| InterCommunication No.15 1996 |
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Feature |
THE LOUVRE
TODAY AND TOMORROW
Sally Jane NORMAN
Japanese is here
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New image technologies are engendering museums of a totally new order: virtual architectures filled with virtual objects are henceforth shareable and transmissible all over the world. Current media propensity for buzzwords emphasizing immediacy, fluidity, and digital sublimation bears witness to a certain eagerness to escape the shackles of our heavily reified existence and accede to the "gegendstandslose Welt," or "world without object" fervently posited by Malevich. Indeed, possibilities raised by digital cloning and shipping of art works are giving rise to aesthetics grounded in notions of mobility, ubiquity and multiplicity, diametrically opposed to conventional museum notions of fixity, locatedness, and uniqueness. Yet many traditional museums, keenly aware of the potential of new imaging technologies, are fostering hybrid ways of showing and stowing their treasures which uphold their "temple guardian status", while ramifying their presence across powerful new media and planetary cultural networks. The Louvre is one such museum.
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