post-medium

Pool is was an online platform and publication dedicated to expanding and improving the discourse between online and offline realities and their cultural, societal and political impact on each other.

Issue One
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Issue Three
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Issue Five
Issue Six
Issue Seven
Issue Eight

Pool (2011-2012), by Louis Doulas (ed.)

computer, internet, metaworks, network, post-internet, post-medium, theory
Friday, May 3rd, 2013

More Michael Paintings (2011), by Reena Spaulings

body, collection, critique, imagery, institution, network, painting, post-medium
Friday, April 5th, 2013

#26 (from the series: The Necessity of Incinsistent Fantasies) (2009), by Jutta Koether

imagery, network, object, painting, post-medium, translation
Friday, April 5th, 2013

With a characteristic flourish of perversity linking painting to pasta, Martin Kippenberger identified the most important problem to be addressed on canvas since Warhol in an interview of 1990–91: “Simply to hang a painting on the wall and say that it’s art is dreadful. The whole network is important! Even spaghettini . . . . When you say art, then everything possible belongs to it. In a gallery that is also the floor, the architecture, the color of the walls.” If we take Kippenberger at his word, a significant question arises: How does painting belong to a network?
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“The digital revolution is over.” (Nicholas Negroponte, 1998) Over the past decade, the Internet has helped spawn a new movement in digital music. It is not academically based, and for the most part the com- posers involved are self-taught. Music journalists occupy themselves inventing names for it, and some have already taken root: glitch, microwave, DSP, sinecore, and microscopic music.
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The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music (2000), by Kim Cascone

copy, failure, glitch, metaworks, music, post-internet, post-medium, sound, theory
Friday, September 14th, 2012

The label “New Media Art” does not identify an art genre or an art movement, and cannot be viewed – as it usually is – as a simple medium-based definition. On the contrary, a work of art – whether based on technology or not – is usually classed as New Media Art when it is produced, exhibited and discussed in a specific “art world,” the world of New Media Art. This art world came into being as a cultural niche in the Sixties and Seventies, and became a bona fide art world in the Eighties and Nineties, developing its own means of production and distribution, and cultivating an idea of “art” that is completely different from that entertained by the contemporary art world.
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The Postmedia Perspective (2011), by Domenico Quaranta

internet, metaworks, post-internet, post-medium, theory
Thursday, September 13th, 2012

At first I thought I could simply draw a line under word “medium”, bury it like so much critical toxic waste, ans walk away from it into a world of lexical freedom. “Medium” seemed too contaminated, too ideologically, too dogmatically, too discursively loaded.
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A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (1999), by Rosalind Krauss

conceptual, medium, metaworks, modernism, post-medium, theory
Thursday, September 13th, 2012