Julie+,
I second Simon's idea about an online interface to streaming media
(de)construction. Bits of this are cropping up in artist projects as
well as high bandwidth, virtual editing suites, and it would be an
interesting effort for AFI.
s
> -----Original Message-----
> From: Curating digital art - www.newmedia.sunderland.ac.uk/crumb/
> [mailto:[log in to unmask]]On Behalf Of Simon Biggs
> Sent: Wednesday, March 28, 2001 4:42 AM
> To: [log in to unmask]
> Subject: Re: Streaming Media again
>
>
> Julie Lazar wrote:
>
> >If you had access (as an artist or curator)to AFI
> (archives, equipment,
> >support staff), what--if anything--would you do with it
> re: streaming?
> -----
> I'd attempt to create a new interface to it all that would
> allow everyone
> access to the data via the web...although I would do it in
> a manner that
> was not direct or intuitive but rather a deconstructive
> approach to the
> data and how it is organised. The interface would be a work
> of art and a
> critique of its subject (the database).
>
> >Looking at the so-called "high and low aesthetic" issues
> from independent
> >artists to industry makers could be in the mix. Thoughts?
> -----
> Especially when it comes to the web I think it is becoming
> difficult to
> typify practice where the independent artist is seen as
> destined to work
> low-tech and the industrial operators high-tech. It isn't like that
> anymore. What counts today is less the hardware and more
> the software,
> which has now been largely commercialised onto platforms
> that are both
> consumer and industry standard (eg: Wintel boxes). A number
> of artists who
> use software as their primary medium are also in the
> position to produce
> work that is more or less on a par with commercial software
> (eg: nato, a
> lot of Max patches, IOD, etc). In some cases, even where
> hardware remains
> an issue, artists have been the high-tech innovators (Karl
> Sims, Char
> Davies, Joachim Sauter, etc) which the larger corporations
> have had to
> follow. Some artists working with technology also take the
> no-tech route as
> they are more concerned with the use of media than its
> functioning (I think
> of C5 here, or ETOY, etc). So, whilst I think it is
> important to cover the
> range of media practice from the low-tech to the hi-tech I
> feel it would be
> confusing if you typfied it as you have above.
>
> >3. Since the "museumification" problem exists - what are the most
> >constructive ways of making their work with
> net.artists...with artists in
> >general...more responsibly responsive?
> -----
> I would like to see Museums shift their role a away from the
> museumification process towards a proactive role. That is,
> it would be
> great to see more museums getting involved in the commissioning and
> promotion of new work/audiences and in particular work that is of an
> ephemeral and non-collectible nature. Of course museums
> already do this,
> but not as a primary or defining practice.
>
> best
>
> Simon
>
>
>
>
>
> Simon Biggs
> London GB
>
> [log in to unmask]
> http://hosted.simonbiggs.easynet.co.uk/
>
>
> Research Professor
> Art and Design Research Centre
> School of Cultural Studies
> Sheffield Hallam University
> Sheffield, UK
> http://www.shu.ac.uk/
>
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