This is an edited version of the Introduction to my book Digital Art, Aesthetic Creation: The Birth of a Medium, published by Routledge in their Advances in Art and Visual Studies series, 2019. In the book, the chapter is entitled ‘Introduction: The Possibility of Art’. If you wish to cite this discussion please refer to the version as presented in the book . The discussion here justifies why digital art can be regarded as an authentically artistic mode of creation, and considers aspects of its creativity.
In 1985, the French philosopher Jean-François Lyotard curated a groundbreaking exhibition called Les Immatériaux at the Centre Pompidou in Paris. The exhibition showed how telecommunication technologies were beginning to impact every aspect of life. At the same time, it was a material demonstration of what Lyotard called the post-modern condition. This book features a previously unpublished report by Jean-François Lyotard on the conception of Les Immatériaux and its relation to postmodernity. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years. Texts by Daniel Birnbaum, Jean-Louis Boissier, Andreas Broeckmann, Thierry Dufrêne, Francesca Gallo, Charlie Gere, Antony Hudek, Yuk Hui, Jean-François Lyotard, Robin Mackay, Anne Elisabeth Sejten, Bernard Stiegler, and Sven-Olov Wallenstein.
The notion of "postmedia" has been the subject of debate for several decades. The following text will try to highlight the main trends of those debates. My first hypothesis is that there are three different conceptions of "postmedia" which need to be looked at separately and which have to be understood as distinct: the notion of "post-mass media" (as conceptualised by Félix Guattari, Howard Slater, a.o.), the notion of the "post-medium condition" of contemporary art (Rosalind Krauss, Nicolas Bourriaud, a.o.), and the notion of the "digital as postmedia" (Peter Weibel, Lev Manovich, Domenico Quaranta, a.o.). These three discourses will be introduced in the following sections, not with the aim of offering full, let alone critical analyses, but in order to facilitate a more differentiated approach to the notion of "postmedia". My second hypothesis is that there are significant interferences between the different conceptions of "postmedia" and that interesting insights can be gained from a comparative reading of the three discourses. At the end, I will hint at some of these interferences in order to suggest epistemological vicinities and distinctions between the three concepts, and in order to mark potential starting points for a discussion between the three rather separate discourse communities.
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Digital technologies have significantly changed the practices of museums, cultural institutions, libraries, and archives. However, although many museums have adopted digital media in one way or another, few actively collect and preserve media art. This thesis explores the challenges associated with the collection, presentation, and preservation of technological and digital arts. In particular, it focuses on the different strategies that institutions, artists, and art practitioners in general have developed in order to integrate media art into the circuit of museums and art collections as well as the specific methods they implement to ensure the proper care and preservation of media artworks. Furthermore, it also explores the role that artists play regarding the documentation and conservation of media art, as well as the shared responsibilities that this emerging discipline demands. In order to approach these issues, this study emphasizes the material and immaterial, as well as medial dimensions of media art, by drawing from discussions around the concept of medium in art, Rosalind Krauss’s postmedium condition, and Christiane Paul’s notion of neomateriality. Case studies include the practices of artists such as Antoni Muntadas, Igor Štromajer, Rafael Lozano-Hemmer and, in particular, Christa Sommerer and Laurent Mignonneau. The minimal presence of media art at major museums and cultural institutions impacts the proper contextualization, categorization, and appreciation of media art. This thesis explores the state of media art preservation and collection, while also offering a theoretical discussion on the material and immaterial conditions of media art.
“Beyond New Media Art” is the revised, updated version of a book first published in Italian with the title “Media, New Media, Postmedia” (Postmedia Books, Milan 2010). Through the circulation of excerpts, reviews and interviews, the book produced some debate outside of Italy, which persuaded the author to release, three years later, this English translation. “Beyond New Media Art” is an attempt to analyze the current positioning of so-called New Media Art in the wider field of contemporary arts, and to explore the historical, sociological and conceptual reasons for its marginal position and under-recognition in recent art history. On the other hand, this book is also an attempt to suggest new critical and curatorial strategies to turn this marginalization into a thing of the past, and to stress the topicality of art addressing the media and the issues of the information age. From the book’s preface: “So what is New Media Art? What does this term really describe? And what has occasioned the schism between this term and the art scene it is supposed to describe? And lastly, what accounts for the limited presence in critical debate of an artistic practice that appears to have all the credentials for representing an era in which digital media are powerfully reshaping the political, economic, social and cultural organization of the world we live in?” Domenico Quaranta, Beyond New Media Art, Link Editions, Brescia 2013. Soft cover, 290 pp., ISBN 9781291376975
The text contributes to the discussion about the ontological status of the "image" by offering an analysis of the technical and material conditions of image-making. Departing from a close reading of French artist Julien Maire's installation Memory Cone (2009), the paper discusses four distinct types of technical conditions which determine mediated images: physiological, physical, electronic, and algorithmic. It references art historical examples to argue that such technical conditions have always been fundamental to images, and suggests the interdependency between these medial layers.This workshop is for artist-researchers who are interested in investigating the politics, ethics, and practices of data visualisation. We will explore and critique different vectors of data art to develop a deeper understanding of what might be achieved by visualising unseen relations. Participants will be encouraged to fix a critical lens to their own visualisation processes by acknowledging the biases of datasets, the power dynamics embedded in data infrastructures, and the responsibilities attached to using visualisation as a form of measurement, analysis, or art making.
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Making sense of digital security practice requires grasping how data are put to use to compose the governing of individuals. Data need to be understood in their becoming, and in their becoming something across diverse practices. To do this, we suggest embracing two conceptual tropes that jointly articulate the being together of, and in, data compositions: composting and computing. With composting, we approach data as lively entities, and we explore the decaying and recycling processes inside Big Data security. With computing, we approach data as embodied and embodying elements, and we unpack the surveillance of 'asylum speakers'. Together, composting and computing challenge recurrent images of data. Our conceptual composition takes sound as a necessary sensory counterpoint to popular data visions, notably in light of Ryoji Ikeda's artworks.
This article contributes to debates on algorithmic regulation by focusing on the domain of security. It develops an infrastructural perspective, by analyzing how algorithmic regulation is enacted through the custom-built transatlantic data infrastructures of the EU-U.S. PNR and TFTP programs. Concerning regulation through algorithms, this approach analyzes how specific, commercial data are rendered transferable and meaningful in a security context. Concerning the regulation of algorithms, an infrastructural perspective examines how public values like privacy and accountability are built into international data infrastructures. The creation of data infrastructures affects existing modes of governance and fosters novel power relations among public and private actors. We highlight emergent modes of standard setting, thus enriching Yeung’s (2018) taxonomy, and question the practical effects of operationalizing public values through infrastructural choices. Ultimately, the article offers a critical reading of algorithmic security, and how it materially, legally, and politically supports specific ways of doing security.
Small data is often invoked as an antidote to the aggregative logic of big data where the world is bound into a whole through the combination of discrete bits of information. This essay suggests that small and big data actually complement each other, especially since the former refines (rather than challenges) the logic of the latter. If data, therefore, binds individuals and the social into a relational whole, how can we begin to comprehend the desire to break free of such relation? At a time when relation has become ontological—we are told to be social, network, and connect—is there any hope of locating a space away from the informational bind of relation? The essay historicises these questions by conceptualising moments when the relational bind of data frays ever so slightly to allow some relief from the landscape of big and small data. In so doing, it engages Nigel Thrift’s
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