Today we will spend some time interrogating Artie Vierkant’s paper and position statement; The Image Object Post Internet.
I think it is a useful way of addressing a number of things and concepts raised throughout your time in media arts and that are relevant to your future as media arts practitioners.
It gets back to that old chestnut …what is media art and what is it good for? It does so in a way that places the whole pursuit of making art and media under question in an age where there is not only no original, but no ‘original copy’. An age in which the notion of the producers as ‘they’ gives way to a ‘we’ due to the fact that we all have access to means of production and reproduction and so writing about an original, investing it with an aura, no longer appears a logical strategy…
Also give Ben Read a big Hurrah…. his work Waves (2015) has been selected as part of dlux Media Art’s Is This Art? screenings at the Artereal Gallery in Rozelle. I’m sure Ben would be very happy to see you there on November 11.
Ben Read Waves (2015)
For those interested there is another opportunity for screening works being supported by wollongong council. Its a great exercise in ‘letting go’ – submitting work for such projects….and provides useful fodder for resumes and grant submissions.
Let me introduce myself.
My name is Mirko Sossai.
Through a cultural grant from Wollongong Council, I have built a multimedia projector bicycle, that is totally self sufficient and is fully mobile.
Its aim is to expose local art, film, digital media, graphics etc and project this content onto the urban buildings of the city of wollongong, the lighthouse or buildings through the mall, etc.
I have a projector mounted at the front of my cargo bicycle with a battery and laptop.
I will be performing at this years Viva la gong and in the Mall leading up to Viva. In addition the Markets around town, festivals and “Ride Nights” all
giving local artists to expose their work.
So if you have or know of or could forward this information to relevant contacts, Students and teachers who might be interested in submitting work to email@example.com feel free to do so.
If you know of any other contacts that you think this could suit please, let me know.
I thank you for your time.
The second half of the workshop will be given over to consultations, project work and exhibition planning.
Thinking through ‘art post-internet’:
What is ‘post-internet’:
How do those three points defining ‘the contemporary moment’ mark a distinction for the era of Conceptualism and New Media Art?
This sounds quite techno-determinist to me – particularly given the critique of ‘new media art’ as ‘tech support’ – is it? what is the relationship between this for of determinism and that critiqued as New Media Art?
There is a point regarding the becoming infrastructural of the internet and new media tech. What is the relationship between the digital/internet as infrastructure and a) Critical Media Art? b) New Media Art? c) Post-Internet Art? (as far as its proposed) what does each produce? What do they add in hard concrete terms?)
What do you think this means.. ‘to match and excuse itself with the social conditions of its production’?
Think through the genres depicted here – how does each ‘match and excuse itself’;
New Media Art?
Critical Media Art?
If conceptual art produces language. What did/do the other genres listed above produce and why are they different (if they are – we are reading about Post-Internet Art)? Cubitt’s theory of the development of new media might be interesting here.
Two realities ‘that define art after the internet’ :
Break into two groups – Each group will work on teasing out and interrogating one of the two realities. We will will bring them both back an look for resonance between the two.
What are these ‘realities’ – How do they (these ‘realities of art post-internet) shift the practice of making art? effect art as industry and institution? The position and function of the artist?
The second group needs to come to terms with this notion of the avant grade – is the avant garde still ‘all that’ – is there really a shift from ‘they’ to ‘we’…
What do we all make of this section;
what does it means to take ‘iconoclasm itself as a quotidian activity’
what happens to critical media art when we move from ‘they to we’?? does it undermine the project? how do we place critical media art – what does it produce?
discuss this section – struggle with its questions;
Does this argument about ‘the most radical and “progressive” movements of the post-internet era? Where do you perceive the most exciting radical and progressive movements in the art/media space? What excites you as practitioners immersed in the field? What are you most interested in with regard to the possibilities of digital media?
Given the above realities has ‘Art’ rain its course? Remember back to Sennet and the depiction of the artist as a social construct…the division/distinction between the Artist and the Craftsman
Does this notion of a shift away form the image as spectacle ring true for you?
Is this liberating or is it it simply another for of technical determinism – making art to be reproduced? does this reduce the art object to meme….