Olga Goriunova gave a stunning presentation a few weeks ago at the PARGC 2016 Symposium, Convergence and Disjuncture in Global Digital Culture. It was called Idiot, Lurker, Troll: Conceptual Personae in Digital Media and it got me looking up her work. Art Platforms and Cultural Production on the Internet (2012) does not disappoint. In it Goriunova provides a new way of looking at how cultural forms on the Internet are developed. To this end she deploys the concept of “art platforms” which does a lot of heaving lifting throughout the book. I’ve pulled a few excerpts from the Introduction that tease out what she means by it. This book is part of the Routledge Research in Cultural and Media Studies which has a lot of other great titles though, sadly, they all have the same cover designs (less work for artists).
from INTRODUCTION: Departing from an Art Platform
“…Everyday digital objects, gestures, and the assemblages, such as file uploads and downloads, form filling, data handling, searches and postings, protocols, scripts, software structures, and modification parameters are all plugged in to contemporary aesthetics and coconstruct the ways in which the individual, cultural, and social spheres are produced, organized, and disrupted. Art platforms both conform to and are part of this overall development, but they also stand out from it in very striking ways.
…an art platform can be a stand-alone website that, together with other actors, forms an ecology of aesthetic production, but might also take place as a subconnection of a large platform, or even as a space between a corporate service, artists’ work, hacking, collaborative engagement, and a moment of aesthetic fecundity. An art platform engages with a specific current of technosocial creative practices and aims at the amplification of its aesthetic force.
…As a process of emergence, an art platform is an assemblage of structures, notes, codes, ideas, emails, decisions, projects, databases, excitement, humour, mundane work, and conflict. Here an art platform is best understood through the metaphor of a railway platform, as an element that unfolds in its arriving and departing trains, in tracks that cover vast spaces, in the forests those rails run through and the lakes they pass by, in the hills and sunsets forming the landscape, in the rain on the train’s window, in the mechanics of an engine, logistics of rolling stock, semaphores, encounters, but it is a resonance, a movement, an operation. The capillaries of aesthetic emergence in art platforms draw from the technical materiality of networks, databases, and software; from grass-roots, folklore creativity; from forces of repetition and sociality; from conflictual border zones and disjuctures between normality, capitalism, politics, quotidian labour and despair, escape, and creation.” –pp. 1, 2, 3