Oproep 3: Digitaal werken in de kunsten
Digital image making, capturing, image-based surveillance, panoptics, techniques of observation, image manipulation (purposeful and through faulty algorithms, etc.) produce a wide visual field that inserts itself before our eyeballs to such a significant degree that such imagery determines an aesthetic that is new. In fact, it’s so new that we should call it ‘new’ and catalog its characteristics.
Does an NFT of a photograph need to be other than the photograph? There’s something slightly icky to me when the aesthetic characteristics determines what gets made. The established forms — aesthetics, ways of knowing, ways of seeing, ways of being — deserve to be bent around a bit at their edges routinely, with care, and with thoughtful interventions. Not to break them wholesale, but to ask and then “see” (sometimes literally) “what else” can be seen, how else we can do our sense-making, where else it can go in some other kind of world or future. I am here to expand this notion of new aesthetic working on degrees of relation between artists and digital nomads. By collecting, promoting and sharing creative ideas and innovative projects to reduce the digital cultural divide and guarantee an increasingly more active participation with an approach centred on meeting and inclusion.
The main issue I see in the forming of new NFT aesthetic is exclusion of some artists from a new market that is developed as the result of this technological innovation. Due to this exclusion, a lot of artists are changing their practices to be aligned with market demands and in many cases it means amateur and tokenistic modifications of artworks. I believe, there is a need for more inclusive market platforms that are not biased on the aesthetic of NFT and are emplaced in the stablished art communities. That is how we can reverse the influence from market to artists to artists and art practices being drivers of market.
As scenic creators always celebrate making contact, in a shared territory. The distance required between the bodies with the current pandemic put us in a kind of check, and there, in that grid, half immobile, From that place we stopped to think and ask ourselves: How to continue creating and meeting with the audience? Can we use digital media to create a different form of scenic spatiality?
Kunstenaars en culturele instellingen hebben hun digitale infrastructuur veelal uitbesteed aan Google, Microsoft, Zoom, ook al weten ze dat ze daarmee de monopolies van multinationals versterken en persoonlijke gegevens delen. Met partners werkt Constant aan een Open Source en collectief gerunde infrastructuur voor videoconferenties die is aangepast aan de behoefte van culturele organisaties.