Manuel Castells, “Communication, Power and Counter-Power in the Network Society”, International Journal of Communication 1 (2007), pp.238-266

Manual Castells is a sociologist especially associated with information society and communications research. This article from the International Journal of Communication looks at public, private and commercial communication channels and communication systems globally. It attempts to map the effects, both personally, politically, and economically and discusses the shifts and convergence happening within the communication networks.

Consequently, the battle to control, own or manipulate this space is very competitive as the “new space” has the ability to not only reach mass audiences but to also shape public opinion.
This new shift in power channels is interesting as it can have the effect of decentralising control.
“as the new media systems have a global governance but governments remain national” (Flynn p. 258)
Politicians’ manipulation of the media, for scandal politics, goes to the extent where they will disrupt information systems with fabrications if they are out of scandal to throw at an opposition. It seems the information systems are akin to a brand with its associated perceived values such as trust being a factor.

As and artist I don’t expect to locate 300,000 books in the arts library, but through the web, choice is the norm. Therefore, filtering is necessary for information to be useful. Allowing the user to observe things globally – albeit virtually.
The term “electronic autism” (Flynn p. 247) is valid still, even though the convergence of information is changing delivery and access. It still doesn’t replace actual experience yet.
Foucault’s describes power as “Expressed rather than possessed” (Flynn p. 281) and this reflects the subtleties involved in the micro-physics of power structures, and relations. All this accessibility is two way, it also measures trackability, where we go, what and where we spend and phone is all collected, to be used by interested parties to improve marketing, attempting to shift our mindsets and behaviours. Being aware of the opportunities available,as both an artist and consumer within this new space and media is empowering.
Bibliography

Castells, Manuel. "Communication, Power and Counter Power in the Network Society", International Journal of Communication 1 (2007). pp.238-266.
Flynn, Thomas R. "Foucault and the Eclipse of Vision." Modernity and the Hegemony of Vision. Ed. David M. Levin. Los Angeles, USA: University of California Press, 1993. 273-286.

Catherine David and Irit Rogoff. “In Conversation”, in Claire Doherty ed., From Studio to Situation, London: Black Dog Publishing, 2004, pp.82-89.

This article looks at the subject of place in contemporary art through the eyes of Catherine David, one of the curators for 50th Venice Biennale in 2003, specifically “Contemporary Arab Representations”, and Irit Rogoff a curator, theorist and Professor of Visual Studies at Goldsmiths College London.

The two curators agree that the subject of geo cultural perspectives cannot be mirrored by one voice, but should instead be mapped heterogeneously to give a ‘sample’ view on the politics of space, identity and belonging along with the rights that go with them. They suggest that such issues may not be critically reflected effectively by aesthetic visual practices. The structures that these perspectives function within , whether state or cultural, can sometimes limit or shut down a clear view to understanding ‘place’ whether that view comes from the inside looking out or vice versa.

I think curators can also be a filtering structure that can both hinder or escort an artwork. In response to the curators comment that aesthetic visual practices may not reflect accurately critical issues, I don’t think art has to fulfil the mammoth task of answering or reflecting ideological, political and culturally driven issues. Asking or finding the right questions may be more useful. Which is a view supported by Judy Millar in her statement
“Painting is a way of finding things out; for me it’s not a way of showing anything and that is why a painting is never complete.” (Were 92)

There will be pluralistic views as to what it means to be an artist in relation to a local and regional specifity. However some things will be a constant for artists in Aotearoa, such as the logistical and financial issues of participating physically in off shore events. Transporting work from New Zealand to the Venice Biennale and finding the funding to do so cannot be done without government assistance or private sponsorship. The State being one of the structures the curators claim may shut down or obstruct a clear view on place.
“New Zealand’s participation in Venice’s 53rd Biennale, curated by Daniel Birnbaum, requires a huge injection of capital by Creative New Zealand, which is kicking in $650,000, and a further $400,000 is expected to come from private patronage and sponsorship.” (Were 91)

Bibliography

David, Catherine & Rogoff, Irit. "In Conversation" Studio to Situation, 2009, London: Black Dog Publishing, pp. 82-89.
Were, Virginia. "Bringing painting to the church." Art News New Zealand Autumn 2009: 90-94.