Curating Digital Life and Culture: Art and Information

Abstract

The space between digital life and real life continues to fade and nowhere is this more apparent than in arts and cultural contexts. Facilitated by digital capture and curation, social media, the network, Internet, and the web, these forces combine to empower artists to be digital curators of their own work, giving voice and narration to their artistic expression. In the paper entitled Digitalism: the New Realism, the authors focus on how digital tools and technology have changed ways of doing, knowing, and being, while here we look at how today’s digital landscape is changing ways of artistic expression, narration, communication, and human interaction. The growing use of digital tools and
technology in the arts and culture is dramatically transforming traditional curatorial practice and by extension archival practice, so that we are moving from a gatekeeping model to an open model steeped in digital relationships across global networks and the Internet. As we immerse ourselves in the digital world, where anyone with a smartphone can be a digital curator and marshal a range of Internet services, such as Instagram, Pinterest, Twitter, Facebook, YouTube, and more specifically for example Behance (for online portfolios), artists are enabled to freely engage and interact with their audience using to their advantage crowdsourcing, “likes”, chat, blogs, games and email. Emerging artists are particularly expert digitally and are able to curate their life and work directly,
living naturally between physical and digital states. To demonstrate this, our study presents specific examples of how artists and GLAM (Galleries, Libraries, Archives, and Museum) institutions are adapting to new digital ways of curating collections and conveying meaning. Additionally, we show how notions of what constitutes artistic expression are evolving as art traverses digital media boundaries, especially in terms of visual and textual media. Importantly, as life in the 21st century plays out on the digital stage of the Internet, artists and GLAM institutions find themselves more than ever working at the intersection of art and information which is leading to new and innovative ways of curating contemporary art that are expressive of artistic vision and digital aesthetics, while conveying social and political meaning capable of influencing and impacting our lives.

Full text

http://dx.doi.org/10.14236/ewic/EVA2016.46
237
Curating Digital Life and Culture:
Art and information
Tula Giannini
Jonathan P. Bowen
Tula Giannini
Pratt Institute
School of Information
New York, USA
http://mysite.pratt.edu/~giannini/
London South Bank University
Department of Informatics
London, UK
http://www.jpbowen.com
Pratt Institute
School of Information & Library Science
New York, USA
http://mysite.pratt.edu/~giannini/
giannini@pratt.edu
jonathan.bowen@lsbu.ac.uk
giannini@pratt.edu
The space between digital life and real life continues to fade and nowhere is this more apparent than
in arts and cultural contexts. Facilitated by digital capture and curation, social media, the network,
Internet, and the web, these forces combine to empower artists to be digital curators of their own
work, giving voice and narration to their artistic expression. In the paper entitled Digitalism: the New
Realism, the authors focus on how digital tools and technology have changed ways of doing,
knowing, and being, while here we look at how today’s digital landscape is changing ways of artistic
expression, narration, communication, and human interaction. The growing use of digital tools and
technology in the arts and culture is dramatically transforming traditional curatorial practice and by
extension archival practice, so that we are moving from a gatekeeping model to an open model
steeped in digital relationships across global networks and the Internet. As we immerse ourselves
in the digital world, where anyone with a smartphone can be a digital curator and marshal a range of
Internet services, such as Instagram, Pinterest, Twitter, Facebook, YouTube, and more specifically
for example Behance (for online portfolios), artists are enabled to freely engage and interact with
their audience using to their advantage crowdsourcing, “likes”, chat, blogs, games and email.
Emerging artists are particularly expert digitally and are able to curate their life and work directly,
living naturally between physical and digital states. To demonstrate this, our study presents specific
examples of how artists and GLAM (Galleries, Libraries, Archives, and Museum) institutions are
adapting to new digital ways of curating collections and conveying meaning. Additionally, we show
how notions of what constitutes artistic expression are evolving as art traverses digital media
boundaries, especially in terms of visual and textual media. Importantly, as life in the 21st century
plays out on the digital stage of the Internet, artists and GLAM institutions find themselves more
than ever working at the intersection of art and information which is leading to new and innovative
ways of curating contemporary art that are expressive of artistic vision and digital aesthetics, while
conveying social and political meaning capable of influencing and impacting our lives.
Curation. Digitalism. Digital art. Digital culture. GLAM. Social media.
1. BACKGROUND
Over the past two decades, the Internet and Web
have developed from a niche resource to a
ubiquitous phenomenon, especially with the advent
of mobile devices (Filippini-Fantoni and Bowen
2008). This has had a significant effect in the field of
arts and culture (Bowen et al. 2013). Museums have
increasingly provided an online presence to
augment their physical spaces since the 1990s
(Bowen et al. 1998, Bowen 2000) and later
collaborative projects have enabled synergistic
relationships to provide improved online resources
(Giannini and Bowen 2014, 2015). The rapid
technological development has meant that it is
progressively easier for tech-savvy individuals with
artistic talent to curate their own work online directly
to a potential audience.
2. INTRODUCTION
In this paper, we explore new ways in which digital
technology and computing increasingly become part
everyday life through a myriad of digital devices
(Bowen and Giannini 2014). These empower users
to capture not only their experiences but also their
reactions and behaviours, allowing them to create
both personal and visual narratives, communicated
across global networks. For example, a story in The
Huffington Post (Tongco 2015), shows work by the
artist Audrey Wollen, described in the title as, “The

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238
Feminist Art Star Staging a Revolution on
Instagram”, for which, “the photosharing platform is
Wollen’s primary medium for her digital artwork.” As
artists adopt new digital ways of creating art, they
challenge the very definition of what constitutes art,
as their work populates an expanding universe of
artistic expression.
A Paradigm Shift – Narrating Digital Life – Art as
Information – Information as Art (by T. Giannini)
Curating my digital life
Looking through my cell
phone in hand
Capturing digital days
senseless arrays
of image displays
a cacophony of faces and places
My digital museum
through a virtual prism
Life floating on a cloud
I’m a star
in my digital museum
A chaotic exhibition
just intuition
no submission
Life in digits – focus, click
no code
à la mode –
stories untold
still to unfold
Art for art’s sake seems to have faded, as artists
take up digital tools to make art that is imbued with
political and social messages, often using the
Internet as a platform to connect with their audience.
The journey of creative expression from Silence by
John Cage, and White on White canvases of Clifford
Still. The crowded visual landscape of the Internet
extends the artist’s reach beyond the walls of
museums and galleries to multiple digital displays
that dominate our vision and waking hours. We are
witness to an expanding world of art in which the
number of artists and their works grow exponentially,
especially on the Web where gatekeepers no longer
hold sway, and where videos broadcast information
of life in motion. Digital life and culture now flow
through human activity via networks, platforms and
digital devices as laptops, tablets, phones and wrist-
watches, to devices embedded in our daily activities
and environment from the home, to cars, trains,
planes, streets, subways, elevators, escalators,
sometimes called the “Internet of Things”, become
part of daily experience and extend to museum and
educational spaces.
These trends are exemplified in recent gallery and
museum shows, where we experienced art and life
at intersection of physical and digital expression and
information as art narrating life.
Late at Tate Britain – Young artists curate
notions of “power” with digital expression
Art and digital life were on display at the Tate Britain
for the Late at Tate Britain: Power Tate Britain,
Friday 2 October 2015, curated by 15 to 25 year olds
from Tate Collective London who were asked to
“tackle ideas of power through music, art and talks,
with The Age of L.U.N.A, Skinny Girl Diet and Native
Sun.”
Not unexpectedly, the museum was taken over by
digital installations, displays, sounds and images
conveying the somewhat wild expressions of
London’s youth culture, which were simultaneously
communicated through tweets and Instagram, as
well as being mirrored in cyberspace on various
websites with virtual participants. “Power” became in
essence that of digital tools and technology
empowering youth to challenge ideas of gender,
race, and class, through their art as a performance
of self.
3. EXAMPLES
New York City Street Art makes Internet
connections – The Chaulkit Show
From December 2015 to 24 February 2016, the
exterior cement walls of the massive stone building
housing the Fashion Institute of Technology (FIT) on
7th Avenue in New York became a street gallery
displaying original works by students in FIT’s fine
arts program. Works were chalked onto the walls so
that passers-by could watch art being created. This
was an act of group curation for which artists
chalked Internet addresses on their works as if part
of its artistic expression, connecting the street to the
digital world.
Following these links, which could be done via a
smartphone while viewing the show, led viewers to
the artists’ curation of their lives and art. When the
show closed, on the Chaulkit Facebook page
(https://www.facebook.com/ChalkFITNYC/) we see
a photograph of the show being washed off the
cement walls of the FIT building, which links to an
Instagram by Kevin Nadal. He writes:
“What goes up must come down. They're erasing
the #ChalkFIT display this morning. The whole
erasure process is hauntingly beautiful. The fact
that you can erase parts of your life – leaving a
few traces at first – symbolizes how life goes on
and how we always need to move forward and
create new art.”

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Figure 1: Chaulkit wall art (mural), December 2015
Fashion Institute of Technology, New York. Jess Riess,
artist (age 21), FIT student (Jessriess.tumblr.com)
[Photograph by T. Giannini, reproduced with permission.]
Figure 2: On view – cement walls of the FIT building on
7th Avenue in NYC displaying student art from the
Chaulkit show 2015. [Photograph by T. Giannini taken on
her daily walk down 7th Avenue. from Penn Station to
Pratt on 14th Street, New York.]
And yet, because Internet links were a feature of the
Chaulkit experience, the ephemeral nature of the
show takes another turn because its works were
digitally captured and curated not only by the artists,
but as well by passers-by who tweeted and posted
to blogs. This impressive show, viewed by
thousands of people, brought the artistic vision of
young artists to New York City streets, the
blogosphere and beyond, giving them voice to
narrate their art and lives.
Figure 3: A Chaulkit work by Aaron Pedrone
[Photograph by T. Giannini, December 2015, FIT, 7th
Avenue. https://www.behance.net/sharkeyrex]
Curating digital life through Fashion – Coded
Couture
Fashion, computing and digital technology merged
when the much anticipated Coded Couture show
opened on 11 February 2016 at Pratt Institute’s
Manhattan Gallery, located 14th Street off 7th Avenue
in New York. The interactive clothing was as much
an artistic statement as a reflection of a new and
emerging fashion and design trend. These were
indeed wearable works of art set in motion by the
human body, while enhancing the wearers’ physical

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240
abilities to communicate and express feelings and
emotions while digitally capturing the resulting data.
Figure 4: Holy Dress, 2012 by Melissa Coleman, Leonie
Smelt and Joachim Rotteveel.Gold-plated metal dress,
lie detector, shock training dog collar, custom electronics,
video LED lights. [Photograph by T. Giannini, Pratt
Manhattan Gallery, 2 November 2015 – 16 March 2016.]
Figure 5: iMimiSkirt, 2015, LED Lights. Collection Pratt
Institute. [Photograph by T. Giannini, Pratt Manhattan
Gallery, 2 November 2015 – 16 March 2016.]
The show, curated by Ginger Gregg Duggan and
Judith Hoos, opened on 11 February 2016 and
captured the imagination of viewers, who eagerly
interacted with fashion turned digital objets d’art.
Digital capture and curation of political and
social history in the making
Increasingly, we use our smartphones and other
digital devices to capture and curate day to day life
experiences. As a cacophony of digital activity
moves to the centre of human life overwhelmed by
digital interactions, digital space is the place where
people spend the lion’s share of their time, curating
their digitally mediated life. Although, many
archivists are still thinking in terms of digital curation
as a simulation of existing systems derived from
physical archival practice such as the life-cycle of
documents, in the digital realm, judging which
material is valuable is moving from the institutional
domain to that of the individual curating in
cyberspace where issues of physical storage
become less and less relevant, so that everything
captured gets saved. Often digital works are self-
curating taking on a life of their own once on the
Internet, where they can migrate via emails, tweets
and Facebook posts, and be remixed and re-used to
form new art.
The social impacts of individual curation are great as
we all are at once, audience, participants and
creators of content. We have moved our banking,
shopping (Pin It with Pinterest), communicating,
storytelling, and the curation of our lives to the
Internet.
Born digital news is important because it shifts the
nature and use of primary source materials from the
back room, to centre stage through the daily content
production on the web involving millions of
participants. This combined with big and small data
analytics create new types of narratives that
subsequently trickle down to the scholarly world of
publishing on topics and issues of broad national
interest to those of niche communities.
Today, much of the content of news is user
generated from twitter, blogs, websites, YouTube
and Facebook. Narratives drawn from these sources
and from archival material, physical and digital, are
being transformed into compelling original art works.
Digital art has moved from simulating traditional art
to inventing new art forms that are time-based
narrations with political and social messaging.
Information as Art – Digital expressions of the
archive. Astro Noise by Lauren Poitras at the
Whitney Museum, Spring 2016
Lauren Poitras, noted film maker/journalist, and now
artist with a large-scale show at the Whitney called
Astro Noise, makes art from the digital archive of her

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life’s experiences of government surveillance and
war. Using this digital realism together with
symbolism of documents and documentary video,
she curates this show in ways that reveal the unseen
world of national surveillance and its effects. Visitors’
interactions with her installation work across four
interconnected galleries expose digital objects and
messages that seem to evoke deep-felt emotions
such as fear of the unknown, anxiety over the loss
of privacy and a sense of uncertainty about the
future.
A postcard on the show reads, “Dear Visitor, your
attendance at Astro Noise has been permanently
recorded – think privacy.” Juxtaposing the show with
visitor reactions brings together artist and audience
participation as intrinsic to the exhibition experience
and meaning of Poitras’ book, Astro Noise: A
Survival Guide for Living under Total Surveillance
(Poitras 2016), provides vivid narrations to her life’s
experiences curated as art and acts as an
information backdrop to the show.
An article in The Guardian, Jason Fargo (2016)
compares the films and textual narratives of Poitras
to the installation art of Astor Noise finding the
former more effective. He quotes Poitras as
questioning her reasons for “making long-form
documentaries when other ways of working are so
much more energizing”. Although Fargo finds Astro
Noise lacking, he loses sight of the materiality of this
politically charged installation that allows the visitor
to be a participant physically inside the show’s
content.
Figure 6: Visitors lying on a carpeted platform in a pitch-
black room, view overhead projections of images of night
skies over Yemen, Pakistan and Somalia, making
reference to drone strikes. [Photograph by T. Giannini.]
An iconographic/symbolic language of a new
digital aesthetic – emoji art
As we celebrate the 500th anniversary since the
death of the great 17th century Netherlands painter,
Hieronymus Bosch, and contemplate his well-known
triptych, The Garden of Earthly Delights, we can
revel in a remix of this iconic work recreated for the
21st century by the digital artist, Carla Gannis
(http://carlagannis.com), Assistant Chair of the
Digital Arts Department at Pratt Institute in Brooklyn,
New York. She has cleverly reinterpreted Bosch’s
work into The Garden of Emoji Delights, matching
each Bosch image to an emoji of remarkable
likeness.
Figure 7: “The Garden of Emoji Delights” by Carla Gannis (animated version, 2014, https://vimeo.com/158156834).
[Shown with artist’s permission.]

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Figure 8: Detail from centre panel of
“The Garden of Emoji Delights” by Carla Gannis.
[Shown with artist’s permission.]
Today, the use of emojis is inextricably tied to digital
communication with smart phones and other digital
devices functioning as a new symbolic language
universally understood, conveying gesture, feelings
and emotions in ways that enhance textual meaning.
The emoji animations of Gannis take the notion of
emoji art to new digital heights of sensual delight
within the realm of digital aesthetics about which she
notes that, “to think about the 21st century and the
time we exist in today, which is very dynamic, hyper-
mediated – we’re used to seeing moving images all
the time.”
Gannis’ work also expresses a social and political
thesis about consumerism and environmental
degradation, as seen in the image of “the isle of lost
tech.” The right panel centre, shows a pile of
discarded obsolete computer devices. Gannis’
innovative use of emojis as a new shared symbolic
digital language for making art, demonstrates that
new modes of digital expression are transforming
how we define art, and how art and information are
inextricably linked to today’s ocean of digital
creativity.
Blurring the lines between art and information
According to the Society for New Design lead by
academics, a big trend today is data visualisation
using specialised software – but is it information or
is it art? John Grimwade (2010), information
graphics director at Condé Nast Travelerand a long-
time supporter, teacher, mentor for SND
infographics, writes that:
“Dreary spreadsheets can be transformed into
beautiful artwork. Spirals, circles, piles of dots
and other assorted shapes. Lots of overlapping
info in brilliant colours. Population trends turned
into a wheel of interconnecting dots. I love it, but
to be honest, I often have no idea what’s going
on.”
This work seems to reside at the intersection of art
and information, where the design elements are
being generated through computer software as a
creative tool and where the boundaries between
information and art are blurred. Yes, visualisations
need text to convey meaning, while text uses
visualisation to enhance meaning and user
engagement. This speaks to a broader trend in
which artists intertwine digital and physical media for
installation and performance art framed by social
meaning conveyed by a documentary archive
digitally captured by the artist.
New software applications for curating digital life on
the Internet now abound online including Snagit
(http://discover.techsmith.com/screen-recorder) by
TechSmith, Camtasia also provided by TechSmith
(https://www.techsmith.com/camtasia.html), Movavi
(http://www.movavi.com/mac-screen-capture), used
for creating video capture of screen devices
(computer, smartphone, tablet) so that capturing
digital life on the Internet now becomes easy and
automatic. The Chaulkit artist, Aaron Pedrone notes,
“As an artist in this day and age it's near impossible
not to be considering technology when you're
making art thought.”
Curating Knowledge: (Europeana – DPLA –
Archive-it – linked open data projects)
The Internet Archive (https://archive.org), through its
Archive-it service (https://archive-it.org), is curating
collections on significant events that they call:
“Spontaneous Event collections are created by
the Archive-It team in collaboration with other
organisations and individuals with the purpose of
establishing a corpus of web content related to a
specific event, capturing at risk content during
times of crisis, and providing open access to the
archived content for research and general
browsing.”
For example, there are curated collections on Black
Lives Matter, and the Boston Bombing.
The 1998 Exhibition, Tous les saviors du Monde (all
the knowledge in the world) was mounted for the
opening of the then new Bibliothèque Nationale de
France (http://classes.bnf.fr/dossitsm) (Giannini
1998b).
At the heart of the exhibit are encyclopaedias and
libraries from Sumer to the 21st century highlighted
by the Encyclopédie of Diderot and d’Almbert, a
monumental work symbolizing the Age of
Enlightenment. Being at once scientific, political,
and philosophical, it makes a strong argument in
support of the rising tide of democratic ideas and
equality, while its challenge to the social and
religious order of the aristocracy that in 1749 landed
Diderot in prison in Vincennes for a year, was causal
to the French Revolution.
Fast forward to today’s Wikipedia, we move from a
multi-volume work written over 20 years by the great
minds of the 18th century to the 21st century digital
age of global knowledge and participation, and from
the world of print and privilege to one of global
sharing. We ask, how much of all the knowledge in
the world can be found on the Web and Internet –
between the formal and informal, the individual and
corporate, the commercial and scholarly. The

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answer seems to lie more in the framework and
structure of the Internet than in the information itself.
The Web being more a vehicle of expression and
interaction of digitally curated lives on a global stage.
The technology enabling this altered state of digital
being seems to transcend the value of specific
information and knowledge to the higher value of
open and free access, information creation and use.
Most importantly, the gatekeepers have lost control
and cannot contain the exuberance and power of
individual expression.
In 1998, Giannini took up the notion of the
information process as having three modes:
seeking, receiving, and using (Giannini 1998a).This
is illustrative of the paradigm shift of the information
process which now extends to information creation,
interaction and curation which dramatically
redefines these modes. It was relatively recently, the
1980s, that archives were still just dusty documents
of a distant past. Today, a digital photograph, video
or document is captured on a smartphone and
instantly becomes a saved document waiting to be
curated and tell a story that can be shared with
friends or everyone on the Internet.
This seismic shift away from the centrality of
published information to that of individual curation of
content continues to gain ground and importance.
Often, digital capture by smartphones as
photographs and video become pivotal to findings
for truth and justice and are increasingly a part of
judicial evidence. In the past, it was reporters,
journalists, writers and communication corporations
that controlled the capture and curation of such
information. With digital tools empowering
individuals, this ability to narrate the story is shared
with the public in ways that can be instantaneous.
An image from the Black Lives Matter demonstration
at the Mall of America shows a police line with guns
drawn, while they faced a crowd of demonstrators
with digital cameras drawn – ready to shoot and
capture the moment. Information as art, a new digital
aesthetic and mode of expression emerges as art
drawn from experience, documentary narratives,
social critique, and of course the digital self.
4. CONCLUSION
Digital curation is an issue for museums and
professional curators (Cairns and Birchall 2013).
Museums have provided facilities for curation of their
collections for individual use, e.g., for didactic
purposes (Filippini-Fantoni and Bowen 2007).
However increasingly user-friendly software and
easy cheap access to the Internet ubiquitously
through smartphones, tablets, and other devices,
means that online curation is now easily possible by
the motivated individual.
This paper has explored a number of successful
examples of digital self-curation. The authors
believe that this paradigm is set to increase in novel
ways yet to be explored fully. Further developments
such as the Internet of Things means that objects in
the real world will be even more interconnected
digitally as human life becomes increasingly
mediated in digital realms. While many applications
will be practical, it is natural that those that spark
artistic inclination will inspire new uses of
technologies not originally conceived by their
inventors. This in turn situates art and information,
now curated across digital platforms, where digital
life and culture converge and transform.
5. ACKNOWLEDGEMENTS
Jonathan Bowen is grateful to Museophile Limited
for financial support.
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