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<font size="+1">Hi fellows, Soraya, Morehshin, Dorothy and Margaret:<br>
<br>
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<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman"">I want to
first respond to
Dorothy. <o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman""><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman"">I actually
very much do believe that
esthetics and formal languages are radically significant and
important to study.
The formal language embraced by new media art and high tech is
generally corporatist
and bureaucratic.<span style="mso-spacerun:yes"> </span>It
emerges from the
International Style that was embraced by corporate industrial
design,
architecture and for the most part, Greenberg-ian formalist
abstraction and
American Minimalist art.<span style="mso-spacerun:yes"> </span>Nineties
identity
art was created in rebellion against these dominant languages
which
had become a kind of hegemony.<span style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman""><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman"">I grew up in
New York, and in my youth,
the overly determined grid of NY was considered an iconic symbol
of this
hegemony.<span style="mso-spacerun:yes"> </span>Take a look:<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman""><a
href="http://www.shutterstock.com/s/%22sixth+avenue%22/search.html">http://www.shutterstock.com/s/%22sixth+avenue%22/search.html</a><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman""><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman"">The problem
for me with almost all of
new media art is that it embraces and is a manifestation of this
kind corporate
esthetic.<span style="mso-spacerun:yes"> </span>It embraces
that esthetic,
and therefore the same corporatist machine values:<span
style="mso-spacerun:yes"> </span>the assembly line, economic
efficiency over the
humanitarian – time equals money, etc., etc.<span
style="mso-spacerun:yes">
</span>Call me an old hippy; I guess it’s true.<span
style="mso-spacerun:yes"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman""><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:13.5pt;mso-fareast-font-family:"Times New
Roman";
mso-bidi-font-family:"Times New Roman"">I find it
interesting that an artist
such as Jacolby Satterwhite<o:p></o:p></span></p>
<p class="MsoNormal"><a href="http://jacolby.com/section/71777.html">http://jacolby.com/section/71777.html</a>,
is not considered to be “new media art.”<span
style="mso-spacerun:yes">
</span>I believe it’s because his esthetic is not mirroring the
ethos of
advertising and industrial design.<span style="mso-spacerun:yes">
</span>It
actually is new media art and uses simulations technologies, as
much so as any
of the work made (by new no coincidence, I don’t believe) white
male new media
processing artists, with their their geometric and grid-like
esthetics.<span style="mso-spacerun:yes"> </span>Why do these
men make work like this?<span style="mso-spacerun:yes"> </span>I
answer is not essentialist, its political
and economic.<span style="mso-spacerun:yes"> </span>We exist in
a system of signs;
it looks like that of the dominant ideology.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Esthetics and formal languages are, IMHO, more
important
than the “text” of an artwork.<span style="mso-spacerun:yes"> </span>They
are the
part that impact on you emotionally.<span style="mso-spacerun:yes">
</span>As
artists, we lead with our esthetics.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">So now, in relation to what Dorothy mentioned
and also what
Soroya asked me.<span style="mso-spacerun:yes"> </span>What
attracted me to
simulations technology initially?<span style="mso-spacerun:yes">
</span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">First, that first Pixar movie I saw looked like
a Renaissance
painting, and at the same time, it seemed to be a new form of
photography. <span style="mso-spacerun:yes"> </span>It resonated
to me as a hybrid of the Platonic
and the Aristotelian models, of the two paradigms of mathematics
and biology: of
constructed systems and of the observation of nature based on the
eye.<span style="mso-spacerun:yes"> </span>The mind body
conflict.<span style="mso-spacerun:yes"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Second, Pixar ET. Al:<span
style="mso-spacerun:yes">
</span>utterly kitsch!<span style="mso-spacerun:yes"> </span>It
was sooo, NOT
International style.<span style="mso-spacerun:yes"> </span><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">My two paths in art.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Thanks and with bests<o:p></o:p></p>
<p class="MsoNormal">C<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
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<div class="moz-cite-prefix">On 4/25/15 4:14 PM, Soraya Murray
wrote:<br>
</div>
<blockquote cite="mid:41AA7A76-1A34-444B-9672-8A8B79CC01B1@ucsc.edu"
type="cite">
<pre wrap="">----------empyre- soft-skinned space----------------------
Dear Morehshin and All,
You point out a significant and ongoing conundrum. On the one hand there's the "strategic essentialist" position, where one can be identified and categorized in order to have a sense of community, and maybe strength in numbers -- which some would argue comes at great cost due to the individual. On the other hand is the refusal of those often-hackneyed notions, and instead thinking of identity as much more fluid and provisional, but with the condition that it may be untranslatable into existing frameworks.
I would love to hear from everyone about this ongoing issue, particularly in relationship to digital media. It has been a longer debate in art (I'm thinking of the push-back against identity art from the '90s, and various stances that paint the artist dealing with identity as native informant, trauma narrator, etc.) I'm also thinking of the historical coding of technology as "masculine" which Ruth Oldenziel discusses in relationship to late 19th and early 20th c. America. That is to say, the connection was not inherent, but forged over time.
I'm also very interested to hear from Claudia and others about their sense of the unique importance of women's presence in the digital. For example, Claudia, can you tell us more about what specifically attracted you to digital animation and made you feel that this was the specific space that you felt passionate about making an intervention?
Thanks,
Soraya
___________________________
Soraya Murray, Ph.D.
Assistant Professor
Film + Digital Media Department
University of California, Santa Cruz
</pre>
<blockquote type="cite">
<pre wrap="">
</pre>
</blockquote>
<pre wrap="">
_______________________________________________
empyre forum
<a class="moz-txt-link-abbreviated" href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.edu.au</a>
<a class="moz-txt-link-freetext" href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a>
</pre>
</blockquote>
<br>
<pre class="moz-signature" cols="72">--
Claudia Hart
Associate Professor
Department of Film, Video, New Media and Animation
School of the Art Institute of Chicago
<a class="moz-txt-link-abbreviated" href="mailto:chart@saic.edu">chart@saic.edu</a>
cell: 917 657 6160</pre>
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