#cornerhouse blog

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La Spilla. Il Crossover tra Batman e Flash

La Spilla. Il Crossover tra Batman e Flash

  Buon lunedì freschi avventori di questa webbettola ciarlatana ma umilmente stilosa. Anche oggi si continua a battere le dita a casaccio sui tasti tastiera per cercare di comporre frasi vagamente interessanti e ortograficamente quasi corrette a proposito di uno dei crossover che nel nuovo corso Dc Comicsha visto coinvolti il tuo amato monarca della velocità insieme al crociato protettore di…

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Welcome To Cornerhouse Sheffield Student Accommodation

The Best Of Cornerhouse Sheffield student accommodation! These ultramodern abodes are the pioneers of new fashion and daring design schemes.

Click here to visit the blog

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Some Giggery Pokery To Bring Summer To A Close

Some Giggery Pokery To Bring Summer To A Close

While the music world and its wife are gearing up in anxious anticipation for the Irish festival of the year – Electric Picnic – elsewhere, the beating pulse at the heart of gigdom goes on, kept alive by some outrageously good live acts from corners of the globe both near and far. Kick-starting the gigging proceedings is Dublin based four-piece Mongoose who are travelling to West Cork to take…

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Software, Culture and New Artistic Tendencies

In the introductory chapter of “Software Studies: A Lexicon”, Matthew Fuller expresses a desire, or perhaps a need, to situate, discuss and ultimately understand the notion of software not only through the prism of its formalised restraints existing within the applied computer science sphere – which focuses purely on the technical specificity of programs, but rather unbind software from its perceived position within what Fuller calls a “blind spot” (2008) in the fields of artistic and cultural theory and view it in the broader context offered by the domains of the arts, culture and politics. 

Thus, Fuller brings forward an effort to generate a new wave of engagement with that which he calls “the stuff of software” (2008), whilst at the same time initiating an endeavour to map out the neglected ripples generated by software in the fabric of contemporary cultural discourse; essentially, he calls for a re-assessment of the self-imposed limitations of the arts and humanities and respectively, the inclusion of software within its bounds through the explorations of those grey areas where computation finds itself in conjuncture with topics that lie outside of code and are traditionally perceived as being out of its reach, such as aesthetics, philosophy, abstraction or materiality. Examining this cross-contamination between that which is computational and its professed non-compatible outsiders allows for mutations in conceptual models which elevate software into the broader scope of cultural theory.

New aesthetic tendencies that grow alongside Fuller’s effort can already be identified within the contemporary artistic discourse, such as ‘the New Aesthetic’ (Bridle,2013), a phenomenon which Bruce Sterling describes as “an eruption of the digital into the physical”(2012), in an effort to describe a new phenomenon that has come into being due to the prevalence of computation as a medium, which predominantly concerns itself with the manifestation of a new visual culture stemming from digital technologies. In a context identified by Ed Halter as a time when “internet culture has spread into all of culture” (2014), the New Aesthetic is an attempt to investigate the functions art can serve in a moment of great technological change and the previously discussed notion of software as both tool and cultural artefact finds itself as the centre of this debate. 

Such an “aesthetic-technological logic” (Popper, 2007) ties directly into the existential changes that contemporary society is undergoing in its current state of historical acceleration. The development of new technologies has generated a wave of transformations that reverberate to the core of our basic societal structures and that have ultimately facilitated the passing from a stable, material-oriented culture towards what Buci-Glücksmann (Popper, 2007) calls a culture “of flux and instability”. This current state of acceleration mirrors John Cage’s assertion that everything “happens at once” (Silverman, 2012), through which he successfully predicted the warped nature of time and space in contemporary society; in turn, artistic tendencies take influence from these societal changes and produce new artistic tendencies, such as the New Aesthetic, which in turn generates new cultural artefacts that effectively construct what can be seen as “multi-sensory visions of an accelerated world” (Everything at Once, 2017). 

To put it all in a nutshell, Fuller makes an extremely important point when setting out to map out the changes brought forward in the framework of artistic canons by computational tendencies, particularly the use and understanding of software within the free-flowing environment of re-negotiation generated by our technologized contemporary culture, as algorithms and data play an increasingly important role in our understanding and creating of cultural artefacts and are ultimately headed towards what Oliver Grau predicts to be a “dominating theories of the image and art”(2007).

References

Bridle, J. (2013). The New Aesthetic and its Politics. [Blog] booktwo.org. Available at: http://booktwo.org/notebook/new-aesthetic-politics/ [Accessed 17 Oct. 2017].

Halter, E. (2014) Foreword  In: Kholeif, O. ed. You Are Here: Art After the Internet. 2nd ed. London: Cornerhouse and SPACE, 2014.  

Everything At Once (2017) [Exhibition]. Store Studios, London. 5 October 2017-10 December 2017.

Fuller, M. (2008). Software studies. Cambridge, Mass.: MIT Press.

Grau, O. (2007). Virtual art. Cambridge, Mass. [u.a.]: MIT Press.

Popper, F. (2007). From Technological to Virtual Art. Cambridge, Mass.: MIT Press.

Silverman, K. (2012). Begin again: A Biography of John Cage. Northwestern University Press.

Sterling, B. (2012). An Essay on the New Aesthetic. [online] WIRED. Available at: https://www.wired.com/2012/04/an-essay-on-the-new-aesthetic/ [Accessed 16 Oct. 2017]. 

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Bibliography

Literature:

Barthes, R. (1977) Image Music Text. London: Fontana Press.

Benjamin, W. (2010) The Work of Art in the Age of Mechanical Reproduction. United States of America: Prism Key Press.

Berger, J. (2008) Ways of Seeing. Reprint Edition. London: Penguin Classics.

Bishop, C. (2015) ‘Digital Divide: Contemporary Art and New Media’ In Cornell, L., Halter, E. (ed.) Mass Effect: Art and the Internet in the Twenty-First Century. Massachusetts: The MIT Press, pp. 337-351.

Blas, Z. (2014) ‘Contra-Internet Aesthetics’’ In Kholeif, O. (ed.) You Are Here: Art After the Internet. United Kingdom: Cornerhouse, SPACE. pp. 86-97.

Ceci, M. (2015) ‘Internet Explorers’ In Cornell, L., Halter, E. (ed.) Mass Effect: Art and the Internet in the Twenty-First Century. Massachusetts: The MIT Press. pp. 147-157.

Chan, J. (2014) ‘Notes on Post-Internet ’’ In Kholeif, O. (ed.) You Are Here: Art After the Internet. United Kingdom: Cornerhouse, SPACE. pp. 106-123.

Cornell, L. and Driotcour, B. (2012) ‘Technical Difficulties’. Artforum: 50th Anniversary Issue, [ONLINE] pp36-38. Available at: <http://wweb.uta.edu/faculty/dlauster/uta_site/Art_5340_assignments_files/letter_to_editor.pdf> Accessed: [04.11.16].

Debord, G. (2009) Society of the Spectacle. Eastbourne: Soul Bay Press. 

Groy, B. (2015) ‘Art Workers: Between Utopia and the Archive’ In Cornell, L., Halter, E. (ed.) Mass Effect: Art and the Internet in the Twenty-First Century. Massachusetts: The MIT Press. pp. 357-368.

Groy, B. (2002) ‘On the New’ [ONLINE] Available at: <https://www.uoc.edu/artnodes/espai/eng/art/groys1002/groys1002.html> Accessed: [03.12.2016].

Ippolito, J. (2002) ‘The Ten Myths of Internet Art’ [ONLINE] Accessed: <http://www.nydigitalsalon.org/10/essay.php?essay=6> Accessed: [24.11.16].

Lovejoy, M. (2004) Digital Currents: Art in the Electronic Age. Third Edition. New York: Routledge.

McLuhan, M. (2001) ‘The Medium is the MASSAGE: AN INVENTORY OF EFFECTS’. California: Gingko Press Inc.

Paul,C. (2015) ‘Digital Art’. Third Edition. London: Thames & Hudson.

Prince, R. (2015) New Portrait- Press Release [ONLINE]. Available at: <http://www.gagosian.com/exhibitions/richard-prince--june-12-2015> [Accessed: 24/11/16].

Raqs Media Collective. (2015) ‘Digressions from the Memory of a Minor Encounter’ In Cornell, L., Halter, E. (ed.) Mass Effect: Art and the Internet in the Twenty-First Century. Massachusetts: The MIT Press. pp. 79-87.

Steyerl , H. (2015) ‘Too Much World: Is the Internet Dead?’ In Cornell, L., Halter, E. (ed.) Mass Effect: Art and the Internet in the Twenty-First Century. Massachusetts: The MIT Press. pp. 439-449.

Stallabrass, J. (2003) ‘Internet Art: The Online Clash of Culture and Commerce’. London: Tate Publishing.

Troemel, B. (2014) ‘Art After Social Media ’’ In Kholeif, O. (ed.) You Are Here: Art After the Internet. United Kingdom: Cornerhouse, SPACE. pp. 36-43.

Vierkant, A. (2010) ‘The Image Object Post-Internet’ [ONLINE]. Available at: <http://jstchillin.org/artie/pdf/The_Image_Object_Post-Internet_us.pdf> Accessed: [31.10.16].

Valla, C. (2012) The Universal Texture [ONLINE]. Available at: <http://rhizome.org/editorial/2012/jul/31/universal-texture/> Accessed: [02.02.17]

Images:

Bessnyc4. (2015) Untitled [ONLINE]. Available at: <https://www.instagram.com/p/z5GjK5wDwA/?taken-by=bessnyc4&hl=en> [Accessed: 15/01/17].

Bessnyc4. (2017) Untitled [ONLINE]. Available at: <https://www.instagram.com/p/BPV8PS1j3hV/?taken-by=bessnyc4&hl=en> [Accessed: 15/01/17].

Bessnyc4. (2017) Untitled [ONLINE]. Available at: <https://www.instagram.com/p/BO5zfOQjXQI/?taken-by=bessnyc4&hl=en> [Accessed: 15/01/17].

Bosch, H. (1505) The Garden of Earthly Delights [ONLINE]. Available at: <https://www.khanacademy.org/humanities/renaissance-reformation/northern/hieronymus-bosch/a/bosch-the-garden-of-earthly-delights> [Accessed: 27/01/17].

Cosic, V. (1996) Net.art per se [ONLINE]. Available at:  <http://www.ljudmila.org/naps/cnn/cnn.htm>[Accessed: 25.01,17].

Gannis, C. (2014) The Garden of Emoji Delights [ONLINE]. Available at: < http://carlagannis.com/blog/prints/gardenofemojidelights/> [Accessed: 30.01.17].

Mattes, E. and Mattes, F. (2006) 13 Most Beautiful Avatars: Honeywells Lollipop. [ONLINE] Available at: <http://www.postmastersart.com/archive/01org_07/01org_07_window1.html> Accessed: [02.12.17].

Mattes, E. and Mattes, F. (2006) 13 Most Beautiful Avatars: Installation View. [ONLINE] Available at: <http://www.postmastersart.com/archive/01org_07/01org_07_window1.html> Accessed: [02.12.17].

Mattes, E. and Mattes, F. (2006) 13 Most Beautiful Avatars: Virtual Installation View. [ONLINE] Available at: <http://lifeofmo.blogspot.co.uk/2006/11/13-most-beautiful-avatars.html> Accessed: [02.12.17].

Mattes, E. and F. (2000-2003) Life Sharing [ONLINE]. Available at: <http://0100101110101101.org/life-sharing/> [Accessed: 30.01.17].

Mattes, E. and F. (2000-2003) Life Sharing [ONLINE]. Available at: <http://0100101110101101.org/life-sharing/> [Accessed: 30.01.17].

Napier, M. (1999) Riot [ONLINE]. Available at <http://potatoland.org/riot/> Accessed: [02.02.17].

Prince, R. (2015) New Portrait [ONLINE]. Available at: <https://www.theguardian.com/artanddesign/2015/may/27/suicide-girls-richard-prince-copying-instagram> [Accessed: 24/01/17].

Prince, R. (2015) New Portrait – Untitled [ONLINE]. Available at: <https://www.theguardian.com/artanddesign/2015/may/27/suicide-girls-richard-prince-copying-instagram> [Accessed: 24/01/17].

Suicide Girls. (2015) Untitled [ONLINE]. Available at: <http://cdn.konbini.com/wp-content/blogs.dir/4/files/2015/05/art-810x860.jpg> [Accessed: 15/01/17].

Warhol, A. (1966) ’13 Most Beautiful Screen Test: Lou Reed (Coke)’. [ONLINE] Available at: <http://www.randian-online.com/np_event/andy-warhol-contact/> Accessed: [02.02.17].

Shystone. (2014) Untitled [ONLINE]. Available at: <http://imgur.com/a/jdIM0> [Accessed: 26/01/17].

Vallas, C. (2012) The Universal Texture [ONLINE]. Available at: <http://clementvalla.com/work/the-universal-texture/> [Accessed 02.02.17].

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Lo Luglio Ludico

Bentrovati amabili frequentatori di questa sudaticcia webbettola che nonostante “la caldazza” prepara un giorno si e un giorno no, le sue effervescenti fregnacce per sollazzarvi lo spirito tutto come solo qui si sa fare.

Iniziamo il mese, secondo tradizione, con il resoconto del ludico intrattenimento al tavolo da giuoco. Hai rischiato fino all’ultimo di far saltare l’appuntamento con questo post…

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Mercurio Loi 12. Una Settimana Come Tante.

Mercurio Loi 12. Una Settimana Come Tante.

  Bentrovati ragassuoli, anche quest’oggi si continua a ciarlare con il solito stile cazzarone a proposito della serie Bonelli che segui con maggior interesse ossia colui che più, è abile nell’arte del sacro ozio, Mercurio Loi.

Siamo giunti con qualche inciampo al dodicesimo numero, numero che per te è estremamente significativo poiché rappresenta, di solito, il numero in cui prendi la decisione…

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Lo Agosto (con ferie) ludico

Lo Agosto (con ferie) ludico

Bentrovati ragassuoli in questi primi giorni di settembre, che ancora si fatica a prendere il ritmo, ricordiamo con un po’ di nostalgia l’agosto appena concluso ripercorrendo le ludiche serata (poche ma con gusto) che hanno sollazzato lo spirito tutta della famigghia.

Pronti Noi Zi Va

  Ad agosto sono successe alcune cose interessanti la prima che passerà agli annali è che Suocero (evviva evviva)…

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La Casa Di Carta. Parte 2

La Casa Di Carta. Parte 2

Bentrovati ragassuoli, giusto qualche sera fa tu e carlotta nella classica modalità spapanzati sul divano (marchio registrato) avete finito (e meno male) di vedere la seconda parte della serie Netflix La Casa Di Carta, una produzione spagnola che ha riscosso (ma che davvero?) molti consensi tra gli appassionati di serie tv.

Data che abbiamo iniziato un percorso una quindicina di giorni fa, oggi…

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Le Leggende Di Andor. L'Ultima Speranza. Il Foto Unboxing

Le Leggende Di Andor. L’Ultima Speranza. Il Foto Unboxing

Buon lunedì estivi ragassuoli, iniziamo questa settimana con un post leggero di quelli più da guardare che da leggere. Infatti, torna la rubrica dei Foto Unboxing con il post dedicato al terzo e ultimo capitolo di una serie di giuochi da tavolo fantasy che ti ha davvero conquistato.

Oggi guardiamo cosa c’è dentro la scatola de Le Leggende Di Andor. L’Ultima Speranza.

Pronti Noi Zi Va

Vivete Il…

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La Casa Di Carta. Parte 1

La Casa Di Carta. Parte 1

Buon lunedì ragassuoli lavoratori o vacanzieri, il Cornerhouse non chiude mai, così ovunque voi siate, potrete sempre trovare qualcosa di sgrammaticato ma di vostro gradimento per riempire quel minuto di vuoto della vostra giornata. Sorryper l’assenza (non programmata) di venerdì scorso, ma purtroppo, non hai fatto in tempo a preparare nessun post, quindi piuttosto che scrivere due righe a caso…

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A breve sul blog del Cornerhouse: Il commento del libro di Miss Peregrine. #nerd #cornerhouse #nerdbuy #bookstagram #books #missperegrine #burton #timburton #ransomriggs #photooftheday #picoftheday #bestphoto #like4follow #like4like #likeforfollow #likeforlike #likeforlikes #like4likes

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Il Cornerhouse conquisterà il mondo! #nerd #nerdbuy #cornerhousepub #boardgame #tabletop #boardgamegeek #bgg #boardgames #likeforlike #like4like #like4likes #likeforlikes #photooftheday #igdaily #instamood #bestoftheday #picoftheday #blog #blogger #wordpress

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Blade Runner 2049. Ok non sarà il miglior film del mondo, anzi l'ho già criticato abbastanza sul blog. Ma non poteva non esserci in libreria. #nerd #cornerhouse #nerdbuy #film #movie #cinema #bladerunner2049 #bladerunner #ryangosling #harrisonford #likes #liker #likeforlikes #likeforlike #like4follow #like4likes #like4like #bestoftheday #bluray #photooftheday #picoftheday

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Dylan Dog speciale 31, nemico pubblico n1. Oggi sul blog. #cornerhouse #nerd #nerdbuys #fumetti #dylandog #bilotta #bonelli #comics #nightmare #likesforlikes #likeforlike #like4likes #like4like #likeforfollow #bestoftheday #bestoftheday #picoftheday