2/n...

One of the most urgent topics Groys handles in Art Power (2008) is the aesthetics of digitalization. While once an escape from the museum, the digital image is now part of the museum system - a new confinement. Yet digital images are a new kind of "strong" image because they can be shown without institutional context, according to their own nature. The original data of the image are invisible. Therefore each time we see the image it is being "performed." Further "the digital image is a copy--but the event of its visualization is an original event, because" Groys states, "the digital copy is a copy that has no visible original." Here again, the curator rises to a point of great historical importance, for "the curator does not simply show an image that was originally there but not seen..." but in fact, going further, the curator "turns the invisible into the visible." Groys states that the digital image turns the curator "not into the exhibitor but the performer of the image."

 

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AuthorMike Pepi

part 2/n... "analog/digital" 

The duality of digital/analog is itself confused. It is more convenient shorthand than a sound category for what is being talked about. It is referring not to phenomena in themselves—culture, art, emotions—but the network of their distribution. While this is relevant and has implications, we should remember that fundamentally the Internet and cloud computing are just faster networks for exchange. It is very hard, then, to refer to “digitized life” as Bishop does, without conflating the change in network speed with something new about human nature. Constructing this false duality is just one of the manifestations of internet centrism.

 

 

Posted
AuthorMike Pepi

Pt. 1/n... Driven to "old media"   

We all remember the controversy surrounding Bishop's essay last year. Yet upon a second read, many rediscovered a nuanced discussion of critical issues in digital art. Bishop asks why contemporary art has been “unresponsive to the total upheaval in our labor … inaugurated by the digital revolution.” If anything she observes new technology having the opposite effect, driving artists towards fetishizations of "analog" materials. Spoiled by effortless search, research-based artists explore "laborious non-google methodologies" to reflect on shifts in “contemporary perception." A more fundamental shift is the breakdown in the critic’s license to deduce truths from a narrowly-selected group of artists.

 

 

Posted
AuthorMike Pepi