By David Joselit

Paintings as we all know it's dramatically altering, yet renowned and important responses lag in the back of. during this trenchant illustrated essay, David Joselit describes how paintings and structure are being remodeled within the age of Google. lower than the twin pressures of electronic know-how, which permits photographs to be reformatted and disseminated without problems, and the exponential acceleration of cultural trade enabled by way of globalization, artists and designers are emphasizing networks as by no means sooner than. probably the most fascinating modern paintings in either fields is now according to visualizing styles of dissemination after gadgets and constructions are produced, and once they input into, or even identify, assorted networks. Behaving like human se's, artists and designers kind, trap, and reformat present content material. artistic endeavors crystallize out of populations of pictures, and structures emerge out of the dynamics of the move styles they are going to house.

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Rachel Harrison, Tiger Woods, 2006. Wood, chicken wire, polystyrene, cement, Parex, acrylic, spray paint, video monitor, DVD player, NYC Marathon video, fake apple, sewing pins, lottery tickets, and Arnold Palmer Arizona Lite Half & Half green tea lemonade can, 79 × 48 × 43 in. 2 cm). 38 Collage, for instance, this would lead to two equally inadequate interpretations: either the patently ridiculous contention that the work is “about” the seascape that each postcard represents or the less absurd but still incorrect conclusion that it is “about” mechanical reproduction.

18 One could say, following the Comaroffs and contra Benjamin, that it is saturation through mass circulation—­the status of being everywhere at once rather than belonging to a single place—­that now produces value for and through images (and not only in “ethno-­commodities”). Instead of a radiating nimbus of authenticity and authority underwritten by site specificity, we have the value of saturation, of being everywhere at once. In place of aura, there is buzz. Like a swarm of bees, a swarm of images makes a buzz, and like a new idea or trend, once an image (whether attached to a product, a policy, a person, or a work of art) achieves saturation, it has a “buzz” (diagram 3).

25 For Patrik Schumacher, partner and in-­house theorist at Zaha Hadid Architects, this tendency has congealed into a style, Parametricism: Parametricism is a mature style. There has been talk about “continuous differentiation,” versioning, iteration and mass customization etc.  . 26 The question of Parametricism’s “hegemony” has been a subject of lively debate among architects, who disagree over whether its design language—­which is based on the scripting of variable systems through digital algorithms—­may be considered a style whose signature aspects would be an undulating topographical 24 after art field composed of modular geometric elements, or whether the digital modeling capacities that Parametricism relies on should remain tools for designing a more materially based and responsive form of architecture.

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