activity that involves doing something through a means that augments human
action, irrespective of how minor that augmentation is, is mediated. It is
hard to imagine of any human activity that doesn't involve some form of
augmentation. Our capacity to absorb or appropriate agency from elsewhere is
part of what makes us human. In this sense all art is "media art". However,
we typically use the term "media art" to indicate art forms that involve
media that are not established as long-term conventional media within an
area of practice. To be accurate we can refer to such mediated practice as
"new media" so as to differentiate it from "old media". Where's the problem?
> This reminds me of a discussion many of us in new media and locative media
> have been having for several years now. What is "new media"? The
> terminology is so deeply problematic that it almost to some negates itself
> in a self destructing (yet also sustaining) mobius strip. It could be
> anything from the printing press, sun dial or use of colored soils as
> drawing tools to the latest new platforms and software being used to make
> anything from narratives to images and animations. Figures come and go
> with declarations of its birth, others its death, yet others its stasis or
> The connected issue emerges from the pragmatic (but also semiotic) realm
> of exhibition and presentation. Is new media to be shown on screens in the
> traditional white space of the gallery? Is this to a degree though issuing
> it as of another aesthetic realm and still of online space? Is it to be
> perhaps placed on flat screens embedded in walls or projected from hidden
> laptops to instead jump into the pantheon of physical exhibition in a more
> familiar construct? What is the work seen on a tiny phone screen in all
> of this?
> Locative Media art has seen many genres within its years since the mid to
> late nineties. What makes a work a wearable not a sensor work woven into
> clothing? What in Roland Barthes' larger discussion of metaphor as being
> many things to even stained glass or a single image as a narrative denotes
> locative narrative versus another form? Does it matter?
> What is the Avant Garde? Is it a containing space or a chosen designation?
> What is a meme's lifespan? What spaces do we prescribe in physical and
> online spaces that connote new and established exhibition spaces and the
> lines between?
> A lot of literary magazines are being run on blogs now. The blog used to
> have the little brother connotation for some as not a "space" as though
> built and designed but a prefab like in architecture. Does the online
> exhibition space have to have "rooms" and navigation to be so named?
> What may come soon? What older paradigms and forms have shifted away if
> any? Who decides such contexts?
>> Dear Lanfranco
>> Thank you for the long answer to my questions and the in-depth description
>> of your actions, achievements and plans with LEA.
>> What you are describing as the process with the artists looks to me ...
>> the usual curatorial process with artists that are alive (= not dead), who
>> are creating a new work that, as a curator, you are supporting. I don't
>> see any difference or specificity here and it is exactly the kind of
>> things I am doing when I curate a show.
>> You write : "I don't think that old and traditional categories of
>> 'exhibiting' and 'documenting' apply any longer."
>> I do not agree with that statement. I agree that some of the boundaries
>> are bluring or are elsewhere than where they were before, but I do think
>> there is a difference between let say Edunia or Alba by Eduardo Kac and
>> the documentation about those works. Likewise, there is a difference
>> between a performance and the documentation about the performance. Those
>> categories disappears only for some kind of
>> digital-new-media-technoscience-artworks, not all of them. Hence
>> remediation or transmediation do not apply on an equal basis for all "new
>> media" artworks.
>> But I totally agree when you write that : "The beauty of the medium
>> (Internet) I found is that it allows to blur these boundaries - to be at
>> the same time exhibition, catalog and archive and to leave to the viewer
>> the perception of its structures favoring one over the other."
>> About the other points you are raising :
>> You write :
>> "a) the exhibition pages and all their dissemination and visibility
>> structures could be defined as artworks in themselves"
>> This reminds me of the heated debate in the contemporay art field of the
>> (physical) exhibition being the creation and the curators being (almost)
>> artists (and sometimes considering themselves as more important than the
>> artists and artworks themselves). Are we bringing to the
>> digital-technosciences field this debate ?
>> My point of view here, is that curating a show is also "designing" the
>> presentation of the works (in French we say "scenographie" like "stage
>> design") and this has been often (not always) not fully addressed online :
>> the content was considered as what mattered. I think now, what Neural, You
>> and others are doing is adressing the issue of how to design online
>> exhibitions that are more than a list of links.
>> About transmediation : I don't think it is exactly the same as moving a
>> sculpture from one physical space to another. And I don't believe in the
>> same possible experience for the audience in different media (or why would
>> you bother to build the physical thing when the concept would be enough
>> ?). All works are not equal in this process.
>> I also think that we should be carefull with an "all-screen" domination
>> that will solve all issues. But don't get me wrong, those issues are
>> exciting, doing it well is a real challenge that I am trying to achieve.
>> About your project with Judit Hersko, you write :
>> "So the difficulties we are facing here are several:
>> a) relating the previous online show to the physical space
>> b) linking the new piece which is an outdoor piece in a different location
>> to the internal pieces in the gallery
>> c) transferring the new artwork in an online presence
>> d) consider how the new context will affect the artwork itself and its
>> This is exactly the agenda ! And it could be the program of a nice
>> conference or workshop ;-) Is there anything planed at ISEA around this ?
>> There would be much to write about your long email but I suspect I should
>> stop here or the moderator is not going to approve my post !
>> Yasmin_discussions mailing list
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> Yasmin_discussions mailing list
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Yasmin_discussions mailing list
Yasmin URL: http://www.media.uoa.gr/yasmin
HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.