Hi all,

I look forward to our guests and others introducing themselves and 
sharing their experience in relation to this month's topic. The impetus 
(in part) for this discussion was a conversation I had recently with a 
curator who indicated that artist Mark Wallinger was suggesting 
(bragging?) that his commissioned video installation for the crypt of 
the cathedral in Milan (the piece is called Via Dolorosa) was the first 
work of permanent new media art, as he intends it to remain there 
'forever'. [I am increasingly interested in how the mainstream art 
world engages with technology  -- it only makes sense that video 
installation has moved from the gallery to the city and might hence be 
historicized in its own self-contained way.]

I think one thing that perhaps distinguishes public works of new media 
art (and yes, I know we should also have a debate about _where_ public 
space is!) is that they often have elements which function or work or 
vary or interact in some way (they don't necessarily sit there like 
lumps of bronze). A parallel, at least in terms of preservation and 
maintenance, could be drawn with public fountains/art works, which 
invite a kind of constant interactivity. The Walker Art Center's famous 
Oldenburg Spoonbridge (http://garden.walkerart.org/artwork.wac) 
fountain was the first major commission (so I understand) to include in 
its acquisition agreement a dedicated investment fund for its 
conservation (repainting and managing the pond, etc.).

Like commissioned fountains, we are also increasingly used to seeing 
works of public art made from light (NewcastleGateshead is full of such 
projects and a new one has just been announced, see 
http://www.tyneandwearmetro.co.uk/news_detail.asp?NewsID=710) - but as 
those works aren't necessarily exhibiting the characteristics of being 
variable or connected or interactive (even if they do need their bulbs 
changing often), i'm not sure how they enter into the debate here.

 From fountains to lighting, it might be interesting to hear from Ben 
Coode Adams too, who has recently completed a large clock for the 
middle of a town green here in the UK. While the piece is made mostly 
from metal and has mechanised bells, it is actually running its 
programme off a computer, and the code is written in such a way that 
other musicians/composers could create new chime sequences for the 
clock to 'perform'. Will the town ever undertake that? It's unlikely. 
The artist's project allows for it, but the clock doesn't need to have 
that element 'maintained' in order for it to meet its intended function 
and aesthetic presence.

Let's talk about some more new media examples and projects which are 
public but perhaps question the idea of permanence at all...

Sarah