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This point about power is an interesting one. The implication in the argument below, where power can only be exercised within the institution, would seem to be that the artist ends up with the responsibility and none of the power. However, artists do exercise power through their practice and its impact, socially and otherwise. Yes, the dissemination of work and its potential impact is mediated by institutions, large and small, but there are examples of work that has emerged from quite modest contexts that has gone on to have significant impact. Power is both a relative and a malleable concept. Best Simon Simon Biggs [log in to unmask] [log in to unmask] Skype: simonbiggsuk http://www.littlepig.org.uk/ Research Professor edinburgh college of art http://www.eca.ac.uk/ Creative Interdisciplinary Research into CoLlaborative Environments http://www.eca.ac.uk/circle/ Electronic Literature as a Model of Creativity and Innovation in Practice http://www.elmcip.net/ From: Jean Gagnon <[log in to unmask]> Reply-To: Jean Gagnon <[log in to unmask]> Date: Wed, 3 Mar 2010 07:52:31 -0500 To: <[log in to unmask]> Subject: Re: [NEW-MEDIA-CURATING] Three questions about commissioning variable media Last point concerning power relations. Depending of your institutional setting you may, as a curator, have more or less so called "power". I find hard to discuss power relations in the abstract. Power is always exercized in an institutional context. And of course being at the National Gallery of Canada or the Langlois foundation is not the same as being in a small artist-run center. But my attitude has always been to give freedom to the artist in the first place as they know more and are the specialist in terms of technology; but it also giving them responsability. The only aspect that always gets in the way is financial ressources. But if you establish the financial framework right off the bat, rarely it is a major problem after. Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201