Male

Destillat:

Durch die Digitalisierung musealer Artefakte entstehen neue Herausforderungen und Fragestellungen zu Besitz, Eigentum und Kontrolle. Warum halten Museen im Kontext der Diskussion um digitale Technologien ihre Sammlungen inkl. der digitalen Daten zurück, fragt die Britische Anthropologin Haidy Geismar. Die Diskussion um die Verbreitung der Daten des unautorisierten 3D-Scans der Nofretete verweist insbesondere auf den restriktiven Umgang von Museen mit den Daten der digitalen Kopien der Objekte historischer Sammlungen. Die Verbreitung digitaler Objekte verursache derzeit noch Ängste sowohl auf Seiten der Museen als auch der Communities, was im Widerspruch zum utopischen Diskursen der Offenheit in Zeiten des Web 2.0. stehe.

In der westlichen Hemisphäre gelten digitale Abbilder von Objekten in der Regel lediglich als “tote” Kopien. Im Kontext der Maori beispielsweise verhält es sich anders: Artefakte können Kulturschätze unabhängig ihrer materiellen Form sein. Ein digitales Hologramm eines Stammeshauses hat den gleichen Stellenwert, wie einzelnen geschnitzten Holzstücke aus denen es gebaut wurde, welche weltweit in Museen verstreut wurden. Somit ist laut Geismar die digitale Rekonstruktion dieser Kulturgüter möglicherweise wichtiger, als die verstreuten Teile wieder physisch zusammenzutragen.

Im Gegensatz dazu können beispielsweise Malagan-Schnitzereien, welche nach Gebrauch zerstört werden müssen, digital reproduziert werden, da sie nicht als “echt” anerkannt werden und dadurch nicht der Praxis der Malaganzeremonien widersprechen.

Das Content-Management-System Mukurtu sowie Local Context sollen Communities ermöglichen eigene Bedingungen für die Verbreitung und Nutzung digitaler Artefakte zu formulieren, um politische und ökonomische Autorität der Communities trotz kolonialer Aneignungen durch Archive wiederherzustellen.

 

Posted by GS, 20. Jan 2019
Property Digitalisation Germany Kulturelles Erbe Male

“Punctum”

“Das zweite Element, welches das Studium aus dem Gleichgewicht bringt, möchte ich daher punctum nennen; denn punctum, das meint auch: Stich, kleines Loch, kleiner Fleck, kleiner Schnitt – und: Wurf der Würfel. Das punctum einer Photographie, das ist jenes Zufällige an ihr, das mich besticht (mich aber auch verwundert, trifft).”

 

Roland Barthes, Die helle Kammer, Bemerkung zur Fotografie, Übers.:Dietrich Leube, 1989

Posted by zsp, 19. Jan 2019
Übersetzung France Male Roland Barthes

Zitat: Falsche Fälschung

Eine affirmative Rezeption von hyperrealen Modellen findet sich gegenwärtig in der strategischen Zukunftsgläubigkeit: Diese verbindet sich oft mit der Computertechnologie und der Gentechnik, in denen die Bedeutung von falsch oder Fälschung oft auf einen an sich schon zweifelhaften Original- pder Naturbegriff rekurriert. Diese Rhetoriken bewegen sich außerhalb der Begrifflichkeit von Kunstfälschungen, die traditionell immer ein Original voraussetzen.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag KölnS. 12

Posted by AS, 20. Jan 2019
Original Autor_in Digitalisation Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Colonial notion of possession

With the data leak as a part of this counter narrative we want to activate the artefact, to inspire a critical re-assessent of today’s conditions and to overcome the colonial notion of possession in Germany.

(Al-Badri/Nelles 2015)

Quelle: Omnia sunt Communia: Das kulturelle Erbe hacken
Original und Kopie im ethnographischen Museum von Sophie Lembcke

In: Archive dekolonialisieren: Mediale und epistemische Transformationen in Kunst, Design und Film (Edition Kulturwissenschaft) von Eva Knopf (Herausgeber), Sophie Lembcke (Herausgeber), [transcript] Edition Kulturwissenschaft, 2018, S. 60

Posted by AS, 20. Jan 2019
Original Female Germany Jan Nikolai Nelles Kolonialismus Kulturkritik Kunstgeschichte Künstler_in Künstlerische Forschung Male Museologie Nora Al-Badri Sophie Lembcke

Zitat: The traditional role of museums

The traditional role of museums is to collect objects and materials of cultural, religious and historical importance, preserve them, research into them and present them to the public for the purpose of education and enjoyment.

The early museums were elitist, uninspiring and aloof as they encouraged only the educated people to visit them. The general public were excluded. This focus has today become too narrow and unacceptable in a changing world where there is sustained clamour for more openness, pragmatism and collective involvement in dealing with issues that impact on people, communities and nations.

Emmanuel N. Arinze, The Role of the Museum in Society (1999)

Posted by wc, 20. Jan 2019
Funktionen Africa Emmanuel N. Arinze Institution Male Museologie Museum Education Nigeria

Zitat: The Image

This space and time peculiar to the image is none other than the world of magic, a world in which everything is repeated and in which everything participates in a significant context. Such a world is structurally different from that of the linear world of history in which nothing is repeated and in which everything has causes and will have consequences. For example: In the historical world, sunrise is the cause of the cock’s crowing; in the magical one, sunrise signifies crowing and crowing signifies sunrise. The significance of images is magical. “

Villém Flusser, Towards a Philosophy of Photography, The Image, 1983

Posted by zsp, 19. Jan 2019
Magie Bild Bildwissenschaft Male Tschechien Vilém Flusser

Zitat: CopyFarLeft

“FREE CULTURE REQUIRES A FREE SOCIETY: COPYFARLEFT
Despite copyleft’s beneficial role in forming a valuable common stock of software, it remains problematic when the model is retrofitted back to the domains of art and culture from which dissent against intellectual property sprung. Cultural works, unlike software, are a consumer good, not a tool for use in production, or a producer’s good. […] Failure to understand the difference between capital demand and consumer demand propagates the myth that the success of free software can be a template for free culture. Under capitalism, only capital can be free. That’s why software can be free, but culture cannot be free without more fundamental shifts in society.
Art is not, in most cases, a common input to production as software is. Thus, the demand for itis consumer demand, not capital demand. […] Capitalist publishing firms and entertainment industry giants will support the creation of copyleft software in order to employ it in production. However, in most cases, they will not support the creation of copyleft art. Why would they, as art is a consumer good, and the industry is not in the business of giving away consumer goods for free. They are in the business, however, of earning profits by controlling the distribution of consumer goods. […]
In order for copyleft to mutate into a revolutionary instrument in the domain of cultural production, it must become ‘copy-far-left’. It must insist on workers’ ownership of the means of production. The works themselves must be a part of the common stock, and available for productive use by other commons-based producers. So long as authors reserve the right to make money with their works, and prevent other commons-based producers from doing so, their work cannot be considered to be in the commons at all and remains a private work. A copyfarleft license must not restrict commercial usage, but rather usage that is not based in the commons.”

Dmytri Kleiner: The Telekommunist Manifesto (2010), S. 40 ff.

Posted by GS, 19. Jan 2019
Property Dmytri Kleiner Künstler_in Male

Zitat: Reception

“As the function of the text is subordinate to the image, the text directs our understanding of the image towards the program of the newspaper. It thereby does not explain the image, it confirms it. Besides, we are by now sick and tired of explanations and prefer to stick to the photograph that releases us from the necessity for conceptual, explanatory thought and absolves us from the bother of going into the causes and consequences of the war in Lebanon: In the image we see with our own eyes what the war looks like. The text simply consists of instructions as to how we are to see. “

Villém Flusser, Towards a Philosophy of Photography, Reception of Photographs, 1983

Posted by zsp, 19. Jan 2019
Narrativ(e) Bild Bildwissenschaft Digitalisation Germany Male Tschechien Vilém Flusser Visual Culture

Zitat: “Fake”

Mit Fake wird ein Begriff entworfen, der entgegen seiner konventionellen Verwendung im Englischen die Strategie umreißt, auf den eigenen Doppelstatus aufmerksam zu machen, gleichzeitig der Kategorie des „originalen Kunstwerks“ und auch der der „Fälschung“ zu entsprechen.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag KölnS. 17

Posted by AS, 19. Jan 2019
Fehler Autor_in Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Kriterien des Originals

Solange eine Fälschung als ein Original anerkannt wird, hat es der Fälscher geschafft, genau den Kriterien der sogenannten Experten zu entsprechen. In diesem Fall handelt es sich aber nicht um eine Fälschung, sondern noch um ein Original.

Quelle: Künstlerische Strategien des Fake – Kritik von Original und Fäschung, Stefan Römer; 2001, DuMont Buchverlag KölnS. 13

Posted by AS, 19. Jan 2019
Original Autor_in Digitalisation Germany Kunstgeschichte Künstler_in Male Stefan Römer

Zitat: Digital Taonga

“For people in Hauiti, the taonga-ness of an object, digital or otherwise, is determined by the quality of its relationships, so that something that to one person might appear as ‘just an artefact’ could be a taonga [cultural treasure] to someone who knows and/or is part of its history and kinship networks… Any artefact is a potential taonga, in the sense that it can be woven into the fabric of Hauiti whakapapa knowledge, and any artefact creatively generated out of these relationships can be a taonga, no matter what its form. This includes digital objects: a hologram of the ancestral house Te Kani a Takirau is as much a taonga to people who know and/or are related to this ancestor and his or her history as the carved wooden panels from which it was made, that are now scattered among museums in New Zealand, the US and Europe. Reassembling these taonga digitally is therefore just as important – if not more so – as bringing them physically together.”

Wayne Ngata, Hera Ngata-Gibson, Amiria Salmond: ‘Te Ataakura: Digital Taonga and Cultural Innovation.’ Journal of Material Culture 17 (3): p. 242, doi:10.1177/1359183512453807.

Posted by GS, 19. Jan 2019
Property Amiria Salmond Female Hera Ngata-Gibson Male New Zealand Wayne Ngata Zealandia

Zitat: How to Write about Africa

Always use the word ‘Africa’ or ‘Darkness’ or ‘Safari’ in your title. Subtitles may include the words ‘Zanzibar’, ‘Masai’, ‘Zulu’, ‘Zambezi’, ‘Congo’, ‘Nile’, ‘Big’, ‘Sky’, ‘Shadow’, ‘Drum’, ‘Sun’ or ‘Bygone’. Also useful are words such as ‘Guerrillas’, ‘Timeless’, ‘Primordial’ and ‘Tribal’. Note that ‘People’ means Africans who are not black, while ‘The People’ means black Africans.

Never have a picture of a well-adjusted African on the cover of your book, or in it, unless that African has won the Nobel Prize. An AK-47, prominent ribs, naked breasts: use these. If you must include an African, make sure you get one in Masai or Zulu or Dogon dress.

In your text, treat Africa as if it were one country. It is hot and dusty with rolling grasslands and huge herds of animals and tall, thin people who are starving. Or it is hot and steamy with very short people who eat primates. Don’t get bogged down with precise descriptions. Africa is big: fifty-four countries, 900 million people who are too busy starving and dying and warring and emigrating to read your book. The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn’t care about all that, so keep your descriptions romantic and evocative and unparticular. (…)

Quelle: https://granta.com/how-to-write-about-africa/ Zugriff: 20.01.2019

 

Posted by YZ, 19. Jan 2019
Fehler Africa African Literature Binyavanga Wainaina Male