Lucy Jolin interviewed Re- Network founder Clare Foster about the popularity of social forms of re-enactment for the latest issue of CAM magazine. CRASSH reports on it here. “Emily Zhang is loitering with intent in Grantchester Meadows. She is on a mission: to overthrow a mysterious artificial intelligence that has been terrifying her people. Eventually, […]
What gives rise to a canon, or makes something iconic? How are those processes similar, and different?
Factum Arte’s prodigious industry since the mid-nineties means we will have to rethink what we mean by original, copy, and authenticity. Technologies developed under its aegis mean it is now possible to capture and record data about an artwork to an accuracy of 100 microns (100 million measured spatial points per square meter) – and for the first time, this year, these works can now be rematerialized to an accuracy of 20 microns. This is, as Simon Schaffer says, marks a ‘complete revolution in the last two decades’
This analysis of ‘socialist bromance’ humour can’t take us far enough to argue that it contributes to the liberalisation of public discourse in China. But we can say that socialist terminology no longer belongs exclusively in its original official field. For what we see here is that the very iteration of ideology imposed by political authorities through language is starting to cause its own demise, bringing inevitable changes to its politically persuasive power.
Asked by an academic friend to name one book I would save if the world were to collapse in an apocalyptic climate change scenario, I thought: ‘it’s too hard’, but then started going though my mental library. ‘You wouldn’t want to save an academic book, would you,’ said my friend, ‘surely a novel, an artist’s book…’. But in those few seconds I had already settled in my head for Salvatore Settis’ The Future of the ‘Classical’ (Polity, 2006, translated by Allan Cameron). Why?