Art may disclose the cops

Art Press Release from Australia. Published by Rebecca Gabrielle Cannon on Thursday 17 February 2011.

…or, as art critic and curator Joshua Decter put it recently, art is a generator for discursive frames. Let’s take this as a starting point. When I speak about culture, I have to acknowledge that this is media culture. Media and technology skills are the handcraft of the twenty-first century.

Therefore, technology may not only be used to serve production cycles, but the consumption of technology can be instrumetalised for invigorating an engagement in the production of culture among a broad ci.
Similarly to other artistic and creative process, the experimental field of digital art and media art bears the freedom to descry an alternative usage of technical objects (computers, screens, monitors, lights, LED, LCD, cables, speakers, sensors, microcontrollers such as Arduino or LillyPad etc) and non-objects (data processing software such as Max/MSP, Programming, or Pure Data, I-CubeX sensors, actuators and interfaces, as well as non-computer based electric circuits). The public exposure to these oftentimes interactive projects may have a disclosing power of the technology applied and I am interested in finding out more about their revelatory function vis-á-vis the cops – cybernetics of the public sphere.
I have recently addressed this issue on the basis of two public art projects in an article published in the anniversary issue of Montreal based .dpi journal. As an interdisciplinary forum, the journal aims at engaging female technologists, media artists and writers, and the cyberfeminist community at large in creative and critical activity and exchange. The 20th anniversary issue was launched March 8, 2011 including contributions by Nicolas Frespech, Anne Goldenberg, Christina Haralanova and Midi Onodera.
Several related public art projects are introduced by the Urban Screens Reader that are worth a closer examination. This publication is a concise introduction for those particularly interested in art involving urban screens and the structural changes in urban environments generated by the consummation of a cybernetic ecology of urban living environments. It assemblies academic and artistic perspectives by including prominent theorists’, educators’, curators’ and artists’ perspectives on the coalescence of physical and virtual living space, in which digital media plays a pivotal role and which is rendered visible in public spaces. A read worth the while of urban planners and artists alike.