This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.
This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.
Modernism in Art: An Intoduction. Picasso's exorcism: Fear of 'Primitives' a...James Clegg
The forth in a series of lecture introducing Modernism. This week focuses upon Picasso's Les Demoiselles d'Avignon, building a long context of Imperial attitudes and 'primitivism'.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
Modernism in Art An Introduction, 1. This lecture highlights the main context for modernity, highlighting key movements and events such as the Enlightenment and French Revolution. Emphasis is then placed upon the academic model and the subsequent break with it, represented by the Salon De Refuses of 1863. Lecture by James Clegg
Modernism in Art: An Intoduction. Picasso's exorcism: Fear of 'Primitives' a...James Clegg
The forth in a series of lecture introducing Modernism. This week focuses upon Picasso's Les Demoiselles d'Avignon, building a long context of Imperial attitudes and 'primitivism'.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
Modernism in Art An Introduction, 1. This lecture highlights the main context for modernity, highlighting key movements and events such as the Enlightenment and French Revolution. Emphasis is then placed upon the academic model and the subsequent break with it, represented by the Salon De Refuses of 1863. Lecture by James Clegg
The Nature of Illumination: Cultural Heritage and the Technology of Culture.Martin Kalfatovic
The Nature of Illumination: Cultural Heritage and the Technology of Culture. Martin R. Kalfatovic.Cultural Heritage Information Management Forum. The Catholic University of America. Washington, DC. 5 June 2015
What is the public value of an online collection? Why should museums and archives invite digital artists to deconstruct and rebuild their online collections experience?
This paper argues that the traditional online collection- a database of object records- is fundamentally designed for research audiences, and presents very few opportunities for serendipitously engaging the casual browser. It will propose that in order to reach new audiences online, museums and archives should be less concerned with technical innovation and more interested in enabling and publishing creative reuse of collections; they should promote their collection as a resource bank to creative practitioners who design compelling digital experiences; and that designing digital heritage experiences to inspire curiosity and wonder is more important than facilitating learning.
This paper will refer to the innovative Half Memory project as a case study. The project, developed by TWAM with Tusk Music and Pixel Palace, invited musicians, sound artists and film makers to use TWAM’s collections as a resource for creating engaging (digital) heritage outputs; outputs that recontextualised historical material in order to inspire new audiences.
Scholarly knowledge about the past through archives, repositories and collect...NTNU University
Museums and libraries were established as repositories of memory, initially as rarity-cabinets and archives by rich collectors in the 16th century. These resulted in the museum and library archives as public institutions of the 18th century with a mission to educate their visitors (Dilevko 2004). During the 19th century the past was defined as the product of “intellectual enactment and study” (Benett, 2004, p.2). Today, the use of Virtual Reality (VR) applications in Archaeology and Museology and the ever-increasing development of interactive software and new technological platforms have provided museum and library archives and historical collections with a new space of contact to their users. In other words, Museums, libraries and institutions of memory have been challenged to find new forms of dialogue with their users and have turned to VR technology to entertain and inform their audience.
JABES 2015 - Digital curation and exploration : learning the lessons (of the...ABES
Les deux dernières décennies ont vu la réalisation d’un grand nombre de projets de
numérisation qui n’ont toutefois pas débouché sur la création de plateformes collaboratives
et intégrées susceptibles de constituer un support durable, que ce soit pour une recherche de
qualité, pour l’enseignement, ou pour des initiatives de toute nature.
Chercher à modéliser la diversité des ressources culturelles et des histoires collectives qui
leurs sont associées, et cela sous différents points de vue, demeure un défi de taille.
En dépit d’un investissement considérable, l’usage de la technologie pour une modélisation
du patrimoine culturel en est resté à un stade expérimental et parcellaire.
Cette communication cherche à établir en quoi la modélisation de la connaissance du
«monde réel » contribue à dresser une image fidèle et attrayante du patrimoine culturel, à
l’intérieur et au-delà des frontières nationales.
Call for papers, project on the "Continuous Page: Scrolls and Scrolling from ...Encyclopaedia Iranica
Participants are sought to take part in a collaborative investigation into the intriguing format of the scroll and the act of scrolling across different cultures and periods, considering both the timeless material object and its infinite conceptual space. Participants are sought from any field or discipline, and are likely to be academics (at all stages of their careers), museum professionals, or practicing artists.
Art Tracks: From Provenance to Structured DataDavid Newbury
This keynote presentation was given by David Newbury and Louise Lippincott as part of the Smithsonian Provenance Research Institute's PREP program at the Metropolitan Museum of Art in New York on February 7th, 2017
Researching Freemasonry in a Time of Coronavirus: Resources and OpportunitiesAndrew Prescott
Slides from a talk by Andrew Prescott for the Open Lectures in Freemasonry, 25 April 2020, describing some of the online resources available for investigating the history of British freemasonry. For more information on the Open Lectures on Freemasonry, go to openlfm.org
What Happens When the Internet of Things Meets the Middle Ages?Andrew Prescott
Keynote lecture by Andrew Prescott, University of Glasgow, to the second medieval materialities conference, 'Encountering the Material Medieval', University of St Andrews, 19-20 January 2017: https://medievalmaterialities.wordpress.com
Slides from presentation to Digital Editing Now conference, CRASSH, University of Cambridge, 7-9 January 2016. The text of the talk is available at: https://medium.com/@Ajprescott/avoiding-the-rear-view-mirror-870319290bb2#.pobalr4rv
Short presentation for Alan Turing Institute workshop on heritage and cultural informatics at UCL, 10 November 2015. The picture only slides illustrate data of varying complexity.
Doing the Digital: How Scholars Learned to Stop Worrying and Love the ComputerAndrew Prescott
Slides from keynote presentation to Social Media Knowledge Exchange meeting on Scholarly Communication in the 21st Century, University of Cambridge, 4 June 2015. Examines my changing relationship to scholarly communication, current pressures and drivers, and likely future trends.
Slides from keynote lecture by Andrew Prescott to the 7th Herrenhausen conference of the Volkswagen Foundation, 'Big Data in a Transdisciplinary Perspective'
Digital Transformations: keynote talk to Listening Experience Database Sympos...Andrew Prescott
Discussion of AHRC Digital Transformations theme, followed by discussion of nature of digital disruption and change. Examples of transformative projects involving use of sound, as part of symposium organised by the Listening Experience Database: http://led.kmi.open.ac.uk
The Legacy of Breton In A New Age by Master Terrance LindallBBaez1
Brave Destiny 2003 for the Future for Technocratic Surrealmageddon Destiny for Andre Breton Legacy in Agenda 21 Technocratic Great Reset for Prison Planet Earth Galactica! The Prophecy of the Surreal Blasphemous Desires from the Paradise Lost Governments!
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
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2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
thGAP - BAbyss in Moderno!! Transgenic Human Germline Alternatives ProjectMarc Dusseiller Dusjagr
thGAP - Transgenic Human Germline Alternatives Project, presents an evening of input lectures, discussions and a performative workshop on artistic interventions for future scenarios of human genetic and inheritable modifications.
To begin our lecturers, Marc Dusseiller aka "dusjagr" and Rodrigo Martin Iglesias, will give an overview of their transdisciplinary practices, including the history of hackteria, a global network for sharing knowledge to involve artists in hands-on and Do-It-With-Others (DIWO) working with the lifesciences, and reflections on future scenarios from the 8-bit computer games of the 80ies to current real-world endeavous of genetically modifiying the human species.
We will then follow up with discussions and hands-on experiments on working with embryos, ovums, gametes, genetic materials from code to slime, in a creative and playful workshop setup, where all paticipant can collaborate on artistic interventions into the germline of a post-human future.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
1. The Work of Art in the Age of Digital Reproduction,
31 May 2014
For more information about Material Witness, please visit our blog: materialwitness.me.!
10:00! Registration & coffee!
10:30 Session 1: Walter Benjamin’s Work of Art in the Age of Technological Reproduction
• Andrew Prescott (King’s College London):The Digital Aura!
• Neil Cox & Dana MacFarlane (University of Edinburgh):Workshopping Benjamin and Heidegger !
12:30 Lunch
1:30 Session 2: The Age of Digital Reproduction
Anchor paper: Michael Takeo Magruder (King’s College London): reproduction/remixing/redistribution: artistic
processes for a born-digital age!
Michael is currently a LeverhulmeTrust artist-in-residence at KCL, where he is working on a body of collaborative new media
artworks entitled De/coding the Apocalypse, based on The Book of Revelation. He has recently published a new monograph,
entitled (re)mediations 2000-2010 (2012, Peterborough Museum & Art Gallery, UK), that outlines the last decade of his work
within the areas of news media, mobile devices and virtual worlds.!
Material Witness scholars:
• Sarah Biggs (Courtauld Institute/British Library): Medieval Manuscripts in the Digital Age !
• Elinor Carmi (Goldsmiths, University of London):Are you spam or not? The aura of authenticity in social
network sites (SNS)!
• Sara Choudhrey (University of Kent): Islamic Art in the Age of Digital Reproduction !
• Alexandra Reghina Draghici (Goldsmiths, University of London): Material Relations: Embodiment as
Reproduction !
3:30 Tea
4:00 Keynote: Mark Leckey: UniAddDumThs
!Mark is a British artist and curator who works with collage, music, and film. His film Industrial Lights and Magic won theTurner
Prize in 2008. He recently curated the show The Universal Addressability of Dumb Things, which explored the relationships
between objects, digital avatars, and people, a configuration that he describes as ‘technoanimism’.!
5:00 Reception
3. Sidney Curnow Vosper's celebrated watercolour, Salem (1908), epitomises the kind of plain,
visually deprived culture of the early years of Lampeter. In this context, what did the richly
visually library collections built up there by impact collectors such as Thomas Phillips (not tyne
Thomas Phillipps of Middle Hill)
!
4. The Digital Aura: riffs on Walter
Benjamin’s ‘The Work of Art in an
Age of Technical Reproduction’
Andrew Prescott
Material Witness Workshop
31 May 2014
5. William Hogarth, Marriage-A-la-Mode, Plate 2 (After the Marriage): one of the large
collection of Hogarth printer donated to Lampeter by Thomas Bowdler.
!
6. Thomas Phillips (1760-1851). Portrait by H. C.
Mornwick at Llandovery College. Phillips donated
over 22,000 books to the new St Davids College at
Lampeter: http://www.uwtsd.ac.uk/rbla/online-
exhibitions/thomas-phillips-exhibition/
7. Boddam Hours: Use of Rouen, late 15th century.
Presented by Thomas Phillips to the College at
Lampeter in 1846.
13. J. C. Bourne, Drawings of the London and Birmingham
Railway, 1838. Phillips’s donations included many visual
records of modern life.
14. • What impression did the rich
visual diet that Phillips prepared
make in a grey monochrome
Wales?
• Do we see Phillips’s interest in
creating a visual library as
reflecting Benjamin’s emphasis
on mass assimilation of cultural
objects through reproduction?
• Is Phillips’s visual library an
expression of a shift towards an
exhibition view of art?
• Phillips’s interest in Lampeter
was part of a wider concern with
the modernisation of Wales. Was
a richer visual culture part of
modernity?
15. Over 4 billion images have been uploaded to Flickr in a
period of ten years
16. Some YouTube Statistics!
!•! More than 1 billion unique users visit YouTube each month!
!•! Over 6 billion hours of video are watched each month on
YouTube—that's almost an hour for every person on Earth!
!•! 100 hours of video are uploaded to YouTube every minute!
!•! 80% of YouTube traffic comes from outside the US!
!•! YouTube is localised in 61 countries and across 61
languages!
!•! According to Nielsen, YouTube reaches more US adults
aged 18-34 than any cable network!
!•! Millions of subscriptions happen each day. The number of
people subscribing daily is up more than 3 times since last
year, and the number of daily subscriptions is up more
than 4 times since last year
17. Apple states that, “iTunes users have downloaded more than
one billion TV episodes and 380 million movies from iTunes to
date, and they are purchasing over 800,000 TV episodes and
over 350,000 movies per day.”
19. Computers are
machines which
count very fast, but
counting is the last
thing we do with
them.
It brings us
images, movies,
sound, 3D
reconstructions,
entertainment,
culture…
20. • Benjamin’s essay on ‘The Work of Art in the Age of its Technological
Reproducibility’ (1935-6) appears increasingly prescient as we
become flooded with images: ‘The cathedral leaves its site to be
received in the studio of an art lover; the choral work performed in an
auditorium or in the open is enjoyed in a private room’.
• Digitisation of existing cultural artefacts is a means of rendering them
reproducible
• Demand for digitisation and access: ‘the desire of the present-day
masses to “get closer to things”… by assimilating it as reproduction
• But as the digital corpus grows, issues of authenticity (not just
manipulation but scale, colour, cropping, etc)
• This reproducibility changes their cultural status, although the exact
nature of this change unclear (do they become more open or more
controlled?)
21. • Benjamin’s emphasis on changes in the nature of cultural labour
and production seem particularly pertinent
• New types of involvement in cultural labour: crowd-sourcing, out-
working, team working
• New relationship between the audience and the artwork
• Erosions of distinction between author and user (anticipates Web
2.0?)
• For Benjamin, film was a means of the masses reconciling
themselves to new technology
• We can see our use of computers for entertainment as a means of
humanising a technology which poses serious issues in terms of
privacy, surveillance, identity and control.
22. • The collapse of distinctions between cultural objects
• In a digital environment, distinctions in format between
print, manuscript, oil, watercolour, sound, movie, material
object collapse
• All objects can be stored and documented in a digital
form
• The only differences between libraries, archives, museums
and art galleries are differences of file format and
metadata
• Is this the liquidation of tradition that Benjamin
anticipated?
24. Books, archives and museum objects integrated in a single
catalogue system: Library and Museum of Freemasonry:
www.freemasonry.london.museum
25. • Benjamin argued that the reproducibility of works
of art weakened the sense of aura
• He welcomed the prospect of the liquidation of
tradition and undermining of old distinctions - ‘a
shattering of tradition which is a renewal of
humanity’
• ‘Shakespeare, Rembrandt, Beethoven will films …
All legends, all mythologies, and all myths, all the
founders of religions, indeed, all religions await
their celluloid resurrection, and the heroes are
pressing at the gates’
26. • I want to examine briefly three areas where the
position might be more complicated in the digital
environment than Benjamin suggests
• Rather than undermining ‘aura’, photographs and
digital images can have their own considerable sense
of time and place which amounts to a ‘digital aura’
• ‘Authenticity’ is difficult: digital representations can
sometimes have claim to greater authenticity
• Rather than liquidating traditions, digital
reproducibility may instead be reinforcing them
27.
28. PLATE III. ARTICLES OF CHINA.
PLATE III. ARTICLES OF CHINA.
From the specimen here given it is sufficiently manifest, that the
PLATE III. ARTICLES OF CHINA.
PLATE III. ARTICLES OF CHINA.
From the specimen here given it is sufficiently manifest, that the
whole cabinet of a Virtuoso and collector of old China might be
depicted on paper in little more time than it would take him to
make a written inventory describing it in the usual way. The
more strange and fantastic the forms of his old teapots, the
more advantage in having their pictures given instead of their
descriptions.
And should a thief afterwards purloin the treasures—if the
mute testimony of the picture were to be produced against him in
court—it would certainly be evidence of a novel kind; but what
33. Illustrations from J.O. Westwood,
‘Archaeological Note of a Tour in
Denmark, Prussia and Holland’,
Archaeological Journal 16 (1859).
Westwood had noticed an 1832
discussion of the manuscript by
Baron van Tiellandt, and travelled
to the Netherlands to see it. !
34. Silver nitrate photographs of the Utrecht Psalter commissioned
by the British Foreign Office to assist in dating the manuscript,
1872
35. Edward Augustus Bond (1815-98), who intervened to bring
the Utrecht Psalter to London and secure higher quality
auto types
36. Photographs of the Utrecht Psalter made in the
British Museum using the autotype process, 1876
37. • The Norman Conquest moved into cyberspace yesterday as the Domesday
Book's online edition was launched (Guardian, 2006)
• FANS of Chaucer will soon be able see the original 15th-century printed
pages of his Canterbury Tales from the comfort of their homes (Liverpool
Echo, 2003)
• Call it virtual Vincent. Amsterdam's famed Van Gogh Museum on Monday
launched a new site on the World Wide Web aimed at ensuring art lovers get
a glimpse of the Dutch master's work - including rare paintings, drawings,
watercolors and letters not on display anywhere else. (Associated Press,
2003)
• Austria's traditionally conservative Salzburg festival is launching Mozart into
cyberspace this summer with an updated production of one of his most
popular operas.On a stage littered with television and computer monitors, the
real world meets the virtual as singers serenade projected images in the 18th
century composer's opera The Abduction from the Seraglio (Reuter 1997)
38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.
49.
50. Is this the Apotheosis of Benjamin? As we
enter a post-digital age, will art became
more pervasive but less reproducible?
51.
52. "Alba", the green fluorescent bunny, is an albino rabbit. This means that, since she has no skin pigment, under ordinary environmental conditions she is
completely white with pink eyes. Alba is not green all the time. She only glows when illuminated with the correct light. When (and only when) illuminated
with blue light (maximum excitation at 488 nm), she glows with a bright green light (maximum emission at 509 nm). She was created with EGFP, an
enhanced version (i.e., a synthetic mutation) of the original wild-type green fluorescent gene found in the jellyfish Aequorea Victoria. EGFP gives about two
orders of magnitude greater fluorescence in mammalian cells (including human cells) than the original jellyfish gene
What do we make a bio-art? One of the best exemplars is the work of Eduardo Kac: http://
www.ekac.org/transgenicindex.html. Does this transcend technological reproducibility?
53. Specimen of Secrecy About
Marvelous Discoveries
A series of works comprised of what
Kac calls "biotopes", that is, living
pieces that change during the
exhibition in response to internal
metabolism and environmental
conditions. Each of Kac’s biotopes is
literally a self-sustaining ecology
comprised of thousands of very small
living beings in a medium of earth,
water, and other materials.