Hi Crumb list,
Just a quick follow up to Sarah's below mention of the ANAT curating
masterclass, presented as part of Super Human: Revolution of the Species.
The masterclass - a two-day intensive workshop limited to 40 participants -
will be an opportunity to engage with the worldıs leading curators bringing
emerging artforms to broad-based audiences and will provide the essential
skills and knowledge necessary for curators and writers to introduce
audiences to these exciting new practices.
Presenters include: Christiane Paul, Whitney, USA; Jens Hauser Independent
Curator, Paris; Sarah Cook, Curatorial Fellow, Eyebeam, USA and Co-founder
CRUMB, UK; Erich Berger, Independent Curator (ex Laboral, Spain & Ars
Electronica, Austria); Amanda Macdonald Crowley, Eyebeam, USA; Doug Kahn,
Sound Theorist, USA; Angela Main, Artist, NZ; and, from Australia: Oron
Catts, Kathy Cleland, Tina Gonsalves, George Poonkin Khut, Kim Machan,
Lizzie Muller, Helen Stuckey and Paul Thomas.
We have just released the call for applications - deadline is 31 July. For
further information and to apply, please visit http://superhuman.org.au/
Best,
Amanda
Amanda Matulick
Communications Manager
[log in to unmask]
------ Forwarded Message
From: NEW-MEDIA-CURATING automatic digest system <[log in to unmask]>
Reply-To: "Curating digital art - www.crumbweb.org"
<[log in to unmask]>
Date: Tue, 23 Jun 2009 00:05:23 +0100
To: <[log in to unmask]>
Subject: NEW-MEDIA-CURATING Digest - 20 Jun 2009 to 22 Jun 2009 (#2009-90)
There are 2 messages totalling 213 lines in this issue.
Topics of the day:
1. Fwd: apologies for the interruption - curatorial masterclass series
coming
up at Eyebeam
2. documenting and archiving - results archive 2020
----------------------------------------------------------------------
Date: Mon, 22 Jun 2009 15:23:39 +0100
From: Sarah Cook <[log in to unmask]>
Subject: Fwd: apologies for the interruption - curatorial masterclass series
coming up at Eyebeam
Hi CRUMB list
apologies for interrupting again.
I have had a few inquiries from people wondering if we are doing
anything like this Curatorial Masterclass Series in the UK in the
future (or indeed elsewhere than at Eyebeam). The shorts answer is
no, but we'd like to! While Eyebeam is our international research
partner until June 2010, hence hosting the masterclasses there, we
are keeping busy with other outputs of the research grant, so mark
your calendars for:
* ISEA 2009 in Belfast the 27th, 28th, 29th of August. These sessions
are not masterclasses but are more like the dialogic events we've
hosted at previous ISEAs (San Jose 2006 and Singapore 2008) and
Futuresonic 08. More information coming soon!
* A conference at the AND (Abandon Normal Devices) Festival at FACT
in Liverpool on the 24th of September 2009. This is in partnership
with Dr. Charlie Gere at the University of Lancaster, and will look
at curating time-based art. Again, more information forthcoming.
* Participation in a masterclass about curating and biotech art
organised by ANAT - the Australian Network for Art and Technology -
in Melbourne on the 25th and 26th November 2009, just before Re:Live.
This is also in partnership with Amanda McDonald Crowley from
Eyebeam, but is an ANAT event in which we are participating rather
than a CRUMB-organised event as the above two are.
* We're also working on some events here in the Northeast as part of
the AV Festival 2010 next March, based on our successful work with
them in the past - we'll let you know about those in due course also.
As usual, all our events will be well documented on the CRUMB site,
so although you might not be able to attend in New York, Belfast,
Liverpool or Melbourne... you'll be able to read about them, and get
all the info the local participants get. Meantime, please feel free
to continue to suggest ideas for events, or things you'd like to see
CRUMB doing.
cheers
sarah
Begin forwarded message:
> From: Sarah Cook <[log in to unmask]>
> Date: 18 June 2009 23:09:57 BDT
> To: [log in to unmask]
> Subject: apologies for the interruption - curatorial masterclass
> series coming up at Eyebeam
> Reply-To: Sarah Cook <[log in to unmask]>
>
> Hello CRUMB list
>
> Apologies for interrupting the conversation.
>
> I just realized we hadn't properly announced that CRUMB is
> organising a series of curatorial masterclasses with our research
> partner Eyebeam in New York coming up next month!
>
> http://eyebeam.org/events/summer-school-curatorial-masterclass-series
>
> The full schedule will be announced next week, but for now, here is
> the teaser:
>
> ----
>
> An initiative of Eyebeam's Summer School program, the Curatorial
> Masterclass Series will be led by Eyebeam Research Partner Sarah
> Cook from CRUMB, the online resource for curators working with
> media art, and Eyebeam's inaugural Curatorial Fellow in 2008. The
> series will be an opportunity for emerging and established curators
> of art to get together within a focused period of time to learn
> from each other's practice, and to develop understanding of new
> media art, open source methods, and working in the public domain,
> within the wider fields of art and cultural production.
>
> Through filmed discussions with guests such as Steve Dietz, Patrick
> Lichty, and Eyebeam Executive Director Amanda McDonald Crowley, the
> Curatorial Masterclass Series will examine themes such as: What
> open source is and what it means for art - Fair use, copyright, and
> the role of publication and documentation in curatorial practice -
> Collaborations and international networks - Working in the public
> domain - Evaluation and getting to know your audiences.
>
> The Curatorial Masterclass Series will take place on Tuesday and
> Thursdays from 3-5pm, from July 7th - July 21st. The first hour of
> each session will be a formal conversation modeled on CRUMB's tea-
> time chats, and will feature established curators and artists. The
> second hour will be a rigorous participant driven discussion,
> building upon the first hour's themes and insights.
>
> Following each presentation and workshop, participants will have
> the opportunity to stick around for "beer o'clock" and
> conversations with presenters and fellow masterclass participants,
> as well as participants from other Eyebeam Summer School programs.
>
> Registration will be strictly limited. Please email stephanie [at]
> eyebeam [dot] com for further details.
>
> ----
>
> Therefore, I'll be in New York for three weeks in July and would
> love to meet up with any of you at any of these or Eyebeam's other
> events.
> Cheers
> Sarah
------------------------------
Date: Mon, 22 Jun 2009 14:26:52 -0700
From: Richard Rinehart <[log in to unmask]>
Subject: Re: documenting and archiving - results archive 2020
Hi Everyone,
Great discussion here, let me jump right in....
Sarah; here is one take on the difference between documenting and
preserving (though it's true; the are running together) - a recording
of the London Philharmonic Orchestra performing Scheherezade is
documentation; Rimsky-Korsakov's score for Scheherezade is
preservation. One is past-oriented (a snapshot of an historical moment
in the lifetime of the work, frozen in the past for all time), the
other future-oriented (the recipe for re-creating or re-performing the
work hundreds of years into the future, allowing for cultural re-
interpretation technical variation over multiple/infinite variations).
Here's another: Ant Farm's piece "Media Burn" consisted of driving a
modified Cadillac through a pyramid of TVs on fire. To park that
cadillac in a museum and call it an "exhibition" of the work is
really just documentation (a prop). The real work involves an event, a
performance, the heat of burning TV's the speeding 3000 pound car, the
splintering of glass and fire across the audience. To modify a Mini
Cooper and drive it through a flaming stack of iMacs; that might be
closer to preservation.
Now toward Aymeric's comments on using open standards to help document
and/or preserve new/media works, and not re-inventing the
wheel.....one such proposal is already out there being tested. The
Media Art Notation System (http://www.coyoteyip.com/rinehart_leonardo.pdf
) is an adaption of the MPEG-21 metadata standard specifically for use
in preserving media art. Toward the comments on using distributed
labor to help create/maintain/document the archive, MANS includes a
feature called "Accounts" in which anyone can create a "memory" of the
work in addition to any official institutional memory/record that was
recorded using MANS (this assumes that institutions share all such
documentation in an open sense online, etc. but c'mon; of course they
will, right?! :)
So of course I agree that standards and especially context is
important for "remembering" new/media works, but I would counsel that
one can go too far in this direction as well. For instance, true
Archives (accredited, etc.) follow very strict professional guidelines
that are different from those in museums and libraries, and one
Archival tenet is to exhaustively record the context of ownership; how
the object came into the archive, (ie "provenance"). I agree that this
kind of context is important, so MANS is all about context, but one
can go overboard in this direction too. I think that a strict Archival
approach in fact emphasizes provenance to the exclusion of other
important types of documentation for media art (one good example is
that if you find an artwork in a true Archive and you look up the
"creator" of that art work, it will not be the artist, rather it will
be the collector who created the collecting containing the artwork and
gave it to the Archive. In a real Archive, "creator" means collector.
Perhaps that's a bit confusing in an art context, but the point about
context is well-taken nonetheless!
Lastly, MANS is being tested in a project called "Forging the Future",
lead by Univ. of Maine, that is also hard at work developing software
tools for preserving media art. One such tool is the folksonomic
"Vocab Wiki" set up by Rhizome.org - just by way of another example of
how some archival work is indeed being farmed out to the
masses....but not all of it; it's more of a hybrid model where we
don't put all our preservation eggs in either the loose fan-base, nor
the stolid institutions, but rather we try to get them to work
together. Seems a good approach to me!
Richard Rinehart
---------------
Digital Media Director & Adjunct Curator
Berkeley Art Museum and Pacific Film Archive
bampfa.berkeley.edu
---------------
University of California, Berkeley
---------------
2625 Durant Ave.
Berkeley, CA, 94720-2250
ph.510.642.5240
fx.510.642.5269
On Jun 19, 2009, at 4:05 PM, NEW-MEDIA-CURATING automatic digest
system wrote:
> documenting and archiving - results archive 2020
------------------------------
End of NEW-MEDIA-CURATING Digest - 20 Jun 2009 to 22 Jun 2009 (#2009-90)
************************************************************************
------ End of Forwarded Message
|
