Question (Natalie Bookchin): Doesn't language both enable and limit our understanding of all things? Why should digital work be any different? Don't existing categories used for "old" media often start to slip when applied to "new" media? For example, where is the "object" in RSN? Is it the computer, the camera, the server? and who is the artist? Please select one of following that best fits an example of shifting categories based on various incidents noticed thus far in"The Shock of the View" the curator as conceptual artist the curator as performance artist the artist as critic the artist as market researcher landscape as marketing landscape as performance the museum as web design the exhibition as performance the net as object the browser as framing devise the web as a readymade polling as an art form
Answer (Natalie Bookchin): the prefix new markets new conferences new types of exhibitions new types of collaborations new categories for grant giving new words new categories new art journals new academic journals new jobs new careers new degrees new college courses new genres and subgenres of art making such as: net.art metaporn art search engine art the net as object browser art form art code art ASCII art mailing list art multi-user interactive environment art irc art cam art telepresent art email art icq art other
Question (Shock of the View): What similarities and difference exists between the "real" and virtual art objects/performances/space?
Answer (Natalie Bookchin): Real: You have to drive there You end with a metaphor
Virtual: You can stay home You begin with a metaphor
Question (Shock of the View): Is digital/virtual work a continuation of the "dematerialization of the art object" that has characterized new art of the last thirty years?
Answer: (Natalie Bookchin): yes or no You can make a digital photograph, frame it and hang it in a gallery.
Answer: (Natalie Bookchin): Perhaps for the first time, the museum needs "virtual" art more than "virtual" art needs the museum. Search engines and emailing lists may have given artists the upper hand in this respect -- (museums no longer equal visibility.)
Question (Shock of the View):Does anyone see it?
Answer: (Natalie Bookchin): You are the visitor to visit this site
Question (Shock of the View):Does anyone care?
Answer: (Natalie Bookchin): What is it...to care? An Existential or Gen X dilemma
Question (Shock of the View): How are audiences expected to experience a virtual object? i.e.: do they expect to see them in a museum, in their home, at work, on a 15 inch monitor etc.
Answer and Question (Natalie Bookchin): At home you expect to see a TV screen, at a museum you expect to see a painting in a frame and at work you expect to see a computer. But, then what do expectations have to do with anything whatsoever?
Question (Shock of the View): Does anyone actually take the time to view/experience net-work? (Work that can be accessed through the Internet)?
Answer (Natalie Bookchin): Please add your name to the list of those taking the time: Your Name:
Affiliation: Art Appreciator Artist Student Curator Academic Critic Writer Collector User All of the Above Some of the Above None of the Above
Email
Question (Natalie Bookchin):Do you mean Actual Objects such as videos, films, photography, choreography?
Question (Shock of the View): What are the artistic opportunities and obstacles of working with nascent and primitive forms of a technology?
Answer (Natalie Bookchin):Artistic Opportunities Suspicion and cautious interest from the main stream art world Manipulating and mastering of search engines Networking: Making friends/making links/expanding one's context beyond the studio and post studio environment Invitations and airplane tickets to conferences on the subject The market imperative: discovering and keeping up with new software The chameleon nature of the computer Job offers (Academic and or industry) The impossibly of mastering your equipment The speed of changes making work, concepts and technologies irrelevant
Artistic Obstacles: Suspicion and cautious interest from the main stream art world Manipulating and mastering of search engines Networking: Making friends/making links/expanding ones context beyond the studio and post studio environment Invitations and airplane tickets to conferences on the subject The market imperative: discovering and keeping up with new software The chameleon nature of the computer Job offers (Academic and or industry) The impossibly of mastering your equipment The speed of changes making work, concepts and technologies irrelevant
Question (Shock of the View): In what ways do virtual work( or net-work) differ from other forms of digital art practice?
Answer (Natalie Bookchin):