Open Score 2016: Panel 3: Art in an Overseen World, presented by New Museum and Rhizome





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Published on Feb 25, 2016

This video documentation is part three of a four part series from a symposium that took place on January 30, 2016 at the New Museum.

The New Museum and Rhizome jointly inaugurate Open Score an annual symposium that will explore the state of art and technology today. Convening luminary artists, curators, researchers, and writers to discuss how technology is transforming culture, the first edition of Open Score will consider how artists are responding to new conditions of surveillance and hypervisibility; how social media’s mass creativity interfaces with branding and identity for individual artists; how the quality and texture of art criticism is evolving in a digital age; and what the future of internet art might be in light of a broader assimilation of digital technologies. Supported by the Robert Rauschenberg Foundation, Open Score: Art and Technology 2016 will mark the fiftieth anniversary of the groundbreaking initiative Experiments in Art and Technology. The conference’s title is taken from Rauschenberg’s live performance Open Score during one of E.A.T.’s most iconic events, “9 Evenings: Theatre and Engineering.”

Introduction to Second Session
Zachary Kaplan, Executive Director, Rhizome

Panel 3: Art in an Overseen World

Being seen by a boundless audience is now the norm—be it friends and followers or data-mining bots who are looking on. This panel will explore the ways artists and activists are responding to our new conditions of visibility by considering tactics of withdrawal, obfuscation, and even assimilation (“normcore”), while others are questioning whether such tactics limit the potential to build empathy and solidarity. This session will focus on questions such as: What new works or activist tactics are emerging in this context? Are withdrawal and obfuscation “weapons of the weak” or potent means for transgressing and critiquing power? And, how do online communities—artistic, political, or subcultural—form amid a cultural space so quick to appropriate and commercialize difference?

Simone Browne, Associate Professor, Department of African and African Diaspora Studies at the University of Texas at Austin; Adrian Chen, writer and researcher; Rob Horning, writer, Marginal Utility, and Editor, the New Inquiry; and Emily Segal, Cofounder, K-HOLE

Lauren Cornell, Curator and Associate Director, Technology Initiatives, the New Museum

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