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31 speculative scenarios

Curatingyoutube attempts to deal with excess and orchestrate it into rhythms and patterns so that a certain media ecological sensitivity can be established. Such orchestration is all the more interesting as it relies on computational devices (the mechanics of the grid) that respond to the computational systems productive of heavy luxuriant excess

20 http://oliverlaric.com/5050.htm.

(YouTube itself and all the networks that feed into it) and is attuned to the specificity of a particular platform, matter and medium. The work of individual artists may have affinities to such a project, varying perhaps in the types of attention to the material entertained and the degree of completeness/openness left to the viewer. Oliver Laric’s 50 50 (2007)20 is one such example: what differentiates it from Curatingyoutube is its relative formal coherence and completeness. An interplay between setting different types of multi-vocal and univocal interrelations is what differentiates these two projects. If we consider curating to be the aggregation of data for different purposes, platforms like Scoop can be seen as radically extending curating, possibly beyond its feasible extensibility. The computational meta-curating capacities of Scoop here not only match the curatorial allowances of tags, folksonomies and likes, but also extend back to the curatorial language of a hyperlink. However, the computational curato­rialist devices become human-technical curators when work is put into affective care, imaginative thinking and engagement with the interplay between heaviness and lightness, at all the points of conjunction listed here. The Russian film director and actress Renata Litvinova once said in an interview that nothing has a meaning of its own and it is only what you assign and creatively produce as a meaning, in entanglement with various forces, that becomes one, with all its force and inevitability. Her acute sensitivity to the condition of today can be extended to curating and the future of art and memory institutions too: when there are no clear boundaries, routines and institutional practices to produce forms of art, subjects and knowledge such as the ones we are used to knowing, it is what we, as part of computational matter, strive for, produce and sense out, that becomes.

Speculative Scenarios — Edited by Annet Dekker  

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...