I'm sorry I have not been more active. Zayed University has had me
running hard as I try to build a VR lab and work on a new gallery
progresses.
From what I gather from the conversation, there seems to be a bit of
despair over the role of networked art in the cultural noosphere. In
some ways, i feel like an actor with the coming of cinema. This is
perhaps a bad metaphor, but there are a number of things that
interrelate; the cultural scene, socioeconomic ecologies, technology,
politics, etc.
The 90's for me were a time of collectivism, at least until the
recognition of forms around 2000, when some money arrived, and
individuals went off to follow the Randian Dream. I believe there is a
wide spectrum of practitioners in our field, from the highly
professional (i.e. Rozendaal) to the communal (Ruth/Marc), and the
iconoclasts (Alan). What is clear is that:
1: Times change, presenting new challenges.
2: Players change
3: Politics change
4: Some become more or less materially successful
5: People love artists below 35, because they're still cheap and easy to
speculate on
To me, frustration of born of wanting others to adhere to your
worldview, and of course, the necessity for action derives from the
degree of oppression or suffering or injustice the other inflicts. I
sense a lot of resentment, especially here, for the stratum that, over
the last ten years, has become more accepted in the Contemporary
discourse, and I get that. Honestly I agree in the criticisms of
ahistoricity, complicity with neoliberalism, etc.
But saying that one ideology has more attention at one time than another
means little to me as I see more time in front of me. It's just where
you are at the moment. Trust me, I'd love to be running around with
some of my younger friends that I see on NYC or London, or Whatnot. But
I have academic responsibilities at the moment.
What I do agree with is that with the rise of the current wave of
artistt, fame/money seem to be the overriding goal. I get that. Warhol
was big into business; Marinetti was big into ahistoricity. And in the
States especially, art school has become outrageous, so you either have
to be rich or find a way to monetize. Art in the Neoliberal.
And Turbulence.org is an early player in the ephemerality of our
culture. Archive.org, openculture.org, etc. will have this problem at
one point or another. This is why I support people like Henry Warwick's
offline repositories of cultural material, which is becoming more
widespread.
And in so doing, I also agree with plodding on with extra-corporate
communities, listservs like this, and so on. While they might seem
anachronistic to some, they serve a great purpose. They lend continuity
to a culture that fragments and bubbles so often.
And this is where I see net art, it's relational, emphemeral, like
performance, and as long as "we" as a heterogenous community do not just
hold onto old models, and experiment with new forms, we're fine.
On 12/12/16 12:55 PM, Gretta Louw wrote:
I’ve been thinking a lot lately about how often the art, the
revolutionary, meaningful kind, at the moment is truly in creating
structures and platforms for ideas and people to engage. What comes
out at the end - the video/prints etc that funders want to see or that
gets posted to instagram - is not really the important part, at that
point the art itself has already happened. And this making of
structures and platforms is still greatly assisted by networked
technologies.
g.
On 11 Dec 2016, at 12:26 PM, ruth catlow
<[email protected] <mailto:[email protected]>>
wrote:
<icihmpcmbmacmnch.png>
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Co-founder Co-director
Furtherfield
www.furtherfield.org
+44 (0) 77370 02879
Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i
Furtherfield is the UK's leading organisation for art shows, labs, &
debates
around critical questions in art and technology, since 1997
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