Panel Statement
Panel: Compumorphic Art: The Computer as Muse
Data Trash looks critically at the evolution of the online interface and its appropriation back into object based artifacts, clarifying the pivotal place of the network in our cultural realm. Archiving and the documentary have come to the fore in many arenas of arts practice, and the web has changed print design forever. Networked art however has often relied on non-standard software and hardware, glitches, and happy accidents, but archives usually only retain works which are easy to conserve, because they use common and stable formats. With the certainty of corruption, mutation and decay, online art assumes the mantle of data trash. In response a mutant field of migratory practice emerged from net.art culture. Artists started producing static artefacts from the ephemeral online world in medias such as embroidery, paintings, drawings, engraving, sculptures, machinima, etchings and vinyl records. Oddly these migrations to other media have a ready-made future while the ephemeral coded works they are derived from do not.
- Melinda Rackham has engaged with sculptural, distributed, emergent and responsive media artforms as an artist, curator and cultural producer for twenty-five years, exhibiting, publishing and speaking internationally. In 2002 Melinda established -empyre-, one of the worlds leading online critical media art theory forums, and was the first Curator of Networked Media at the Australian Centre for Moving Image. As Director of Australian Network for Art and Technology from 2005 till 2009 she elevated public engagement and critique of practices in art, science and new technologies. Currently a Curatorial Partner at the Royal Institution of Australia (RiAus) and Adjunct Professor at RMIT University, Dr Rackham’s focus is on curating and writing on the emerging art and cultures manifest across networked, responsive and material practices and their impact on our everyday lives.
Full text (PDF) p. 1978-1980