from notepad of late

This is kind of a weird idea - basically notes taken - from various sources and also my own notes - i do not claim ownership over any of these ideas. but i find them all important or at least leading to important things.

"but has one foot in the field of the real (8). Which is a nice way, of course, to say that instead of simply telling a story, it tells a lie. It deceives tactically, and for progressive purposes, and in a way that allows for the possibility of the lie’s discovery. But it lies nevertheless, allowing view- ers to be caught in a “gotcha” moment of having been fooled, to wonder uncomfortably about the status of the claims the exhibit makes, or to go away in a strange kind of edu- cated ignorance, their worldview subtly altered by untruths."

"How would you feel about Fred Wilson’s Mining the Museum if you learned he had been less than honest in making it? What if it turned out that the slave shackles he exhibited had not been languishing in the museum’s storage areas, or that he had painted the black children into the paintings he so powerfully animated?"

If you make something that is plausible (however not real) than it can create an atmosphere for realization that (we) were just about to accept the existence of this thing

(like we had been believing something all along and just accepted it because it seemed like it fit into the history and we all believed in it and than things escalated to a point and after a while of going on like this we found out that none of it was real. we had really believed in something that never existed and we were made to feel completely ashamed at accepting something so horrific.)

"that it is necessary to be devious now in order to be honest" - so as to force confrontation of the truth, reality, honesty etc

"Artworks whose mode of reception is doubt thus serve a pedagogical function with political conse- quences: they train us in ways of seeing and thinking that increase our resistance to the racism, xenophobia, Islamophobia, and anxiety about terrorism that have been persistent- ly mobilized in recent years by politicians in Europe and the U.S."

are the ability to distinguish sources’ various levels of reliability, and a proclivity to question the trans- parency of information

this sort of art lets people see where change can occur and how and what can happen when change is handled in different ways. it lets us imagine different possible realities and try them on to see how we feel in a way.

The new paradigm of contemporary art has been extensively explained by art historian Miwon Kwon's assessment of site-specific practices. Kwon found the best reasons for experimenting with new formats to be "the epistemological challenge to relocate meaning from within the art object to the contingencies of its context; the radical restructuring of the subject from an old Cartesian model to a phenomenological one of lived bodily experience; and the self conscious desire to resist the forces of the capitalist market economy."