Digital storytelling in part creates its discourse over the ruins of dysfunctional and outmoded p... more Digital storytelling in part creates its discourse over the ruins of dysfunctional and outmoded practices in storytelling. Perhaps it is with this deconstruction of the traditional narrative that we are able to invite the free-floating postures of interactivity such as synchronicity, level of control, and collectivity in digital storytelling. This article is the representation of my artistic experience of such deconstruction, which also depicts the permutation of my understanding of works of art as a self-destructive medium of storytelling. In this text, I portray the possibility of structuring a liminal space in which language is both present and absent, while a reader could spontaneously realize the inaction of subjectivity and disruption of intentions in communicating with the story.
In “The Poetics of the Open Work” (1962), Umberto Eco mentioned the role of audience as a perform... more In “The Poetics of the Open Work” (1962), Umberto Eco mentioned the role of audience as a performer. He believed that in every reading, contemplation or enjoyment of a work of art represents a tacit or private form of ‘performance’, however, between the ‘author’ as artist and ‘performer’ as consumer, there is a level of practical intervention by another performer, somebody who plays the role of inductor between author and audience such as the instrumentalist who plays a piece of music or the actor who recites a passage. In this article I will explain that this mediated level will cause a self-productive distance between the artist and the audience in which the new spaces of interpretation will be created for the audiences actively.
This thesis is a representation of my artistic experience of affirmative destruction that depicts... more This thesis is a representation of my artistic experience of affirmative destruction that depicts the permutation of my understanding of works of art as a self-destructive medium. Here I am trying to seek the possibility of structuring an indecisive space in which the audience could spontaneously realize the inaction of subjectivity and disruption of intentions in communicating with others. In my thesis installation, there are books that are impotent of conveying their intended message; destructed photos that are depleted from the iconic value of an image; and bodies that are unable to introduce the real identity of individuals. Within this destructive spaces lies an important and affirmative sentiment, which is the main objective in my works: the possibility of relocating the meaning from within the art object to the contingencies of the reception process.
Without any doubt, the term database, defined as a structured collection of data, has become a ca... more Without any doubt, the term database, defined as a structured collection of data, has become a catchword of the intersection of new media art and computer science. According to the online library of new media at the University of Georgia, database is a basic electronic information storage unit which is simply a collection of information organized to provide further retrieval. Here I want to emphasize 3 important aspects of database embedded in this basic definition: information, collection and retrieval. What database contains is actually a set of individual items which we call it information. According to Manovich database carries a collection of individual items, where every item has the same significance as any other. 1 The structure of these items would shape a specific narration, something that Manovich calls Database Logic. He believes that this logic is a substitute for traditional narrative especially as a form of cultural expression. In contrast with traditional narrative, database doesn't have beginning or end. It doesn't have any development, thematically or formally, which would organize its elements into a sequence. In that sense, database is a new way to structure our experience of ourselves and of the new world. But does this necessarily mean that we cannot generate any new form of narration within the database? Is there any form of narrative that could be open to the non--hierarchical and relational quality of the database? And if there is, how this new narrative could create an aesthetic of form and contents? These are some "It is always the case that what we experience in one moment, whole and unquestioning, becomes incomprehensible and confused when we seek to bind it to our enduring ownership."
Digital storytelling in part creates its discourse over the ruins of dysfunctional and outmoded p... more Digital storytelling in part creates its discourse over the ruins of dysfunctional and outmoded practices in storytelling. Perhaps it is with this deconstruction of the traditional narrative that we are able to invite the free-floating postures of interactivity such as synchronicity, level of control, and collectivity in digital storytelling. This article is the representation of my artistic experience of such deconstruction, which also depicts the permutation of my understanding of works of art as a self-destructive medium of storytelling. In this text, I portray the possibility of structuring a liminal space in which language is both present and absent, while a reader could spontaneously realize the inaction of subjectivity and disruption of intentions in communicating with the story.
In “The Poetics of the Open Work” (1962), Umberto Eco mentioned the role of audience as a perform... more In “The Poetics of the Open Work” (1962), Umberto Eco mentioned the role of audience as a performer. He believed that in every reading, contemplation or enjoyment of a work of art represents a tacit or private form of ‘performance’, however, between the ‘author’ as artist and ‘performer’ as consumer, there is a level of practical intervention by another performer, somebody who plays the role of inductor between author and audience such as the instrumentalist who plays a piece of music or the actor who recites a passage. In this article I will explain that this mediated level will cause a self-productive distance between the artist and the audience in which the new spaces of interpretation will be created for the audiences actively.
This thesis is a representation of my artistic experience of affirmative destruction that depicts... more This thesis is a representation of my artistic experience of affirmative destruction that depicts the permutation of my understanding of works of art as a self-destructive medium. Here I am trying to seek the possibility of structuring an indecisive space in which the audience could spontaneously realize the inaction of subjectivity and disruption of intentions in communicating with others. In my thesis installation, there are books that are impotent of conveying their intended message; destructed photos that are depleted from the iconic value of an image; and bodies that are unable to introduce the real identity of individuals. Within this destructive spaces lies an important and affirmative sentiment, which is the main objective in my works: the possibility of relocating the meaning from within the art object to the contingencies of the reception process.
Without any doubt, the term database, defined as a structured collection of data, has become a ca... more Without any doubt, the term database, defined as a structured collection of data, has become a catchword of the intersection of new media art and computer science. According to the online library of new media at the University of Georgia, database is a basic electronic information storage unit which is simply a collection of information organized to provide further retrieval. Here I want to emphasize 3 important aspects of database embedded in this basic definition: information, collection and retrieval. What database contains is actually a set of individual items which we call it information. According to Manovich database carries a collection of individual items, where every item has the same significance as any other. 1 The structure of these items would shape a specific narration, something that Manovich calls Database Logic. He believes that this logic is a substitute for traditional narrative especially as a form of cultural expression. In contrast with traditional narrative, database doesn't have beginning or end. It doesn't have any development, thematically or formally, which would organize its elements into a sequence. In that sense, database is a new way to structure our experience of ourselves and of the new world. But does this necessarily mean that we cannot generate any new form of narration within the database? Is there any form of narrative that could be open to the non--hierarchical and relational quality of the database? And if there is, how this new narrative could create an aesthetic of form and contents? These are some "It is always the case that what we experience in one moment, whole and unquestioning, becomes incomprehensible and confused when we seek to bind it to our enduring ownership."
Uploads
Papers by Farhad Bahram
In my thesis installation, there are books that are impotent of conveying their intended message; destructed photos that are depleted from the iconic value of an image; and bodies that are unable to introduce the real identity of individuals. Within this destructive spaces lies an important and affirmative sentiment, which is the main objective in my works: the possibility of relocating the meaning from within the art object to the contingencies of the reception process.
In my thesis installation, there are books that are impotent of conveying their intended message; destructed photos that are depleted from the iconic value of an image; and bodies that are unable to introduce the real identity of individuals. Within this destructive spaces lies an important and affirmative sentiment, which is the main objective in my works: the possibility of relocating the meaning from within the art object to the contingencies of the reception process.