Ceci moss isea2011


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Presentation by Ceci Moss at ISEA 2011 for Matter With Media a panel chaired by Jamie Allen and Tom Schofield

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Ceci moss isea2011

  1. 1. Viral Not Virus:<br />Alan Liu’s “Viral Aesthetics” Reconsidered<br />
  2. 2. Cover of Seth Price’s Dispersion (2008)<br />
  3. 3. Screenshot of pages 8 and 9 of Seth Price’s Dispersion<br />
  4. 4. Bootleg editions of Seth Price’s Dispersionproduced by<br />38th Street Publishers in New York, NY in 2008<br />
  5. 5. Printed booklet of Seth Price’s Dispersion, produced by<br /> an Ukrainian art student in 2006<br />
  6. 6. Screenshot of Seth Price’s Dispersion in the AAAAARG.ORG database <br />
  7. 7. Sculptural version of Dispersion entitled Essay with Ropes (2008)<br />
  8. 8. Excerpt from Oliver Laric’sVersions (2009)<br />
  9. 9. Instructions from David Horvitz’s tumblrIdea Subscription (2009)<br />
  10. 10. Images tagged “241543903” <br />from flickr<br />
  11. 11.
  12. 12. YouTube video tagged<br />(1:22 Eyes Closed)<br />
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  14. 14. Whether it is expressed as appropriation, sampling, defacement, or hacking, there will be nothing more cool – to use the term of the nascent, everyday aesthetics of knowledge work – than committing acts of destruction against what is most valued in knowledge work – the content, form or control of information. Instantaneous, simultaneous and on-demand information is the engine of the post industrial “now” submitting history to creative destruction, and it is the destruction of this eternal “now” or self evident presence of information, therefore, that will have the most critical and aesthetic potential. Strong art will be about the ‘destruction of destruction’ or put another way, the recognition of the destructiveness in creation.<br />Alan Liu, The Laws of Cool: Knowledge Work and the Culture of Information. (Chicago: University of Chicago Press, 2004), 8-9<br />
  15. 15. The critic is not the one who debunks, but the one who assembles. The critic is not the one who lifts the rugs from under the feet of the naıve believers, but the one who offers the participants arenas in which to gather. The critic is not the one who alternates haphazardly between antifetishism and positivism like the drunk iconoclast drawn by Goya, but the one for whom, if something is constructed, then it means it is fragile and thus in great need of care and caution. <br />Bruno Latour, “Why Has Critique Run Out of Steam? From Matters of Fact to Matters of Concern” Critical Inquiry Vol. 31, No. 1 (Autumn 2004), p. 246<br />