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      Art and Activism at Museums in a Post-digital World

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      Proceedings of EVA London 2019 (EVA 2019)

      Electronic Visualisation and the Arts

      8 - 11 July 2019

      Digital activism, Digital art, Digital culture, Digital heritage, Exhibitions, Museums, Post-digital world, Protest

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          Abstract

          Once quiet places protected by walls, museums are increasingly besieged by activist groups. Spurred by social and political causes, they storm the gates bypassing the gatekeepers, to deliver their message and insist that museums become relevant, participatory and interactive, and give voice to their communities and audience. With no place to hide in a sea of digital connections, museums are challenged to find new directions and strategies for the post-digital world. This paper traces these trends, illustrating them using recent examples of art and activism at museums in New York and London, and explores strategies for museums to collaborate with their community and find common ground.

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          Digitalism: The New Realism?

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            Curating Digital Life and Culture: Art and information

            The space between digital life and real life continues to fade and nowhere is this more apparent than in arts and cultural contexts. Facilitated by digital capture and curation, social media, the network, Internet, and the web, these forces combine to empower artists to be digital curators of their own work, giving voice and narration to their artistic expression. In the paper entitled Digitalism: the New Realism, the authors focus on how digital tools and technology have changed ways of doing, knowing, and being, while here we look at how today’s digital landscape is changing ways of artistic expression, narration, communication, and human interaction. The growing use of digital tools and technology in the arts and culture is dramatically transforming traditional curatorial practice and by extension archival practice, so that we are moving from a gatekeeping model to an open model steeped in digital relationships across global networks and the Internet. As we immerse ourselves in the digital world, where anyone with a smartphone can be a digital curator and marshal a range of Internet services, such as Instagram, Pinterest, Twitter, Facebook, YouTube, and more specifically for example Behance (for online portfolios), artists are enabled to freely engage and interact with their audience using to their advantage crowdsourcing, “likes”, chat, blogs, games and email. Emerging artists are particularly expert digitally and are able to curate their life and work directly, living naturally between physical and digital states. To demonstrate this, our study presents specific examples of how artists and GLAM (Galleries, Libraries, Archives, and Museum) institutions are adapting to new digital ways of curating collections and conveying meaning. Additionally, we show how notions of what constitutes artistic expression are evolving as art traverses digital media boundaries, especially in terms of visual and textual media. Importantly, as life in the 21st century plays out on the digital stage of the Internet, artists and GLAM institutions find themselves more than ever working at the intersection of art and information which is leading to new and innovative ways of curating contemporary art that are expressive of artistic vision and digital aesthetics, while conveying social and political meaning capable of influencing and impacting our lives.
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              Digitalism: The new realism

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                Author and article information

                Contributors
                Role: Professor https://sites.google.com/view/tgiannini/
                Role: Emeritus Professor http://www.jpbowen.com
                Conference
                July 2019
                July 2019
                : 27-35
                Affiliations
                Information

                School of Information

                Pratt Institute

                New York, USA
                Computing

                School of Engineering

                London South Bank University

                London, UK
                10.14236/ewic/EVA2019.4
                © Giannini et al. Published by BCS Learning and Development Ltd. Proceedings of EVA London 2019, UK

                This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

                Proceedings of EVA London 2019
                EVA 2019
                London, UK
                8 - 11 July 2019
                Electronic Workshops in Computing (eWiC)
                Electronic Visualisation and the Arts
                Product
                Product Information: 1477-9358 BCS Learning & Development
                Self URI (journal page): https://ewic.bcs.org/
                Categories
                Electronic Workshops in Computing

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