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NEW-MEDIA-CURATING  March 2012

NEW-MEDIA-CURATING March 2012

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Subject:

Re: Distribution after New Media

From:

Johannes Birringer <[log in to unmask]>

Reply-To:

Johannes Birringer <[log in to unmask]>

Date:

Wed, 14 Mar 2012 15:30:19 +0000

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dear all

i was just going to distract you all when Sarah's message came that Newcastle was a slow down event.  I am glad to hear that (having moderated a month-long debate last year on "deceleration"), and did not mean to rush anyone,  i had just wondered aloud.

Meanwhile (and that might be an indirect response to the posting this morning), I'd like to mention that in my Digital Technologies Lab last night (for MA students)  we welcomed as visitor the producer/developer of www.dance-tech.net,
and for a few hours Marlon Barrios Solano worked with us, and gave a talk on how he created the platform (which, he mentioned, now is a hub/spider web of several platforms underlying dance-tech.net  and on one, for example, runs the Live Streaming channels, on another the community forum, on another the video interviews with artists, and so on and on)     http://www.dance-tech.net/    and then we discussed some consequences for collaborative working methods and pegadogies, bottom up, p2p, distributed,  DIY and Do it Wth Others, generous, open source, open.  

Marlon was inspiring, and i think the evening left a mark on everyone, and of course it encourages to see how Marlon (who once studied for a dance/tech MA at Ohio State when I taught there) developed an independent career as a platform developer and producer and researcher, and thus also a distributor of media.

I think it is fascinating to take this as a model or case study, and I am sure you all know others, where new social media network platforms, in this case one dedicated to a field -  or multisectors   stretching far beyond dance performance to what Marlon has titled a social network for "innovation in motion,"  bring together many persons active in communities, groups, organizations, ensembles, alone, etc  and in areas that intersect, and the platform is so rich since the content is created and generated by the "users" and the subscribers (free subscription) themselves and shared and discussed and developed. The community therefore is also developer.   I think we don't have delve deeper into social media networks at this point, as there are other political or tactical matters at stake; however,  I am interested in the collaborative production and sharing of research, and sometimes in mesh up modes of creation, and in the share modes (workshops, research, tools) and how these modes connect into new artworks and the interview videos with artists linked to these. Remarakably, many members have posted videos (innumerable), and Marlon now told me that, for example, the Performance Research Seminars or presentations that I stream from here (DAP-LabTV, the channel I run now from my studio here) will go into YouTube and then are re-embedded and tagged into the "archive" or library of http://dance-tech.tv/videos/daplabtv/   - while other artists may upload their work and it might go also to the Vimeo platform, etc.  

So much artistic work and research now appears on these platforms, e.g. http://dance-tech.tv/,   and the series "Choreography or Else" is remarkable in so far that choreographers there have made their new work fully availalble. (http://dance-tech.tv/2011/12/18/choreography-or-else/):  this is how the project (which is a "collection")  is described:

>>
Contemporary Experiments on the Performance of Motion
[Watch Performances]

Choreography or ELSE, is an online series on dance-techTV featuring complete performances from international choreographers, dance artist or directors that continue to challenge traditional and contextual notions of choreography, dance and performance. They problematize the performance of movement  and the body experimenting with compositional and aesthetic strategies, dramaturgic approaches, non conventional spaces, appropriating uses of the new technologies, crossing disciplinary boundaries and cultural hybridity.
...
In this series, the selected works will be accompanied with the publication of rich media supporting material about that specific performance and choreographer such as: reviews, interviews, essays and other references.
...
Collection titles ....
...
...
And at the bottom:

Curatorial research for Choreography or ELSE is partially supported by  DanceDigitalUK ,  CARD Centre for Applied Research in Dance at the University of Bedforshire (UK) and  ICKAmsterdam (Holland)
>>

This last supportmetastructure we discussed last night, , infrastructures becoming metastructures, in the context of metalevels of creation, research, pedagogical alternatives, and modes of (collaborative) curating.  
Marlon mentioned his migrant existence now, he left New York to work internationally as online producer and consultant, in many places,  and currently is a guest of the Live Art Development Agency in London where, i believe, he is onto some fascinating new ventures regarding online teaching-research/creation.  We felt last night there's little to worry about, say regarding YouTube, if you wanted to use their filing and cross referencing system, it is of course so widely accessible and known.  Intervention?  that depends on your politics.  Using YouTube for artworks or dance works or media arts works is not such a bad idea, is it? (if you think how marginalized "dance" might be vis a vis games and music).   And the rich media supporting material mentioned above   this is opening an immense set of doors for future research and archives of contemporary art and thinking and philosophies of practices. My opinions on YouTube were often dismissive/critical in the past, and i need to address my own shortfalls, and widen my perspective on the interlinkages we are seeing now (in many related field, also in journalism, and of course the creative industries, and literary journals like London Review of Books now commissioning hypermedia kinetic essays......).

To share with you, Marlon Barrios Solano gave me two books he brought with him from Amsterdam:

Lovink, Geert and Niederer, Sabine, eds., Video Vortex Reader: Responses to YouTube, Amsterdam: Institute of Network Cultures, 2008.  

Kluitenberg, Eric,  Legacies of Tactical Media: The Tactics of Occupation: From Tompkins Square to Tahrir,  Amsterdam: Institute of Network Cultures, 2011. 


The talk last night in my lab was entitled: "Understanding (our) complexity: on meta, techne, and experiments on performative participatory pedagogy
(the case of dance-tech.net/TV) "  Artaud Performance Center,  13 March.    It is of course also available on line.


with regards
Johannes Birringer
director, DAP-Lab
http://www.brunel.ac.uk/dap


Sarah schreibt
>>
One key thing which I took away from the day was how the language of different online platforms for the dissemination of art differs from one sector to another -- film and video, net art, gallery-based media art practices. We discussed in our particular break-out group how to get audiences for the online platforms to participate in the projects, and how to keep that attention. A suggestion was reversing the normal order of activity on the web: making logging-in a benefit or reward resulting from participation rather than a prerequisite to participation. And what are the benefits of intervening in existing platforms (such as YouTube) rather than building other / separate platforms? It was generally decided the day wasn't long enough to address the issues which were raised!
>>>

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