As technology becomes a more permanent fixture in the lives of younger generations, it is interesting and very intriguing to see that technology has the power to make old things seem new again.
A French artist, Leo Caillard, has made paintings featured in the Louvre, some of which are centuries old, new again by introducing the interface Apple uses on its products. People who view Caillard's exhibit are able to flick through the paintings as if they were flicking though images on a cell phone or iPod.
This article is featured in Wired magazine. You can access the entire article here.
I find this particularly interesting because Wired has developed an application for the iPad that brings its print version of the magazine to life. Instead of just writing about topics, Wired adds vitality to its topics by integrating how-to videos, drop-down menus, links to musical acts and other interactive forums.
To find more information about and to access the iPad application, click here.
With Caillard's exhibit making traditionally "high-class" material available to a user interface that the middle-class is more receptive to, the importance of remix culture is highlighted in today's society. Something old is transformed into something new and in turn is available to a different group of people.
Although I had read Wired magazine previous to downloading the application, I am now a much more avid reader and seem to have a higher degree of engagement with the readings since I can now interact with them.
Remix Culture can be used in many different ways to unveil old ideas, images, music, etc. in a way that inspires and engrosses new audiences, either for entertaining or serious purposes.
It is interesting to think of these paintings as something you flick through on your iphone or ipad. They are almost transformed into something as accessible as the pictures you took yourself, which you can flick through in the same way.
ReplyDeleteA change in context can simplify something as intimidating as art and make it available to people who wouldn't have seen it before. And not only to people who dont acquire a taste for gallery art, but also people who may appreciate art and would not be able to see the Louvre.
I think both Jordan as well as Anna have got it right here: remixes offer a more accessible version of the art. A remix on youtube is incredibly more accessible than one on a CD; the latter would require money to purchase whereas the former could be listened to for free.
ReplyDeleteThe sorts of cultures surrounding remix culture as well could be analysed with this accessible lens in order to see how truly accessible it is: certain subcultures as well as countercultures offer a sort of reclusive or even intimidating wall of which we must climb.
The change in context of which Anna and Jordan both mention offers this accessibility to the wider community, but arguably could take away from Remix's authenticity versus the so-called 'low' culture.
Overall I think this is a great start in terms of starting to look at how remix culture can be described as an adapted but not inferior version of art.
Yes, that is pretty much exactly what I meant. I really like this idea of being able to make old things new again by introducing a new perspective and a new medium with which to peruse the paintings.
ReplyDeleteI think Anna's comparison of Caillard's exhibit to the action of flicking through pictures you yourself have taken brings up the issue of ownership. I think that because this interface was introduced, the people viewing the exhibit are able to think of themselves as closer to the art. The art is easier to relate to because the viewer is already familiar with the way it is presented (presuming they have access to other Apple products).
The familiarity and accessibility might make it easier for the viewer to interpret the art in a more personal way and perhaps, if taken to the extreme, use this new interpretation to present the art as entirely their own. The fresh perspectives that are revealed in remix and the adaptations that ensue can bring about many problems with regards to who actually created the work in the first place.