Inventories

Inventory #5


 

I was immediately drawn to another piece by Jason Nelson; “Game, game, game and again game”.  “Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface…” It’s hard to explain this piece without sounding too much like the description. It was unlike many pieces I’ve tried to read elsewhere. Nelson digs deep into this world of design systems and programs.

There are different layers to it, I would say. I’ve always been obsessed with art…” (70).

Ulrich mentions again that art isn’t one form, one layer, or one designated experience. Reading through Nelson’s piece wasn’t just reading through a poem about geometric worlds and artwork, it was like experiencing my own drawing process and my first experience with digital technology artwork. There was a great intermingling of worlds not only throughout the work but in the reader’s own experience of the work.

“..which is the world of art, there is a very strong emphasis on memory but not in a static way” (73). I love this line. When we look back on old work of our own or of others, we notice these little pieces of our own memories tied to the word or description of the scene. Memory and time are not static moments but big drastic, dynamic movements of thought.

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know about Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011.

Nelson, Jason. “Electronic Literature and Its Emerging Forms | at the Library of Congress.” Electronic Literature and Its Emerging Forms. N.p., n.d. Web. 3 Apr. 2016.

Inventory #4


Entropic Texts stood out the most from the New Text Exhibit. It was profoundly moving. The Junkyard-esque pieces throughout the moving scroller really held the work together. “It has a ripple effect. It is about the facilitation of flows, allowing flows to happen” (26). Ulrich describes these movements as something to facilitate the flow of the overall experience of the piece. Ulrich has a very complex way of experiencing history and the history of exhibitions. I am interested to see what Ulrich feels about technology versions of exhibitions such as Entropic Texts and many others found in the New Text Exhibit. “I am driven by curiosity; I want to understand how things evolve” (26). I can’t get enough of this line. Exhibits like New Text are the best example of what it is to learn how it evolved to this level of storytelling. Many aspects of Entropic Texts melt together with Ulrich’s vibe in his book. Decay.Force=50% in the piece is a lot of what Ulrich has to say about how pieces are to be remembered and studied but not in the same way they are experienced. New Text questions and redefined the furious force of curiosity.

 

New Text is also a aesthetic form of exhibitions. “In this world in which we are living-one constantly defined by newness-nobody talks about age” (27). No one talks about age unless we associate it with greatness, like an exhibition that is breath taking. And we only realize how it effects the reality of our lives in small pieces. “The idea is that the exhibition contributes to the production of reality-and that many projects will, thus, be realized bit by bit” (56).

 


 

Works Cited

Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know about Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011.

Nelson, Jason, and Alinta Krauth. “Entropic Texts.” New Texts Exhibit. Dene Grigar, n.d. Web. 25 Mar. 2016.

Inventory #3

Stephanie Strickland truly challenges preconceived expectations of poetry by perfectly twisting poetry with digital media compositions. In the The Future Is a Dog Ulrich describes projects being “about the facilitation of flows, allowing flows to happen” (26). Ulrich continues on about how Brian Eno continued interest in the idea and wanted to expand on the formula of exhibitions online. It’s very interesting that Ulrich found a way to interest a group of people into making something themselves in order to add to a formula instead of creating a solid, unchangeable version of curating. The formula he created involves aspects that are present in the Transpoetica. The memory elements in Strictland’s sites were considered to be very radical and that it is constantly defined by newness. Strictland’s take on digital media mashed up with poetry is a new take on displaying both forms of art.

Strictland also defies the experience of using mediums to highlight different meanings and dimensions of her works. Her work requires that it be read in more than one medium to be fully engulfed in the piece of work. “Keeping these concepts in mind, this exhibit follows the artist’s path through the landscape of changing technology while working in multiple media realms.”

In the last interview section, Ulrich asked “what is your equivalent?” (28) referring to Cedric Price’s experience in going to the British Museum to distort place and time and think about the future. I asked myself this question as well. I answered with exploring exhibitions such as Transpoetica to explore how others view the world through complex digital technology and its relation to other artistic elements.

 Works Cited


Obrist, Hans Ulrich, and April Elizabeth. Lamm. Everything You Always Wanted to Know about Curating: But Were Afraid to Ask. Berlin: Sternberg, 2011.

 TransPoetica: A Stephanie Strickland Retrospective:.” TransPoetica: A Stephanie Strickland Retrospective:. Ed. Dene Grigar. Digital Technology & Culture WSUV, n.d. Web. 13 Mar. 2016

 

 


 

 

Inventory #2 – February 13, 2016

Inventory #2

The touch-ability of the Anthropoetry site highlights three themes from the six chapters we have read through so far. Those three themes include: presenting an exhibition, what to do with the contemporary, and what is art?

This exhibition took a great deal to work in how it was going to be presented. In this chapter, Gaitan stated that “Most contemporary exhibitions assume as a premise that works can come together and be arranged under a tentative theme, even a category, then dispersed once again”  (Gaitán 35). The class discussion was particularly invigorating when we talked about what an empty exhibition would instill to the viewers. What is an electronic exhibition? I found myself wondering about how a digital exhibition is similar to an empty exhibition. Yes, we can see it but it is very distant in a physical form and still very powerful for not being a physical exhibition.

The pieces throughout the Anthropoetry site are all fleeting. They stood in a contemporary moment. Another class discussion piqued my interest about what is contemporary. We talked about how the future will give us a name and it will not be the digital age, we will be named something according to how they view us. These pieces and exhibition site will likely be taken into consideration for the name.

“Now young people, what is going to become of you?” (Martinez 44) Art is the future of art. This exhibition announces a new form of displaying art that while the exhibition has ended, the art can still be enjoyed. Even as students now, we are looking through and experiencing the exhibition in a completely different way. The curator of this exhibition may have had this sort of end in mind but it could be likely that they didn’t know this exhibition would still be standing. It will be interesting to see this exhibition viewed five, ten, and fifteen years from now.


Works Cited

Anthropoetry “Anthropoetry: Modern Expressions of the Human Condition”. (Accessed 13 February 2016) <http://www.dtc-wsuv.org/anthropoetry/index.htmll>

Martinez, Chus. Ten Fundamental Questions of Curating. Milan, Italy. Mousse Publishing, 2013.

Hoffman, Jens. Ten Fundamental Questions of Curating. Milan, Italy. Mousse Publishing, 2013.

 

Inventory #1 – February 1, 2016

The theme I would like to tie into the previous Game Changers exhibit is contemporary art in relation to the chapter “What is Art?” Even now, the contemporary games featured in the exhibit are less contemporary than they were last year. “Can contemporary art stay contemporary?” Chus Martínez plays with many ideas of the reality of art. Does art exist if there are no people to enjoy it? “Chus Martínez expands her studies in Spain, and her experience with Hegelian analysis and his thesis on the death of art”(43).

By having a second year of the Game Changers exhibit, the future of art is constantly defined by what the curator wants to display or collect. “The future of art is a completely different question.” (43) At this exhibit, we are more concerned about the future of art, not the end of these games dying out because some of them are on the older games. Collecting these games is highlighting what art has become and even more, that art will constantly take new forms. Chus goes into detail about how the death of art was an attractive way of thinking but continues to delve into a mindset that art poses active resistance to description. So if art is supposed to end, does that mean it starts over in a different form? The best example of this would be videogames. Many people don’t consider them art or appreciate the experience of the game. Videogames are challenging how we experience of art. “The future of art is art.” (44) By understanding that art can be created in more than one medium is the crucial in realizing that art won’t die. A painting on a wall is just a still-life of a videogame. A videogame is a moving, more intricate version of a painting. “The end of art has happened many times, and so has its future”.

There are several individuals who use the “stuff just isn’t like it used to be” when referring to art, music, and television. The overall message from this chapter is that because art isn’t like it used to be, nothing else created can be considered art. “Art spaces became plazas for an advanced, interactive leisure technology of experience, functioning less as representation spaces than as instruments of self-fashioning for what one was to become.”(48) Art is just changing. It doesn’t die just because it isn’t represented in the same way throughout history. During class, the topic of art existing without humans being there to appreciate or define it as art was brought up. Only when all humans are extinct with art have no future.


Works Cited

Game Changers “Game Changers: Video Games as Innovation” (Accessed 31 January 2016) <http://dtc-wsuv.org/projects/gamechangers2015/index.html>

Martinez, Chus. Ten Fundamental Questions of Curating. Milan, Italy. Mousse Publishing, 2013.