Hi Kristoffer and everyone on the list!!

Thanks for your contribution to the feb theme. I thought it is
interesting what you suggest, to think the possibility of a work setting
up an “ephemeral” space THROUGH a very concrete calculating operation.
So as if the concrete calculating operation (= the function) conditions
the ephemeral (that what does not remain, that what is perhaps also
imaginative). But you also suggest the “ephemeral” space as a space for
thought... 

The ephemeral here would not as such be related to the
material/non-material/im-material, but be understood as a concept
(virtual-actual?) which I find interesting especially in relation to
“media work” which has often been discussed in relation to the
immaterial, and, importantly, to money. 
Does this perspective shift the discourse from the material to the
conceptual ---- and from art to business/economies?    
When you describe the work I am interested in the potentially infinite
receipt roll that seems to be the manifestation of such a shift. But I
imagine that the actual processing of the numbers, the sound of the
machine, and the abstraction that takes place at the site, at particualr
moments, is also what brings the work back to the idea of the ephemeral
as something that in its aesthetic value of the disappearing and
fleeting and the “never the same” escapes certain logics of growth, and
labour. (well, labour in a different sense)     

I also think what is most interesting that the “art” media did not have
much of a voice, but rather the business media? There is a quite
frightening dynamic here, namely that the artwork is already quite
absorbed in economies. I wonder how art critics reflected on the piece,
how art journals deal with it. What does this “state of the Danish
press/media” say about the larger issue of the incorporation of art in
(mass) media. 
And also about the DIFFERENT situations of countries involved in global
politics...  

In relation to this theme I have been thinking about a serial work by
American artist Dan Graham, which uses an art journal as object and as
the site of intervention. In 1966 ARTS MAGAZINE published the two-pages
photo-text layout Homes for America. This intervention is part of
Graham’s early “works for magazines”.  Homes for America is an
investigation in the ‘over-all magazine article lay-out’ (Graham) which
also addresses, the artist notes, the ‘present-time (timeliness)’ of a
magazine. As one of its most important aspects, and partly deriving from
this timeliness, Graham emphasises that the work made no claim for
itself as a work of art. 
The page of the magazine, a site of non-art, functions as an underlying
grid-like, schematic, coded system. 
There is a lot more to say about this work, but I thought this might be
interesting in relation to an “artwork” as a critique of (mass) media –
in this case print media - and its self-critique.     

The work’s live and afterlive, and second life (in media, in oral
histories). . . seems to make the work in a way HAPPEN. 

Few , maybe a bit incohesive thoughts on the current theme...

verina


----- Original Message -----
From: Kristoffer Gansing <[log in to unmask]>
Date: Wednesday, February 13, 2008 4:56 pm
Subject: Re: [NEW-MEDIA-CURATING] Writing about the ephemeral... the
insignificant the singular the condition

> Writing about the ephemeral – Calculating ”Danmark”
> 
> As others have already pointed out, this is a very interesting 
> theme and as a newcomer to the list it is also quite a challenge to 
> comment on. A lot of directions of thought are opened… And this 
> will be a long ramble on a recent work by Danish artist Linda 
> Hilfling and myself.
> 
> Catching on to the original post, mentioning the “press review” in 
> the list of things “particularly important for ephemeral, live or 
> broadcastworks” - I’d like to try and build on this in relation to 
> a work I’ve just shown in an exhibition at the National Gallery in 
> Denmark. This is a work in which I take part as an artist rather 
> than a curator, but which consists of a work which is typical for 
> new media work in that it in itself is generative and tries to set 
> up a space for thought rather than a conclusive statement. The 
> tricky part is that it tries to set up this “ephemeral” space 
> through a very concrete calculating operation, and this immediately 
> confounds critics and spectators. The work is functional, but this 
> function is at the same time an aesthetical act which points to the 
> virtuality of what is being calculated. 
> 
> I actually think that this rupture between the material function of 
> a processual work and its meaning and ephemerality is quite common 
> to new media works in general. Considering that many new media 
> works consists of a re-routing of ongoing information processes.
> 
> So to briefly explain the piece itself and the reaction to it. In 
> the installation, an old office calculator sits at a table and from 
> it extends a mess of cables in different colours, making it clear 
> that this machine has been hacked. The display continuously adds 
> numbers together and these are printed by the machine on a receipt 
> roll which spills over the floor. The calculator is scraping data 
> off the online statistics of Linden Lab, the Californian company 
> behind Second Life. It then calculates how much money (in Danish 
> crowns) an average Danish SL user would earn on average in SL 
> during the exhibition period’s two weeks.  The result is a very 
> small number (32 crowns), but 160 meters of paper spilling on the 
> floor. The whole work is a comment to the Danish Ministry of Taxes 
> setting up an island of their own in SL last year, naming it 
> “Danmark” and thereby establishing a kind of State presence in SL. 
> The focus of this virtual “Danmark” though is to inform Danish SL 
> users that they should pay taxes on money earnt in SL. This space 
> was set up when the hype of the economic possibilities of SL was at 
> its highest.
> 
> As an intervention into “Danmark”, the calculator is also viewable 
> through a webcam “projected” on to a large billboard in the state 
> owned Danish SL.
> 
> What I’d like to focus on is how the Danish “business” media 
> reacted to this piece. Having caught on to the results of the 
> calculation they proceeded to publish a number of articles, stating 
> the depressing state of the Danish side of the SL economy. 
> Obviously, there were a lot of Danish SL entrepreneurs who objected 
> to this, and started to comment on the online editions of the 
> articles. In retrospect, I wonder what was lost in this treatment 
> of the work, which was meant to project an image of control and the 
> virtuality of capital flow, rather than as an instrumental tool for 
> monitoring the actual amount of earned money. Of course, statistics 
> in some way always “lie” and the official statistics of Linden Lab 
> could probably be read and critically analysed in a number of 
> alternative ways. Yet, what is more at stake here is the 
> aesthetical value of such online information and the political 
> implications of creating a generative work out of this data – 
> connecting imagined locality (the national state of Denmark and its 
> virtual “Danmark”) with global business and service providers (SL).
> 
> So it seems to me a purely functional evaluation of such a work 
> completely misses the point – at the same time as the work would 
> not “function” on its ephemeral level without this concrete 
> dimension. So are we back in a dialectical relationship here…? 
> Well, at least I hope to inspire to some more considerations on 
> this rupture between functionality and ephemerality, which is 
> necessary but without excluding the one or the other. 
> 
> best wishes,
> Kristoffer Gansing
> 
> >>> Maeve Connolly <[log in to unmask]> 08-02-05 20:42 >>>
> Thanks to Beryl and Verina for inviting me to contribute to the
> discussion. I'm interested in Ken's comments on the re-viewing of 
> movingimage works and also Verina's point about the social 
> conditions under
> which something is written. So here are some initial thoughts...
> 
> My research focuses on artists' film and video and I'm currently 
> writingabout a series of works where questions of site or place are 
> central,and often integral to the commissioning and/or production 
> process. I
> have seen all of this work in public exhibition contexts (galleries,
> site-specific installations, screenings) and reviewed some of it. 
> But as
> some time has passed since my first viewing, I'm also referring to
> documentation in DVD form. 
> 
> Some of the works I'm writing about have been widely distributed but
> others circulate within the gallery system so as I view these DVDs 
> in my
> own space (as opposed to in an archive) I am acutely aware of two
> issues. The first is my economic and social relation to these works,
> which varies greatly, and the second is the distance between the
> original experience and that of re-viewing. 
> 
> To some extent this latter issue could just be an effect of the 
> kind of
> processes explored by Victor Burgin in The Remembered Film. But I
> suspect that my first encounter with these works was always already
> coloured by a strong sense of the ephemeral. In my memories (and in my
> written records) of the exhibited works, the acoustics of the 
> space, the
> design of the installation, the journey through the exhibition
> environment etc seem to take precedence. These elements are generally
> absent, or obscured, in gallery documentation yet the act of re-
> viewingseems to heighten the particularity of the first experience, 
> rather than
> supplant it... 
> 
> I haven't read Liam Gillick's intro to Proxemics but his comments - on
> being both too close to and too distant from the main protagonists -
> seem to describe aspects of my own experience of writing catalogue
> essays. I've occasionally written texts that involve a kind of
> speculative projection about the form the work might take, rather than
> conventional description or contextualisation. This type of writing
> seems characterised by 'closeness' -  it often involves an 
> investigationthe artist's ideas and interests as well as process. 
> But perhaps it also
> produces a certain distance for the reader because it draws upon but
> doesn't openly state the conditions of the exchange between artist and
> writer...
> 
> Maeve
> 
> Dr. Maeve Connolly
> Lecturer in Film and Animation
> School of Creative Arts
> Dun Laoghaire Institute of Art, Design and Technology
> Kill Avenue
> Co. Dublin
> Ireland
> 
> Tel: +353 1 2144927
> Email: [log in to unmask]
> 
> 
> 
> 
> 
> -----Original Message-----
> From: Curating digital art - www.crumbweb.org
> [mailto:[log in to unmask]] On Behalf Of Verina Gfader
> Sent: Saturday, February 02, 2008 1:12 PM
> To: [log in to unmask]
> Subject: Re: [NEW-MEDIA-CURATING] Writing about the ephemeral... the
> insignificant the singular the conditional
> 
> Thanks Beryl for introducing the new theme on the list. I want to
> briefly pick up on two points written by Liam Gillick in his
> introduction to Proxemics. Selected Writings (1988-2006) - which to me
> seem interesting to mention in this context.
> 
> Although not taking on board the nature and affects of media art as
> such, indeed the texts include a wide range of different 
> "categories" of
> art (which I'd like to say might be also significant to think
> philosophically in terms of pluralities/), the absences and failures
> that Liam describes by writing about art, can only as I think, confirm
> something that is peculiar to art as such. Whether of not a work is
> ephemeral or not, live or not, finite or not. 
> 
> If the experience of a work could actually be described in one 
> possibleway only then we would not take into account the plurality 
> of the
> audience... Is the access to the work, the entrance point, an issue
> here?  When artists write about their work, their intentions,
> instructions, and so on, do these writings reveal the most direct 
> accessto the work? In this case the text would follow the mode of a 
> particularpractice most straight forward.  
> 
> The artist text versus the descriptive text (e.g. used on a label 
> in an
> exhibition space) versus the critical text? But where does the
> criticality take place? In the differences of the texts that talk 
> aboutthe work? In the gaps between these different texts? In the 
> gaps of the
> text?
> 
> Liam says "I did not write anything of significance, although there 
> areinteresting interviews. [ ] I was too close to the main 
> protagonists,and yet too distant in terms of understanding their 
> motivations". 
> Maybe one could say that the work lives and also is preserved 
> preciselyin this "insignificant" utterances. 
> 
> In my experience as a researcher I did not feel uncomfortable writing
> about work without having seen the "original" work, e.g. an early body
> art performance by Carolee Schneemann or Gina Pane. I felt more
> uncomfortable with reading texts that try to mystify the work in a way
> and that were written "too distant" to return to Liam's expression.
> 
> New media art is interesting as it distances itself, through
> technological progress, by introducing something that appears to be
> 'new' or not already experienced, seen, read. But moving away from a
> technology-oriented analysis the criticality it bears lies in its
> affective modes under certain conditions.   
> 
> Instead of isolating however work and text, what might has been at 
> stakeand continues here to be at stake are the social conditions 
> under which
> something is written on something in a particular way (blog, review,
> academic essay, interview).
> 
> How do other practitioners, artist, curators, writers, approach text,
> work, criticality? 
> 
> Rambling notes on a chilly but sunny Saturday afternoon. 
> 
> 
> Best
> ver
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> ----- Original Message -----
> From: Beryl Graham <[log in to unmask]>
> Date: Friday, February 1, 2008 10:17 am
> Subject: [NEW-MEDIA-CURATING] Writing about the ephemeral... Theme Feb
> 08
> 
> > Theme of the month February 08
> > Writing about the ephemeral / the 'live' / the broadcast
> > 
> > Beyond issues of physical preservation, the written record, 
> > document or
> > press review is particularly important for ephemeral, live or 
> > broadcastworks. But how does one write about/criticise something 
> > that's never
> > the same twice?
> > 
> > What are the modes curators use for the documentation of new 
> media 
> > art?Re-imagination; information; writing that in one way or the 
> other> transmits the various experiences of the work? Can it be 
> argued that
> > the life of a work consists precisely in the ways it departs from 
> its> initial point/source or concept? And if it does so how do the 
> > differentafterlives, critiques and vocabularies associated with 
> > media contribute
> > to or resist the work?
> > 
> > What framing systems emerge with forms of writing other than the
> > traditional single-authored critical text (e.g. dialogue based,
> > blogging, hypertext)? What framing systems are becoming more 
> > peripheral(e.g. traditional art criticism)? Does a particular 
> > work/practice need
> > a particular mode of text to be understood or re-enacted? Can a live
> > work be re-imagined by certain modes of preserving it? Does the 
> > archivethe re-broadcast or the re-enactment then become more 
> > important than
> > the work?
> > 
> > 
> 
> > 
> > ------------------------------------------------------------------
> -
> > 
> > Beryl Graham, Professor of New Media Art
> > School of Arts, Design, Media and Culture, University of Sunderland
> > Ashburne House,
> > Ryhope Road
> > Sunderland
> > SR2 7EE
> > Tel: +44 191 515 2896    [log in to unmask]
> > 
> > CRUMB web resource for new media art curators
> > http://www.crumbweb.org
> 
> --------------------------------------------------------------------
> ------------ 
> IADT Disclaimer.This e-mail and any other items transmitted with it 
> are confidential  
> and intended solely for the use of the individual to whom they are 
> addressed. 
> If you are not the intended recipient you must not use, disclose, 
> distribute, copy,  
> print or relay on this e-mail. 
> If an addressing or transmission error has misdirected this e-mail, 
> 
> please notify the author by return email  
> or inform Dun Laoghaire Institute of Art | Design | Technology's 
> (IADT)  
> Information Communication Technology Office on 01 2144770 or 
> mailto:[log in to unmask]    
> Any views expressed are those of the author and not necessarily 
> those of IADT. IADT does  
> not guarantee that this e-mail is free from viruses, worms or the 
> like.   
> Please undertake your own checks. 
> --------------------------------------------------------------------
> ------------
>