Between the 4th of june until the beginning of july I will be working on an intervention at the Onomatopee project space in Eindhoven as a part of the Form and Frame project.
Whereas politics and printed media used to speak with the voice of authority, we are now taking matters into our own hands. For example by continually posting comments online, writing blog entries, or twittering. The authority of the traditional media like newspapers is increasingly judged by what it can immediately provide us with: what we see is what we judge. The classical top-down cultural regulation through dissemination to the masses has become inoperable because of its one-to-many construction without any flexibility for editorial positions.
However, the traditional media can only be judged from the margins, by commenting on articles. Outside of these traditional media, authority increasingly transforms itself from a central organ into a hybrid body of metadata: stacking multiple layers of information, and formed in a decentralized and modular way.
Which forms of opinion are allowed by online media? Does the form of online media permit a sufficient amount of nuance that prevents opinion from remaining an ‘expression of thought’, and the grading of commentaries via the ‘Like’ button? The new construction of online authority includes, among others, the following questions about editorial and visual design:
What exactly is the position of the editor/reader in the metadata game: how does it support the construction of a new type of authority?
What is the form of online opinion?
Which forms of opinion are possible within the decentralized metadata structures?
Kim de Groot researches and creates images about metadata culture in which text, image, and opinion are superimposed. Within the context of ‘The Form and the Frame,’ Kim will (re)design several infrastructures for opinion in which the evolution of form and frame through new media will occupy a central position. Starting June 4, she will elborate on above questions as a supplement to the exhibition ‘The Form and the Frame.’