By Olga Goriunova
In this e-book, Goriunova deals a severe research of the approaches that produce electronic tradition. electronic cultures thrive on creativity, constructing new forces of association to beat repetition and succeed in brilliance. that allows you to comprehend the procedures that produce tradition, the writer introduces the idea that of the artwork platform, a particular configuration of artistic passions, codes, occasions, participants and works which are propelled by way of cultural currents and maintained via digitally local ability. paintings structures can happen in several contexts bringing approximately really new cultural creation, that, given sufficient strength, come jointly to maintain an open mechanism whereas negotiating social, technical and political modes of power.
Software artwork, electronic kinds of literature, 8-bit track, 3D artwork types, pro-surfers, and networks of geeks are attempt beds for enquiry into what brings and holds artwork structures jointly. Goriunova presents a brand new technique of realizing the advance of cultural kinds on the web, putting the phenomenon of participatory and social networks in a conceptual and ancient viewpoint, and delivering robust instruments for getting to know cultural phenomena neglected through different approaches.
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Extra resources for Art Platforms and Cultural Production on the Internet (Routledge Research in Cultural and Media Studies)
Although both autonomist Marxist and liberal thinkers promulgate such understandings, by means further discussed in the following, the logic of these arguments and the premises they rely on do not exhaust the array of access points to this problematic and the excess of drives and capacities always at work in questions of culture, even as they are interwoven with those of economy. ’ Freedom and creativity are the two horses that carry liberal thinking on free software and creative industries, but they are also, under a different interpretation, the unsteady mounts of postMarxist thinking.
45 Creativity, although somehow deeply rooted in the production of the individual, is thus a function that is only perceived on the surface of reality, and as something that can be refined by formal processes to produce dependable higher-quality results. This flattening of aesthetic production into the thin crust of the actualized in fact severs creativity from its teeth, nails, and any other sharp (or vicious) body parts. Such creativity is devoid of thickness, folly, and duration, and what is left in residuo is lobotomized optimism.
Introduction 17 AESTHETICS AND ORGANIZATIONAL AESTHETICS Organizational aesthetics is a process of emergence and a mode of enquiry that gives us a way to understand a digital object, process, or body. It is not only a way of looking, but also a dynamic of assembling and coming up with such a body. Considered as a process in which phenomena construct and operate themselves, it delves into the changing manner of actualization of various strata, which in turn move towards assimilation with aesthetic registers.
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