By Ursula Frohne, Mona Schieren, Jean-Francois Guiton, B. Abraham, J. Gaines, L.-A. Geese, I. Pfitzner, S. Kovats, M. Robinson, R. Watts
With a historical past of greater than 30 years, media paintings performs an more and more vital function within the overseas discourse on modern artwork. The reception of canonical video works and digital media installations is even if constrained to transitority and in the neighborhood outlined screens in museum exhibitions or limited to incomplete catalogue documentations. This quantity presents a distinct mix of theoretical reflections at the reproducibility, renovation of authenticity and juridical implications of emulation thoughts with functional ways to archiving equipment and advertisement points of media artwork s accessibility. it truly is an indispensible advisor to the professional s and con s for brand spanking new sorts of de-centralized platforms of mediation and the becoming calls for for liberal principles and simple entry to online-presentations of media paintings. Uncomparable to different present guides, the e-book deals a pragmatic handbook with checklists for proper web content and content material profiles of significant distribution businesses.
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Extra info for »Present Continuous Past(s)«: Media Art. Strategies of Presentation, Mediation and Dissemination
Lawrence Weiner, London, 1998) Hence – in stark opposition to Fried – Weiner takes the position that art should deal with the relations of humans with each other, especially since the establishment of Conceptual Art, whose content is consciously directed against the traditional status of a work of art as a unique object. In order to achieve this the agents as well as the cultural situation are objectiﬁed. ]. By objectifying the actor there is no false sympathy, no false empathy. ] The placement of the actor on the stage eliminates any problem of objectiﬁ cation.
30 In his text »Towards a Theatrical Engagement« Lawrence Weiner deﬁned the theatrical claim of the work as a concentration on cultural phenomena that are not necessarily related to the realm of art. A theatrical engagement for Weiner is one that can represent human relations in the Fine Arts. 30 For the time being let us posit that a transitory, media-oriented, event-like, and performative work of art eludes a conventional methodological grasp and its historic continua. However, it is precisely due to this aspect that these works of art mark a constitutive flaw of the methodological apparatus in dealing with artistic practices whose intention lies in the procedure rather than in the product.
He stated in an interview: »…I don’t like the idea of free manipulation. Like you put a bunch of stuff out there and let people do what they want with it. I really had some more speciﬁ c kinds of experiences in mind and, without having to write out a list of what they should do, I wanted to make kind of play experiences unavailable, just by the preciseness of the area. Because an interesting thing was happening. A lot of people had taken a lot of trouble educating the public to participate – if I put this stuff out here, you were suppose [sic] to participate.