Hi CRUMB list
thanks for this diversion into the semantics of noise and the glitch
in response to Curt's article.... can I request that the conversation
come back to the practice of curating?
In Dundee last week at the Salon on Digital curating (part of a warm-
up event for the upcoming NEoN festival, see
www.northeastofnorth.com) the discussion circled widely around the
concept of quality in terms of how the online world has changed our
approach to everything from how we share our photos to how we test
our knowledge. Clive Gillman reminded us of his tactic - both as an
artist and a curator working with new media art - of considering
'emergence', that is, recognizing that new media forms are constantly
changing and thus present a great chance to change what art practice
is and how it is defined. That period of the emergence of new art is
perhaps more interesting to focus on and work within than trying too
hard to categorize art into older forms, as Beryl has just pointed
out in her post. In some cases the same can be said of curating: in
the 80s and 90s we saw how much video art changed to fit within the
constraints of the museum exhibition - from how it was edited to the
technology it was shown with (projected looped narratives rather than
monitor based cut ups) - we saw the same again with net art (data-
driven installations, documentation). Are there still new ways of
showing work online emerging? Or has online video changed to fit
within the (mostly commercial) online spaces (such as YouTube) and is
something more interesting emerging in its place?
Sarah
P.S. The audio from the conversation between Clive and I and the
others in Dundee last week will soon be available on the NEoN website.
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