The point I was making in my question followed on from Fred’s posting that included:
It seems to be entirely acceptable and unquestioned on this list to post that some or all forms of video projection look like crap ... As a format for presenting film, it is, of course, imperfect, as I myself argued almost three decades ago, though that was in the days of VHS, a lot worse than more recent formats.
Assumptions about ‘quality’ need to be challenged. Issues around ‘quality’ are based upon value systems which in themselves operate ideologically. Can the politics be seperated from the aesthetics? This seems entirely relevent as we watch evictions of the Occupations - and that doesn’t mean I’m advocating literalism - just putting my original question into context.
Rob
On 20/11/2011 16:47, "Bernard Roddy" <roddybp_at_yahoo.com> wrote:
Oh and . . this encounter with a provocative work tends to draw ALL attention to it AS provocation, to the detriment of the work. That's the real price of a restrictive environment. It' s not just a price paid in terms of the interest new work generates. It's certainly not just a question of having some kind of political "impact." The greatest price is that of interpretation. You get really dumb fixations on work if there isn't a serious investigation of what gets passed off as "provocation."
Bernie
________________________________
From: Bernard Roddy <roddybp_at_yahoo.com>
To: "frameworks_at_jonasmekasfilms.com" <frameworks_at_jonasmekasfilms.com>
Sent: Sunday, November 20, 2011 8:06 AM
Subject: [Frameworks] Value systems
Value as a reference today strikes me as dated. It draws on a period when art as commodity was an interesting question.
Restrictions on freedom of expression are back. It's time to examine the renewal of conservativism in media art.
To propose a term for critical study: professional responsibility. Not the debate between modernist and post-modernist experimental film. Not the relevance of "avant-garde."
Performance art's history is really to the point. We see a transformation of performance art's provocations into not only gallery-safe work but a kind of artistic administrator's ideal.
Apologies for the obscurity.
Bernie
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Received on Mon Nov 21 2011 - 09:28:50 CST
