Goodbye, World!: Looking at Art in the Digital Age Omar Kholeif


Goodbye, World!: Looking at Art in the Digital Age

Omar Kholeif

깊이있는 책은 아니고, 다양한 현재 정보가 담겨있어서 useful.

<Goodbye, World! Navigating the Debris of Our Digital World>


‘everything is a form of representation.’

We still assume that physical, rather than virtual, experience is more authentic. I shall later argue how this is a historically misaligned form of judgment. (궁금하군.) 91

The media historian Norman M.Klein … conceptualized the future as a cellular maze of cross-embedded media whereby consciousness is not a lived experience, but one that is articulated through the imagined renderings of a small set of ‘architects’ who craft and shape our world on software using narrowly prescribed computer languages, which are then mapped out onto the world. (93)

James Bridle’s ‘New Aesthetic’ (94); he illustrates how the appearance of digitized visual tropes are manifesting themselves in the physical world.

Hans Ulich Obrist, Simon Castet “89 Plus“, a project that sought to examine how artists born in 1989 think and work today in ways not previously dome. (94)

Yet regardless of the new methodologies that technology can enable us to explore, one questiong of our now ubiquitously digital world, is whether technological symbiosis can lead to a sense of contentment. (94)


<Looking at Art after the Internet>

contemporary art is anything but a White man’s club. (97)

전세계의 무수히 다양한 biennale들: they are temporary autonomous environments, where people come to discover the new art of tomorrow.

the obsession with “new”. … These institutions and organizations can be especially territorial about which artists are shown. (98)

perpetual art world’s ADHD

Gruen transfer 이거 흥미롭다: Whitney museum 예로 들어서

New Whitney’s layout is a nod to the Gruen transfer, a phenomenon devised by the Austrian architect Victor Gruen, who is credited with conceiving the modern shopping mall. Gruen theorised that malls should temporarily and spatially dislocate the viewer from a sense of outside reality so that, upon entering, they could only seek solace in the pursuit of capitalism, of purchasing goods, of shopping. The same can be said of other museums that have undergone Whitney-like upgrades, such as Tate Modern, and etc.

the trend has become to create immersive experiences through interactive viewership.

Chrissie Iles’ “DREAMLANDS: Immersive Cinema and Art” 2016년 whitney 전시


… the work challenges the paradigms of their original meaning and intent, thus shifting the agency and authorship to the artist. (105)

Copyright becoems a conceptual concern, a question of whether oneo artwork should be allowed to engender another.

Image Appropriation을 대하는 3가지의 작가들의 입장

1. Image Anarchist: who belives that any image found online should be able to circulate and be used without having to attribute any credit to the original producer.

2. Image Fundamentalist: who demands that no image appropriation be done without a formal agreement-often involving credit lines and remuneration, sighed by the original producer

3. Image Neoliberal: who believes that images should be freely used however one sees fit so long as the original producer is properly attributed.  (107)

Museum become able to segment and target their audiences, feeding them a culture tailor-made to their desires. (108)

…Museum functions like a state, limiting and enabling access to specific websites, pointing you toward merchandising opportunities, and even storing your information on its servers for a finite amount of time. (109)

A better approach might be what I call “altorithmic curating,” a means of discerning ones’ tastes by curating algorithmic functions.. like Amazon’s ‘You May Like’ function. (109)

..It is arguable that algorithms could be used to substitute a formal art history education provided by accredited art university.. interesting. maybe, partially?...

Post-internet Art라는 term자체는 Marisa Olson에 의해서 만들어짐: 유사어로는 “born digital” “Digital Native” 등이 있음.
series of artists have taken a specific approach to what constitutes art as post-internet, creating works that critically examine how various powers manipulate the internet to suggest how the internet can be reclaimed by artists. (113)

DiaModa seek to compound the real world into the virtual world. So what we have here is a condition that is ever evolving, constantly shifting, a world of ‘cross-embedded media.‘… how physical reality is blurred into the seemingly intangible digital realm. (114-5) … the museum seeks to collect, preserve, interpret and exhibit the work of living digital artists and contemporary digital art. As it refers to itself, claims to have the finest holidng of 21st centry Digital-art in the world. But beyond serving as a museum, DiMoDA also serves as a hub for digital culture and an ‘incubator for new ideas.’ (116)

S[edition], a platform launched in 2011 by Harry Blain of Blain|Southern gallery and Robert L.Norton of Saatchi Gallery. (117) sedition 117 page

Our obsession now is to be in constant social engagement as propagated by various social-media platforms. … I believe this may cause inevitable fatigue for media, and in turn a fatigue for art. … We are in an age fo ADHD, living in a constant state of seeking out new forms of stimulation, exacerbated by these new modes of existence. (118-119)

Cultural hyperactivity. — like the ring of it.

,..this blurring of boundaries creates a series of divergent spaces for art-ones that are stimulating and others that are increasingly polemical, even invasive, and would require further inquiry and attention. (119)

Zach Blas is interested in the methods by which gender identity is performed and articulated….. which critiqued how gender stereotypes relate to everyday technologies. ‘Face Weaponization‘ series. (131)

The digital realm has the capacity to enable new forms of expression that were previously nonexistent and, as we use these forms to evolve our culture, the capacity to thrive. (132)

The eschewing of “classical narrative determinism” again to quote Cheung, raises a fundamental question about how we will navigate the world in our future. Will our minds crave stories founded on evolving algorithms? (140)

…technology shapes the culture. I’ve seen particularly how the internet has turned from being an open community into a place of total surveillance and growing paranoia and division. This is mirrored in the physical world. (143)

Wafaa Bilal has also used his body as a site of perpetual surveillance to controversial ends. .. In Tisch School of Arts, underwent a surgical procedure to have a camera implemented into the back of his head. … Bilal’s stated purpose was to blur the boundaries between the public and private imagination, and to consider the role and state of the cyborg in the twenty-first century. … Eventually, he had the implant removed after his body rejected it, causing him in tense pain. … The age of cyborg.. 에 대해서 생각해 볼 수 있음. physical existence 와 mental existence 사이를 탐구. (151)

late-capitalist platform’s tailor-made services based on “likes” and “star rankings.” … in fact this is another type of homogenization that underlines these experiences. (157)

Protest-docomentation-circulation과의 관계 분석한다. Is the revolution that has been most documented online? : We must ask what is happening with these image networks and this mediation of narrative. Might the circulation and redistribution of these images create counter-truths? (169)


 ..we no longer just examine an image, we metabolize it: taking it in, processing it, and then repurposing it for new public consumption. … a new formal image is produced, on that is removed from the original context and aesthetic created by its primary author. …..With an ever-changing database of manipulated imagery, we must reconsider the agency and “aura” of art in the digital age, where the internet itself has become a gallery, and where traditional notions of art- its spatiality, its tactileness, its dimensionality, its authenticity-are no longer the dominating attributes in how we look at visual work.  (173)

Virtual and augmented reality is a clear route to thinking through our post-contemporary condition. (176)



<List of artists/ people mentioned in this book worth to note>

Artists Copyright Society
Marisa Olson
Constant Dullaart
James Bridle
Jeremy Bailey
Digital Museum of Digital Art (
Norman M. Klein
Ian Cheng: self-playing video games, simulations.
Zach Blas
Aleksandre Domanovic
Daniel Steegmann Mangrane (VR)
Wafaa Bilal (cam on the backhead)
Masasit Mati YouTube Channel: Top Goon
Ahmed Basiony, Thirty days of running in the place (2010)
Artsy’s Art Genome Project (
SF MoMA – Send Me project




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