Thank Gary -
This is an amazing project - transferring digital video onto
microfiche. The work really takes on board the notion that innovation
lies in learning to use the technology we already have.
Here's the text from the website:
"Babel Fiche is a crowd-sourced film that collects and remixes amateur
video footage. During 2011 we are gathering and selecting contemporary
clips which describe everyday life around the Earth. These movie
fragments will be printed on colour microfiche – a photographic medium
capable of lasting 500 years and simply requiring light and a lens to
expand its contents. This analogue throwback might even outlast our
current reliance on fragile digital storage.
Babel Fiche is an imaginary media for future anthropologists. It asks
which behaviours, objects, traditions and conflicts we want to
communicate to a future world. Today’s human cultures, physique and
technology will inevitably develop out of all recognition. So how
might a future species translate our current times?"
I also love the Steampunk aspect of this work - sliding between
time-zones - and wonder if those goggled fashionistas might yet be
empowered by reverse engineering?
On 18 March 2011 11:36, Gary Thomas <[log in to unmask]> wrote:
> Dave Griffiths' just launched Analogue/Digital 'crowd source' project: http://www.babelfiche.net/
> (a Film and Video Umbrella commission)
> On 1 Mar 2011, at 12:14, Beryl Graham wrote:
>> Dear List,
>> March 2011 Theme of the Month: Analogue/Digital Art
>> At the Crafts Council's Curator's Forum in September 2010, the relationship between digital processes and material craft objects was called into question, by artist who comfortably use both. What are the histories of such hybridity? Are craft and design curators ahead of art in integrating new media into mainstream exhibition? Is neo-luddism the way forward?
>> These issues, however, go beyond craft and into art: Much activist and participative art, for example, might use new media connectivity extensively, but rarely exists without street-level production, exhibition or action. Are Open Source production methods really adapted outside of software? Are the analogue and the digital really integrated in practice, or do tensions still exist?
>> Reference: http://www.craftscouncil.org.uk/professional-development/for-curators/craft-curator-days/view/craft-curators-forum-2010?cc_events=all®ion_id=0&year_filter=0&list_p=1
>> Theme Host:
>> Ele Carpenter is a curator, artist and researcher working within the field of visual arts and new media culture in the public realm. She has a PhD with CRUMB, has been a Research Fellow at HUMlab and Bildmuseet, Umea University, Sweden, and teaches in the MFA Curating at Goldsmiths College. http://www.elecarpenter.org.uk
>> Invited Respondents:
>> Laura Bardier is an art curator from Montevideo, and has curated private collections, international exhibitions, workshops, and forums. She collaborated with the Municipality of Napoli to develop the first civic center for contemporary art, the Palazzo delle Arti Napoli (PAN). http://bardier.wordpress.com/
>> Victoria Bradbury is a new media artist mixing anachronistic forms and new devices. She weaves electronic signals, code, and fibrous materials to create temporary home-spaces. She is currently Assistant Professor of Electronic Art at Ball State University and Fellow for the Institute of Digital Intermedia Arts. http://www.victoriabradbury.com
>> Daniel Charny is an independent curator, designer and lecturer with an industrial design background. Co-founder of creative projects consultancy From Now On and Senior Tutor at the Royal College of Art, between 2002 - 2010 he was the founding curator of The Aram Gallery. He has guest curated for the Design Museum, London and is currently guest curator at the Victoria and Albert Museum. http://danielcharny.com
>> Charlie Gere is Director of Research at the Institute for Cultural Research at Lancaster University. Books include Digital Culture (Reaktion, 2002) ; Art, Time and Technology: Histories of the Disappearing Body (Berg, 2005). http://www.lancs.ac.uk/fass/faculty/profiles/charlie-gere
>> Andy Gracie works across various disciplines including installation, robotics, sound, video and biological practice. This work is situated between the arts and the sciences, creating situations of exchange between natural and artificial systems which allow new emergent behaviours to develop. http://hostprods.net
>> Catherine McDermott is a Professor of Contemporary Curating at Kingston University in London, and runs the MA "Curating Contemporary Design" in partnership with the Design Museum London. Online curating and the curation of digital media are the focal point of a project with Hongik University. http://www.kingston.ac.uk/pressoffice/findanexpert/profile/4/Catherine-McDermott/
>> Jo Ana Morfin holds a degree in Cultural Heritage Restoration, followed by a Master's degree in Curating. She is currently doing her PhD at Bristol
>> University in U.K. Her research, entitled Unstable Documents: Archiving and Conservation Practices, is concerned with the long-term access and distribution of media-based art archives. http://unstablearchives.wordpress.com/
>> Petros Moris is an artist and curator from Athens, Greece. His work and research negotiates the multiple impacts that information distribution systems have on knowledge production and creativity. He is a funding member of the art and curating collective KERNEL. http://petrosmoris.com
>> Fo Wilson is a US-based maker, educator, independent curator and writer. Her work lies at the intersection of craft and new technologies and concerns the agency of the handmade object in the Digital Age. http://www.fowilson.com
Lecturer, MFA Curating, Dept of Art, Goldsmiths College, Uni of London.
m: +44 (0)7989 502 191