Aesthetics Distributed

Act III   Post-Internet Art
Project: Praxis Proposal

 
 
M 06-Apr Read/discuss: Fibrecul­ture issue 7 *choose 1 article

  • see list of 9 under “Arti­cles”: Tofts, Mun­ster, et al through Arm­strong
    → please post your selec­ted article

  • dis­cuss: inno­vat­ing dis­ci­pli­nary con­ven­tions + art dis­course
    — for Exer­cises 2–3 & Project 3

 
 

W 08-Apr               Dis­cuss: Fibrecul­ture arti­cles (cont’d)
+ “Net Art 2.0” from remixthebook.com

  • Activity/Focus: “Dis­trib­uted Aes­thet­ics” (cont’d) and
    → new con­sid­er­a­tions for review? (art event)

 
 
» Blog Entry & Response: optional / extra credit (toward par­tic­i­pa­tion)
 
 
 
Due (S 4/11): Art Event Review (Exer­cise 2) — Instruc­tions Below
 
 
 
 
via Colos­sal:


Pixel — extraits from Adrien M / Claire B on Vimeo


 



 


 
 

Art Event Review (Exer­cise 2)

 
» Task: Com­pose review of event/exhibit (in-person dis­play, per­for­mance) attended — in style suit­able to dis­ci­pline, apply­ing con­ven­tions of dis­course com­mu­nity (as observed in model/example).

 

You might imag­ine writ­ing for the pub­li­ca­tion of the model you observed, con­sid­er­ing edi­to­r­ial stan­dards and audi­ence expec­ta­tions.
Or, con­sider blog [as] pub­lish­ing: read­ers of your review likely include those who have attended or plan to attend the local event/exhibit.
In either case, thor­oughly con­sider audi­ence, apply­ing rhetor­i­cal aware­ness and under­stand­ing of dis­ci­pli­nary writ­ing con­ven­tions of your field.
→ For instance, don’t for­get an over­all assess­ment (the­sis); con­text or con­nec­tion to field/movement, and a con­clu­sion (e.g. broader sig­nif­i­cance or relevance?)

 

Remem­ber (impor­tant com­pos­ing tech­niques): as a review this should be crit­i­cal (using cri­te­ria) with spe­cific sup­port exam­ples, while lim­it­ing/avoiding sum­mary & descrip­tion
(con­sider rhetor­i­cal sit­u­a­tion: what would edi­tor expect/advise? what do read­ers expect?)
 
While this is a straight­for­ward review — apply­ing con­ven­tions rec­og­nized — not espe­cially con­cern­ing net­worked media ecol­ogy, you cer­tainly should con­sider some of our recent top­ics — e.g. ambiance, speci­ficity of site and mate­ri­al­ity, audi­ence expe­ri­ence, — to inform your review (left implied or stated explic­itly),
or to dis­cuss in conclusion.

 
 
 
 

GHink posted this in Art, Class and tagged it , , , , , , , on .

Comments

  • jun says:

    i chose arti­cle “FCJ-044 Beyond the Museum Walls: Sit­u­at­ing Art in Vir­tual Space (Polemic Over­lay and Three Move­ments)” — which was far more dense than i imag­ined it to be, but an inter­est­ing read.

  • GHink says:

     

    Net Art 2.0 like Web 2.0 is embed­ded in the prac­tices and rit­u­als of every­day life. You can’t be a Net artist today with­out tak­ing into account where the impe­tus for turn­ing the net into an artis­tic instru­ment came from. That means that early Net art his­tory antic­i­pated the socially inter­con­nected “sec­ond lives” of the new gen­er­a­tion of Net artists for whom the dig­i­tal is but an exten­sion of their body’s func­tion­al­ity as it nav­i­gates the net­work culture.

    — Amerika, “Net Art 2.0″

    • GHink says:

       
      → pos­si­bly more rel­e­vant for Exer­cise 3 (Event Inno­vate); but good to con­sider for Event Review too:

       

      Ques­tions for discussion:

      1) What are the mate­r­ial con­di­tions for the evo­lu­tion of Net Art 2.0 and beyond?

      2) Some might say that emerg­ing forms of online social net­work­ing are more con­cerned with com­mu­ni­ca­tion per se and that they enable Web 2.0 prac­tices which facil­i­tate inter­ac­tive infor­ma­tion shar­ing, inter­op­er­abil­ity, user-centered design, and col­lab­o­ra­tion on the World Wide Web.
      But if this is the case, then what does that have to do with art in gen­eral and how does it relate to the early (1.0) his­tory of Net art practice?

      3) How does inter­ac­tiv­ity in Net Art 2.0 dif­fer from the user/art inter­ac­tiv­ity that takes place in read­ing, view­ing a paint­ing, or lis­ten­ing to music?

      4) Is it really nec­es­sary to make dis­tinc­tions between Inter­net and web and Net art or to fur­ther divide those who work pri­mar­ily in net­worked envi­ron­ments from those work in more tra­di­tional media or who, say, per­form live A/V sets or actively turn their VJ per­for­mance art into an emer­gent form of dig­i­tal cinema?

      5) What role does so-called “Internet-aware art,” that is, pri­mar­ily object-based art that is still prin­ci­pally designed for gallery cul­ture but that has as its sub­ject mat­ter themes asso­ci­ated with Inter­net cul­ture, play in our under­stand­ing of Net Art 2.0?

      — “An Exer­cise in Net Art 2.0″

  • GHink says:

     
    » “Con­ven­tions of Review“
    men­tioned in class:

    • Con­text
    • Cri­te­ria
      + Assessment
    • Sup­port Details/examples
    • Con­clu­sion (significance/consequence, trends/movements, broader connections…?)

    *Oth­ers? (review mod­els from last week)
    → dis­cuss here!
     

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