{"id":9043,"date":"2024-03-31T19:59:43","date_gmt":"2024-03-31T19:59:43","guid":{"rendered":"https:\/\/williamcromar.com\/newmediawiki\/?p=9043"},"modified":"2024-04-01T10:40:04","modified_gmt":"2024-04-01T10:40:04","slug":"chapter-21-d-i-y-and-digital-democratization","status":"publish","type":"post","link":"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/","title":{"rendered":"CHAPTER 21 \u2014 D.I.Y. and Digital Democratization"},"content":{"rendered":"\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/div>\n<label for=\"ez-toc-cssicon-toggle-item-69f4e8408f777\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69f4e8408f777\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#DIY_culture\" >D.I.Y. culture<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Origins\" >Origins<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Distributed_vs_centralized_culture\" >Distributed vs. centralized culture<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Digital_Democratization\" >Digital Democratization<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Authenticity_and_scarcity\" >Authenticity and scarcity<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Cloning_and_meaning\" >Cloning and meaning<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/#Transformations\" >Transformations<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p class=\"has-text-align-right has-small-font-size\"><em>5-minute read<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter\"><img loading=\"lazy\" decoding=\"async\" width=\"694\" height=\"694\" data-attachment-id=\"30\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/paralleluniverses_01\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" data-orig-size=\"694,694\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"parallelUniverses_01\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png\" src=\"https:\/\/i0.wp.com\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png?resize=694%2C694&amp;ssl=1\" alt=\"\" class=\"wp-image-30\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01.png 694w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/parallelUniverses_01-100x100.png 100w\" sizes=\"auto, (max-width: 694px) 100vw, 694px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"DIY_culture\"><\/span>D.I.Y. culture<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The terms for the distribution and presentation of creative output have fundamentally changed since the dawn of our century. The playing field is more level, but it&#8217;s also global \u2014 much bigger. You have to figure out how to tap into the audience that appreciates your work.&nbsp;You have to&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Do_it_yourself\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>do it yourself<\/strong><\/a>: <strong>D.I.Y.<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"656\" height=\"492\" data-attachment-id=\"9052\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85.webp\" data-orig-size=\"656,492\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85.webp\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85.webp\" alt=\"\" class=\"wp-image-9052\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85.webp 656w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/apple_02-de51606ad2b4aed7f95cc939c674eb421733bbf8-s1600-c85-300x225.webp 300w\" sizes=\"auto, (max-width: 656px) 100vw, 656px\" \/><figcaption class=\"wp-element-caption\"><em>The <a href=\"https:\/\/www.npr.org\/2021\/11\/09\/1053895250\/an-original-apple-1-computer-sells-for-400-000\">Apple-1 personal computer<\/a><\/em>, circa 1976. Many custom wooden cases abound<em> because the computer was sold as a board with no housing. People had to <a href=\"https:\/\/en.wikipedia.org\/wiki\/Apple_I#Hardware\">DIY their own case<\/a>.<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Origins\"><\/span>Origins<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>D.I.Y. has roots in the&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Arts_and_Crafts_Movement\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Arts and Crafts Movement<\/strong><\/a>&nbsp;of over a century ago.&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/John_Ruskin\" target=\"_blank\" rel=\"noreferrer noopener\">John Ruskin<\/a>, an art and social critic, and&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/William_Morris\" target=\"_blank\" rel=\"noreferrer noopener\">William Morris<\/a>, a painter and textile designer, advocated a self-reliant rejection of mechanization. In place of the standardization of the Industrial Revolution, they championed a return to home-based craftwork. <\/p>\n\n\n\n<p>By the 1970s, punk rockers and hip-hop artists were rejected by a highly centralized system of culture distribution in the music industry. So they subscribed to the&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/DIY_ethic\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>D.I.Y. ethic<\/strong><\/a>&nbsp;to circumvent the corporate gatekeepers. They put on their own damn shows, made their own damn record labels, and promoted each other through photocopied fanzines. This inspired a <a href=\"http:\/\/en.wikipedia.org\/wiki\/DIY_culture\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>D.I.Y. culture<\/strong><\/a>&nbsp;that has since spawned everything from a resurgence in house renovation to computer software development. A great historical examination of D.I.Y. is the film&nbsp;<em><a href=\"http:\/\/www.youtube.com\/watch?v=rDE5vvs1WxY\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>D.I.Y or DIE<\/strong><\/a><\/em>&nbsp;by Michael W. Dean. He has made it into an 8-part series available for free on YouTube, in proper D.I.Y. form.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Distributed_vs_centralized_culture\"><\/span>Distributed vs. centralized culture<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Jon Ippolito discusses the tension between distributed and centralized culture in his seminal title <strong><a href=\"http:\/\/three.org\/ippolito\/writing\/canon_fodder\/\">Canon Fodder: Why Distributed Culture Makes Academics Nervous<\/a><\/strong>. A large measure of what&nbsp;he identifies as <strong>distributed culture<\/strong> is D.I.Y. in origin, and further enables a D.I.Y. mindset. YouTube, Facebook, and Apple Computer all started as garage or dorm-room enterprises.&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Linux\" target=\"_blank\" rel=\"noreferrer noopener\">LINUX<\/a>&nbsp;and other open-source software deliberately invite collaboration among users. Wikis, such as the one that cradled this text, allow us to modify content so that it stays current. Creative Commons allows the licensing of work for share that acknowledges authorship. Some of these enterprises have indeed become more corporate and centralized over the years. Nevertheless, they have largely enabled artists like you to create and distribute work of a quality and scope that generations of artists preceding you would have sold their souls for.<\/p>\n\n\n\n<p>One of these agents of distributed culture is&nbsp;<a href=\"http:\/\/www.vimeo.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Vimeo<\/strong><\/a>, a kind of YouTube for the thinking person. On Vimeo, you can find great D.I.Y. tutorials&nbsp;<a href=\"http:\/\/www.vimeo.com\/groups\/filmschool\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a>&nbsp;and&nbsp;<a href=\"http:\/\/vimeo.com\/channels\/theedit\" target=\"_blank\" rel=\"noreferrer noopener\">here<\/a>. You&#8217;ll find D.I.Y. suggestions like how to create a smooth camera pan using a rubber band on your tripod grip. Here&#8217;s a blog post about creating a <a href=\"https:\/\/vimeo.com\/blog\/post\/do-it-yourself-dolly-and-shoulder-rig\/\" target=\"_blank\" rel=\"noreferrer noopener\">dolly shot using a skateboard<\/a>. You&#8217;ll also find channels and groups where you can post your films. Unlike YouTube, where you are competing against endless cat vids, Vimeo can focus your work on an audience that is looking for what you do. Don&#8217;t get this wrong by the way.. YouTube is great for broadcasting, but Vimeo is great for a targeted and well-defined audience. This author uses both.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Digital_Democratization\"><\/span>Digital Democratization<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>I don&#8217;t limit editions&#8230; My plan is to make these designs available rather than restrict the supply. It&#8217;s more like publishing than like gallery-based art marketing: We don&#8217;t feel that a book has lost anything because many people have read it. In fact, it becomes more valuable as it gains wide currency and influence. With the advent of 3D printing, this is the first moment in art history when sculpture can be, in this sense, published.<\/em><\/p>\n<cite>\u2014Bathsheba Grossman <sup><a href=\"#footnote_1_9043\" id=\"identifier_1_9043\" class=\"footnote-link footnote-identifier-link\" title=\"Grossman, Bathsheba. Bathsheba Sculpture. 2010. Web. 16 Jun 2010. http:\/\/www.bathsheba.com\/artist\/\">1<\/a><\/sup><\/cite><\/blockquote>\n\n\n\n<p>One of the consequences of distributed culture is the phenomenon known as <strong>digital democratization<\/strong>. Now, I&#8217;m no techno-utopianist, and <a href=\"http:\/\/www.thenewatlantis.com\/publications\/the-true-face-of-digital-democracy\" target=\"_blank\" rel=\"noreferrer noopener\">digital democratization has its fair share of critics<\/a>. For art and artists, digital democratization is a buzzword signifying that the means of accessing art is today available to more people in more places with more frequency than at any other time in the history of the world. By accessing art, we mean not only the availability of viewing it or hearing it. We also refer to the ability to make it. With GarageBand, everyone can be a musician. With iMovie and an iPhone, anyone can make a film.\u00a0<a href=\"http:\/\/www.jacksonpollock.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">Click here<\/a>, and on the Internet<a href=\"http:\/\/www.jacksonpollock.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">,<\/a> you, too, can be Jackson Pollock.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Authenticity_and_scarcity\"><\/span>Authenticity and scarcity<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In the past, when an artist made a work, its&nbsp;<em>singularity<\/em>&nbsp;and&nbsp;<em>authenticity<\/em>&nbsp;guaranteed&nbsp;<em>scarcity<\/em>. We all know that, in a capitalist system, the law of supply and demand means that scarcity equals <em>value<\/em>. You might be a Flash Pollock in 2020. But as far as the conceptual framework for making drip paintings is concerned there&#8217;s only one Pollock. Some have even claimed his signature style can be authenticated through <a href=\"https:\/\/web.archive.org\/web\/20110408132557\/http:\/\/www.phys.unsw.edu.au\/phys_about\/PHYSICS!\/FRACTAL_EXPRESSIONISM\/fractal_taylor.html\" target=\"_blank\" rel=\"noreferrer noopener\">applications of chaos theory and fractal geometry<\/a>. <\/p>\n\n\n\n<p>So what exactly is the place of authenticity in a digitally democratic art-making environment? What is the place of quality? Intelligence? Are these elitist values superimposed from above, or do they emerge organically from the ground up? Does getting universal access to tools make everyone an artist? If everyone is already an artist, why study art?<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cloning_and_meaning\"><\/span>Cloning and meaning<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"538\" data-attachment-id=\"9048\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/autumn-rhythm\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm-.jpg\" data-orig-size=\"2000,1050\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;Working Title\/Artist: Autumn Rhythm (Number 30)Department: Modern and Contemporary ArtCulture\/Period\/Location: HB\/TOA Date Code: 11Working Date: 1950\\rDigital Photo File Name: DT1407.tif\\rOnline Publications Edited By Steven Paneccasio for TOAH 2\/13\/14\\r\\rImage blurry especially along left edge&quot;,&quot;created_timestamp&quot;:&quot;1145363036&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Autumn-Rhythm-\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Working Title\/Artist: Autumn Rhythm (Number 30)Department: Modern and Contemporary ArtCulture\/Period\/Location: HB\/TOA Date Code: 11Working Date: 1950&lt;br \/&gt;\nDigital Photo File Name: DT1407.tif&lt;br \/&gt;\nOnline Publications Edited By Steven Paneccasio for TOAH 2\/13\/14&lt;\/p&gt;\n&lt;p&gt;Image blurry especially along left edge&lt;\/p&gt;\n\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--1024x538.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--1024x538.jpg\" alt=\"\" class=\"wp-image-9048\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--1024x538.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--300x158.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--768x403.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm--1536x806.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Autumn-Rhythm-.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Jackson Pollock, <strong>Autumn Rhythm: Number 30<\/strong>, 1950<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>To see\u00a0Pollock&#8217;s\u00a0<a href=\"http:\/\/www.metmuseum.org\/works_of_art\/collection_database\/modern_art\/autumn_rhythm_number_30_jackson_pollock\/objectview.aspx?page=72&amp;sort=0&amp;sortdir=asc&amp;keyword=&amp;fp=1&amp;dd1=21&amp;dd2=0&amp;vw=1&amp;collID=21&amp;OID=210009206&amp;vT=1\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Autumn Rhythm: Number 30<\/em><\/a>, you have to have access to the\u00a0<a href=\"http:\/\/en.wikipedia.org\/wiki\/Metropolitan_Museum_of_Art\" target=\"_blank\" rel=\"noreferrer noopener\">Metropolitan Museum of Art<\/a>\u00a0in New York. If you&#8217;re a penniless student in Beijing it&#8217;s unlikely you do. Your only access is through the low-resolution lens of the image posted on their website. That issue began to be addressed in a\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Museo_del_Prado#In_Google_Earth\" target=\"_blank\" rel=\"noreferrer noopener\">joint project<\/a>\u00a0between the\u00a0<a href=\"https:\/\/en.wikipedia.org\/wiki\/Museo_del_Prado#In_Google_Earth\">Prado Museum in Madrid and Google Earth<\/a>.\u00a0This made super high-definition reproductions of important works available online. Miguel Zugaza, the director of the Museum, waxes enthusiastic about the scholarly value of the project. However, he cautions that &#8220;we see a scientific dissection, although we won&#8217;t be able to contemplate the painting&#8217;s soul as we do in a direct contemplation of the work.&#8221; <sup><a href=\"#footnote_2_9043\" id=\"identifier_2_9043\" class=\"footnote-link footnote-identifier-link\" title=\"Quoted in http:\/\/laht.com\/article.asp?CategoryId=13003&amp;ArticleId=325392\">2<\/a><\/sup><\/p>\n\n\n\n<p>Some have proposed that famous works of art can be&nbsp;<a href=\"http:\/\/www.huffingtonpost.com\/ben-rosen\/democratizing-art_b_82410.html\" target=\"_blank\" rel=\"noreferrer noopener\">digitally cloned<\/a>&nbsp;to be housed in multiple museums. Is viewing the clone still an authentic experience, or does context change the meaning? If context and authenticity change the meaning of the work, are you still obligated to make arduous pilgrimages to the capitals of culture to experience that?<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Transformations\"><\/span>Transformations<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>For example: this author has seen Picasso&#8217;s&nbsp;<em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Guernica_%28painting%29\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Guernica<\/strong><\/a><\/em>&nbsp;twice. The first time it was housed at&nbsp;<a href=\"http:\/\/en.wikipedia.org\/wiki\/Museum_of_Modern_Art\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>MoMA<\/strong><\/a>&nbsp;in New York. It was impressive; I was a little kid and remember feeling as if I could practically enter the painting. The second time, it had been returned to the Prado after&nbsp;the death of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Francisco_Franco\">Francisco Franco<\/a>, the dictator. The painting&#8217;s new home was an annex under armed guard and bullet-proof glass. In Spain,&nbsp;<em>Guernica<\/em>&nbsp;was \u2014 and remains \u2014 emblematic of a volatile political discourse. The painting was certainly not the same on my second encounter. Overpowering and intimate in New York, it felt fragile, distant, even emasculated, in its glass cage.<\/p>\n\n\n\n<p>On the other hand,&nbsp;<a href=\"http:\/\/www.three.org\/ippolito\/writing\/canon_fodder\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jon Ippolito<\/a>&nbsp;makes a strong case for the transformations that have occurred since the advent of the digital age.<\/p>\n\n\n\n<p>Digitally speaking, everything is possible and anyone can do it. When stupid cad vids and <em>An\u00e9mic Cin\u00e9ma<\/em> are uploaded side-by-side on YouTube, do they both have equal value and cultural significance? Is there an obligation on the part of the artist and the audience? In the&nbsp;<a href=\"http:\/\/slowweb.tumblr.com\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Slow Web<\/strong><\/a>&nbsp;movement, there is a call for making and doing things that are&nbsp;<a href=\"https:\/\/web.archive.org\/web\/20120226025404\/http:\/\/observatory.designobserver.com\/entry.html?entry=10297\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>worth our attention<\/strong><\/a>. But what are the criteria for that? If the internet&nbsp;<strong><a href=\"https:\/\/web.archive.org\/web\/20160307091731\/http:\/\/www.internetisshit.org\/\" target=\"_blank\" rel=\"noreferrer noopener\">should not be shit<\/a><\/strong>, exactly what are you, an artist, a cultural producer, supposed to do about that?<\/p>\n\n\n\n<p>Digital democratization is a double-edged sword. It&#8217;s interesting to be dancing on the edge of it.<\/p>\n<ol class=\"footnotes\"><li id=\"footnote_1_9043\" class=\"footnote\">Grossman, Bathsheba. Bathsheba Sculpture. 2010. Web. 16 Jun 2010. http:\/\/www.bathsheba.com\/artist\/<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_1_9043\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><li id=\"footnote_2_9043\" class=\"footnote\">Quoted in http:\/\/laht.com\/article.asp?CategoryId=13003&amp;ArticleId=325392<span class=\"footnote-back-link-wrapper\">[<a href=\"#identifier_2_9043\" class=\"footnote-link footnote-back-link\">&#8617;<\/a>]<\/span><\/li><\/ol>","protected":false},"excerpt":{"rendered":"<p>5-minute read D.I.Y. culture The terms for the distribution and presentation of creative output have fundamentally changed since the dawn of our century. The playing field is more level, but it&#8217;s also global \u2014 much bigger. You have to figure out how to tap into the audience that appreciates your work.&nbsp;You have to&nbsp;do it yourself:&#8230; <a href=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-21-d-i-y-and-digital-democratization\/\">read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[8],"tags":[],"class_list":["post-9043","post","type-post","status-publish","format-standard","hentry","category-paralleluniverses"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>CHAPTER 21 \u2014 D.I.Y. and Digital Democratization - newMediaWiki<\/title>\n<meta name=\"description\" content=\"Chapter 21 DIY and Digital Democratization: The origins of digital democratization have their roots in D.I.Y. ethos. 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