TRANSDUCTIONS – a global experiment in digital art curation

A selection of my highlighted sentences/paragraphs/words from TRANSDUCTIONS by

Renata Lemos Morais.

Chapter: Playing The Role of Absurd Curator

“Curation in this context was not only about exploring questions inherent to contemporary life, it was in itself a living act of contemporary engagement.”

“Digital curation has been, for me, as much an external creative exercise as an ongoing process of self-discovery.”

“Transductions#18 was the first experience in which I called myself a curator, and nonetheless curation was already a huge part of my life. Through the fortuitous and elusive encounters of digital curation I had been exploring the refracted images of my own personal sense of aesthetics mirrored through the expansive lens of the digital mesh.”

“I imagined a free, ephemeral and open space of aesthetic exploration, and thought about artists and their artworks as living fields of energy. The artworks which would be present in the exhibition would tell a story of the transmediated aesthetic encounters which were a part of my networked life.”

“Walking around the city of Melbourne, I found myself face to face with the work of Jamie O’Connell, Anne Wilson, Lienors Torre, Kim Donaldson, Daniel Armstrong, and many others.”

“The curatorial practice of Transductions#18 was semi-autonomous, an absurd kind of serendipity which happened not only through random encounters as part of a predetermined journey, but instead as a full frontal collision with the unexpected, which then became itself the destination, exploding into a constellation of art.”

“To work and create “for nothing,” to sculpture in clay, to know one’s creation has no future, to see one’s work destroyed in a day while being aware that fundamentally this has no more importance than building for centuries—this is the difficult wisdom that absurd thought sanctions. Performing these two tasks simultaneously, negating on the one hand and magnifying on the other, it the way open to the absurd creator. He must give the void its colors.”

Albert Camus

Chapter: Time-Travel and the Impossible

“Creation and invention are not about the rupture of the new but of expanding the internal logic of the world (and its producing of worlds as an attempt to capture its own boundaries) to deform what we treat as the outer most limit.”

Chapter: The Rise of the Technological Other by Sterling Crispin

“Kevin Kelly [KellyWhatTechWants] postulates that the first truly self-aware AI systems might be whole cities, and their consciousness might be so different than ours that neither technology nor humanity would recognize the other as being self-aware. Just as the activity of a termite-colony can be considered a distributed intelligence, the whole of technology writhes with its own agencies and agendas.”

“We see the world, not as it is, but as we are”


“Machine vision is a complex field with many approaches to identifying patterns in an image, or image stream. But the root of this questioning reaches beyond vision, and beyond a semantic and ontological framework to give context to those images. Perhaps what’s needed is also an emotional, psychological and arguably spiritual framework for managing this information.”

Chapter: Youtube and me: can an old dog learn new tricks? by Anne Scott Wilson

“My body is a storehouse of memory – gained through repetition and endurance in ballet training – an intrinsic part of remembering dance sequences is visualisation. As an ageing person my body’s ability to dance is diminished yet through new material in the form of youtube footage anachronistic ballet forms can activate a skill I developed in ballet training.”

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