After a brief vacation, we returned with more force, to continue with this blog that we love so much power days to days. We returned with a new section of " ANALYSIS "which will climb excellent articles journalists from newspapers, magazines, etc. That day I get my mail or find by there is time of and share all draw our conclusions, and propose our ideas or opinions.
ES DIEGO stars of for THE PAIS.COM
Although quite that is no longer Net.Art one trending topic "hot topic of discussion at the Red-, no doubt, had a moment in which raised some questions which remain valid and have influenced even works out of the loop current strict Net-Art. In fact, Net Art, raised specifically for the Web often as a means of exploring the ethical limits, technological or environmental policy referred not only to artistic creation, took as its starting point the enormous potential of communication between artist and viewer, suggesting a kind of open work staggered the essence of the author only as we understand our culture. Proposed work streams, nomadic identities, patched bodies were some of the issues addressed in the Network's work, putting on the table their own social practices and ways of control the individual, caught between web pages and data released to the bank, the State, the supplier of books ... It was also of works acquired their meaning in the home screen, a new form of socialization; projects after they disappeared or were transformed, while the "classic" ended to be identified. Still, it was sometimes contradictory Net.Art organize samples, dropping the proposal in the trap that was running: the logic of the system through the figure of a commissioner "selected" for the user the pages to be visited and who visited from computers in the showroom. Who knows if these proposals were not which weakened the movement, though still active, it is perhaps a shorter route than promised. In any case, it is clear that the network and its applications have completely changed the art world, starting with the virtual tours to major museums, following the easy to find almost any image on the Internet, and ending with an ethical issue that raised in 1990, when an emerging use of Photoshop and even the Internet delivery of images, now so common that anyone can do it from your mobile. Fred Ritchin then asked how far to be sure of the veracity of a photograph if a barely perceptible changes could be made without further significance and what would happen if each new shipment will be held another small transformation. Which was, in short, the "real" image, the true matrix. Perhaps that is the great challenge that the artistic, part of whose reputation is based on the originality in copying, is now proposing Internet applications. Trying to figure out whether that work is well or is modified is not easy ... but it is fascinating and even Borges. Like Pierre Menard's Don Quixote, by the very fact of being in the Red, the modified image acquires its status as reality, because what is more real than what happens online also observed live? This new way of approaching art it has become evident in recent events in the life of Weiwei, Chinese artist dissident local authorities who flew the house saying it was an illegal building. An onlooker near the devastating operation drew some pictures he rose to the Internet and, like fire, allowed to see what was happening in real time. But, and here lies the aporia, was that the house Weiwei, who was on the other hand, most of us know through his popular blog? Does it matter? The real reality, at least visually, should begin to ask questions different from traditional ones. The past no longer serves. It is no use. ( ES stars of DIEGO, EL PAIS 29.1.2011)
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