Hi List,
Thanks Jon for this, and also very interesting to see images of the
installation-in-progress on the web site
<http://databaseimaginary.banff.org/> both -revealing of "g) [that]
state of encounter imposed on people" I think.
>Firstly Nicolas Bourriaud's Relational Aesthetics seems to whisper
>through the gallery, but also older more modern texts like
>Benjamin's (inevitable :) 'The Work of Art in the Age of Mechanical
>Reproduction.' In the case of the latter, I'm thinking of when
>Benjamin suggests:
>
>"The history of every art form shows critical epochs in which a
>certain art form aspires to effects which could be fully obtained
>only with a changed technical standard, that is to say, in a new art
>form."
>
>In many ways, much of the work in this show seems to point toward
>such effects but mostly in or referring to the 'digital' rather than
>the, 'mechanical'
In relation to this sense of past histories, I was interested to note
that Gloria Sutton has an interesting article just published on
Rhizome, which looks at 3 historical shows: The Museum of Modern
Art's "The Machine as Seen at the End of the Mechanical Age" and the
Institute of Contemporary London's "Cybernetic Serendipity"1968, and
The Jewish Museum's "Software", 1970. In particular, she points out
that Hans Haacke's work (which is also in Database Imaginary) was in
two out of these three shows, and presented in different ways
according to the context.
I'm wondering if anyne has views on any inherent differences between
the presentation of mechanical versus digital data?
Beryl
Ref:
Sutton, Gloria (2004) "Exhibiting New Media Art (Parts 1 and 2)."
Rhizome Digest: November 5, 2004 and November 12, 2004. [Online].
Available from: [log in to unmask]
--
_________________________________________________________
Beryl Graham
Tel: +44 191 515 2896 email: [log in to unmask]
Curatorial Resource for Upstart Media Bliss http://www.crumbweb.org
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