Michael Connor
Since 2002
Works in Brooklyn, New York United States of America


Ana Maria Uribe, Anipoems


 Ana Maria Uribe, Escalera 3 (1999).

Ana Maria Uribe (1951-2004) was an Argentine visual poet who made work online beginning in 1997 after working in other media for many years. When she passed away in 2004, Jim Andrews (who runs Visual Poetry website vispo.com) posted a moving tribute to her work on Rhizome's mailing list, including this quote in which she recounts her formative experiences as a poetry: 

I started with visual poetry in the late 60's after seeing some of Apollinaire's poems and Morgenstern's "Night Song of the Fish". Shortly afterwards I met Edgardo Antonio Vigo, who was then editing a magazine called "Diagonal Cero", devoted to visual poetry and mail art, and other poets such as Luis Pazos and Jorge de Lujan Gutierrez. They all lived in La Plata, a town which is 50 km from Buenos Aires, where I live, and we communicated by ordinary mail, either because there was a shortage of telephones at that time or to save costs, I don't remember which. I still keep some of the letters...

At a moment when many artists are again considering the medial qualities of poetry, Uribe's work seems well worth revisiting, particularly because (as Andrews noted, of her CD-ROM works) it reflected an understanding of "the poem on the screen as a performance." In the works, text is generally used pictorially (as with the ladder made of capital H's in the Escalera series), and rotated or otherwise manipulated to introduce a sense of motion into the scene. In the Rebote series, for example, the dots of lowercase i's bounce around playfully:


Required Reading: Paul Soulellis on Experimental Publishing


Image: Scott Gelber

It may seem odd to cite a syllabus as required reading, but this RISD class on Experimental Publishing offers a cogent way of thinking about what instructor Paul Soulellis, after de Certeau, calls the "scriptural economy." 

Let's begin with the post, exposing its origins as a physical note publicly nailed to a piece of wood. Its descendants persist today, plainly visible on the wall, in the feed and in the stream as traces of a deeper history of documents — the scriptural economy. Is posting (always) publishing?

May Waver, 'Embedded Lullabies' (2015)


Last fall, Gabriella Hileman, Violet Forest, and May Waver issued this statement, the cybertwee manifesto, in defense of internet saccharine:

Gabriella Hileman, Violet Forest, and May Waver, the cybertwee manifesto (2015).

Waver's new work Embedded Lullabies, released yesterday as the latest in an impressive series of net art commissions by experimental online publishing startup NewHive, embodies the principles of sentimentality and sweetness celebrated in this text. The project consists of home video footage of her bedding in various lights, overlaid against lo-res digital backdrops and accompanied by home recordings of the artist singing mournful love songs.

The piece reminds me a lot of something you might have seen back in the day on a Joanie4Jackie tape, updated for the present-day web. Joanie4Jackie was a kind of home video chain letter/zine initiated by Miranda July in 1996; a selection of the tapes are included in the touring exhibition "Alien She," opening on Sunday at the Orange County Museum of Art


After VVORK: How (and why) we archived a contemporary art blog


Screenshot of VVork post from April 2006, as archived by Rhizome.

Today, Rhizome unveils a new archive of the contemporary art blog VVork (2006-2012), in which we demonstrate a novel solution to the problem of conserving websites with embedded videos.

VVork makes a useful test case for our digital conservation efforts because it presents one relatively narrow but difficult set of problems to solve. That is, when videos are embedded in a website, they are generally hosted on a third-party platform (on YouTube, for example); this means they may be deleted or taken down, sometimes for "inappropriate" content. But saving these videos into an archive creates problems for most scraping tools, especially when a video is used in many different contexts, as when the same video appears on multiple tag pages. The way these platforms select and serve the video files makes it difficult to have all embeds of the same video point to a single archival copy.

To address these issues, Rhizome's Digital Conservator Dragan Espenschied used Colloq, a tool for creating contextual archives that was developed by Rhizome in partnership with Ilya Kreymer in 2014. (The service builds on Kremer's pywb tools; you can read up on the technical details of of capturing the web video here.) Colloq offers a robust solution for this long-standing issue; with VVork as a test case, we have created a stable archive of the site including nearly all embedded video.


Bodies on the Line


"You can have the party. Give us the power!"

Andrea Fraser had already been onstage in front of a packed house at the New Orleans Museum of Art's auditorium for more than half an hour. Dressed in a black suit, she was delivering a monologue based on the transcript of an epic 1991 city council meeting. In that meeting, an ordinance was discussed that would ban discrimination in any of the social clubs that apply for parade permits in New Orleans. The discussion opened up into a marathon airing of thoughts and grievances on racism, heritage, and the role of the carnival in a city defined, in many ways, by its Mardi Gras.



Discussions (82) Opportunities (1) Events (1) Jobs (0)
DISCUSSION

Caitlyn Jenner and the Facebook Real Name Policy


Yes, I have considered it. However, I'm very excited about our work in dynamic web/social media preservation, and I think this demands that we remain invested in a logistically separate publishing platform, even at the cost of some audiences. The Awl has had really good coverage on this issue recently: http://www.theawl.com/slug/the-content-wars

DISCUSSION

OPPORTUNITY

Birth Rites Collection Bi-annual Award


Deadline:
Sat Feb 07, 2015 23:59

Location:
London, United Kingdom of Great Britain and Northern Ireland

Submissions for our Birth Rites Collection Bi-annual Award are now open!

Artwork can be submitted in any medium.
DEADLINE 7th February 2015.
Entry fee £10

The winner will receive a residency at the Women’s Art Library, Goldsmiths University, London plus a stipend and winning work to be included in the Birth Rites Collection, The University of Salford. Shortlisted artists will have thier work screened digitally at Media CityUK in the Egg Suite in March 2015.

The Birth Rites Collection is the first and only collection of contemporary artwork dedicated to the subject of childbirth. The collection currently comprises of photography, sculpture, painting, wallpaper, drawing, new media, documentary and experimental film. It is housed between the Royal College of Gynaecologists and Obstetricians in London and Salford University Midwifery Department.

Judges: Helen Knowles BRC Curator & Althea Greenan, Women's Art Library, Goldsmiths University, London.
For more info:

http://birthritescollection.org.uk/#/media-city-bi-annual-award/4587224707


DISCUSSION

Bodies on the Line


I fully agree about etiquette w/r/t social media being needed! I think in this case it's particularly complex because no one seems really clear on the object boundary - i.e., whether the social media response should be considered "part of the work."

It's hard not to read "monitoring social media channels" without an Orwellian spin.

Of course, that is exactly what we did by archiving Amalia Ulman's Instagram feed, although everything captured on it is "public" in the sense that anyone can see it, without logging in. In that case, we made the specific decision not to capture her Facebook feed, which has a greater expectation of privacy attached to it. Such archives undermine the contextual integrity of social media, and the balance between this and various arguments for the public value created by non-profit digital archives requires further analysis.

DISCUSSION

Bodies on the Line


I'm dismayed by your suggestion that Ryder is currently being subject to harassment tactics. As we and you and others have pointed out, Ryder is far from the only one of us whose practice has ethically unsound aspects at times, and to continue to demonize him is too easy, and unproductive. To harass him is certainly unconscionable. As Heather said above, we all feel sorry for the distress that we caused Ryder.

I'm also a bit dismayed by your attack on closed Facebook discussions. To argue that every viewpoint, however unpopular, must be expressed in full public view is in effect to advocate for censorship.

Also, two factual corrections.

First, saying that we planned to "monitor" social media is a distortion. We are working on archiving social media, but we're working through the ethical implications of this; I anticipate that this will take the form of working with communities and users and putting tools in their hands rather than "monitoring" them.

Second, you say on your blog that this "started" on private Facebook groups. Maybe, but from my perspective the conversation about 'Art Whore' get going on Ryder's own Facebook thread, not on a private group. (That's the thread that would have been most useful for Rhizome to archive I guess, if the tools had been ready at that time, and if it met our still-evolving ethical guidelines to do so.)

Ryder deleted that thread, and many of the extant criticisms of his project were gone by the time I began writing my article.