JiscMail Logo
Email discussion lists for the UK Education and Research communities

Help for NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING Archives

NEW-MEDIA-CURATING Archives


NEW-MEDIA-CURATING@JISCMAIL.AC.UK


View:

Message:

[

First

|

Previous

|

Next

|

Last

]

By Topic:

[

First

|

Previous

|

Next

|

Last

]

By Author:

[

First

|

Previous

|

Next

|

Last

]

Font:

Proportional Font

LISTSERV Archives

LISTSERV Archives

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING Home

NEW-MEDIA-CURATING  November 2012

NEW-MEDIA-CURATING November 2012

Options

Subscribe or Unsubscribe

Subscribe or Unsubscribe

Log In

Log In

Get Password

Get Password

Subject:

Re: November Theme: Curating on and through web-based platforms

From:

marc <[log in to unmask]>

Reply-To:

marc <[log in to unmask]>

Date:

Mon, 26 Nov 2012 12:34:40 +0000

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (250 lines)

Thanks Anna,

That was an excellent and informative introduction to your work.

As someone, who has also worked with 'live' radio - in the early days 
with pirate radio in Bristol 
(http://www.irational.org/heath/electro_magnetic_installation/) and 
London, before the Internet. And, more recently, on Resonance fm running 
an hour long program interviewing artists with others 
(http://www.furtherfield.org/programmes/radio). I appreciate the 
nuances, the challenges and the excitement the medium of sound can offer.

 >I’m very interested in bringing the discursive lines of the radio back
 >to the Museum, but I’m more interested in creating sinergies than 
replicating
 >or adapting experiences. What I mean is that it would not work for me 
to do
 >a live show just because. We would have to find the concept/subject 
where that
 >makes sense.

I think you make a good point here. Bringing it to others to listen to 
whether it is live or not can offer significant experiences. For me, it 
does not 'necessarily' matter whether it is local radio, national, in a 
museum or if it is broad-casted in the streets. The spatial requirements 
of the works and their conceptual needs can dictate the process and 
situation of how it connects with others. Interaction is a contextual 
requirement, not always a given or set in stone. This means that 
transversal experiences are more of a matter of degrees, not an absolute.

So, I'm wondering what kind of ideas and philosophies inspire you to do 
what you do?

Wishing you well.

marc


 > Apologies for stepping in late to respond.
 >
 > A few emails ago Marialaura asked if we had ever worked with live 
stream. I wonder if you’re asking whether we have produced a live radio 
show, probably in front of an audience, which has been streamed. This is 
a common practice for radio artists (working in the field of expanded 
radio) and also for the more commercial radio, where very popular shows 
bring their live shows to theaters as a way of funding their projects 
and also to please their hardcore followers. This is indeed a challenge, 
because once you bring voice and sound produced within the radio 
aesthetics/format into the performative field, the audience expects some 
theatrical and visual narrative to be added to the formula. Which is 
perfectly ok for me and on a more personal note (and forgive me for 
drifting away from the subject) I must admit how much I’d love to attend 
to one of Garrison Keilor’s Prairie Home Companion shows 
http://prairiehome.publicradio.org/ - and I strongly recommend the 
documentary "The Man on the radio in the red shoes".
 >
 > What Marialaura is asking is quite relevant and it is also a quite 
common subject of discussion within the Museum as well, where the 
question turns into the following one: How can we bring our work in the 
online sphere to the physical one, ie. how can we expand the visitors 
experience to our Museum galleries with the in depth research of our 
radiophonic materials? Or how can we insert the radio into the four 
walls of the Museum Galleries.
 >
 > I find this issue problematic and challenging. I may sound 
conservative, since we are all talking about transversal experiences, 
the diffusion of frontiers, etc., but my argument goes in the following 
direction: if there’s not a proper space/context for that I ask myself: 
why should we? I even find it hard to understand where the problem is. 
We live in this bulimic culture (a term by the Catalan poet Eduard 
Escoffet) where we expect physical experiences to be as hypertextual and 
rhizomatic as the online ones, and we feel the urge to facilitate this 
somehow. Even more so, it may not be enough and we want the 
digital/online experience (ie. an online radio show) to be brought to 
the performative field, to the physical realm. I’m very interested in 
bringing the discursive lines of the radio back to the Museum, but I’m 
more interested in creating sinergies than replicating or adapting 
experiences. What I mean is that it would not work for me to do a live 
show just because. We would have to find the concept/subject where that 
makes sense.
 > So far we’ve approached the relationship with the presential 
experience with a very traditional approach. Here’s an example: in 2008, 
we held an exhibition called “Possibility of Action. The Life of the 
Score” http://www.macba.cat/en/exhibition-possibility-of-action, curated 
by Barbara Held and Pilar Subirà (who were then producing the Ràdio Web 
MACBA series ‘Lines of Sight’ 
http://rwm.macba.cat/en/linesofsight-tag/). This exhibition extended 
their exploration of the concepts of transmission and interpretation 
into the visual and objectual world, and applied them to musical 
notation and related forms of expression, as well as some other 
representations of sound. Within that context there were also a couple 
of shows which were streamed online from New York to Barcelona, but then 
again, it was the series the one that was asking for this approach, 
since the whole issue was about transmission. It made sense and the 
result was the podcast “Lines of Sight #4. Radio Action III. 
free103point9” http://rwm.macba.cat/en/curatorial/lines4/capsula.
 >
 > We’ve also organised concerts and lectures related to our series on 
the history of sound appropiationism “Variations” 
http://rwm.macba.cat/en/variations_tag/ and “Memorabilia. Collecting 
sounds with...” http://rwm.macba.cat/en/memorabilia_tag/, a series that 
offers an insight into private collections of music and sound 
memorabilia. But again our goal is not necessarily to bring the radio 
into the Museum galleries, but to find contexts in which the interaction 
between the two makes sense.
 >
 > Another example where streaming made complete sense for me (together 
with the “Lines of Sight” experience I mentioned) was %rand(), a project 
by my dear friend and Ràdio Web MACBA collaborator Joe Gilmore (and, his 
partner in crime, Tom Betts): 
http://joe.qubik.com/wiki/pmwiki.php?n=main.rand And it worked because 
it was perfectly aligned with the heart and soul of the project. But 
then again their idea wasn’t to attach the digital experience with the 
physical, rather than creating a 100% automated project, a net.radio 
station streaming realtime generative music. All musical content was 
generated by computer software algorithms and streamed. It’s a shame the 
project is no longer available online. I like to think some of the ideas 
they worked with were later applied to our “Composing with process” 
series, where Joe Gilmore and Mark Fell explore process and generative 
systems applied to music.
 >
 > That said, the answer to Marielaure’s question is: no, we haven’t 
worked with live stream. But for very different reasons: it’s been 
mainly because we don’t have the human and physical infrastructure to do 
so. One of the main values of our project is that we’re producing quite 
unique podcasts (or so I hope) with an in-depth documentation and 
research process. We are also very concerned about the aesthetic values 
we bring to the table, being fully aware that our raw material and 
vehicle is sound. So to do what we are doing live is not possible.
 >
 > This reminds me of a conversation that took place two years ago in 
Supersimetria, in Barcelona, between Curtis Roads, Mark Fell and Roc 
Jiménez de Cisneros, which was held by Tony Myatt as part of his 
research for the MRC in York. Roads was asked on his approach to his 
live show and he explained how it was relegated to the live playback of 
prerecorded pieces, mainly because he is a studio virtuoso and his 
signature microsound compositions are simply not doable in real-time. I 
really respect his approach and honesty, but the truth is that this 
conception of the live show is still controversial today for a large 
part of the public.
 > Last but not least, we are doing what we are doing on the fly, 
learning by doing it, with no radiophonic infrastructure. Our radio is 
as small as a DR 100 Tascam digital recorder, a Beyer mic and whatever 
computer and software our producers own/use, and as big as the huge 
amount of experiences, stories, intuitions, theses and phobias of those 
who get into the lab with us: philosophers, curators, artists, 
activists, musicians, collectors (and even all at once).
 >
 > I hope I have answered the question somehow.
 >
 > Best
 > Anna
 >
 > ________________________________________
 > From: Curating digital art - www.crumbweb.org 
[[log in to unmask]] on behalf of Axel Lapp 
[[log in to unmask]]
 > Sent: Saturday, November 24, 2012 3:03 PM
 > To: [log in to unmask]
 > Subject: Re: [NEW-MEDIA-CURATING] November Theme: Curating on and 
through web-based platforms
 >
 > Hi Susan, and all:
 >
 > Having also experienced this piece in Berlin at the time, and having
 > some very fond memories of it, I can see why we are now placing
 > historic value on its imperfections, eg the time-lag through the slow
 > internet connection, and the warbling of the sounds through the
 > computer reading in a language that made German, the language of most
 > passers-by, almost impossible to understand (though that it happened
 > in the window of the British Council offices could at least excuse
 > that dominance - even if it was US-English). It was the state of
 > technology and it was a new experience.
 > But, of course, then, we weren't enjoying it when it didn't work, when
 > people in the street didn't realise that contact was made, but when a
 > conversation actually happened.
 >
 > Today, that conversation would be much easier to achieve. People are
 > more aware of the technological possibilities, and it would run much
 > smoother - if still with a time lag, that it just takes to typing a
 > message. Would it otherwise be different? Would it still not expect
 > people to accept the offer of a conversation with somebody they cannot
 > see?
 >
 > I am not so sure ...
 >
 > Best,
 >
 > Axel
 >
 >
 > Am 23.11.2012 um 14:19 schrieb susan collins:
 >> This work was in a sense all about the state of the technology
 >> (both technically and culturally) at that moment in time. The timelags
 >> (which wouldn't exist now in the same way) becoming a material
 >> quality of
 >> the work, and the fact that many of the people experiencing the work
 >> on
 >> the street were not online and this was in many cases their first
 >> internet
 >> connected (or first chatroom) experience, gave it another quality
 >> altogether (surprise, disbelief and in some cases wonder), one that
 >> would
 >> be impossible now to replicate (online anyway). It may be worth
 >> mentioning
 >> that no one at the street end ever saw a computer - nor did they
 >> have any
 >> (visible) interface), just a (disconnected) projected mouth to stop
 >> them
 >> in the street and keep them standing there long enough for the
 >> conversation to flow. I showed the work five times in five different
 >> cities. The first one was Brighton in 1997, the last one Berlin in
 >> 2001.
 >> By 2001 the image stream was colour, the passersby more familiar,
 >> and for
 >> me the piece did not make sense to show again as it had not only
 >> materially changed, but the cultural context that it operated in had
 >> already in those four years changed beyond recognition.
 >
 > ________________________________
 >
 > Avís legal: Aquest missatge pot contenir informació confidencial. Si 
vostè no n'és el destinatari, si us plau, esborri el text i els arxius 
adjunts que pugui contenir, i faci'ns-ho saber immediatament. No el 
reenviï ni en copiï el contingut, ja que està sotmès a secret 
professional i la llei en prohibeix la divulgació. El correu electrònic 
via Internet no permet assegurar la confidencialitat dels missatges que 
s'envien, ni que es rebin íntegrament ni tampoc que la recepció sigui 
correcta. MACBA no assumeix cap responsabilitat per aquestes circumstàncies.
 >

-- 
--
Other Info:

Furtherfield - A living, breathing, thriving network
http://www.furtherfield.org - for art, technology and social change since 1997

Also - Furtherfield Gallery&  Social Space:
http://www.furtherfield.org/gallery

About Furtherfield:
http://www.furtherfield.org/content/about

Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org

http://identi.ca/furtherfield
http://twitter.com/furtherfield

Top of Message | Previous Page | Permalink

JiscMail Tools


RSS Feeds and Sharing


Advanced Options


Archives

October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014
June 2014
May 2014
April 2014
March 2014
February 2014
January 2014
December 2013
November 2013
October 2013
September 2013
August 2013
July 2013
June 2013
May 2013
April 2013
March 2013
February 2013
January 2013
December 2012
November 2012
October 2012
September 2012
August 2012
July 2012
June 2012
May 2012
April 2012
March 2012
February 2012
January 2012
December 2011
November 2011
October 2011
September 2011
August 2011
July 2011
June 2011
May 2011
April 2011
March 2011
February 2011
January 2011
December 2010
November 2010
October 2010
September 2010
August 2010
July 2010
June 2010
May 2010
April 2010
March 2010
February 2010
January 2010
December 2009
November 2009
October 2009
September 2009
August 2009
July 2009
June 2009
May 2009
April 2009
March 2009
February 2009
January 2009
December 2008
November 2008
October 2008
September 2008
August 2008
July 2008
June 2008
May 2008
April 2008
March 2008
February 2008
January 2008
December 2007
November 2007
October 2007
September 2007
August 2007
July 2007
June 2007
May 2007
April 2007
March 2007
February 2007
January 2007
2006
2005
2004
2003
2002
2001


JiscMail is a Jisc service.

View our service policies at https://www.jiscmail.ac.uk/policyandsecurity/ and Jisc's privacy policy at https://www.jisc.ac.uk/website/privacy-notice

Secured by F-Secure Anti-Virus CataList Email List Search Powered by the LISTSERV Email List Manager