Simcity 2000 commerce needs connections3/18/2023 Yet that’s exactly what a sold-out summit of technology experts, digital entrepreneurs, curators and artists from around the world attempted to do at Convergence: An International Summit on Art + Technology, held over a stormy and cold late-November weekend at the Banff Centre. With so many competing interests at play, it’s no easy task to parse what is really at stake when it comes to the ever-shifting borderlines between art and technology, let alone predict what the future may hold. We know that any reasonable sense of meaning, desire and even belonging is being manipulated but we often don’t care-the product is just so damn cool. From the gadget fetish of the latest-model smartphone to the embedded marketing and personality branding of digital media to the techno-spectacle of a Super Bowl half-time show (or blockbuster exhibition-the Art Gallery of Ontario’s recent “David Bowie is” comes to mind), technology can have a dazzling effect on our critical judgment, artist or not. Institutions have also begun to redetermine their relationships with digital culture, most notably (and contentiously) in the Museum of Modern Art’s addition of 14 video games-Pac Man, Tetris and SimCity 2000, among others-to its permanent design collection in November 2012 (the museum has since added six more games and a vintage gaming console).Īt the same time, it’s an accepted fact that technological research and development is in large part driven by everyday commercial demand. Net.art, virtual reality, hacking and social media are just a few of the new mediums of aesthetic and critical concern. Many artists have embraced the brave new digital world, producing works that bend real-virtual world boundaries of materiality, interactivity and community. Art and technology: It’s a pairing that tends to raise as many quandaries as it does possibilities.
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