some preliminary notes on electronic (art)
In relation to the responses on Johannes' recent blog enty thereof and Darren Wershler's responses:
1. The Internet being the most prominent mode of dissemination of electronic content, any discussion of electronic art should be in relation to the Internet.
2. Yet, some of the most interesting pieces of electronic art does not occur on the Internet or is not even electronic (Dan Graham's two-mirror pieces).
3. Like the illuminated manuscript in the Gutenberg Bible, the e-chapbook and the e-zine are transitional artefact from print technology. Because, they are disseminated electronically, they should still be considered electronic art, even though they retain many characteristics of print technology.
4. The ability to be printed should not preclude content from being considered electronic.
5. Is the platform for spectating a piece of electronic art the screen upon which it is spectated or the computer itself?
6. What interactions are allowed by something that is not permanent?
7. Darren Wershler-Henry wrote on his Twitter feed: "I don't buy the auteurism at the heart of Strickland's argument. Few good poets are good programmers & vice versa which means good epoetry will necessarily be created by assemblages, returning again to the importance of the social." As opposed to the permanence of the technology of the book (see Mallarmé's remark thereof).
8. Dan Graham's remarks on the state of surveillance afforded by the two-way mirror and Derrida's dissemination. The internet as a form of two-way mirror. It embraces notions of democratic participation, but also allows a gaze left unseen. On the other hand, a piece of work can be left in such a space, but the prime mover has no control over what happens next.
9. Like the two-way mirror pieces of Dan Graham, the spectator becomes part of the piece of art because he/she is reflected on its surface.
10. Electronic art should not be conflated with video games. Video games, as games, imply a set of normative rules from which the agent cannot deviate. Video games can be a form of electronic art, but not the other way around (e.g., the solo work of Rod Humble of Electronic Arts, Sony's Loco Roco).
11. Subject to change.
1. The Internet being the most prominent mode of dissemination of electronic content, any discussion of electronic art should be in relation to the Internet.
2. Yet, some of the most interesting pieces of electronic art does not occur on the Internet or is not even electronic (Dan Graham's two-mirror pieces).
3. Like the illuminated manuscript in the Gutenberg Bible, the e-chapbook and the e-zine are transitional artefact from print technology. Because, they are disseminated electronically, they should still be considered electronic art, even though they retain many characteristics of print technology.
4. The ability to be printed should not preclude content from being considered electronic.
5. Is the platform for spectating a piece of electronic art the screen upon which it is spectated or the computer itself?
6. What interactions are allowed by something that is not permanent?
7. Darren Wershler-Henry wrote on his Twitter feed: "I don't buy the auteurism at the heart of Strickland's argument. Few good poets are good programmers & vice versa which means good epoetry will necessarily be created by assemblages, returning again to the importance of the social." As opposed to the permanence of the technology of the book (see Mallarmé's remark thereof).
8. Dan Graham's remarks on the state of surveillance afforded by the two-way mirror and Derrida's dissemination. The internet as a form of two-way mirror. It embraces notions of democratic participation, but also allows a gaze left unseen. On the other hand, a piece of work can be left in such a space, but the prime mover has no control over what happens next.
9. Like the two-way mirror pieces of Dan Graham, the spectator becomes part of the piece of art because he/she is reflected on its surface.
10. Electronic art should not be conflated with video games. Video games, as games, imply a set of normative rules from which the agent cannot deviate. Video games can be a form of electronic art, but not the other way around (e.g., the solo work of Rod Humble of Electronic Arts, Sony's Loco Roco).
11. Subject to change.
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