[-empyre-] signing off: Participatory Art: New Media and the Archival Trace

[naxsmash]

hi everyone empyrean

I'm happy to say its an incredibly glorious summer day and tonight I  
am entertaining friends with a dinner al fresco-- so I cannot take up - 
empyre- moderation til tomorrow, July3 for Oz , July2 for most of the  
rest of us.
Happy July!

catch you tomorrow.

Christina




naxsmash
naxsmash at mac.com


christina mcphee

http://christinamcphee.net
http://naxsmash.net





On Jul 1, 2009, at 7:16 AM, rtf9 at cornell.edu wrote:

>> As we draw our June discussion to a close we would like to thank our
>> guest discussants to whom we are most appreciative:  Hana Iverson
>> (US), Sarah Drury (US), Nicholas Knouf (US),
> Claudia Pederson (US) and Miyawaki Atsuko (UK/Japan).
>
> Thank you to our curated guests as well: Sean Cubitt, Simon Biggs,
> Linda Dement Annette Barbier, Richard Rinehart, Patrick Lichty,
> Yiannis Colakides and Helene Black, Horit Herman Peled,Deborah
> Tolchinsky, David Tolchinsky, and Shadi Nazaria and the rest of our
> online participants who sent us posts this month.
>>
> Just yesterday I found myself in a heated debate with a group of
> humanities summer school students who had just read Balzac's "The
> Untitled Masterpiece." I was invited by their professor to spend an
> hour sharing my own work with them as well as other artist's work who
> had influenced me:  digital, participatory, networked, affective,
> ephemeral.  These students just could not fathom how this work could
> possibly be categorized as "art."
>
> Their questions illuminated their tightly held notions about the
> nature of what art is.  Those notions nurtured during their primary
> and secondary school educations.  How is artwork that exists in
> Second Life valued in the art market? What beauty is recognized in
> work that does not exist materially?  How can the skill of a video
> maker be compared with an artist who can render the figure
> realistically? How do art historians record work where there is no
> tangible evidence of the work? I fleetingly answered their anxious
> questions in the time we had and then pointed them to our archive
> from this month's discussion:
> http://lists.cofa.unsw.edu.au/pipermail/empyre
>
>
> Perhaps Simon Biggs is correct when he writes "I gave up calling what
> I do art a while ago. Generally I refer to what I do as creative
> practices (note plural). In interdisciplinary and collaborative
> working contexts this allows you to divest yourself of a lot of
> baggage whilst ensuring that the most valuable aspects of the
> "practice formerly known as art" are retained."
>
> Many thanks to all of you for sharing your views.  Welcome to
> Christina McPhee who will be introducing our topic for July.
>
> Renate and Tim
>
>
> -- 
> Renate Ferro
> URL:  http://www.renateferro.net
> Email:   <rtf9 at cornell.edu>
> ,
> Visiting Assistant Professor of Art
> Cornell University
> Department of Art, Tjaden Hall
> Ithaca, NY  14853
>
> Co-moderator of _empyre soft skinned space
> http://www.subtle.net/empyre
> http://en.wikipedia.org/wiki/Empyre
>
> Art Editor, diacritics
> http://muse.jhu.edu/journals/dia/
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre