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Which clippings match 'Power Structures' keyword pg.1 of 1
04 DECEMBER 2014

Michael Seemann: Knowing Is Asking the Right Questions

"Proposition: In the Old Game, it was important who was storing which information and to what purpose. But what counts in the New Game, by that measure, is how information is retrieved. This shift of focus does not only change our attitude towards knowledge, but also touches on the power structures inherent in any kind of knowledge."

(Michael Seemann, 2014, p.25)

Michael Seemann (2014). 'Digital Tailspin: Ten Rules for the Internet After Snowden'

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TAGS

2014 • ableism • algorithmic transparency • algorithmically filtered content • Angelina Atanasova • antifragility • bad ass mother fucker • big datacommon good • control over the digital world • Costanza Hermanin • culture of the query • data • data commons • database programmes • digital tailspin • distributed realities • Edward SnowdenEli PariserEvan Rotheveryday racism • Facebook timeline • fhashtag revolutions • filter bubbles • filter sovereignty • flash mobsflexibility • Hadoop • individual standpoints • information retrieval • Jane Bambauer • knowledge is power • Kontrollverlust • loss of control • MapReduce • Michael Seemann • Open Data City • open source softwareopenness • our attitude towards knowledge • political power of data analysis • power structures • query algorithm • radical new ethics • Roland Fryer • search • search field • self-affirmative echo chamber • self-determination • selfish participants • spontaneous network phenomena • Steven Levitt • tailspin • top-down hierarchies • tragedy of the commonstransparency

CONTRIBUTOR

Simon Perkins
25 NOVEMBER 2008

Cindy Sherman’s work functions seamlessly (and successfully) within late capitalist society

"Although [Cindy] Sherman is often heralded as the quintessential 'postmodern' artist, the modernist tendencies of her work coupled with the critics' inability to confront the ambiguity of her work, have rendered her 'postmodern' label problematic. Postmodern theory advocates a deconstruction of the power structures embedded in late capitalist society. But Sherman's work functions seamlessly (and successfully) within the market strategies of the '80s, typified by corporate control of museums and market control of galleries. Given that her work can be read as both a challenge to the art market and a creative, marketable product, the boundary between postmodern critique of the market and marketability has clearly been eroded. While critics applaud Sherman's work for deconstructively denying the totality of a 'real Cindy', the meaning of her work is dependent upon the concept of the celebrity 'Cindy'. Simultaneously, critics partially negate her 'deconstruction', mythologizing her as the autonomous 'artist–genius', harkening back to the modernist heroization of the creative individual. On one level, Sherman's work appears to be subversively linked to 'low' art characterized by 'b–grade' film and photography, on another level, her work is fetishized as the modernist ideal of the 'high' art object."
(Nadine Lemmon)

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TAGS

1980sambiguityartart marketart objectartist • artist-genius • authorship • b-grade • b-moviecapitalismcelebrityCindy Shermancreative practicecritiquecultural signalsculture jammingdeconstruction • film still • film stylisationgenius • heroine • late capitalist society • low art • modernismmuseummythologynarrative photographyphotographyPostmodernpowerpower structuresproductsexual fetish

CONTRIBUTOR

Simon Perkins
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