New Aesthetic New Anxieties - Institute for the Unstable Media

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intends to produce connections between the collected items. In other words, curationis interested in producing meanings that push the collection to be more than the sumof its parts. It calls for a positioning – be that aesthetic, thematic, technological,political or otherwise. One could argue then that collective spaces like Tumblr andPinterest are curated spaces because they are public and – to a certain extent –themed. However, do these image collections in their openness and volume tell usmore about the images we are viewing, or are they just producing more of the same?Curating, any curator will grudgingly admit, is seldom democratic, it is based onselection, and selection is never inclusive by default. The phenomenon of onlinecollection as it relates to curating is described at length in For What and For Whom?,The larger role of the curator encompasses the creation of links to othercreative dialogues, writing and contextualising work, developing thephysical (or virtual) exhibition sequencing and flow, and perhaps mostimportant of all, nurturing a relationship with the practitioners who makethe work and understanding the narrative inherent in their career trajectory.(Or, in the case of those who work with historical collections, having ascholarly background on the movements/time periods/artists representedin these collections). What can and will be lost in the reduction of the termcurator to mean one who clicks on a thumbs-up or thumbs-down icon isthat sense of for what and for whom. (Kasprzak 2008)There have been attempts at open online curating. For example, the open sourcesoftware application KURATOR by programmer Grzesiek Sedek and curator JoasiaKrysa (2004), which merges a platform for source code (as art), with an open andcollaborative curatorial platform:Designed as free software that can be further modified by users, kuratorfollows the structures and protocols of conventional curating andimplements a series of algorithmic processes that partly automates theseprocedures. It translates curatorial protocols into modular softwareprotocols, breaking down the curatorial process into a series of commandsor rules. The software opens up the curatorial process to the public byoffering a system that is open to user input — in terms of submittingexamples of source code, arranging displays, commenting on these,adding functionality and modifications to the software itself. (KURATOR2012)Users can add code to the repository, tag it, browse other contributor’s commentsand submissions. In that respect its dynamics resemble more that of a socialnetworking space or a database than a curatorial space. Marina Vishmidt comments inher rhizome post on Kurator that it,Posits ‘software curating’ as a way to distribute curatorial process overnetworks of people, including artists and others, and finally outwards fromthe special domain of an individual. It further combats the reification oftaste by partially automating many of the traditional metiers thatdistinguish the curator - selectivity being one. (Vishmidt 2005)We must ask, though, can the attribution of meaning and criticality be automated?33
Can this job be done at all by a machine? And can open source models just be copypastedand applied to curatorial practices? Where do we locate its criticality if any?These are questions that must be considered when we investigate online imagecollecting and moving curatorial techniques to the online realm. They will not answerthemselves, nor go away anytime soon. We should encourage furtherexperimentation, artistic research and theorization of these topics.34
Page 2 and 3: NEW AESTHETIC NEW ANXIETIES
Page 4: TABLE OF CONTENTSNew Aesthetic New
Page 8 and 9: 1. AESTHETIC TURNSA month before th
Page 10 and 11: arguably animated all of these scen
Page 12 and 13: esource for curators. She has writt
Page 14: INTRODUCTION3. INTRODUCTION4. NEW A
Page 17 and 18: This is followed by a series of ref
Page 19 and 20: Jumping from the medium of the scre
Page 21 and 22: Aesthetic seems to evoke what alrea
Page 23 and 24: 4. NEW ANXIETIESThe # tumblresque i
Page 25 and 26: worked to propane-fuel this intelle
Page 27 and 28: “pigeon language” that takes pl
Page 29 and 30: NET EFFECTSThe new aesthetic episod
Page 31: CURATORIAL READINGS5. A BLOGPOST AS
Page 34 and 35: the image are those that can be dis
Page 36 and 37: which radiate a lightness of form,
Page 40 and 41: 7. ERROR 404: NO AESTHETIC FOUNDAt
Page 42 and 43: privacy, or lack thereof, in the di
Page 44: IRRUPTIONS8. THE NEW AESTHETIC AS R
Page 47 and 48: are in danger of further 'screen es
Page 49 and 50: 9. WHAT ARE THE CONDITIONS OF POSSI
Page 51 and 52: at-hand/ ready-to-hand) - this is a
Page 53 and 54: the difference between aesthetic fo
Page 55 and 56: engaged which computationally inter
Page 57 and 58: Kant argues that ‘mere reason’
Page 59 and 60: 11. THE POLITICS OF EMERGENT AESTHE
Page 61 and 62: We now find ourselves in a situatio
Page 63 and 64: crisis-ridden economic condition, i
Page 65 and 66: ultimately responses that together
Page 67 and 68: ‘informational societies’? How
Page 69 and 70: 12. BIBLIOGRAPHYADILKNO (The Founda
Page 71 and 72: Bridle, J. (2011a) 'The New Aesthet
Page 73 and 74: Heidegger, M. (1977) The Question C
Page 75 and 76: Globally', empyre, http://www.maila
Page 77 and 78: 13. ACKNOWLEDGEMENTSBy its very nat

New Aesthetic New Anxieties - Institute for the Unstable Media

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