The theoretical framework guided by the literature review attempts to evaluate the different opinions of a curator in the direction of changing infrastructure presence. I introduce the theory of the artworld as a distributed system, argue why creative entrepreneurship is a promising model for curatorial and artistic practice, and propose that peer to peer thought is a global movement which can support decentralizing of institutional models. The literature review places my subjects of inquiry; audience engagement with electronic art, and participatory curatorial platforms, into this framework.
Since this research is both technologically and epistemologically a part of a networked system, a reflection of curatorial practice is vital to the sustainability of Electrofringe. Lizzie Mullers framework Reflective Curatorial Practice is an extension of Donald Schons Reflection-on-action and John Dewey's philosophy of pragmatism. It is a framework for curators and facilitators working in participatory projects and in the interactive art to include their process into a designerly way of thinking (Muller 2012; Murchu, 2016). With reflective curatorial practice and methods from human-centered design, Im attempting to distribute curatorial agency with a network of people.
2.2Networks & Social Innovation
Cultural institutions should be radical and participatory. They should lie in the heart of their communities, providing moments of great joy and wonder, they should provide pathways, lead social change and create and deliver on our individual and collective ambitions. We as a community and as individuals should demand a lot of our institutions. They must reflect our everyday lives and also allow us to step outside of ourselves, if just for a moment. (Havilah, 2016)
Researchers have repeatedly agreed that curators are bonded by a strong social network that inspires innovation. This view has not begun today but is as old as the Renaissance Era. CITE argues that during the Renaissance era, curators dependence on visual art encourages the fortification for the potential advocate for the avant-garde black art, he foregrounds the conflict for the genuine supporters for the art and wealthy patrons for corresponding knowledge and passion. This was actually the initial stages, which makes us appreciators of packaging art.
Referring to the research on the earliest innovation, one will note that the opinion of professional curation and justifiably its growth has focused on the diverse state that occurred concurrently with the changes in few details. However, we cannot relate much with the concurrent ages of the Classical era and Romanticism era which draws for innovation platform that encourages the crafting of technology, entertainment, and design. During the Renaissance era, the open innovation platforms focused on the greatest prominence. During those times, the open innovation platforms that helped in drawing much of the collective intelligence directly focusing on the product while generating the right opportunities for the collaboration CITE. The network cultures encouraged the artistic movement allowed for the integration of the different social systems. In fact, in due time, has become possible to recognize the credibility of related myths that related to the common idea of the duration.
The Baroque and Classical era curation enjoyed significant advancement of technologies. In fact, during the Baroque periods, the greatest sculptors of any era, it was clear that innovation in the curator played an important role in generating the significance of music partially because it was easy to combine curation and music CITE. The Baroque portrait for instance because the innovation surrounding curation managed to grow significantly during the same time.
Centralization and decentralization are earlier terms during the network era that some sought to install hope to many curators who did not receive the airplay they wanted. It was clear that a Curator was another liberal individual playing largely a philosophical role than an artistic role. Curatorial Term is an independent movement since the 1980s a concept that resulted in diverse curatorial methods and artifacts, most of them which were being engineered by leftist or rightist. (Krysa, 2006). As such, the battle front was within the centralized models were being broken down and distributed, decentralized and distributed models have the tendency to form into centralized models as they grow (Varnelis, 2008). The power attributed to the curator with centralized forms of the agency was challenged by cybernetics, ICT, and systems thinking, which has to lead to the DIY curator. This curatorial agency is remained by the democratic potential in networked curating (Krysa, 2015). Huvila promotes decentralized curation, radical user-oriented access and production of the entire archival process. Humala found that participatory archives rely on a social system that must be in place for people to contribute. Additionally, this social system or network needs to be in place long-term for it to be effective in contributing to cultural history.
Much of the contemporary ideas, especially after the 19th century focused stylistically on the ubiquitous digital systems that allow human experience and social and cultural development. Youngs et al., CITE believe the ubiquitous digital world seems a far from the unlikely feature of the society however the current progress and growth seems to be promising sufficiently because of social and cultural development. The social innovation is made through the co-creation and creativity which happens to be major drivers for development of the present digital economy.
Essentially, Carroll (2013, p. 380) note the case has been made on the social innovation, co-creation, and creativity for the major drivers for any relevant curator works. Curators are naturally the digital space connection that provides the right services for the content development especially in music. Garner (2013) further agrees that social curation provides the right connection for the content development which provides a detailed digital exclusion for the transformation economic and political genesis, especially for the digital development. Bast (2016) however also notes that the social innovation encourages the digital community to accept the available resources while failing to provide the right resources for various inclusion measures. However, given the relatively small number of people who accept curator as a professional, it is important to focus on the territory manifestos, definitive museum, and symposia which are an emergent phenomenon (Varnelis, 2008). Shenk (2014) notes that much of those fabrications and editions will show that appreciation of curator innovation alongside social description and innovation is overridden by the central work which is mainly music and art.
2.4.3 Creative Entrepreneurship
Given the difficulties of packaging the two products as a single emerging product which extremely marketable' curators, the creative entrepreneurship concept, squaring innovation depends on the emerging customer handling schemes. LTEC (2015) notes emerging technologies such as robotics, artificial intelligence, cryptocurrency, Big Data, and genomics are increasingly beginning to alter lifestyles of both developing and developed world. Globalization resulted in a great loss of industrial workforce, and the industries of the future will need to adapt and challenge new modes of production as well (Ross, 2016). The sharing economy is a community with open data that is prepared for a post-capitalist and post-work future (Scholz; Schneider, 2016). All these are active schemes that attract significant arguments, which are not familiar in the curation reflection because ideally curation as a product of music and art did not exist; it is created in the mind of the visitors. CITE expands this opinion by showing how every day, people in the creative industries design original electronic and new media artifacts, and platforms for them, that are culturally valuable, technologically refined, and that engage their audiences in new ways. A creative entrepreneurs aim is to solve problems and use technical and creative expertise to develop innovative solutions (Henry, 2007). Their enterprises are often dynamically structured, less hierarchical, more communal, more likely to take the risk, and dependent on local partners and networks than other industries (Banks, et al, 2000). As combined, all these products fail to explain the traditional curator role, which in any essence, the curator is expected to be a human being.
McBride (2006, p. 26) almost attempts to provide an overall belief by showing how the evolution of music and art was equally invaded by a capitalist drove curator markets did respect the curator role. However, as with time began showing itself on 19th century later centuries and naturally 20th century, the curator is art. Capitalism's branding of community value is opposed to truly open systems. Analysis of labor power informs the discussion of free and open source software and this challenges definition of property, wealth, and production (Goriunova, 2011).
A major problem that invaded the curator role is the income gaps those motivators selling the soul of curators to profit-minded individuals, through the widespread phenomena of education. Net culture developed an advanced form of labor: work-as-a-gift, which exploded into a utopia of ideas of free speech (Gottlieb, Kleiner, 2013). As the internet grew, technical users became minority which significantly impacted the culture of sharing and tolerance, and this has ramifications today. Yes, this could be true that there have been efforts, but they all fail to materialize primarily because most technical users are increasingly being isolated to their web.
2.5 Theoretical Reflection
Researchers began realizing in the contemporary era, packaging as a curator-director faces a significant setback because technological and contemporary curators began seeing a new emerging community. An active approach justified the Peer to Peer theory, which attempted to develop a strategy for freedom of self and of society, by considering the emergence of distributed networks and the peer to peer relational dynamic (Bauwens, 2005). However, the Peer to Peer theory was already a misguided approach of recognizing the curator role. One can ascertain from their revelation,
In particular, what makes P2P so appealing, is that it is a form of collective life, of intersubjectivity, which builds on, but does not replace individuality or individualism.
There is no return to the organic wholism of premodern society, but something entirely new that integrates individual freedom and free cooperation. (Peer to Peer Theory - P2P Foundation, n.d.)
The ambiguity of the freedom and free cooperation attempted to liberalize the usage of technology in curator, as well digitizing the curator and prefabricating it as a modern concept. Research quotes the immediate activity of the World Wide Web. In a publication dated, the founder of world wide web, Tim Berners-Lee, insists that the web created a vital to democracy and that the Web's potential is only now flourishing as an open, egalitarian and decentralized platform. However, the contra opinions by Chen et al., (2015) dictate that a decentralized was more likely to create an opinion of thoughts killing the innovative prerequisite of a curator. The ideals of innovation were finally captivated by the rather distance but classical era ideas of privacy, free expression and security, a combination that reinforced the making clear of an open web does not mean all data must be public and that privacy must be a right,...
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