Reading Response #3 – Jacqueline Carlos

1. Quaranta mentions the idea of ‘pure media hacking’, offering the motto: “No ethics. No message. No content.” In this distilled manifesto, Quaranta seems to propose that a radical awakening about representation in the media may have little to do with abiding by a code of ethics. What are your own thoughts on this matter? Would you forgo ethics in making an online artwork or design project you see as powerful and necessary?

The ideology of media abiding by a code of ethics is one Quaranta satirically pokes fun at. Media does not care for ethics nor does it have to. As mentioned early in the article, media manipulates truth but it itself is manipulated thus interfering with the flow of information. My thoughts on the matter seem almost irrelevant. I do not believe that I am an educated enough individual to be an activist for anything that would concern me to forgo ethics to make an online artwork. However, with this in mind, I think it is 100% necessary that it is done. The idea that brand identity has taken precedence over cultural identity is a scary concept which should be addressed. If anyone can address the capitalism of the post-internet world we live in and they need to forgo ethics for their statement I support it. As the forged originals movement embodied, you cannot forge a copy if there is no original so if there is only an intangible commercialized brand identity to fight with an equally intangible ethicless online work, so be it.

2. How can a website function as an installation? How does this concept of websites satisfy both Groy’s and Quaranta’s arguments for the “here and now” of an artwork?

A website functions as an installation in the way that it locates its work on a place in the internet. Groy’s argument for a here and now of an artwork calls for exhibition space to establish an aura. He calls for the space to “restore” an aura that a work could not have in the digital realm. Quaranta’s argument for here and now counters Groy’s exhibition space by quantifying a website as a space. He outlines the URL as a space on a server, an address in the world of the wide web. A website is an invisible original, an exhibition space in its own. It holds the aura of the visuals upon it. There is a relationship between location and content which Groy and Quaranta are both looking for in the reputable display of art. The aura is not lost when the piece is located, and if that location be in a gallery on a wall or on a corner of the internet, the piece has aura and the piece can live it’s purpose.

 

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