Jon

Your post about the future of museums has been rattling around
and landed into a discussion with Bryan Connell= who will be in
residency at IMERA in marseille this fall to create public art
works at specific locations on the new urban hiking trail
being built for marseille provence 2013

http://www.techprod2013.com/geoportail/gr2013/

Bryan has been developing outdoor art-science exhibits for a number
of years- see some of them in the Exploratorium Outdoor Museum

http://www.exploratorium.edu/outdoor/#/vrlocation/you-are-here/

anyway- we are working on a workshop for the fall tentatively
called: "Outdoor Museums and Open Observatories: Curating the Planet"

I guess one of the things that has annoyed me about the current discussion
( and steve dietz has tried to turn it away) is its art-centric
discussion= there
are so many people that collect things, so many different kinds of museums
and the citizen art- science movement is busy appropriating the natural world
digitally= these are not duchampian found objects= every digital appropriation
is a act of artistic or scientific translation and the boundary
between the 'natural'
and the 'artificial' is good and fuzzy- the nature of art has evolved
continuously
over the last few centuries- surely we need to avoid 'backing into the future'
when talking about curating new media art


our previous workshop was on URBANATURE: and looked at how the concept
of urbanity has been dissolving in the face of the urban ecology movement

so i guess my slightly off center input is to ask whether the question
of curating
new media art shouldnt be embedded in a larger question of curating
and collecting
in the post digital age

i just read a fascinating book recommended to me by Jan Baetans about
Paul Otlet
http://www.spiegel.de/international/world/internet-visionary-paul-otlet-networked-knowledge-decades-before-google-a-775951.html

who was the european leader on developing the dewey decimal system- went on
with ideas for a massive museum of all artifacts- that crossed art and
new technologies

excerpt from the link above:

The archive contained not only books, but also countless newspapers,
posters and more than 200,000 postcards, as well as samples of
everything from airplanes to telephones. There was so much material
that it soon threatened to overwhelm the project. But Otlet and his
colleagues were on a mission, convinced that the global dispersal of
knowledge could promote peace. To these ends, they worked in close
collaboration with other research institutions abroad.

sorry for this astronomers intrusion into the media art ghetto !!!

roger malina

PS as you probably know we are working on a report that will be submited
to the US NSF on how to enable new forms of collaboration between science/
engineering to art/design

http://malina.diatrope.com/2012/07/26/aug-15-deadline-for-sead-white-paper-abstracts/

we would welcome white papers or recommendations re curating, conserving work
resulting from collaboration between science/engineering and artists/designers

Sean Cubitt, Ross Harley and Oliver Grau are developing a position
paper for SEAD
that picks up on their declaration
http://www.mediaarthistory.org/
and I have been asking them whether there is some specificity to curating new
media art or is the problem a broader one and we need a new form of dewey
decimal tranformation to re contextualise new media art within a larger category
of digital culture= maybe art museums wont exist in a hundred years ? the
french are just shutting down their 19th century museums of plaster casts
of monuments !!!!





On Mon, May 21, 2012 at 8:11 PM, Jon Ippolito <[log in to unmask]> wrote:
> Hi all,
>
> Two items that might be of interest to this community:
>
> * Future of Museums HASTAC forum
>
> HASTAC is now holding a "scholars forum" on the future of museums at
>
> http://hastac.org/forums/future-museums
>
> I'm just crashing the party, but invited participants include Anne Balsamo (USC), Steven Lubar (Brown), Miriam Posner (UCLA), Phyllis Hecht (John Hopkins), and Colleen Brogan (MoMA). Come join the firefight!
>
> * U-Me Digital Curation grad program
>
> This September the University of Maine is launching a graduate program in Digital Curation, beginning with a two-year certificate taught entirely online, for folks working in museums, archives, artist studios, government offices, and anywhere that people need to manage digital files.
>
> The program walks students through the phases of managing digitized or born-digital artifacts, including acquisition, representation, access, and preservation. There's a nifty Virtual Collection of artifacts and software for students to mess with. And we'll be using Beryl and Sarah's book as a reference :)
>
> Although the certificate is meant to be completed in two years, you can spread the 6 courses over a longer period. To make things easier for students currently working in collecting institutions, we have designed the final course as an internship that may take place in the student's own workplace.
>
> Our first course, DIG 500 (Introduction to Digital Curation), starts in September. The application process is really easy--basically an online form and a letter of application. Please email me if you would like more info!
>
> http://DigitalCuration.UMaine.edu
>
> jon



--
Roger Malina
I am in France at the moment
33(0)6 80 45 94 47


Announcing Leonardo Party in Los Angeles during Siggraph.
Aug 7 RSVP AT;
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