Performative Appropriation of Video Art on Youtube, Vimeo and Dailymotion (original) (raw)
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“Digital Media and the Informational Politics of Appropriation,”
2009
Questions surrounding cultural appropriation have become more prominent with new technologies and the extension of intellectual property rights. Corporate revenue streams and mass availability represent two poles in debates over propriety with respect to the use of expressive objects in creative and scholarly activities. Appropriation extends over various cultural fields, such as music, art, fashion, feminist political practice, and fan subcultures. Appropriations might reinforce or subvert their ‘originals,’ or simply do neither. In this short chapter, we describe the above circuits of appropriation in order to demonstrate how they challenge intellectual property and expectations of ownership and originality, ultimately reconstituting the limits of intellectual property and cultural regimes definitions of “theft,” “piracy,” and novel “interpretation,” and “rearrangement.”
International Journal of Art, Design and Art Theory IJADAT, 2021
The proliferation of social media platforms such as Instagram, Facebook, Twitter, Pinterest, Behance and many others have contributed to increased global interconnectivity through instant sharing of ideas and contents. The pictorialism of these platforms have impacted art and design disciplines by providing artists and designers global visibility, inspiration and reckoning. However, the digital promotion of art and design through virtual exhibitions using social media adversely alters the conventions of artistic display of tangible objects where space specificity and mounting are crucial variables needed to extend the context, concept and meaning of art. The objective of this paper is to examine how social media affects the value and authenticity of artworks. Using Conceptual Analysis as a methodology, the concept of virtual art display through digital platforms is subjected to in-depth examination. Findings demonstrate that besides the promotion of artists and their works, virtual exhibitions lead to the commodification and debasement of art/artworks. This is because social media platforms truncate the creative act and overarchingly emphasises aesthetics over the context and content of artworks. This research, therefore, contends that because virtual exhibitions deny artworks contextual display and audience experience central to completing the creative act, it is illogical to canonize and promote social media as a suitable replacement for traditional art galleries and museums in the dissemination of artistic forms and their codified contents.
It's Just the Internet! Appropriation in Postinternet Art
Artech 2017
This paper examines the use of appropriation in contemporary internet art-postinternet art-in terms of internet technology and web content. The paper suggests that postinternet art reflects our cultural reality through the ubiquity and fluidity of internet services. This results to novel artistic practices that draw on the cultural connections made online by appropriating found web content and internet technology. The paper presents a study of 190 artworks from the ArtBase Rhizome's digital archive between 2010-2015 to provide evidence on how and to what extent postinternet art appropriates the internet.
This research focused in an informal group called “YouTube beauty gurus”. They invest time and resources attracting attention to (and thus gaining publicity from) videos they produce mainly about how to perform makeup routines. I used the ethnographic material the research generated to analyse the production of social order in a virtual space where everyone has the same infrastructure to act. I drew from Munn’s (1986) theory of value to analyse a digital artefact called “Tag” used for bridging smaller networks of users through the spatiotemporal expansion of those who trade it. Gell’s (1998) theory of art provided the larger framing to examine video makeup tutorials, a sophisticated construct that entraps its audience by creating the impression of affinity of the guru with her viewers. The final chapter applied Munn’s phenomenological approach to map debates around performance, professionalization, friendship and beauty, which are central to this group’s. In all cases, the research ...
Art in the Age of the Internet, 1989 to Today edited by Eva Respini, 2018
The essay critiques the term Post-internet art as capacious reference to the ways that experiential, multisensory installations treat images as inherently variable and reproducible, and—in the most benign cases—as mutable works, equally at home in the space of the museum or on a webpage. In contrast, however, this essay argues that Barry, Birnbaum, Hershman Leeson, Scher’s and other post-internet art antecedents introduced in the 1990s suggest new affinities with what can be thought of as other perceptual systems and subjectivities. In doing so, their multimodal and multiplatform artworks offer a feminist methodology for contemporary art history that contests and re-inscribes existing modernist predecessors.
On Digital Otherness: Being 'of Art' in the Age of the Internet
The Official: International Journal of Contemporary Humanities, 2018
This paper will explore the notion of digital otherness by examining creative practice in a 21st century context of art that is neither belonging to or a part of classifiable genres of the academy. It will look to the notion of otherness through art in the proliferation of the internet of things and consider a position of how memes, creative apps, and fan art have replaced contemporary art as being 'of art' in a global context through the understanding of the space of social media and browser-based networks to derive at a conclusion which posits Hegel through Das Absolute as a means of coming to terms with digital otherness in the space of the academy for the purpose of aesthetic critique.
This pilot study explores perceptions of remix culture in art and design education. As appropriation practices continue to expand with Internet use, the disciplines that fall under the umbrella of visual arts education also widen. Artists and designers who experiment with new technologies and methods of appropriation are influencing changes in teaching and learning. These emerging practices inspire young people to reframe their compositions through the lens of reinterpretation and remix. In order to analyze changes in appropriation practices, survey and interview data was collected. Responses suggest a growing intersection between media consumption, production, and a desire from participants to learn more about fair use. This study also explores the dialogue around remix culture and considerations related to the critical analysis of Internet artwork.
The Politics of Watching: Visuality and the New Media Economy
What does it mean to consume and produce images non-stop in the new media economy? The ease with which we capture, upload, download and disseminate images in digital platforms raises the need to understand how these acts of image capture and circulation are embedded into the familiar and the everyday as well as the extraordinary where images can re-negotiate our cognitive realities and re-frame notions of authenticity and truth. This new media visuality is characterised by new consumption rituals and practices which transgress the boundaries between private pleasures, personal memories and voyeurism, on the one hand, and public communion, witnessing and expose on the other. This paper examines the notion of visuality in digital platforms and its consequences for postmodernity in terms of subjectivity, new forms of engagement and disenfranchisement.