What Makes a Great [Mobile | Digital] Art Exhibition?
||Mac an Airchinnigh, Mícheál; Strong, Glenn; Giltrap, Catherine; Brennan, Shane; Brady, Mike
||What Makes a Great [Mobile | Digital] Art Exhibition?
||ELPUB2011. Digital Publishing and Mobile Technologies, 15th International Conference on Electronic Publishing 22-24 June 2011, Istanbul, Turkey/ Edited by: Yasar Tonta, Umut Al, Phyllis Lepon Erdo_an and Ana Alice Baptista. ISBN 978-975-491-320-0, pp. 52-61
||Passive reception and consumption of art is a given, in our times. Artists produce. Spectators consume. At the nexus stands the curator who chooses the product and the exhibitor who provides the space for consumers. This natural hierarchy also tends to colonize the digital space. But, in the digital world, much of the functioning of the hierarchy has become democratised. The meeting place of exhibited art moved from the physical to the virtual online. Not everyone can visit, say, Istanbul Modern museum. It ought to be possible in principle for everyone to be able to visit “Istanbul Modern Digital” museum. The next stage of digital democracy, already upon us since early 2010, is the mobile art lover, mobile in the sense of being free from being tied down in one place and being able to choose what to see, where to be, and when to do it: early morning, late at night; in the plane, on the train, in bed, in class. Learning is for everyone. It is what makes us human, to continue to learn. Learning takes place best when one is active. In the context of the Mobile Digital Art Exhibition, we have explored ways in which to enhance the experience of the curator as “everyman” and everyman has potentially the opportunity to construct a mobile digital art exhibition, even one such as the “Museum of Innocence” in the manner as described by Orhan Pamuk. Our hero in this story is the self-curator.
||Flickr Gallery; GoGo; Google Goggles; mobile devices; QR code tags; self-curator
||file.pdf (840,410 bytes)
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