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Creating the potential for persistence in multimedia and multi-level experience art

Creating the potential for persistence in multimedia and multi-level experience art. art and its audience art and its container. Multimedia art and Multi-level experience increasingly is redefining the dynamics between. Some Background. Post-WWII art movements visual indifference

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Creating the potential for persistence in multimedia and multi-level experience art

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  1. Creating the potential for persistence in multimedia and multi-level experience art

  2. art and its audience art and its container Multimedia art and Multi-level experience increasingly is redefining the dynamics between

  3. Some Background • Post-WWII art movements • visual indifference • economics of art

  4. A move away from aesthetic Judgement

  5. Art and its container

  6. Digital media artists have claimed the expanse of the Internet as the boundless context for digital arthttp://www.ada.org http://www.jodi.org

  7. A shift in the economic context of art The old artist and patron relationship has been replaced by an unregulated system of the art market made up of critics, dealers, collectors, museum directors and other agencies or institutions.

  8. Areas of vulnerability for conceptual process and multi-media art • preserving the “lived experience of the art must be solved • managing against obsolescence are critical

  9. Static Media to Dynamic Media

  10. Containing Dynamic MediaArt Internet transport has mad it possible to display original art in more than one location at a time • either simultaneously • at any interval in time

  11. Internet-based “museums” • imitate physical museums (ie. using virtual reality) • created by the user • others will establish new dynamics viewer and art object

  12. Language for Persistence A language must evolve that has the capacity to inform those whose role it is to convey or preserve the “lived experience” of the artwork over time.

  13. Degrees of Certainty (1) What is certain: • technological obsolescence • custodians of art from 20th century can’t predict how art will evolve or be contained over time

  14. Degrees of Certainty (2) What is uncertain: • the assurance that custodians of art will preserve the “lived experience” of art over time

  15. Current Thought The “Contractarian” view • Attach a set of guidelines to control future handling of the art • artist has a virtual presence over the lifetime of the art

  16. Benefits of Guidelines • artists assert their control over how the art is handled over time • shifts balance of power from art custodian towards artists • places limitations on curator’s role

  17. Limitations of Guidelines • artists are not necessarily verbal specialists • future destination of art cannot be predicted and may not be entirely governable • expectations of specific media resources being available and accessible over time is irrational given the rate of progress • migration paths cannot be entirely deterministic

  18. Constitutional Rhetoric (1) The Language must be interpretable • focuses on the way in which the art object is composed • the character of the art object as to what it is trying to evoke • its disposition • a system of principles by which it is to be governed rather than overly-specific directives

  19. Constitutional Rhetoric (2) • It must be device and media independent

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