Treść książki
Przejdź do opcji czytnikaPrzejdź do nawigacjiPrzejdź do informacjiPrzejdź do stopki
collectiveMeMoryandcolloquialaestheticexPerience
Genette,inusingtheword“palimpsest”
,tookthecharacteristicsof
physicalwritingintothesemanticlevel.Palimpsestinthissensere-
ferstotextswhichhavebeenre-interpretedandchangedmanytimes
over.Inthiscontext,Monet)simagepresentedinthevirtualgallery
isahypotextinrelationwiththehypertextualenvironment.Links
whichrefertotheauthor,title,andthepriceoftheworkareparatexts.
Additionalcommentaries,accesstoforums,additionalinformation,
interface,andinstructionsfortheavatararemetatextsoftheimage.In
thiscontext,whatseemstobeanaïveorsimplisticexhibitionofworks
ofartinSecondLifeisrevealedtobefullofintertextualnetworksof
tastes,connotationsandassociations.Ifweacceptthepremisethat
basicrationalityinSecondLifeisshapedbycolloquialthinking,we
cansaythatintertextualityisoneofthemostinfluentialfeaturesinthis
methodofperceivingart.
“Today,weseemtosuńerfromahypertrophyofmemory,not
history.”[
11
]Borrowingthisquotetodescribeacompletelydińerentcon-
text,wecanmetaphoricallysaythatnowadaysitispossibletoobserve
ahypertrophyofcollectivememory,collectiveimagination,andthe
collectivetranspositionofartbecauseoftheinfluenceofnewmedia.
Whatdoes“influence”mean?Wecandigitalize-whichalsomeans
“change”
,“shape”
,“copy”
,“disseminate”-imagestoreflectourcontem-
poraryaestheticneeds,articulatedeasilyandconveniently.Contempo-
raryformsofthedecontextualisationofartshowmorethanwemight
expect.Teyarepalimpsestsofthinkingaboutartastradition,asan
exampleofthepast,asaresultofthedialecticsbetweenknowledgeand
ignorance.Changesinthefunctioningofartincontemporaryculture
reflectchangesinhumanityinhistory.Newmedia,theInternet,and
SecondLifeconfirmthattodayweliveinahegemonyofcolloquial
thinkingbecause,forthefirsttime,thisformofrationalityisfixedin
suchdiverseandmulti-modaldiscursiveways.
Tosumup,Iwouldliketosaythatdecontextualisationisaframe
forcollectivememoryconcernedwithartinageneralsense.Collo-
quialthinkingasarationalityfordailyaestheticexperienceshows
thatthinkingaboutartdoesnothavetobesupportedbya“prop-
er”(adequate)culturalcontext.Teneedforbeauty(evenwhenthis
“beauty”isdefinedbytradition,evenwhenthis“beauty”isdescribed
incolloquialterms)revealsantypicalandcommonideaofexistence
inart.Tus,wecanunderstandwhyimpressionistsarepresentednext
toRenaissancepaintings;whytheMonaLisa,surroundedbypaintings
ofimpressionistsandpostimpressionists(il.2),candrinkdigitaltea
fromadigitalcupinSecondLife;whyherneighboursarethewoman
andthemanfromDegas)spaintingAbsynt.[12]Colloquialaesthetic
experiencedoesnothavetofunctionasacohesive,competent,critical
[11]A.Huyssen,PresentPasts:UrbanPalimpsests
andthePoliticsofMemory,StanfordUniversityPress,
Stanford2003,p.3.
31
[12]http://maps.secondlife.com/secondlife/
Leelight/79/105/621:TOCArt.Gallery,MainGalleries,
ClassicalPaintings,Leelight.
