By David England, Thecla Schiphorst, Nick Bryan-Kinns
This e-book combines paintings from curators, electronic artists, human computing device interplay researchers and desktop scientists to envision the mutual merits and demanding situations posed while operating jointly to aid electronic paintings works of their many kinds. In Curating the Digital we discover how we will interact to create space for paintings and interplay. we glance on the quite a few demanding situations equivalent to the dynamic nature of our media, the issues posed in retaining electronic artwork works and the thorny difficulties of ways we check and degree audience’s reactions to interactive electronic paintings.
Curating the Digital is an consequence of a multi-disciplinary workshop that happened at SICHI2014 in Toronto. The individuals from the workshop mirrored at the subject of Curating the electronic through a sequence of displays and quick prototyping workouts to improve a list for the longer term electronic artwork gallery. the implications produce various insights either round the conception and philosophy of curating electronic works, and in addition round the sensible and technical probabilities and demanding situations. We current those complimentary chapters in order that different researchers and practitioners in similar fields will locate motivation and mind's eye for his or her personal work.
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Extra info for Curating the Digital: Space for Art and Interaction
Blanchard is known for his humourous animation and installation works that challenge the viewer’s perception of what they are witnessing. In this instance, the Mac flurry screensaver appeared to emanate from the center of a circle of crudely illustrated cave dwellers who looked as if they were celebrating a brand-inspired message from the future. Accompanied by 4 Curating Lively Objects: Post-disciplinary Affordances for Media Art Exhibition 37 a trippy Tangerine Dream soundtrack the work plays on 1960s commune culture, evoking Fred Turner’s assertion that there is no way to disengage cyberculture from counterculture (2008).
This chapter examines the ongoing separation of media art from mainstream art contexts, and argues that “lively objects” call for a more integrative curatorial approach that creates connections not only with other kinds of art, but with all other kinds of objects. We examine two case studies – thelivingeffect curated by Caroline Seck Langill at the Ottawa Art Gallery in 2010, and Lively Objects curated by Lizzie Muller and Caroline Seck Langill at the Museum of Vancouver in 2015, which demonstrate two approaches to curating media art in an integrative “post-disciplinary” way.
The real problem seems to be that curators and theorists of contemporary art do not recognize media art as art – or at least not the kind of art that they are concerned with (Bishop 2012). We have argued in detail elsewhere that one cause of this blindness is the fundamentally “undisciplined” nature of media art objects (Muller 2015). Much of the knowledge or aesthetic value they contain cannot be accounted for through an art-historical perspective that insists on the specialness, separation or self-sufficiency of the art object.