Thanks Roger for coming back here, I think what you wrote today, taking your earlier post forward,
is a rather more complex and fascinating proposal (compared to worrying about whether media art is main stream or collectible or more self reflective than other contemporary art etc etc).
[Roger schreibt]
>>if current museums are appropriate for the era of dewey decimal and the tree of knowledge
what would the appropriate organisation of museums be that is appropriate to URLS
and the network of knowledge ?
would the content of collections be dynamically re organised and re
distributed as the network of knowledge evolves and objects that were distant from each other
become more tightly connected culturally ? museums would see part of their
collections migrate to other museums and other content arriving
!! and empty museums would then close.
>>
I would like to see such museums that continually change and re-organize and encourage migration of knowledge and "objects."
Perhaps this is what some concepts of the contemporary temporary Kunsthalle or the festivals tried to support, new content arriving
all the time. But who regulates the flow, and the exchanges, who selects and ships, and receives the ongoing dynamic and how are
the protocols and filters agreed upon?
I was thinking about Johannes Goebel's remarks here on music.
>>
The main difference being, that music as all true time-based arts cannot
accumulate "added value". A piece of music exists only in the moment where
it sounds (be played live - with or without "new media technology" - or
reproduced through a medium).
... I would say this is exactly what the visual arts world has
to learn: time-based art does not accumulate value - only the ticket
prices for movies can increase or the sales prices for a medium or how
much you can charge for a live performance/installation based on your fame.
That's it.
And the whole discussion of the arts world that is based on accumulative
value and maintaining old pieces etc. has stopped because time-based arts
has the inherent vector of decay, of falling apart, of being only existent
when it unfolds or gets unfolded in time.
>>
How would you consider the dynamics of knowledge, then (in Roger's sense), if we listen back to Cage in 1976 lecturing on the weather,
or what if someone (Heiner Goebbels just tried it at the Ruhrtriennale, receiving cold reviews) wishes to perform Cage's Europeras 1 & 2 in a new temporal/cultural context
and aware of the Remix discourse? How does new knowledge transform or (re)connect the ephemeral and time-dependent arts or cultural
practices of sampling and mixing?
Johannes Birringer
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