Performance Collaboration through Virtual and Physical Space in max msp and jitter
This text is based on a presentation ARC Co-director Chris Byrne made at a Hothaus seminar, organised by Vivid at the University of Central England, Birmingham. It outlines his experiences and thoughts around curating digital and networked art projects and their relationship to the locations where they were made and presented. It is soon to be published in a book gathering together papers from the Hothaus seminars, edited by Joan Gibbons. [More....]
Click-through for an interesting essay covering a range of artistic practices, including work that's not necessarily site-specific and yet obviously has a relationship to the space of its production and/or presentation...
Originally posted on Art Research Communication by chris
Between 2002 and 2003, Chris Byrne curated artstream, an experimental project exploring the potentials of artists’ use of streaming media. artstream comprised occasional projects with live and prerecorded material.
Works presented during that time included Ben Woodeson’s Portable Bug, a self-sufficient solar powered bugging device which broadcast sound and vision of its surroundings over the internet; CN_ZER0 v6.4, internet streams from a performance by New York based artist Cary Peppermint at CCA, Glasgow, 2002; and Sounds From Near And Far, internet audio streams connecting Sofia, Edinburgh and Liverpool featuring sound works from artists across the globe on the theme of the translocal: travel, crossing borders, migration, sounds of different cultures and environments. Sounds From Near And Far includes works by Diskono, Chantal Dumas, Borderhack, Zoë Irvine, Alistair Macdonald, Paul Rooney, Public Works, Peter Cusack, Chris Bowman, Sue Mark, Janek Schaefer, Calum Stirling, Mark Vernon, Robert Mackay, Mark Lawton, Gen Ken Montgomery, John Campbell, Vanessa Cuthbert, Max Eastley, Colin Fallows, Martin e Greil, Phil Mouldycliff, Russell Mills & Ian Walton, Robin Rimbaud, Will Sergeant, Vergil Sharkya’, Paul Simpson and John Young.
The artstream projects can be experienced by following this link.
Originally posted on Art Research Communication by chris
We Don't Need Event Divas!!
Event organizing. Over the past year many experiments with conferencing formats took place. They were aimed at escaping the same old predicaments. People are fed up with the orthodoxy of traditional, hierarchical proceedings of keynote speakers, panels, and unconcentrated topical orientation! There is the soporific style of delivering a 30-page paper to an audience that could have read this text online beforehand. Paperism! There is the work-shy re-inscription of yet the same players of the virtual intelligentsia over and over again! Peeps and masters! Why look at proposals of the "young nothings" if we can have trophy names to pull people into the touristy event spectacle? The big names are all that matters, never mind if it is just another check off on someone's resume.
Issue 9: Dossier: Artistic Production and Collecting
ARTECONTEXTO, art culture and new media is a magazine about the art of today that is intended to stimulate discussion and theoretical analysis of artistic practices in the international context. It pays particular attention to new media and net.art. ARTECONTEXTO is a bridge connecting Europe and Latin America.
The profound changes that the world of art is undergoing call for new approaches. Artistic practices are now affected by formulas coming from other fields which call for greater complexity in their analysis and new and different tools of understanding. ARTECONTEXTO takes up and reflects this complexity and constitutes a new critical space in progress.
Issue 9: Dossier: Artistic Production and Collecting--+ Intervention in Space: Dan Perjovschi + Antoni Muntadas + John Baldessari + Ignasi Aballì + Austria in ARCO 06 + Entrevistas + Cybercontext + Info + Books + Reviews.
ARTECONTEXTO is a quarterly publication in Spanish and English. 156 pages in colour. Distributed around the world in specialised bookstores. Publisher and Managing Editor: Alicia Murría; Subscribe before 15th February at a 10% discount.
The Grammar of Technologies for Cooperation
New Course by Trebor Scholz
Department of Media Study
The State University of New York at Buffalo
This course introduces the history, realities and potentials of collaborative technologies. The particular focus is on the field of culture. Debates about online collaboration and social networking often do not go beyond the management rhetoric of business. Effectiveness and group dynamics are they key issues in streamlining corporate group work. The Grammar of Technologies for Collaboration investigates historical perspectives on tools for collaboration and traces their influence on communication.
A recent study of The Pew Internet & American Life Project reports that 51 million Americans of all ages (and 57% of all US teenagers) have contributed content online. They wrote blog entries, book reviews, uploaded mp3s and video, or podcasts. The average European Internet user spends 10 hours 15 minutes a week online. Artists use this huge participatory potential to create input-driven projects. But often web-based rooms are opened and nobody comes to party. What are the needed incentives for people to participate? Video makers use video blogs to create an offline audience for their tapes. Artists use blogs as portfolios, for day-to-day reflection, and as platforms for their work as public intellectuals. Art activist groups further their political agendas. Artists form social networks to create sustaining venues for their work and contexts for their ideas. Inexpensive social networking tools create new publics for cultural producers. A culture of widespread free sharing emerges along with the development of social software tools. Media theorists argue that a creative cooperative proficiency is the key skill for the next decade. After successful completion of this course you will have a deeper practical, historical, theoretical, and political understanding of contemporary media spheres.
We will read, discuss ...
Originally posted on 'journalisms' by Rhizome
Originally posted on Grand Text Auto by nick
Artists Burnish RFID's Image
In Artists Burnish RFID's Image, Mark Baard conjures RFID as rather complex social and cultural assemblages:
"[A]rtists in the United States and Europe are adding RFID to their palettes as well. They're drawing hip crowds as well as the attention of the RFID industry, which hopes to gain some good publicity for its controversial tracking technology. 'There is a lot of public aversion to RFID because of privacy issues,' said Paul Stam de Jonge, global RFID solutions director at LogicaCMG, a large European technology services company. 'And anything that will bring to it a more positive attitude will be beneficial.' [...]
The RFID industry seems to be cautiously reaching out to artists. The trade publication RFID Journal recently invited artists from the RFID-Lab in The Hague to its European industry conference last fall...'It was quite remarkable to have been invited to this rather closed and expensive conference for executives,' said RFID-Lab organizer Pawel Pokutycki.
Accenture Technology Labs senior manager Dadong Wan said he's pleased the artists are drawing positive attention to RFID. 'Artists definitely have a role in facilitating and accelerating the technology by raising (the public's) awareness,' Wong said."
The inter-dependence of artists and technology industries is clear, but the politics and ethics perhaps less so. While not wanting to ignore the history of net-art and critical internet culture, it seems to me that wireless art is offering a special challenge to traditional leftist critique-at-a-distance.
By actively and explicitly embracing their inevitable interconnectedness, both artists and corporations are able to achieve things that are not possible if either resists or retreats from the other. This sense of communal exchange need not imply collusion or assimilation - although both are, of course, possible - and it need not imply consensus either. Convergence ...