The visitor as ghost: art behind a screen

Jennifer Malet ()
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Jennifer Malet: ETHOS - Ethique, Technologies, Humains, Organisations, Société - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris], IMT-BS - DEFI - Département Droit, Économie et Finances - TEM - Télécom Ecole de Management - IMT - Institut Mines-Télécom [Paris] - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris], LITEM - Laboratoire en Innovation, Technologies, Economie et Management (EA 7363) - UEVE - Université d'Évry-Val-d'Essonne - IMT-BS - Institut Mines-Télécom Business School - IMT - Institut Mines-Télécom [Paris]

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Abstract: Art is traditionally lived, it is consumed, in museums, theaters, exhibitions, through wanderings. The visitor therefore visits. He comes, moves and lives, for a moment of time, an artistic experience (Malet 2015). The twenty-first century and the advent of digital have nevertheless shaken up these habits (Benjamin 2003). It is now the art that comes to the visitor.Digitization has thus overcome one of the obstacles of traditional, static museums (Aboudrar 2000): how to bring in the one who does not want or who can not come? Whoever does not come can have several motivations: disinterestedness, financial cost, calendar impossibility, physical prohibition to visit the site, etc. Digitization helps fight against physical and temporel barriers. A new way of practicing "cultural animation" (Join-Lambert 2006), beyond the physical and temporal barriers. The Google Cultural Institute takes you through time, visiting exhibitions of 1929 or sites inaccessible to the public. What does the Google Cultural Institute bring to our consumer society? An additional consumable: the consumable art? Or another way of consuming art?Google Cultural Institute is a non-for-profit organization, a concept that might be surprising regarding the economic weight of Google. If the Google Cultural Institute aims to spread knowledge, what is the counterpart if it is not financial?Digitization has thus enabled the emergence of art from the opportunity (Poulard 2007) to be and to solve the discordance between art and money in the field of power highlighted by Bourdieu (1994). Are we really in a consumable and transient society or are we reappropriating art? If so, then th visitor becomes a ghost who enters museums, exhibitions, through history, immaterial witness of the wealth of the world. A ghost? Almost ... A ghost that leaves traces after all.

Keywords: Digital art; Digitalization; Cultural animation; Experience; Museum (search for similar items in EconPapers)
Date: 2019-07-08
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Published in SCOS 2019 "Ghosts" : Standing Conference on Organisational Symbolism, Jul 2019, York, United Kingdom

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Persistent link: https://EconPapers.repec.org/RePEc:hal:journl:hal-02474177

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