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inactiveTopic Question 5b topic started 04.07.2002; 17:41:47
last post 13.07.2002; 22:53:55
Art & Language - Question 5b  blueArrow
04.07.2002; 17:41:47 (reads: 48634, responses: 4)
b.) Or, is the net, with its fundamental norms and technologies, an art-external institution which makes the reflection of media a necessary condition for recognizing media-created restrictions in advance of any possible enquiry into the preconceptions of artistic production or indeed, in advance of questions as the possible nature of net.art? Doesn't the discourse of Art & Language anticipate the necessity of investigating the framing conditions of art in a generalizing, that is to say, non-art-specific way? Oder ist das Netz mit den es tragenden Vereinbarungen und Technologien eine nicht auf Kunst spezialisierte Institution, die zuerst eine Medienreflexion erfordert, um medienbedingte Einschränkungen zu erkennen, bevor die Frage relevant werden kann, was als Net.Art konzipierbar ist? Antizipiert der Diskurs von Art & Language nicht diese Notwendigkeit, Fragen nach Rahmenbedingungen in einer generalisierten, nicht auf Kunst spezialisierten Weise zu stellen?


Art & Language - Answer 5b/1  blueArrow
04.07.2002; 17:41:56 (reads: 45572, responses: 0)
Well, yes, Conceptual art in general, and Art & Language in particular, has explored the notion of art's framing conditions. The net operates at present mostly as a new kind of media. A good analogy is: cognitive science is to Artificial Intelligence as Art & Language is to the Net. Michael Corris(InvCollege@aol.com)


Art & Language - Answer 5b/2  blueArrow
05.07.2002; 22:30:54 (reads: 44758, responses: 0)
Net art could just be another artistic genre, in danger of being pickled in its technology. The Art & Language project is and was by no means a generalised geisteswissenschaftlichen enquiry. An enormous remainder is left by the expert Geisteswissenschaft. Our indexing project was bound to develop so as to query (and include) the non-cognitive as well as the cognitive conditions of a discourse. The practice (or discourse or conversation or (?)) was often pursued under conditions such that (possibly) artistic reflexivity had been forgotten or lost. The question of its return or failure to return was frequently a matter of indifference to us - but there was always a sense (a memory) that this had all grown out of the syndicalisation of an artistically modernist space. This is what we had to do when we tried to paint and failed - or rather discovered reasons why we shouldn't. Is this very tenuous mooring sufficient? Michael Baldwin/Mel Ramsden(ARTLANGUAGE@aol.com)


Thomas Dreher - answer 5b/3  blueArrow
13.07.2002; 22:53:15 (reads: 42895, responses: 0)
You find some debates on relations between Art & Language and net.art in question 2, 3, 6 and in Blurting to Blurting In Wanted. Thomas Dreher (TDreher@onlinehome.de)


Thomas Dreher - Answer 5b/4  blueArrow
13.07.2002; 22:53:55 (reads: 42741, responses: 0)
Sequences of in- and exclusions in art criticism, museums and the art market are combined in `the institution of art´. This institutionalization is irrelevant for net.art. The possibilities of transversal (re-)configurations constitute a field of research for adequate uses of the transmedium net. These net-specific configurations change in reverse the strategies of the art market and the art museums, because a serious alternative art public exists now outside of the established frameworks. This alternative leads within the established art context to doubts about remixes of old and well known strategies: Maybe these doubts provoke self-parodizing remixes...("too dark to read")?

Die In- und Exklusionsprozesse, die Rolleninhaber in Bereichen der Kunstkritik, der Museen und des Kunsthandels betreiben, greifen bei Netzkunst nicht. Die Möglichkeiten transversaler (Re-)Konfigurationen konstituieren auf der Suche nach adäquaten Gebrauchsweisen des Transmediums Internet einen Problemkreis, der von Netzkünstlern ausgelotet wird. Diese netzspezifischen Konfigurationen verändern rückwirkend auch Strategien des Kunsthandels und der Kunstmuseen, weil es jetzt eine ernstzunehmende Kunstöffentlichkeit außerhalb der Rahmenbedingungen des Kunstbetriebs gibt. Diese Alternative führt im Kunstbetrieb zu Zweifeln über Neukombinationen alter und nur zu gut bekannter Strategien: Vielleicht provozieren diese Zweifel sich selbst parodierende Remixes...("too dark to read")? Thomas Dreher (TDreher@onlinehome.de)


 



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