Reasoning out creative licensing seems murky at best when considering the artistic field as "a storehouse of images and ideas to be used as tools...stockpiles of data to manipulate and present." Does anybody really own anything they make? We're all influenced by what we encounter in our lives, so how can we claim ownership over any creation?
pp.18 Semionauts: those who produce original pathways through signs. How is a pathway original if it's based on existing signs? Of course, my answer to this question is that making new connections between existing entities(which communicate through symbolism, i.e. signs) is what artists have done an will always do. One of the artist's roles in society is to uncover existing truths or issues by comparing things from different realms and responding to that comparison. But how do we make new signs? Are these connections new signs?
I like that Bourriaud brings up challenging passive culture. Coming from the rural South, this is a big issue for me. Passive media-based (television/pop movies/pop music) culture overshadows creative culture in my hometown. Every other conversation overheard in the supermarket or even at gallery openings revolves (in my opinion) around living vicariously through the athletes and characters in the mass media ingested on a daily basis. Some of this passive culture is changing and more and more people are using blogs and other ways of intercommunication as a means of response.
Now I see this passive culture as an entity with which to interact. Sports and pop culture are significant cultural entities worthy of consideration and response.
Now I see this passive culture as an entity with which to interact. Sports and pop culture are significant cultural entities worthy of consideration and response.
One of the main threads among all these issues so far is summarized in Dominique Gonzalez-Forester's quote on pp. 19:
"Even if it is illusory and utopian, what matters is introducing a sort of equality, assuming the same capacities, the possibility of and equal relationship, between me - at the origins of an arrangement, a system - and others, allowing them to organize their own story in response to what they have just seen, with their own references."
"the act of choosing is enough to establish the artistic process, just as the act of fabricating, painting or sculpting does: to give a new idea to an object is already production"pp.25
"to create is to insert an object into a new scenario, to consider it a character in a narrative"pp.25
If this is where post production was in 2002, where are we now? How does the ongoing global financial crisis and the US's continued occupation of Iraq and Afghanistan fit into the realm of the post-producer? One interesting comparison could be between the 1st decade of the 20th century and that of the 21st. Where are we headed? Will the US take the same historical and economic path Western Europe(specifically France, England and Spain) took? Where is the new frontier? Bourriaud would say the new frontier is between cultures, in the intermingling of visitors with the indigenous. The visitors being Radicants of a new global culture making heterotemporal, heterospatial connections as they explore new cultures and return to their own.
If this is where post production was in 2002, where are we now? How does the ongoing global financial crisis and the US's continued occupation of Iraq and Afghanistan fit into the realm of the post-producer? One interesting comparison could be between the 1st decade of the 20th century and that of the 21st. Where are we headed? Will the US take the same historical and economic path Western Europe(specifically France, England and Spain) took? Where is the new frontier? Bourriaud would say the new frontier is between cultures, in the intermingling of visitors with the indigenous. The visitors being Radicants of a new global culture making heterotemporal, heterospatial connections as they explore new cultures and return to their own.
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