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Lev Manovich: New Media Art

“If consumer products have “planned obsolescence,” digital art created with the “latest” technology has its own “built-in obsolescence.” […] did I waste my whole life in the wrong field? It is very exciting to be at the “cutting edge”, but the price you pay is heavy. After 30 years in this field, there are very few artworks I can show to my students without feeling embarrassed. While I remember why there were so important to us at the moment they were made, their low-resolution visuals and broken links can’t inspire students. The same is often true for the “content” of digital art. It’s about “issues,” “impact of X on Y”, “critique of A”, “a parody of B”, “community of C” and so on. It’s almost never about our real everyday life and our humanity. Feelings. Passions. Looking at the world. Looking inside yourself. Falling in love. Breaking up. Questioning yourself. Searching for love, meaning, less alienated life.” Lev Manovich, My Anti-Digital Art Manifesto, September 13, 2020

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Orit Gat: Networked Exhibitions

“These exhibitions are full of iPads, computers, screens and simulations. Though most contemporary art exhibitions include digital aspects, from projections to touchscreens, certain tropes have emerged from the networked exhibition, including maps, data visualizations using live data from the web, and clocks. The richness of screen-based work marks a turn in approaches to new media art, from viewers complaining that they work in front of a computer all day, and do not want to see art on it in their free time, to a growing habit of consuming media — Netflix, YouTube — onscreen. What was always at stake in the presentation of new media was differing levels of familiarity with technology among the audience members. That is no longer the issue, but now approaches diverge in relation to the values and effect of these media.” Orit Gat, “Between Delight and Discomfort”, in Flash Art International, Issue 306, January – February 2016