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By David Joselit

Paintings as we all know it really is dramatically altering, yet well known and demanding 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 photos to be reformatted and disseminated without problems, and the exponential acceleration of cultural trade enabled by means of globalization, artists and designers are emphasizing networks as by no means ahead of. the most attention-grabbing modern paintings in either fields is now according to visualizing styles of dissemination after items and constructions are produced, and when they input into, or even determine, diversified networks. Behaving like human se's, artists and designers type, trap, and reformat current content material. artistic endeavors crystallize out of populations of pictures, and structures emerge out of the dynamics of the circulate styles they are going to house.
Examining the paintings of architectural companies comparable to OMA, Reiser + Umemoto, and international workplace, in addition to the artwork of Matthew Barney, Ai Weiwei, Sherrie Levine, etc, After artwork presents a compelling and unique conception of paintings and structure within the age of worldwide networks.

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In other words, it is a continuous field, experiencing pressure from both site and program. More recently, research into surface intensities among architects has centered on two formats: continuous ramps and differential fields. Even the most recalcitrant of spatial divisions—­the articulation of multistory buildings as stacks of discrete floor plates—­has been undermined through a tendency to design buildings as continuous platforms that may dip down from one level to another, as in Rem Koolhaas’s New York Prada store, or spiral up as a continuous ribbon as in the stacks of his Seattle Central Library, which allows the library’s collection to be organized continuously according to the Dewey decimal classification system (figure 7).

In other words, the changes in format that objects undergo dictate Barney’s narrative. At a moment when biology and biochemistry have become reigning social metaphors, he rechoreographs the biological mechanics of the body 42 after art in order to produce an operatic demonstration of the great unconscious hubbub that keeps us alive. Barney diagrams life as a drama of things. The field emblem is not the meaning of his work, but its format. The shift I’ve indicated from an object-­based aesthetics in both architecture and art to a network aesthetics premised on the emergence of form from populations of images, calls for a corresponding revision of critical methodology.

In their Atlas of Novel Tectonics (2006), they declare, A gross figure-­ ground distinction, showing structure and infill, for instance, is insufficient. The transmission of effects across a field is impossible when a dialectical relationship occurs from the start. The different zones of structure and infill have first to be described as a field of similarity in order for them to register difference. 32 No single architectural element—­like a column—­is fully independent under such a system, but rather a “column-­function” emerges as densification within a continuous field—­a network of varying intensities.

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After Art (Point Essays on Architecture) by David Joselit

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