Keynote at Ph.D. Summer Camp, Artistic Production and Curating in The Age of Technogenesis, at CATCH in Elsinore and in the framework of Media Art Histories Re:Sound 2019.
At least since the beginning of modern art, a concern with perceptual experience and representation of reality has occupied the arts. Questions have especially challenged representation of the ‘real’ and perceptual, cultural, and socio-political impacts of speeding temporalities introduced with industrial and technical evolution. In lieu of the affective turn and increasing attention to sentience as a dimension of hybrid, technological objects and environments today, questions of ‘what’ we experience are accompanied by concerns with how we experience – and how sense-experience connects to our cognitive faculties. In this perspective, and especially with regards to media art, my talk suggests a shift in perspective from art’s objecthood (as a thing, concept, or situation) towards art’s sensorial, emotional, cognitive, and technogenetic effects and ecologies as a guiding principle for what to ‘care’ for in curatorial inquiry. This perspective positions artistic and curatorial attention in a larger condition of ‘expanded reality’ and within the urgency of what neuroscientists and theorists have named a ‘cognitive crisis’ today – tied with biological, cultural, and environmental implications of media aesthetics.