Hi Simon & all,
Thank you for finding the time to put forward your own thoughts on this.
>Although I do not currently live in London I still identify myself as,
if anything, a Londoner.
>But I guess the four hour drive puts me off getting to meetings. I am
also very busy.
>That is no excuse of course, as everybody is busy.
The 4 hour journey to London is of course a pain when one is so busy.
Even whilst writing this I have an exhaustive list beside me of things
that should be done and none of them are to do with NODE.London.
Before I carry on- I just want to re-emphasize that I am a lone
(individual) speaker discussing about NODE.London here, and whatever I
say is, in no way representative of any others own personal thoughts,
who are also involved in the project. Everyone has their own perspective
on it and along the way we will probably find others who will introduce
more (or less) light on the subject. I am just a micro-voice expounding
my own interpretations/meanings around it and what it means to me. In
fact, I have just noticed that Saul has posted to the list and I know
that he will have a different slant to share that will be different from
my own, and we may and may not agree on some things.
It does not have to be just in London though. In fact, I know of people
from across the seas who are coming over during the season in March to
observe how it all works and how they themselves could incorporate
something similar in their own countries, media art related communities.
As well as tour London and enjoy all the media art being presented at
all the different nodes/venues/places.
People like Sal Randolph did some great projects such as the Free
Manifesta, a project for Manifesta 4, the European Biennial of
Contemporary Art held in Frankfurt, Germany from May 25 to August 24,
2002. Before that there was the Free Biennial which took place in New
York during the month of April 2002.
An interesting point that Sal mentions regarding curation "As the FREE
BIENNIAL developed, I began to wonder how it would be to take this
uncurated space inside of an institution. The more I worked with this
live and complex array of artists and projects, the more controlled
traditional art spaces seemed. From this point of view, commercial and
institutional spaces are almost identical in their desire to control the
viewing context. The fear of "bad art" felt by museums and galleries
began to seem a bit hysterical (and in that way, of course,
interesting). The idea of selecting or curating based on "excellence"
seemed suddenly narrow. What was being left out? What weren't we seeing?
The hush of museums and galleries began to seem like a silencing."
http://www.freemanifesta.org/essay.html
Even though the situation was different I find the comments by Sal
typical of what many (including myself) have experienced who have
practised either net art or media arts generally. Yet things are
changing, although there is a hell of a divide still between fine art
institutions and the contemporary media art arena which needs
addressing, and NODE.London could help to bridge that gap, if it is
allowed to that is.
Not only that, media art has also needed an audience. Not just an
audience that is peer related but, an audience that also comes form
different social contexts' other than from a technology
related/educational situation. We have only just begun to get our own
local audience interested and it was not easy. NODE.London has already
created a new and interested audience, which was obviously evident at
the catalogue event the other night and by the very real response that
we are getting from new people who wish to get involved on various levels.
NODE.London, is large and it does not have to be so big really. In fact,
in respect of consensus decision making I feel that for such an approach
to work well, smaller groups using such a method would be more successful.
>Perhaps there is the perception that Node is all about a new generation of
>artists?
I think that you might have a point there- but I'm no spring chicken.
Well- what is so interesting here is that it is not just about the
artists, which is very different slant, it is also about exploring free
structures as possible models of working. It is a work of art in its own
right in one sense. I remember Mark Tribe mentioning once in an
article/interview that Rhizome.org was a kind of social sculpture, or
something close to that- and I can understand what he means to some
extent. Although it is important to for people to realise that this is
not a centralised social sculpture that directs from one place alone. I
see this project from an alternative angle and that it is more
influenced by the people who get involved, changing its direction
according to their contextual needs which of course does include
artists, writers, curators and other types in the mix, changing its shape.
>It is wrong to say there has never been anything like it in London
>before. Anybody who was involved, in whatever way, in earlier grass-roots
>initiatives in London around live art, video art or media art will
know that
>the same sort of buzz was the case. These were all very exciting
>developments, with a real sense of momentum and the emergent sense that
>things might change.
I do understand and appreciate where you are coming from this. I think
that what also makes this different is that, much of it is directly
linked to the Internet at the same time as well. Also many are using
technology and networks in mind, with the aim of crossing over physical
intersections and the virtual, using a scale-free attitude. Such a
diverse incorporation of these dynamics is a first when observed at such
a scale.
>It is possible that some of those who were involved in
>previous events, who might be expected to be involved this time, are
>standing back letting a different group of people take the intitiative
>(although I am aware that some "old hands" are involved in Node).
This is true, there some old hands mingling among the many. Well, if
they are standing back and letting the new generation make their way
into the contemporary and cultural climate that is fair enough. Perhaps
some of those "old hands" who are not directly involved can offer advice
or information or dialogue with no strings attached.
>It should also be observed that due to those earlier initiatives
things did
>change, a little. Not enough to avoid a sense of disillusionment for some,
>but they did change.
And much respect to these groups of people that have done so, for their
spirits do actively live on within and through us now. Many involved in
the project might not necessarily appreciate or value the spirit of what
NODE.London actually offers, and they may only pin it down to
minimal-concerns so to contain it emotionally. Each to their own
reasoning's, for it is not about everyone thinking the same. Many people
may understand and acknowledge the technical dynamics of what it is but
are more interested in how it changes the every art-based environment
around them, in a creative sense alone which is also cool.
Regarding forms of free labour and its distribution. Well, I have
offered a tremendous amount of my own free time to the project at
various levels. And this is because to me, it means something which of
course many of you know about all ready. As far am personally concerned,
if it meant nothing to me I would not of been involved. And yes, I have
been used by the NODE.London 'thing', as cheap labour, but life is not
just about how much one can get out of something via capital alone.
Sometimes it's about other things that are deeper and more complex than
a simple transaction of monetary requirements. Although at the same time
I do understand issues that some may have regarding this.
>It will be interesting to see what happens this time.
Yes it will be interesting to see what happens this time- and perhaps
you are right in that it is a voice of a generation, and this generation
is demanding a more solid media art presence out there which also links
to the rest of the world, and its various localities. Times are
different now and situations in respect of what is happening in the
world does influence why some of us do engage in such a thing and why
some others do not.
>The question of curated, or not curated, events is another issue. Of
course
>there are good and bad curators. One therefore needs to ask what the
>function of the curator is in this context (a good subject for this list).
>It could be observed that the role of the curator here could have been to
>establish a vision of this terrain and to articulate that within a
>questioning critique such that it would be evident to an observing public
>just what it is that is happening in London with new media art and
artists.
I do think that at this point it also useful to remember that Brit-Art
smothered an awful lot of 'up and coming' creativity during its most
dominant phase. And even though it highlighted to a wider public that
art existed out there to some extent the movement represented only a few
selected artists and other individuals. Which to be honest is what I
feel has been happening to media art the last few years, but thankfully
things are being shaken up and all those other creative
individuals/groups can get involved as well and get themselves hooked
into the main-frame.
>It should also be observed that due to those earlier initiatives
things did
change, a little. Not enough to avoid a sense of disillusionment.
>I have no good excuse for not being involved. Just the usual lament of
"too
>busy and too far away", which I recognise is not sufficient. The
thought of
>getting to go to an exciting party in London is of course tempting and
I am
>sure I will regret not having been involved in an event that might, just
>might, make a difference. But you cannot be involved in everything and I
>have been and continue to be involved in plenty of other stuff, so I
do not
>feel too guilty.
In no way should anyone, or yourself feel guilty. Offering thoughtful
and interesting ideas around the subject is enough and it is indeed all
part of the experience of what adds real 'contextual' value to it all,
for all those directly or indirectly involved. I respect that, and am
extremely thankful for yours and other's questions and interpretations
about NODE.London, which will definitely inform me and change my own
presumptions, which will lead me to re-evaluate certain things.
>I hope it goes really well...and if possible I will try to get to see some
>of it too. I hope the parties also make it worthwhile ;)
Thank you again.
marc
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