Tommy Clarke 18 Wolf Ademeit 20 Yann Arthus-Bertrand 22 Samsung Collection at a Glance 29 Art Store Gallery Partners 30 ALBERTINA 32 Artspace 34 LUMAS 36 MAGNUM PHOTOS 38 Museo Del Prado Collection 40 Saatchi Art 42 Sedition 44 How to Use 46 My Collection 50 The Frame Specifications Tommy Clarke, Playa Shoreline (2015) 1 The Frame & ArtsArt The Frame. Art when it's off, TV when it's on. Introducing The Frame, a TV that elegantly enables you to make anye spac more welcoming, more entertaining and more inspiring. Turn on The Frame in TV mode and watch a beautiful 4K UHD Smart TV with outstanding detail and picture quality. Turn off and you seamlessly switch into Art Mode, transforming The Frame into a unique work of art that enriches your living space. The Frame with Walnut Customizable Frame Scott Ramsay, Mana Pools Bee-Eaters (2015) Curated art for your inspiration. Destined to expand your horizons, The Frame’s Art Mode showcases selections of museum-quality artwork professionally curated for you in the exclusive Samsung Collection and online Art Store. Or use My Collection Art Mode TV Mode to display cherished photos of special moments with family and friends. The perfect mode for any mood, Art Mode introduces TV with a sense of your own inimitable style and a knack for enhancing any décor. The Frame, Designed for your space. 2 The Frame 3 The Frame grants you exclusive access to 100 remarkable artworks across 10 categories from 37 renowned artists from the four corners of the world.
    [Show full text]
  • Press Release "Gwei - Google Will Eat Itself"
    PRESS RELEASE "GWEI - GOOGLE WILL EAT ITSELF" Vienna, Bari, 26 December 2005 We generate money by serving Google text advertisments on a network of hidden Websites. With this money we automatically buy Google shares. We buy Google via their own advertisment! Google eats itself - but in the end "we" own it! By establishing this model we deconstruct the new global advertisment mechanisms by rendering them into a surreal click-based economic model. After this process we hand over the common ownership of "our" Google Shares to the GTTP Ltd. [Google To The People Public Company] which distributes them back to the users (clickers) / public. A bit more in detail One of Google's main revenue generators is the "Adsense"* program: It places hundreds of thousands of little Google text-ads on websites around the world. Now we have set up a vast amount of such Adsense-Accounts for our hidden Web-Sites. For each click we receive a micropaiment from Google. Google pays us monthly by cheque or bank-transfer to our Swiss e-banking account. Each time we collected enough money, we automatically buy the next Google share [NASDAQ: GOOG, todays value ~430.- USD] - we currently own 40/forty Google Shares. Important: Google Will Eat Itself works by using a social phenomenon rather than depending on a purely technical method (for example a simple click-farm). Because of this social dimension empowered by technology, Google is not able to fight GWEI and it`s franchises by using their regular counter-fraud methods. GWEI - Google Will Eat Itself is to show-case and unveil a total monopoly of information , a weakness of the new global advertisment system and the renaissance of the “new economic bubble" - reality is, Google is currently valued more than all Swiss Banks together (sic!).
    [Show full text]
  • CAN ART HISTORY DIGEST NET ART? Julian Stallabrass from Its
    165 CAN ART HISTORY DIGEST NET ART? Julian Stallabrass From its beginnings, Internet art has had an uneven and confl icted relation- ship with the established art world. There was a point, at the height of the dot-com boom, when it came close to being the “next big thing,” and was certainly seen as a way to reach new audiences (while conveniently creaming off sponsorship funds from the cash-rich computer companies). When the boom became a crash, many art institutions forgot about online art, or at least scaled back and ghettoized their programs, and that forgetting became deeper and more widespread with the precipitate rise of con- temporary art prices, as the gilded object once more stepped to the forefront of art-world attention. Perhaps, too, the neglect was furthered by much Internet art’s association with radical politics and the methods of tactical media, and by the extraordinary growth of popular cultural participation online, which threatened to bury any identifi ably art-like activity in a glut of appropriation, pastiche, and more or less knowing trivia. One way to try to grasp the complicated relation between the two realms is to look at the deep incompatibilities of art history and Internet art. Art history—above all, in the paradox of an art history of the contemporary— is still one of the necessary conduits through which works must pass as they move through the market and into the security of the museum. In examining this relation, at fi rst sight, it is the antagonisms that stand out. Lacking a medium, eschewing beauty, confi ned to the screen of the spreadsheet and the word processor, and apparently adhering to a discred- ited avant-gardism, Internet art was easy to dismiss.
    [Show full text]
  • Your Financial Road Map: Where Do You Want to Go?
    YOUR FINANCIAL ROAD MAP: WHERE DO YOU WANT TO GO? DAY: 11 TITLE: YOUR MONEY: Consumer Awareness – Consumption TARGET COMPETENCY: Understand the influence of advertising and examine the impact of our own consumption on our financial health and the environment OBJECTIVES: Recognize the connections among advertising and consumption choices Become critical consumers of youth-directed advertising and marketing Determine whether corporations have a responsibility to disclose information to consumers Examine the impact of your own consumption on the world Consider the impact of consumption on your overall financial health HANDOUTS/MATERIALS Computer/internet for showing The Story of Stuff http://storyofstuff.org/index.php (Watch online or download for free; can also request a free DVD from website). Lesson 6 – from Buy, Use, Toss? A Closer Look at the Things We Buy http://www.facingthefuture.org/Curriculum/BuyCurriculum/BuyUseToss/tabid/469/ Default.aspx Hand out: Analyzing an Ad (from Why Buy? lesson) Hand out: Marketing to Teens – Advertising Strategies http://www.media- awareness.ca/english/resources/educational/handouts/advertising_marketing/mtt_adverti sing_strategies.cfm LESSON SUMMARY: Students begin by considering the purpose of advertising. Each student critically analyzes an advertisement that appeals to him or her, weighing advertised information against their needs as consumers. Students discuss whether additional information should be included in product advertisements and how advertising connects to consumption choices. LESSON OUTLINE: MINUTES CONTENT Alternative Lesson: Practical Money Skills, Lesson 11: Consumer Awareness https://www.practicalmoneyskills.com/foreducators/lesson_plans/teens.php Before Class: Ask students to bring an advertisement they find compelling. It Washoe County School District – Financial Education Curriculum Page 1 of 5 can be any medium: online, print, TV or radio, bumper sticker or t-shirt, etc.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, IRVINE Limits To
    UNIVERSITY OF CALIFORNIA, IRVINE Limits to Growth: Analyzing Technology’s Role THESIS submitted in partial satisfaction of the requirements for the degree of MASTER OF SCIENCE in Informatics by Meena Devii Muralikumar Thesis Committee: Professor Bonnie Nardi, Chair Professor Bill Tomlinson Professor Josh Tanenbaum 2019 © 2019 Meena Devii Muralikumar DEDICATION To Professor Bonnie Nardi for her wonderfully astute thinking and guidance that has taught me to research and write with passion about things I truly care about and my family and friends for being a constant source of support and encouragement ii TABLE OF CONTENTS Page ACKNOWLEDGMENTS iv ABSTRACT OF THE THESIS v LIST OF FIGURES vi CHAPTER 1: INTRODUCTION 1 CHAPTER 2: ECONOMIC GROWTH 3 2.1 The Rebound Effect 3 2.2 Economic Growth 5 2.3 Conventional Economic vs. Ecological Economics 6 CHAPTER 3: ALTERNATE ECONOMIES 9 3.1 Post-growth, Steady State and Degrowth 9 3.2 Post-growth thinking for the world 11 CHAPTER 4: TECHNOLOGY AND ECONOMY 14 4.1 Technology and change 14 4.2 Other considerations for technologists 18 CHAPTER 5: CASE STUDIES 20 5.1 The Case for Commons 21 5.2 The Case for Transparency 25 5.3 The Case for Making and Do-It-Yourself (DIY) culture 31 CHAPTER 6: DISCUSSION & CONCLUSION 34 REFERENCES 38 iii ACKNOWLEDGMENTS I would like to express my deepest gratitude for my committee chair, Professor Bonnie Nardi. She has encouraged me to read, think, and write and probably knows and believes in me more than I do. Her work that ties together technology in the current world and the problem of environmental limits will always be a source of inspiration for me.
    [Show full text]
  • Screenshots: Desire and Automated Image
    ScreenShots: Desire and Automated Image Symposium in Kunsthal Aarhus, March 8th from 10.00-16.00 Programme: 10.00–10.30: Arrival and Coffee 10.30-10.45: Welcome and Introduction by Beate Cegielska, Director of Galleri Image and Magdalena Tyżlik-Carver, curator of the exhibition/symposium and Assistant Professor at Aarhus University, Digital Design department. 10.45-11.30: Panel 1 (Chaired by Magdalena Ty żlik-Carver) Geoff Cox: “Seeing Machines and Social Desire”. Kristoffer Ørum: “It Sings for Us of What We Might Become”. 11.30-12.00: Q&A 12.00-13.15: Lunch Break 13.15-14.00: Panel 2 (Chaired by Søren Pold, AU) Katrina Sluis: “Fully Automated Luxury Photography Now!” Winnie Soon: “Operative Screenshots: Sorting The Photographic Slides With An Algorithm” 14.00-14.20 Q&A 14.20-14.50: Coffee break 14.50-15.25: Michael Mandiberg: “Excessive data, emotional data” +Q&A (Chaired by Lea Laura Michelsen, AU) 15.25-16.00: LaTurbo Avedon: “[layers, composites]” + Q&A (Chaired by Magdalena Tyżlik-Carver) 16.00: End of the Symposium 17.00-19.00: Opening of the exhibition in Galleri Image with the performance Drawing with Sound by Anna Ridler. You can also receive’ a tattoo art work as part of Sarah Shorr's installation of “Saving screens: Temporary Tattoos and other Methods” (*while supplies last). Abstracts: Geoff Cox, “Seeing Machines and Social Desire”: Seeing isn’t simply a case of objective optical projections but implies a point of view, or “Ways of Seeing” (John Berger). Referring to the ongoing project “Ways of Machine Seeing”, the talk will ask how developments in machine vision further unsettle the relations between what we see and know, and then extends this to generalised automation and “desiring machines”.
    [Show full text]
  • Towards Post-Digital Aesthetics
    S A J _ 2015 _ 7 _ original scientific article approval date 25 07 2015 UDK BROJEVI: 72.038.53 COBISS.SR-ID 220470284 TOWARDS POST-DIGITAL AESTHETICS A B S T R A C T Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society. In this context, the Internet, computers or mobile phones are no longer considered products of new media, but instead are taken for granted. With this background in mind, this paper suggests taking a post-digital perspective on today’s media society. The concept of post-digital refers to an aesthetics that no longer regards digital technology as a revolutionary phenomenon, but instead as a normal aspect of people’s daily life. More precisely, post-digital aesthetics deals with an environment where digital technology became such a commonplace that its existence is frequently no longer acknowledged. Based on the analysis of contemporary artworks and practices inspired by their surroundings, this paper aims to bring those phenomena into consciousness that became unnoticeable in the contemporary digital environment. For this purpose, this investigation goes beyond the formal- aesthetic analysis, but instead focuses on the investigation of the receptive act. Concretely, post-digital aesthetics seeks to describe and analyze the changing modes of perception affected by the increased digitization of one’s surroundings. In the context of this analysis, aesthetics is thus understood not as the goal per se, but rather as the means to enhance the understanding of contemporary digital culture. Anna Daudrich 213 KEY WORDS Friedrich-Alexander-Universität Erlangen-Nürnberg POST-DIGITAL DIGITAL TECHNOLOGY AESTHETICS CHANGED PERCEPTION S A J _ 2015 _ 7 _ INTRODUCTION Over the past decades, digital technology and media had firmly integrated into almost all areas of contemporary culture and society.
    [Show full text]
  • Icp Announces 2017 Infinity Award Winners
    MEDIA RELEASE ICP ANNOUNCES 2017 INFINITY AWARD WINNERS Noted Photographer Harry Benson to Receive Lifetime Achievement Award; All Honorees to Be Celebrated at Gala on April 24 in New York City NEW YORK, NY (JANUARY 11, 2017)—The International Center of Photography (ICP), the world’s leading institution dedicated to photography and visual culture, today announced the 2017 honorees of its annual Infinity Awards, widely considered the leading honor for excellence in the field. The 33rd annual ICP Infinity Awards will be held in New York City on the evening of Monday, April 24. “Throughout our history, the International Center of Photography has been dedicated to the idea that images are powerful tools for communication and understanding, and a force for social change. And, every year, we present the Infinity Awards to acknowledge the significant talents of those using photography and visual arts to shed light on and make an impact on an ever-changing world,” said ICP Executive Director Mark Lubell. “We look forward to this April’s event—always a very special night—when we will celebrate this outstanding group’s impressive collective achievements.” 2017 INFINITY AWARD CATEGORY AND RECIPIENTS: • Lifetime Achievement: Harry Benson • Art: Sophie Calle • Artist’s Book: Michael Christopher Brown, Libyan Sugar (Twin Palms, 2016) • Critical Writing and Research: “Vision & Justice,” Aperture (no. 223, summer 2016). Michael Famighetti, Editor; Sarah Lewis, Guest Editor • Documentary and Photojournalism: Edmund Clark and Crofton Black, Negative Publicity: Artefacts of Extraordinary Rendition • Emerging Photographer: Vasantha Yogananthan • Online Platform and New Media: For Freedoms Since 1985, the ICP Infinity Awards have recognized major contributions and emerging talent in the fields of photojournalism, art, fashion photography, and publishing.
    [Show full text]
  • Maestros De La Fotografía Técnicas Creativas De 100 Grandes Fotógrafos
    ¿Qué hace que una fotografía pase a formar parte de nuestra memoria colectiva? A veces puede ser simplemente el con- tenido de la imagen, pero más a menudo es la destreza y el Maestros talento del fotógrafo, su profesionalidad, lo que la convierte en un referente visual. de la fotografía Este libro explora la obra de 100 grandes fotógrafos de Técnicas creativas de todos los tiempos para desvelarnos los secretos de cómo fueron creadas y regalarnos la magia de su oficio para que 100 grandes fotógrafos la traslademos a nuestras propias creaciones. Organizado en diez bloques temáticos, cada uno de ellos presenta una Paul Lowe selección transversal de fotografías emblemáticas que son analizadas técnicamente abordando cuestiones como la cámara y las lentes utilizadas para realizar la fotografía, la composición, la exposición y la luz o el tono y el color. Francis Frith / Timothy O’Sullivan & Mark Klett Ansel Adams / Robert Adams/ Joel Sternfeld /John Davies /Paul Graham Desde Eugène Atget y Nadar hasta Martin Parr, Rineke Joel Meyerowitz /Richard Misrach /Jem Southam /Simon Norfolk Frederick H. Evans / Eugène Atget / Berenice Abbott / Walker Evans Dijkstra o Jeff Wall, pasando por August Sanders, Weegee Hiroshi Sugimoto / Andreas Gursky / Robert Polidori / Gregory Crewdson o Paul Strand… el libro se convierte además en una singular Lisa Barnard / Man Ray / László Moholy-Nagy / Edward Weston historia del medio fotográfico que logra enseñarnos técnica William Eggleston / Martin Parr / Alec Soth / Peter Fraser y creatividad de forma accesible y sorprendente. Julia Margaret Cameron / Nadar / Lisette Model / Harry Callahan Paul Strand / Norman Parkinson / Eve Arnold / Brian Griffin Paul Lowe es fotoperiodista y director del máster en Foto- Mary Ellen Mark / Bruce Gilden / Harry Borden / August Sander Dorothea Lange / Horst P.
    [Show full text]