| dc.description | Biography: Maria Teresa Cruz
Maria Teresa Cruz teaches at the Communication Sciences Department of NOVA University of Lisbon (UNL), Faculty of Social Sciences and Humanities, in the fields Image Theory, Media Aesthetics and Contemporary Art and. She is affiliated to the Research Center of Communication and Language that she directed between 2012 and 2015 and where she also coordinated the research line on «Art and Communication» between 2007-2012. She created and directed the Journal “Interact – Art, Culture and Technology” (200-2006) and was also the director of the academic journal Revista de Comunicação e Linguagens (2010-2013). Present research fields: contemporary art and post-media aesthetics; cultural techniques and heritage mediation; participatory culture. Recent projects: Principal Investigator of "Images and Narratives: Portugal-Africa" (Arts' Support Programme, 2015); Coordinator of the Communication Design Project for the Interpretative Center Gonçalo Ribeiro Telles (Gulbenkian Foundation, Lisbon, 2013); Coordinator of the Museology Communication Design for COA Museum of Paleolitic Art (Côa Valley World Heritage, Portugal - 2008-2010). Books: CRUZ, M. T. (ed.), 2011, Novos Media, Novas Práticas [New Media. New Practices], Lisboa: Ed. Veja; CRUZ, M. T. (ed.), 2010, A Arte antes e depois da Arte [Art before and after art] Lisboa: CECL / IGESPAR. | |
| dc.description.abstract | The present cultural interest and technological effort around the subject of data mining, information retrieval and data and information visualization, not only in scientific fields, but also in common cultural experience has a strong paralel with the task of curating which, in the XXst century has mostly been devoted to the field of art. This proposal will comment on the meaning of curating and of its extension to the whole of information culture. The sense of information overload and of the insufficiency of search engines and content aggregators, that have become a daly tool for everyone naviating the internet, are a consequence of the fact that we have indeed become a society of producers, with millions of users who daily display their own traces, their own voices, images, texts and a diversity of digitally shaped and designed media objets through various platforms.
While most cultural institutions and museums hesitate or timidly experiment about what kind of curating and archiving practices will most suit the information age they will be forced to enter, digital visualizing techniques are already starting to shape the cultural landscape of the present, its salient traits, its reception and reading protocols. As the former must quickly realise that curating is becoming one of the central breakthroughs of media culture and perhaps the next claim of the masses, the latter should take into account that contemporary culture, namely media practices, have been strongly influenced and criptically anticipated by modern deviating ambiguous signs at the margin of cultural and artistic dominant curatorial systems.
References
BÖRNER, Katy (2015). Atlas of Knowledge: Anyone Can Map, Cambridge, Massachussets: MIT Press.
GRAU, Oliver (2015). “Renewing knowledge structures for Media Art”, in EVA London 2010 - Electronic Visualisation and the Arts, edited by Alan Seal, Jonathan Bowen, Kia Ng, London: BCS Learning & Development Ltd., pp: 286-295.
GROYS, Boris (2010). “The Weak Universalism, EFlux, nr 15, Abril .
MANOVICH, Lev (2010). “What is Visualization?” in Poetess Archive Journal 2.1, (December): 3-32.
PAUL, Christiane (2016). A Companion to Digital Art, Sussex: John Weley & Sons.
WINTHROP-YOUNG, Geoffrey (2013). “Cultural Techniques: Preliminary Remarks” in Theory, Culture & Society, 30(6): 3–19. | |
