dear nmc,
is it too late to sign the letter for steve kurtz? i've been away.
please could you resend it, if not.
thanks,
barbara stafford
>There are 10 messages totalling 682 lines in this issue.
>
>Topics of the day:
>
> 1. ZKM/symposium/ART MEDIA - MEDIA ART (3)
> 2. june's theme - feedback
> 3. curating a symposium (4)
> 4. In Defense of Steve Kurtz and the Role of the Artist
> 5. terms and values
>
>----------------------------------------------------------------------
>
>Date: Tue, 8 Jun 2004 11:57:01 +0100
>From: Sarah Cook <[log in to unmask]>
>Subject: ZKM/symposium/ART MEDIA - MEDIA ART
>
>here's a question: can you curate a symposium?
>and what is art media?
>;-)
>sarah
>
>
>Begin forwarded message:
>>
>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>> ZKM | Center for Art and Media Karlsruhe
>> =A0
>> Infomail No 14
>> =A0
>> =A0
>> ART MEDIA =96 MEDIA ART
>>
>> Symposium
>> Curated by Gerhard Johann Lischka and Peter Weibel
>> =A0
>>
>>
>> Saturday, 19 June 2004, ZKM Lecture Hall, 14:00 to 18.30
>> Admission =808 / =804
>> =A0
>> Curated by Gerhard Johann Lischka and Peter Weibel
>> =A0
>> Media and art are terms that are used separately to denote very many=20=
>
>> different phenomena, but they have also found acceptance in their=20
>> compound forms of media art and art media. Their applicability is very=20=
>
>> wide-ranging and subject to very few rules. While that is so, this=20
>> virtual lack of any restrictions harbours an opportunity. It helps to=20=
>
>> do away with a rigid assignment to categories and can thus pave the=20
>> way to a broad understanding of what media and art have represented up=20=
>
>> to the present and what they can develop into in the future. For it=20
>> would seem that we cannot dispense with these two terms even if they=20=
>
>> are now frequently employed as opposites.
>> =A0
>> Thanks to their widespread use and steadily increasing success the=20
>> media now not only reach out to every corner of the globe. The=20
>> significance they have acquired has also enabled them to stand the=20
>> world on its head in that reality as portrayed in the mass media has=20=
>
>> achieved the status of primary reality as a supplier of information.=20=
>
>> If the media constitute everyday reality, art interpreted along=20
>> traditional lines is the enhancing or transcending of what is=20
>> customary. Art embodies information that goes beyond time and=20
>> circumstances. It is moulded into a form that breaks with the=20
>> directness of reality and opens up avenues that are capable of linking=20=
>
>> the past with the present to constitute the future, thereby enabling=20=
>
>> them to coexist.
>> =A0
>> Speakers:
>> =A0
>> Sylvie Blocher, Christiane Paul, Maurizio Lazzarato, Judith Berry
>> =A0
>> =A0
>> For more information please visit our website: www.zkm.de
>> =A0
>> =A0
>> Contact:
>> =A0
>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>> Lorenzstra=DFe 19
>> 76135 Karlsruhe
>> Fon: 0049(0)721 / 8100 =96 1200
>> Fax: 0049(0)721 / 8100 =96 1139
>> E-Mail: [log in to unmask]
>
>------------------------------
>
>Date: Wed, 9 Jun 2004 01:45:17 +0200
>From: "[log in to unmask]" <[log in to unmask]>
>Subject: Re: ZKM/symposium/ART MEDIA - MEDIA ART
>
>and maybe few more: can you curate new media?
>and what is new media?
>v ;-)
>
>Sarah Cook wrote:
>
>> here's a question: can you curate a symposium?
>> and what is art media?
>> ;-)
>> sarah
>>
>>
>> Begin forwarded message:
>>
>>>
>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>> ZKM | Center for Art and Media Karlsruhe
>>> =20
>>> Infomail No 14
>>> =20
>>> =20
>>> ART MEDIA =96 MEDIA ART
>>>
>>> Symposium
>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>> =20
>>>
>>>
>>> Saturday, 19 June 2004, ZKM Lecture Hall, 14:00 to 18.30
>>> Admission =808 / =804
> >> =20
>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>> =20
> >> Media and art are terms that are used separately to denote very many=20
>>> different phenomena, but they have also found acceptance in their=20
>>> compound forms of media art and art media. Their applicability is=20
>>> very wide-ranging and subject to very few rules. While that is so,=20
>>> this virtual lack of any restrictions harbours an opportunity. It=20
>>> helps to do away with a rigid assignment to categories and can thus=20
>>> pave the way to a broad understanding of what media and art have=20
>>> represented up to the present and what they can develop into in the=20
>>> future. For it would seem that we cannot dispense with these two=20
>>> terms even if they are now frequently employed as opposites.
>>> =20
>>> Thanks to their widespread use and steadily increasing success the=20
>>> media now not only reach out to every corner of the globe. The=20
>>> significance they have acquired has also enabled them to stand the=20
>>> world on its head in that reality as portrayed in the mass media has=20
>>> achieved the status of primary reality as a supplier of information.=20
>>> If the media constitute everyday reality, art interpreted along=20
>>> traditional lines is the enhancing or transcending of what is=20
>>> customary. Art embodies information that goes beyond time and=20
>>> circumstances. It is moulded into a form that breaks with the=20
>>> directness of reality and opens up avenues that are capable of=20
>>> linking the past with the present to constitute the future, thereby=20
>>> enabling them to coexist.
>>> =20
>>> Speakers:
>>> =20
>>> Sylvie Blocher, Christiane Paul, Maurizio Lazzarato, Judith Berry
>>> =20
>>> =20
>>> For more information please visit our website: www.zkm.de
>>> =20
>>> =20
>>> Contact:
>>> =20
>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>> Lorenzstra=DFe 19
>>> 76135 Karlsruhe
>>> Fon: 0049(0)721 / 8100 =96 1200
>>> Fax: 0049(0)721 / 8100 =96 1139
>>> E-Mail: [log in to unmask]
>>
>>
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 13:14:41 +0100
>From: Sarah Cook <[log in to unmask]>
>Subject: june's theme - feedback
>
>I hear that only six of a possible six hundred of you have taken the
>time to fill in our little questionnaire!
>
>please take a moment and do so now...
>www.newmedia.sunderland.ac.uk/crumb
>
>we will be eternally grateful and will break out the special biscuits
>when you next visit crumb HQ for a cup of tea!
>
>thanks
>sarah
>
>forwarded message from Beryl:
>
>>> There is now
>>> a simple and brief on-line questionnaire available on the CRUMB web
>>> site, and in addition to this, we'd like to ask you:
>>>
>>> We aim to be a resource for new media art curators. Are we? Could we
>>> do it better? How?
>
>
>*********
>Sarah Cook
>New Media Curator and Researcher
>CRUMB: The Curatorial Resource for Upstart Media Bliss
>
>School of Arts, Design, Media and Culture
>University of Sunderland
>Sunderland, UK SR2 7JZ
>+44 191 515 2046
>
>www.newmedia.sunderland.ac.uk/crumb
>www.jiscmail.ac.uk/lists/new-media-curating.html
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 17:17:03 +0200
>From: Barnaby Drabble <[log in to unmask]>
>Subject: curating a symposium
>
>Regarding the question of whether you can curate a symposium, this is=20
>something I have encountered before and gradually changed my mind about.
>
>When working on the 1998 symposium Curating Degree Zero, my colleague=20
>and good friend Dorothee Richter requested that we use the term=20
>'curated by' in the publicity for the symposium, up to that point I was=20=
>
>describing us as co-organisers. I asked her Sarah's question and she=20
>replied interestingly that by suggesting that we were curating the=20
>symposium we identified ourselves as the selectors and implicated=20
>ourselves in an authorial (not purely organisational) way with the=20
>discourse produced. Equally as freelancers, the term allowed us to=20
>define ourselves as separate from the institutions supporting the=20
>project, as organisers we might simply be perceived as bureaucrats.=20
>This began a debate between the two of us about authorship,=20
>independence, responsibility and meaning, which is still going on, but=20=
>
>for me at least curating symposium's is possible.
>
>art media.... hmmm someone else will have to have a go at that, or=20
>maybe all will be explained at the symposium...
>
>regards
>
>Barnaby
>
>On Tuesday, Jun 8, 2004, at 12:57 Europe/Zurich, Sarah Cook wrote:
>
>> here's a question: can you curate a symposium?
>> and what is art media?
>> ;-)
>> sarah
>>
>>
>> Begin forwarded message:
>>>
>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>> ZKM | Center for Art and Media Karlsruhe
>>> =A0
>>> Infomail No 14
>>> =A0
>>> =A0
>>> ART MEDIA =96 MEDIA ART
>>>
>>> Symposium
>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>> =A0
>>>
>>>
>>> Saturday, 19 June 2004, ZKM Lecture Hall, 14:00 to 18.30
>>> Admission =808 / =804
>>> =A0
>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>> =A0
>>> Media and art are terms that are used separately to denote very many=20=
>
>>> different phenomena, but they have also found acceptance in their=20
>>> compound forms of media art and art media. Their applicability is=20
>>> very wide-ranging and subject to very few rules. While that is so,=20
>>> this virtual lack of any restrictions harbours an opportunity. It=20
>>> helps to do away with a rigid assignment to categories and can thus=20=
>
>>> pave the way to a broad understanding of what media and art have=20
>>> represented up to the present and what they can develop into in the=20=
>
>>> future. For it would seem that we cannot dispense with these two=20
>>> terms even if they are now frequently employed as opposites.
>>> =A0
>>> Thanks to their widespread use and steadily increasing success the=20
>>> media now not only reach out to every corner of the globe. The=20
>>> significance they have acquired has also enabled them to stand the=20
>>> world on its head in that reality as portrayed in the mass media has=20=
>
>>> achieved the status of primary reality as a supplier of information.=20=
>
>>> If the media constitute everyday reality, art interpreted along=20
>>> traditional lines is the enhancing or transcending of what is=20
>>> customary. Art embodies information that goes beyond time and=20
>>> circumstances. It is moulded into a form that breaks with the=20
>>> directness of reality and opens up avenues that are capable of=20
>>> linking the past with the present to constitute the future, thereby=20=
>
>>> enabling them to coexist.
>>> =A0
>>> Speakers:
>>> =A0
>>> Sylvie Blocher, Christiane Paul, Maurizio Lazzarato, Judith Berry
>>> =A0
>>> =A0
>>> For more information please visit our website: www.zkm.de
>>> =A0
>>> =A0
>>> Contact:
>>> =A0
>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>> Lorenzstra=DFe 19
>>> 76135 Karlsruhe
>>> Fon: 0049(0)721 / 8100 =96 1200
>>> Fax: 0049(0)721 / 8100 =96 1139
>>> E-Mail: [log in to unmask]
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 18:00:33 +0200
>From: Marlena Corcoran <[log in to unmask]>
>Subject: Re: curating a symposium
>
>Is there any way to organize a symposium without choosing the=20
>participants?
>
>Assumptions:
>a) You are the responsible party and
>b) Even taking all comers is a selection procedure
>(I am trying to forestall, shall we say, farfetched counterexamples).
>
>Best, Marlena
>
>On Jun 8, 2004, at 5:17 PM, Barnaby Drabble wrote:
>
>> Regarding the question of whether you can curate a symposium, this is=20=
>
>> something I have encountered before and gradually changed my mind=20
>> about.
>>
>> When working on the 1998 symposium Curating Degree Zero, my colleague=20=
>
>> and good friend Dorothee Richter requested that we use the term=20
>> 'curated by' in the publicity for the symposium, up to that point I=20
>> was describing us as co-organisers. I asked her Sarah's question and=20=
>
>> she replied interestingly that by suggesting that we were curating the=20=
>
>> symposium we identified ourselves as the selectors and implicated=20
>> ourselves in an authorial (not purely organisational) way with the=20
>> discourse produced. Equally as freelancers, the term allowed us to=20
>> define ourselves as separate from the institutions supporting the=20
> > project, as organisers we might simply be perceived as bureaucrats.=20
> > This began a debate between the two of us about authorship,=20
>> independence, responsibility and meaning, which is still going on, but=20=
>
>> for me at least curating symposium's is possible.
>>
>> art media.... hmmm someone else will have to have a go at that, or=20
>> maybe all will be explained at the symposium...
>>
>> regards
>>
>> Barnaby
>>
>> On Tuesday, Jun 8, 2004, at 12:57 Europe/Zurich, Sarah Cook wrote:
>>
>>> here's a question: can you curate a symposium?
>>> and what is art media?
>>> ;-)
>>> sarah
>>>
>>>
>>> Begin forwarded message:
>>>>
>>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>>> ZKM | Center for Art and Media Karlsruhe
>>>> =A0
>>>> Infomail No 14
>>>> =A0
>>>> =A0
>>>> ART MEDIA =96 MEDIA ART
>>>>
>>>> Symposium
>>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>>> =A0
>>>>
>>>>
>>>> Saturday, 19 June 2004, ZKM Lecture Hall, 14:00 to 18.30
>>>> Admission =808 / =804
>>>> =A0
>>>> Curated by Gerhard Johann Lischka and Peter Weibel
>>>> =A0
>>>> Media and art are terms that are used separately to denote very many=20=
>
>>>> different phenomena, but they have also found acceptance in their=20
>>>> compound forms of media art and art media. Their applicability is=20
>>>> very wide-ranging and subject to very few rules. While that is so,=20=
>
>>>> this virtual lack of any restrictions harbours an opportunity. It=20
>>>> helps to do away with a rigid assignment to categories and can thus=20=
>
>>>> pave the way to a broad understanding of what media and art have=20
>>>> represented up to the present and what they can develop into in the=20=
>
>>>> future. For it would seem that we cannot dispense with these two=20
>>>> terms even if they are now frequently employed as opposites.
>>>> =A0
>>>> Thanks to their widespread use and steadily increasing success the=20=
>
>>>> media now not only reach out to every corner of the globe. The=20
>>>> significance they have acquired has also enabled them to stand the=20=
>
>>>> world on its head in that reality as portrayed in the mass media has=20=
>
>>>> achieved the status of primary reality as a supplier of information.=20=
>
>>>> If the media constitute everyday reality, art interpreted along=20
>>>> traditional lines is the enhancing or transcending of what is=20
>>>> customary. Art embodies information that goes beyond time and=20
>>>> circumstances. It is moulded into a form that breaks with the=20
>>>> directness of reality and opens up avenues that are capable of=20
>>>> linking the past with the present to constitute the future, thereby=20=
>
>>>> enabling them to coexist.
>>>> =A0
>>>> Speakers:
>>>> =A0
>>>> Sylvie Blocher, Christiane Paul, Maurizio Lazzarato, Judith Berry
>>>> =A0
>>>> =A0
>>>> For more information please visit our website: www.zkm.de
>>>> =A0
>>>> =A0
>>>> Contact:
>>>> =A0
>>>> ZKM | Zentrum f=FCr Kunst und Medientechnologie Karlsruhe
>>>> Lorenzstra=DFe 19
>>>> 76135 Karlsruhe
>>>> Fon: 0049(0)721 / 8100 =96 1200
>>>> Fax: 0049(0)721 / 8100 =96 1139
>>>> E-Mail: [log in to unmask]
>>
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 11:53:22 -0400
>From: Randall Packer <[log in to unmask]>
>Subject: In Defense of Steve Kurtz and the Role of the Artist
>
>A Letter in Defense of Steve Kurtz and the Role of the Artist in Society:
>
>As with many in the arts community, particularly those engaged in
>acts of artistic mediation, I am shocked and outraged that one of our
>own has become a recent victim of oppressive policies coming down
>from the Bush administration. I met Steve and Critical Art Ensemble
>partner Claire Pentecost a few years ago here in Washington, DC,
>during their residency at the Corcoran College of Art.
>
>Steve's commitment to social inquiry, particularly in the area of
>bio-technologies, is internationally renowned. Steve is an artist and
>scholar of extraordinary depth of knowledge and perspective. Behind
>the actions and projects of CAE is a profound understanding of 20th
>century avant-garde practice and its impact on contemporary thought.
>If in fact it is the role of the artist to shed new light and vision
>on the issues that confront us today, Steve is the classic model, the
>real deal.
>
>For Steve Kurtz to now be facing criminal charges, shows the deep
>chasm that exists in our society between the artist's role as a
>social and political critic, and the society at large. Steve has
>shown how the artist-as-citizen might stand up for justice in the
>most thoughtful and imaginative way possible.
>
>It is my hope that the case of Steve Kurtz and other CAE
>collaborators now under investigation can inspire other artists to
>better articulate their vital role in society. Without artistic
>freedom, there is no freedom in the world. The artist is constantly
>examining, redefining and expanding our notions of freedom. How
>hypocritical for the US Government to claim it is bringing freedom
>and democracy to oppressive regions of the world, when here at home,
>it is condemning one of the great artists of our generation who
>speaks out for truth and justice.
>
>In George Orwell's 1984, the motto of Big Brother is:
>
>WAR IS PEACE
>FREEDOM IS SLAVERY
>IGNORANCE IS STRENGTH
>
>The words resonate all too well in the current social and political
>climate. The crisis facing us is much larger than the charges that
>may face Steve Kurtz and Critical Art Ensemble. The crisis is that
>this madness may soon be staring us all in the face, particularly
>those of us fighting for the ideals we thought our nation was all
>about. Steve is being victimized by the Patriot Act and the extremist
>ideologies behind it. We must not allow this to occur. We must defend
>the principles we believe in, and we must defend the role of the
>artist as a critical voice to help counter the rising tide of
>injustice that has spread since 9-11.
>
>The defense of Steve Kurtz is vital to the defense of the artist,
>whose role is to function as a mediator between our strange hostile
>world and the human spirit.
>
>Randall Packer
>June 8, 2004
>Washington, DC
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 17:18:03 +0100
>From: Sarah Cook <[log in to unmask]>
>Subject: Re: curating a symposium
>
>In part I asked because I too have faced the same question... but I
>have in many ways always attempted to include actual 'curated'
>components into the new media symposiums i have co-organised. For
>instance, having Brian Duffy do workshops and performances and ending
>the day with an extended set by Rupert Huber at BALTIC last November,
>in tandem with the data-based art conference, felt like an integral
>part of the thinking which led to the panels in the first place.
>In many ways it is simply doing what the festivals (Ars Electronica,
>DEAF, ISEA, etc.) do so well -- curate shows and have a conference
>component -- but in reverse (and on a smaller one or two-day scale).
>Similarly, when invited to 'curate' a component of a summit or
>symposium at Banff recently
>(http://www.banffcentre.ca/programs/program.aspx?id=141) I found myself
>adopting a very time-based, presentation mode, not unlike the 'show and
>tell' that has become a part of the new media art festivals. I took
>over a room (not a gallery space) and screened single channel works
>over a five day period. a mini exhibition. sort of. I don't think there
>is any doubt that Sara Diamond is a curator of the New Media
>Institute's Summits. But then, it's been said, she's a curator of
>people (some of them who are themselves curators). I digress.
>However, i can see Barnaby's point about being a freelancer and thus
>being self-defined in separation from the institution supporting the
>project. It is curious that this is communicated by the term curator
>and not by the term organiser?
>It brings us back to the question of institutional engagement in new
>media art, and that often, it is easier to curate new media art
>projects in through the door of the education or public programmes
>department than it is through the curatorial/collections/exhibitions
>department......
>
>sarah
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 12:45:11 -0400
>From: Sue Golding <[log in to unmask]>
>Subject: Re: ZKM/symposium/ART MEDIA - MEDIA ART
>
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>------------------------------
>
>Date: Tue, 8 Jun 2004 20:13:34 +0200
>From: Barnaby Drabble <[log in to unmask]>
>Subject: curating a symposium
>
>Interesting food for thought here... thanks
>
>Marlena's question: Is there any way to organize a symposium without
>choosing the participants? is an interesting one, because of course the
>common-sensical answer is No.
>
>However in an institutional context (which is where the majority of
>symposiums take place) 'selection' of speakers is often not authored as
>such. Sitting in the audience or up on the podium we can ofetn find no
>easy answer to 'who invited me/him/her?', and therefore 'why are we
>invited?'. Indeed, on the international symposium circuit the same
>faces, positions and ideas come up again and again, much like artist's
>lists at Biennale's. A close look and one starts to suspect a kind of
>selection by search-by-theme approach, a default line-up...
>
>So to change the question to
>
>Is it possible to organise a symposium without considering the critical
>responsibility tied to the choice of participants?
>
>my answer is Yes, we see it all the time.
>
>Whether substituting 'curate' for 'organise' in this altered question
>would change the answer remains unclear. But for Dorothee and myself
>the questions of who and why were very much in our minds as we
>organised the symposium, and it was these logics of 'who we might be'
>and 'why we might all be there' that we authored, and consequently
>termed curating.
>
>cheers
>
>Barnaby
>
>------------------------------
>
>Date: Tue, 8 Jun 2004 21:15:09 +0200
>From: Marlena Corcoran <[log in to unmask]>
>Subject: terms and values
>
>Thanks, Barnaby, for reminding us that many acts of selection run on
>automatic pilot: one rounds up the usual suspects and declares the
>result to be significant (or to have justified the funding). But is
>this not true of "organizing" art events/exhibitions as well as
>"curating" symposia? What concerns me is the proposal to substitute
>terms of category (curating/organizing) for a value judgment
>(thoughtful/mindless) or a labor hierarchy (person in charge/
>secretary). I believe that even those of us who provided the
>instructive examples of responsibilities that included selecting both
>symposium speakers and art events can probably still distinguish
>between them.
>
>What is it that some of us feel is to be gained by abandoning our
>responsibility to criticize something that is done poorly (not
>bothering to seek out new ideas and new speakers) in favor of expanding
>the territory covered by the term "curating"?
>
>Cheers,
>
>Marlena
>
>------------------------------
>
>End of NEW-MEDIA-CURATING Digest - 5 Jun 2004 to 8 Jun 2004 (#2004-90)
>**********************************************************************
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