annie abraham's work has redefined webcasting: 
http://aabrahams.wordpress.com/
(she's also participated in low lives)

h : )

On 24/01/12 5:01 AM, Kelani Nichole wrote:
> Hi there,
> Also of interest to you might be the Low Lives
> Festival<http://www.lowlives.net/index.php?/contact/about/>,
> now in its fourth year scheduled for this April 27th and 28th 2012.  It is
> a networked performance festival that "celebrates the transmission of ideas
> beyond geographical, cultural and political borders".
>
> I am coordinating the event at little berlin gallery in Philadelphia, we
> will be a co-presenter this year meaning we host a live performance which
> is streamed in real time into the other presenting spaces/institutions
> located all over the world.  Then, for the remainder of the two days we
> stream in performances from the other presenters and selected independent
> artists.  The entire Festival can be viewed online or in person at one of
> the presenting spaces.
>
> An exciting project!
>
> Bests,
> Kelani Nichole
> *member, little berlin*
> littleberlin.org
>
> On Mon, Jan 23, 2012 at 9:50 AM, Toni Sant<[log in to unmask]>  wrote:
>
>> In direct response to the question: What artists' projects have
>> (re)defined the idea of webcasting?
>>
>> I'd recommend you have a look at my book about Franklin Furnace, published
>> last year by Intellect. Large chunks of the book focus on the
>> organziation's pioneering work in webcasting. Their collaboration with (the
>> original) Pseudo.com should not be overlooked, especially because it
>> predates domestic broadband, for the most part. Pseudo was as self-billed
>> as Internet Television.
>>
>> Martha Wilson's "What Franklin Furnace Learned from Presenting and
>> Producing Live Art on the Internet, from 1996 to Now" is also a very
>> significant first person narrative from the trenches. Her article appeared
>> in Leonardo in 2005.
>>
>> Another important artists' project which defined early concepts of
>> webcasting is Robert Galinsky, who now runs the New York Reality School.
>>   My 2001 interview with him appeared in TDR in 2005.
>>
>> TV Swansong was certainly a pioneering project, but it was far from the
>> first.
>>
>> Best wishes...
>>
>>              ...t.s.
>>
>> ===================================================
>>   Dr. Toni Sant
>>   Director of Research
>>
>>   School of Arts and New Media
>>   The University of Hull - Scarborough Campus
>>   Filey Road, Scarborough - YO11 3AZ
>>
>>   email: [log in to unmask]
>> ===================================================
>>
>> -----Original Message-----
>> From: Curating digital art - www.crumbweb.org on behalf of Sarah Cook
>> Sent: Mon 23/01/2012 2:15 PM
>> To: [log in to unmask]
>> Subject: Re: [NEW-MEDIA-CURATING] quick piece of research regarding
>> artist's television
>>
>> hello CRUMB again
>>
>> Thank you all so much for your generosity of thought (and time) in this
>> research exercise.
>>
>> I know there are still more messages, which were sent to me off-list,
>> which might be reposted here at my encouragement, as they are full of
>> interesting nuggets, so keep them coming. Thanks to Fee also for filling in
>> a bit of the history of TenantSpin too.
>>
>> Which leads me to ask if I can change the question, and segue towards a
>> professional development workshop CRUMB will be running at the AV Festival
>> in March:
>>
>> What artists' projects have (re)defined the idea of webcasting?
>>
>> How has the terrain of the webcast-art-event been mapped out and what
>> contributions have artists made to the discussion around the pitfalls or
>> delights of webcasting?
>>
>> I ask because this is something which TV Swansong is as much remembered
>> for (or lamented?)  - certainly as much as for its artists projects, which
>> were each their own criticism or celebration of television.
>>
>> These reviews of the project at the time are interestingly telling:
>>
>> http://www.a-n.co.uk/interface/reviews/single/67298
>> "Artists were selected not so much for their technical familiarity with
>> webcasts, but for their ability to bring something innovative to this
>> developing medium. Several contributors appropriated existing TV/radio
>> programme forms..."
>> <http://www.a-n.co.uk/interface/reviews/single/67298>
>> http://www.frieze.com/issue/review/tv_swansong/
>> "'TV Swansong' had the air of an off-kilter telethon, breathlessly jumping
>> from event to event as programmes were rescheduled according to technical
>> or logistical hiccups."
>>
>> Anyone care to make another list of art projects we should remember and
>> why?
>>
>> As Fee noted in an email to me (and I'm sure she'll forgive me for
>> reposting this bit here):
>>
>> "the history, what went before - when the
>> hardware/software/platform/user/creative technique/etc either didn't exist
>> or was incredibly complex and unstable - isn't referred to by contemporary
>> practitioners. When they are referenced, usually that context isn't given,
>> so that makes those works seems outdated, simple, pixelated, when actually
>> they were building the foundation stones of contemporary practice, and
>> helping current audiences understand how this stuff works."
>>
>> So how does TV Swansong sit in relation to the history of artistic webcast
>> experiments?
>>
>> Sarah
>>
>>
>>
>>
>>
>> Hello CRUMB list
>> as you are all eminently smart about art and technology and the history of
>> art I have a request.
>>
>> There is a forthcoming publication from the Finnish Institute in London
>> about
>> artists' works and community television and I'm informally working with
>> Nina
>> Pope and Karen Guthrie to help them recontextualise their project TV
>> Swansong. We'd like to gather some thoughts related to this project's place
>> in history from you all, before the end of next week.
>>
>> At the time (2002, a decade ago) TV Swansong was billed as:
>> "a cross-media art project which commissioned 8 new works reflecting on the
>> current state of flux in television with idiosyncratic responses to its
>> past,
>> present and future." http://www.swansong.tv/
>>
>> Some of you might remember the exhibition I cocurated with Kathy Rae
>> Huffman
>> on a similar topic - http://www.broadcastyourself.net/ - for AV Festival
>> in
>> 2008, which included TV Swansong's archive. A question we asked with
>> Broadcast Yourself was how did we get here, to this moment of many online
>> platforms for dissemination of broadcast work (the end of television?) -
>> and
>> what initiatives did artists take before this point.
>>
>> So we are wondering the same thing again now: how do works which deal with
>> the 'current state' of technology age?
>> How are works which were once live supposed to be exist within the history
>> of
>> art and technology in archived form?
>> Is television dead? Is artist's television dead? Was TV Swansong ever
>> considered as community television, or indeed television at all (as it was
>> webcast)?
>> Can artists continue to contribute in their work to discussions around
>> community television and if so, how?
>>
>> As this is an informal chat we welcome any and all responses, which, with
>> your permission, we'd like to quote in the dialogues we hope to be included
>> in the publication.
>> You can email back offlist if you like.
>>
>> We've got til the end of next week... and we'll launch some regular monthly
>> discussions on CRUMB after that.
>>
>> Thanks all,
>> Sarah
>>
>>
>>
>> **************************************************************
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-- 
____________________________________________________________

helen varley jamieson: creative catalyst
[log in to unmask]
http://www.creative-catalyst.com
http://www.make-shift.net
http://www.upstage.org.nz
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