The Internet increasingly structures our experiences of the world. The web is approaching omnipresence, absorbed into the everyday, as our material lives are heavily mediated by its attendant applications, algorithms and software. Everything is in flux, including the presentation and distribution of our own selves—both online and offline.
Subversive interaction with various digital media seems both necessary and apparent within contemporary art. From the possibilities afforded photography by digital image manipulation and proliferation, to the incorporation of aspects of online experience into material objects, there is a porous border between the online and offline worlds, if there even remains a border at all.
A range of authors and artists address these concerns in the second issue of Dissect Journal, as submissions reflect on the structures and oppositions that continue to colour debates in and around digital art.
Contributions by: Rachel de Joode, Phebe Schmidt, Daniel Palmer, Travis Cox, Johanna Drucker, Sven Lütticken, David La Roche, James L Marshall, Madeleine Stack, Natasha Chuk, Sheridan Coleman, Danielle Zorbas, Amanda Starling Gould, Holly Childs, Max Trevor, Thomas Edmond, Hannah Schiefelbein, Kyle Weise, Tara Cook.
Joseph DeLappe, ‘Predator Drone – Cowardly’ from ‘Cowardly Drones’, 2013. Digital image.
Dissect Journal is a new contemporary art publication that presents a range of longer essays, shorter reviews and artist pages.
If it is true that contemporary art both reflects and refracts an image of the world, as it is both of it and provides more of it, then attempts to address contemporary art must themselves be varied and complex. In the variety of material published within its pages, Dissect Journal seeks to reflect the manifold interconnections between contemporary art and the world.
Featuring both emerging and established contributors, the publication strives for a sustained and intelligent engagement with contemporary art. It aims to analyse and interrogate the work of contemporary artists from various vantage points, sculpting and refining multiple histories of and responses to contemporary art.
- Dissect #2
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