Thank you Suzy for the introduction and very warm welcome (longtime CRUMB lurker, first time poster...). Nice to meet you all! I'll try and say a little here about myself & my relationship to this month's concerns...
I work at Wellcome Collection<http://wellcomecollection.org/> in London. We're just seven years old, a small museum (now slightly larger) focusing on the human condition and the intersections between life, art & the biomedical sciences (in their largest possible sense). We currently have exhibitions open on Forensics and Sexology, as well as two permanent galleries of historical/contemporary medicine.
I manage our digital presence & work on art, media and game projects. Recent digital art projects for Wellcome Collection include Ab uno disce omnes<http://abunodisceomnes.wellcomecollection.org/>, a massive open database of forensic evidence relating to war crimes in Bosnia between 1992-95, by the artist Sejla Kameric. I'm currently working with Chris Dorley-Brown on '15 Seconds Part 3', the third instance of a longitudinal biographical; and out on the app store this week is 'Criminel<http://www.criminelgame.com/>' an iOS game funded to accompany our Forensics exhibition.
Personal obsessions include curation and its others<http://www.artandscienceofcuration.org.uk/what-curation-means-on-the-internet/> (ie how the idea of 'curation' is understood inside and outside museums), and digital games as a means of engagement for museums. I'm also a member of the Museums Computer Group committee & co-chaired the programme committee for last year's 'Museums Beyond the Web<http://museumscomputergroup.org.uk/2014/08/12/ukmw14-programme/>' conference.
As an employee of a large third-sector organisation with independent commissioning budgets I often feel like I'm looking in from the outside on the kind of collaborations that Suzy describes at the core of her work (though I'm fascinated by the origins of the increasingly common 'triple-helix' academic/institution/commercial funding). We collaborate and work necessarily with both artists and digital creatives (in very different ways, it often feels); but these are project-oriented collaborations rather than structural. We have produced some very successful games<http://hightea.wellcomeapps.com/> exploring our themes & collections, but have struggled to embed ourselves in or relate to a wider practice of 'museum games'.
Our recently-launched 'digital stories<http://digitalstories.wellcomecollection.org/>' project was created to increase public engagement with / access to our library's digitised collections. We worked with a digital agency on product development, and then on production, together with an in-house production team including content specialists, and freelance writers. Other agencies produced film and interactive elements of the product. The development and production process was often far from easy, as we struggled to create a new thing, sometimes from very different perspectives (also fascinating: the way in which designers 'see' cultural heritage images in a different way to subject specialists). The outcome is hopefully built on the common ground we found rather than held together by its contradictions.
Looking forward to finding both common ground and contradictions on the list....
From: Curating digital art - www.crumbweb.org [mailto:[log in to unmask]] On Behalf Of Suzy
Sent: 03 March 2015 08:59
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Subject: [NEW-MEDIA-CURATING] March Discussion Introduction
How collaborations between the Arts and Creative Digital Industry sectors are shaping models of curatorial production, distribution and reception
This month's theme is hosted by CRUMB team member: doctoral researcher and curator Suzy O'Hara. Suzy's research investigates collaborative practices emerging between the arts and commercial creative industries.
There is currently a lot of interest in inter-disciplinary, cross-sector collaborations between the arts and commercial digital industries. This is exemplified, by the emergence of: strategic funding alliances such as the NESTA R&D Fund for the Arts (UK); technologist in residence programmes within UK arts organisations (Happenstance, Geeks in Residence) and in the US, artist in residence programmes within commercial digital industries (Facebook and Autodesk); collaborative incubator style, co-working hubs such as Fish Island Labs, Pervasive Media Studio (UK) and New INC, New Museum (US); temporary art hack events that engage with the field of production of digital, interactive and new media art, such as Hack The Space at Tate Modern and Culture Hack Scotland; collaborative exhibition contexts that merge traditional and new media curatorial strategies such as Digital Revolutions, with commercial competition based commissioning strategies of Google's Dev Art,; commercial gaming and social networking platforms being used as part of museums and gallery curatorial and engagement strategies (HullCraft (Minecraft), The Photographers' Gallery Instagram Take - over) and conferences such as Digital Utopias Conference delivered last month by AND Festival, supported by both ACE and Google UK.
My research reflects upon the differences in values, systems and working methods at play within these new curatorial contexts, and seeks to articulate an evolving curatorial role.
We are very pleased to introduce a variety of practitioners to our conversation this month. You are artists, designers, curators, technologists and researchers. We look forward to learning of your experiences and seeing where your insight, along with the voices of all of the list participants, will take this conversation over the course of the month.
To start our discussion, I would like to draw upon the invited respondents to reflect upon their own artistic and curatorial case studies and practices and share their personal experiences and thoughts on their own collaborations between arts the creative digital industries. I would like respondents to consider the ways in which we are negotiating areas of commonality and difference between these two distinct sectors, including: Values and Motivations, Money and Cultural Value, IP and Crediting, Licensing, Roles and Working Methods, Marketing, and Public engagement.
We are looking for thoughtful comments and opinions from direct personal experience rather than 'essays' - in general, things which will be of most use to other curators, producers and artists in their work.
Memo Atkin: Memo is an artist based in London, originally from Istanbul. His work investigates the collisions between man and machine; between science, technology, nature and society.
Victoria Bradbury: Victoria's research considers the performativity of code as it relates to participatory new media artworks. She is interested in ways that performativity exists in interactive systems that may or may not be labeled as "performances". Victoria delivered the Thinking Digital Art Hack in May 2014 and has participated in high profile art hack events including Hack The Space at Tate Modern and at Digital Utopias conference.
Dave Lynch: Davelynch.net works internationally with moving image, technology, installation & performance across the art, science, maker cultures in an arts/commercial context.
Jonus Lund: Jonas creates paintings, sculpture, photography, websites and performances that incorporate data from his studies of art world trends and behavior. He has had work exhibited at Eyebeam, New York; New Museum, New York, Xpo Gallery, Paris; Van Abbemuseum, Eindhoven, De Hallen, Haarlem and the Moving Museum, Istanbul. His work has been written about on Rhizome, Huffington Post, Furtherfield and Wired. He lives and works in Amsterdam.
Lynn Scarff: Lynn is the Director of Science Gallery Dublin. She has extensive experience in developing and leading public engagement projects in science, arts and education fields. Beginning her role in Science Gallery as the Education and Outreach Manager, Lynn has been involved since its inception in 2007 and has directly contributed to the development of its programme and core values, brand, marketing and operations.
Irini Papadimitriou: Irini is Digital Programmes Manager at the V&A, programming activities and events for visitors of all ages, from electronics workshops, drop-in interactives to hackathons, tinkering and digital design. Irini is also Head of New Media Arts Development at Watermans, an arts organisation presenting innovative work and supporting artists working with technology, where she is curating the exhibition programme.
Nora O' Murchú: Nora is a curator, designer and researcher working at the intersection of art, design and technology. She is currently lecturer and course director of the Digital Media Design undergraduate programme at the University of Limerick, and a researcher at the Interaction Design Centre.
Heather Corcoran: Heather is Executive Director of Rhizome, an organisation supporting digital art and culture, based online and affiliated with the New Museum, New York. She comes to Rhizome from FACT, Liverpool, where she was Curator and has held positions at art and technology organisations internationally, including Interaccess in Toronto, Space Studios, London, and the Barbican Centre.
Julia Kaganskiy: Julia Director of NEW INC, is a recognized cultural producer across the art and technology fields. She previously served as Global Editor of the Creators Project, a partnership between VICE Media Group and Intel, and founded #ArtsTech Meetup, a group that brings together professionals from New York City's museums, galleries, art-related start-ups, and digital artists.
Olga Mink: Olga is artistic director of Baltan Laboratories, a collaborative platform for future thinking that places art and design research at the core of its activities. http://baltanaboratories.org
Danny Birchall: Danny is Digital Manager at Wellcome Collection, a role that includes commissioning games and digital art. He's @dannybirchall on twitter.
Emma Quinn: Emma is the senior programme manager of the Digital R&D Fund for the Arts at Nesta. She has over 16 years' experience working in the commercial digital media sector, the public arts sector and arts funding.
Simon Bowen: Simon is a researcher and designer with particular interests in human-centred design, participatory design and critical design, and how they might contribute to a form of participatory innovation. He is a Knowledge Exchange Associate for the Newcastle University hub of the Creative Exchange, based within the Digital Interaction research group of Culture Lab.
Julie Freeman: Julie is an artist exploring how data affects how we connect to natural systems through digital technology. She is a PhD student at Queen Mary University of London, and leads the Data as Culture art programme at the Open Data Institute alongside curator Hannah Redler.
Liam Jefferies: Liam is a designer, curator, researcher and educator who is currently undertaking at PhD at CRUMB. Liam's current practice and research revolves around the emerging creative and curatorial opportunities provided by Augmented Reality.
Thanks a million,
e:[log in to unmask]
Curator & Arts Producer
Thinking Digital Arts
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