I've been thinking (and writing) about the legitimation of artist's work and their relationships to institutions, specifically industry and corporations. If one tracks this, one discovers this relationship is always already present, whether it be museological, pedagogical, or industrial. Does the observation below suggest the institutionalization of facebook? Does a social network act as a gatekeeper of sorts? Is that the reason Zuckerberg saw fit to take it public?
http://www.huffingtonpost.com/2012/02/01/facebook-ipo-filing-revea_n_1248434.html
Caroline
> Date: Wed, 29 Feb 2012 14:44:41 +0100
> From: [log in to unmask]
> Subject: Re: [NEW-MEDIA-CURATING] Distribution after New Media - Feb/Mar Theme
> To: [log in to unmask]
>
> I found this very interesting. It gives a different view on dissemination
> and distribution. Is it still necessary to make art for an artist?
>
> "We live in a time when young artists look at each other’s Facebook pages
> more than each other’s art. The affect of Facebook may be why so few
> artists online actually make much art–because they aren’t being rewarded
> for anything so much as the *performance* of their own personal brand
> online."
>
> *Club Kids: The Social Life of Artists on Facebook * by
> Brad Troemel
> Artie Vierkant
> Ben Vickers
> Brad Troemel & Artie Vierkant
> Ben Vickers & Artie Vierkant
>
> http://dismagazine.com/discussion/29786/club-kids-the-social-life-of-artists-on-facebook/
>
>
> <http://dismagazine.com/discussion/29786/club-kids-the-social-life-of-artists-on-facebook/>
>
> "When the primary audience for the work becomes a core network of selected
> peers, the traditional boundaries of Artist and Viewer can no longer be
> solidified in the same way. Rather than creating discrete moments of
> exhibition and reception, the artist-viewer and other artist-viewers are
> caught in a sphere of perpetual reception and distribution."
>
>
> yours
> Annie
>
> On Wed, Feb 29, 2012 at 2:26 PM, aabrahams <[log in to unmask]> wrote:
>
> >
> >
> > -------- Message original -------- Sujet: Re: [NEW-MEDIA-CURATING]
> > Distribution after New Media - Feb/Mar Theme Date : Mon, 27 Feb 2012
> > 23:50:43 +0000 De : Sakrowski, Robert <[log in to unmask]><[log in to unmask]> Répondre
> > à : Sakrowski, Robert <[log in to unmask]><[log in to unmask]> Pour :
> > [log in to unmask]
> >
> > Dear list,
> >
> > my name is sakrowski, i am new to the list and so i have to introduce my self briefly - i work as an art-historian since 1999 in field of netart (started with the http://www.netart-datanbank.org and since 2007 up to today i'm working on the project http://www.curatingyoutube.net - which i will present more in detail on the workshop), my interests center around the questions: how to exhibit, how to archive net-based art and how netart is changing the art institutions …
> >
> > I would like to contribute some thoughts and questions which came up as I have read the posts.
> >
> > Is there a difference between traditional broadcasts and new ones.
> > What is it? The feedack channel (Rückkanal). (e.g. "artistic live response" http://vimeo.com/33671409 by Gretta Louw)
> > But the feedack channel is often overestimated, because our capacity as humans is limited (see e.g. the breakdown of the comment function in soundcloud e.g. the first 20sec of http://soundcloud.com/skrillex/avicii-levels-skrillex-remix). We are capable, for a 'one to one' or 'one to many' communication in live situations.
> > Liveness is important sure, but for me more significant is, that the stream, the podcast, the video-performance is available also later. So we can process it when we have the capacity. But also in this case our capacity is limited.
> > >From this we get a system of representations. (some people think the curators should be the ones who select these - but as you can simply calculate at the case of the "guggenheim play"
> > http://www.guggenheim.org/new-york/interact/participate/youtube-play e.g. there was never a real possibility for one curator to view all contributors to decide - there was a filter (a team of Guggenheim curators) set up before " <http://www.guggenheim.org/new-york/interact/participate/youtube-playe.g.therewasneverarealpossibilityforonecuratortoviewallcontributorstodecide-therewasafilter%28ateamofGuggenheimcurators%29setupbefore>We received more than 23,000 videos, which a team of Guggenheim curators narrowed down to a shortlist of 125. The YouTube Play jury chose the top 25 videos from the shortlist of 125." guggenheim)
> > This is the point where I'm thinking the discussion always focuses on the new medium, the new tools for creators, but we should also think about tools they adapt curating to the new time. I think there's also the same challenges in politics and why we should learn from this and test some of their solutions:
> > eg http://liquidfeedback.org/mission/ not only for curating maybe also in art institutions like museums/festivals …
> >
> > But back to the comparison of "old" broadcast and the net based broadcasts.
> > The new net based broadcasts have a strong multimedia quality - with a blend of film, sound, text, graphic, animation and interactivity (video response, live chat, text comment [including links]). If we understand a web link as a cut in film, then we could say that we are building up a our own stream/broadcast with multiple page visits in a browsing session . We don't follow one authors perspective/narration, we follow/create more a flow or a stream of collective consciousness … …
> >
> >
> > Thank you very much for the opportunity to share my thoughts
> > best,
> > Sakrowski
> >
> > ---------------------------------------------http://www.curatingyoutube.net
> >
> >
> > -----
> > Aucun virus trouvé dans ce message.
> > Analyse effectuée par AVG - www.avg.fr
> > Version: 2012.0.1913 / Base de données virale: 2114/4835 - Date: 27/02/2012
> >
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> --
>
> Documentation of Huis Clos / No Exit - On Translation
> Video, reactions of the performers and the public, photos and the
> performance protocol
> http://bram.org/huisclos/ontranslation/indexfr.html
>
> Article IF NOT YOU NOT ME, ANNIE ABRAHAMS AND LIFE IN NETWORKS,
> Maria Chatzichristodoulou in Digimag 54 May 2010
> http://www.digicult.it/digimag/article.asp?id=1793
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