<html><head><meta http-equiv="content-type" content="text/html; charset=utf-8"></head><body dir="auto"><div>Just starts to get interesting but I fear our allotted time is up. </div><div><br></div><div>The questions I have about this kind of mirroring strategy Morehshin: do you think of it as a form of resistance to corporate culture? Or a way of empowerment? </div><div><br></div><div>Or? </div><div><br></div><div>For the next. But IRL. </div><div><br></div><div>C<br><br>Sent from my iPhone</div><div><br>On Apr 30, 2015, at 1:59 PM, Morehshin Allahyari <<a href="mailto:morehshin@gmail.com">morehshin@gmail.com</a>> wrote:<br><br></div><blockquote type="cite"><div><span>----------empyre- soft-skinned space----------------------</span></div></blockquote><blockquote type="cite"><div><div dir="ltr">
<p class=""><span class="">Soraya, to answer you questions and also to continue some of Claudia’s points: </span></p>
<p class=""><span class="">For the last 5 years, I’ve been primarily working with 3D animation software like Maya and also I am currently an artist in residence at Pier 9 program at Autodesk in San Francisco working with 3D printing technology. From the very beginning of working with these software and digital tools, I have only been interested in learning and understanding how to use different functions and tools in 3D animation software and 3D printing technology to create aesthetic that is unique to my practice and is different than the “3D corporate/Pixar aesthetic"; how to break things; how to also use these software to address and dive into serious and important issues. The classes I had taken as a grad student and later taught as a faculty in Art and Technology departments, used wordings like “<b>Experimental </b>3D Animation”, “<b>Experimental</b> Moving Image”, etc to put more emphasis on the content and conceptual aspect of these practices while also looking for ways to create new understanding and aesthetic possibilities of these software. I think movements/concepts like Netart, Glitch Art, New Aesthetic, Post-Internert Art, etc. have also played an important role in directing and influencing these aesthetics and practices. </span></p><p class=""><span class=""></span></p>
<p class=""><span class="">In addition, I find it super interesting and refreshing that a lot of new media artists have chosen to push these possibilities by being inspired by “corporate aesthetic”. So then if you look at the work of many of experimental 3D animation artists, you see that they -for example- use HD, super shiny, and perfect looking aesthetic of cooperation in their work but decontextualize and re-appropriate it to create new meanings and visual content.</span></p><p class="">Last year, there was a project done on FB by two new media artists in which they created multiple groups inspired by different (strange but amazing) corporate aesthetics. I probably won’t be able to do a fair job explaining these but I found myself spending hours on them and being inspired by these images and visuals. Also, had a lot of conversations about these pages with other new media artists, colleagues and my students.</p><p class=""><span class=""></span></p>
<p class=""><span class="">Some of my favorite pages are “<a href="https://www.facebook.com/groups/790658317611432/?ref=browser">HOMECARE AESTHETICS: Environment and Object</a>”, “<a href="https://www.facebook.com/groups/307857592708149/?ref=browser">ARCTIC AESTHETICS: Environment and Object”</a>, “<a href="https://www.facebook.com/groups/1455520774703930/?ref=browser">TECH AESTHETICS: Environment and Object</a>”, “<a href="https://www.facebook.com/groups/542487042544825/?ref=browser">LABORATORY AESTHETICS: Environment and Object</a>”, and “<a href="https://www.facebook.com/groups/556998741065967/?ref=browser">Medical Fashion Quarterly</a>”. In the description for these pages they say: “During the span of a year, each month a facebook group is created revolving around a different topic, mass of ideas. It's main goal is to involve others into the process of exploring and discovering visually extremely pleasing content at places -outside the fields of art - where it was not intended to be in the first place, relying heavily on the image search function of search engines. To develop very specific visual cultures while appreciating the objects and environments created for non-aesthetic purposes, where function were the primary criterion. Artistless creation by sharing the previously unappreciated.”</span></p>
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<p class=""><br><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p><p class=""><span class=""></span></p></div><div class="gmail_extra"><br><div class="gmail_quote">On Mon, Apr 27, 2015 at 10:35 AM, Soraya Murray <span dir="ltr"><<a href="mailto:semurray@ucsc.edu" target="_blank">semurray@ucsc.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><span class="">----------empyre- soft-skinned space----------------------<br>
Dear All,<br>
<br>
</span>Thank you all for this wonderful discussion! I'm sure there are lots of lurkers, and I hope you'll all join in, given this special opportunity to have an audience with this unique group of artists.<br>
<br>
I am responding to Claudia's post, who is in turn responding to Dorothy Santos... the former's intriguing point (below) that really blurs the line between form and content for new media in a way that I think is productive.<br>
<br>
From all of your very different kinds of work, I can see that all of it is in tension, or in some way grappling with, the formal tendency of new media toward the "corporate aesthetic", ordered , and bureaucratic. The struggle with form/universalism as a kind of identity politics (as opposed to standing outside of identity) is something that I've written about before (see my co-authored "Uneasy Bedfellows" essay at: <a href="http://www.tandfonline.com/doi/abs/10.1080/00043249.2006.10791193#" target="_blank">http://www.tandfonline.com/doi/abs/10.1080/00043249.2006.10791193#</a>) and I won't rehearse the argument here. But as artists choosing tools associated with the industrial, the corporatized, the relentlessly organized, the mass media, the military simulation, I ask this:<br>
How would you describe the site at which you break this connection? Where and how do you determine the site of your own intervention, given that it's likely your audiences/participants already experience these technologies in their lives, but in a very different mode?<br>
<br>
Many thanks,<br>
Soraya<br>
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><br>
> Citing Claudia Hart from a previous post:<br>
<span class="">><br>
> 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. 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. Nineties identity art was created in rebellion against these dominant languages which had become a kind of hegemony.<br>
</span>> [...]<br>
<span class="im HOEnZb">> The problem for me with almost all of new media art is that it embraces and is a manifestation of this kind corporate esthetic. It embraces that esthetic, and therefore the same corporatist machine values: the assembly line, economic efficiency over the humanitarian – time equals money, etc., etc. Call me an old hippy; I guess it’s true.<br>
><br>
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</div></div></blockquote></div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature"><div dir="ltr">__________________________<br><br>Morehshin Allahyari<div><a href="http://www.morehshin.com" style="background-color:rgb(0,255,255)" target="_blank">www.morehshin.com</a><br><br><div><br></div><div><br><div></div></div></div></div></div>
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