Abstract

Keywords: virtual images, frame, aura, screen-without-sound, digital creative work, digital performance, Telematic Dreaming

Borders between the real and digital worlds are blurred by a changed aura through a mediator: digital creative work. By introducing the history of the frame in art, this paper highlights a new perspective to unweave the relationship between the virtual image of an actor and its aura. Furthermore, the author expands the role of viewers who can gain independence and liberty while they participate in digital artwork. Based upon the reconfigured notion of aura in the digital environment from Walter Benjamin’s seminal essay, “Work of Art in the Age of Mechanical Reproduction,” this paper argues that digital creative works can use a ‘screen-without-sound’ as a stage in the real world with participating audiences. The digital creative work example of this paper focuses on a network-based screen interactive performance, Telematic Dreaming (1992) by Paul Sermon.

• Minso Kim is an international artist, educator and researcher whose practice explores the relationship between analogue and digital worlds through human interaction. Together, her creative and academic works not only consider the sensorial experiences of art, but they meditate on human life infused with diverse categories, from the environment, to computational systems, to popular culture. Kim’s artwork and writing have been shown and published in various countries: Minnesota State University, Universidad de Caldas, Short Film Festival Budapest, (Buk-)Seoul Museum of Art, and more. She graduated from the School of the Art Institute of Chicago, USA, with a Master’s Degree in Art and Technology Studies in 2013. Minso has taught contemporary art practices and theory at colleges from 2011 to 2017. Currently, the author conducts her research at University of Colorado at Boulder, USA, as a Ph.D in the Department of Critical Media Practices.

Full text (PDF) p. 160-164