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NEW-MEDIA-CURATING  April 2017

NEW-MEDIA-CURATING April 2017

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Subject:

Re: CRUMB discussion – April - on Internet art and platform building

From:

stanza <[log in to unmask]>

Reply-To:

stanza <[log in to unmask]>

Date:

Fri, 21 Apr 2017 17:16:27 +0100

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Thanks for the invite to take part. I note with interest your endeavour to bring a new perspective on ways to disseminate online artworks as well as to re/frame it generally.

One reason to create any platform is to help others share their work to new and different audiences (online and networked)  and possibly different ways of audience engagement  (generative or interactive)  using new technologies (many and varied from to Html/ Javascript/ VR/ AR etc) to draw attention to new and relevant work. For me it is about helping bring attention to the what I  perceive to be something alternative.

Running independent DIY channels in the 80's allowed me to help other artists disseminate their work, publish it, sell it, and raise awareness of this sub-culture while also making my own artwork. The internet (mid nineties) allowed two things:- the possibility to use this new technology to make new and different kinds of art/work, and the opportunity to create platforms for dissemination. The ones I made - net art museum, art surfer, soundtoys, and soundcities - all allowed this same multi functionality. Soundtoys was the most popular for a while and utilised the best of the technologies available in its last rebuild circa 2006. In a sense it facilitated a remix culture of other artworks while also presenting the multi curatorial perspective. (tags folksonomy etc via an API).

Any platform today could harvest a myriad different technologies providing its purpose is relatively clear, allowing artworks to get reframed and contextualised inside the ‘platform’. In soundtoys the works became treated as units of data (albeit artworks) inside the bigger system of the internet. The problem for me became that of ‘control’ and ‘ownership’, (something I  felt uncomfortable with). In the end the interfaces created via the API to re-represent and re-frame the works became of more interest, to me anyway. The endeavour eventually became a sort ot reshaping of works affected by the current technologies, which became the bespoke platform. 

A platform for tomorrow's audience could be made in a similar way, whose aim would be  to operate on a variety of levels. However it will always be contained inside other systems. The system of gallery or controlling force has always indirectly tried to direct this and recent forays by the mainstream to art historicize these early years feel both relevant and insubstantial in equal measure. In so much as this discussion is working inside a similar institutional parameter.

Just a bunch of links....text of 2004.  (Essay for n-{Digest}-(ion) published as part of Digest For Watershed 2004 - Stanza  http://stanza.co.uk/erroneous404/index.htm)  I referred back to this as just a bunch of links. My conclusion that not only is this the best interpretation, it's also the most honest as it stops the hierarchy of cultural institutional control. (now infiltrating the area)...

At the time I also rallied for a data centre that would house all the arts projects that the now defunct net art museum housed; many of which were Arts Council funded projects. This ended up as the erroneous 404 net art project (also now defunct ). This website presented the idea that for the sake of a central server these projects that the Arts Council invested in would still be online. ........ maybe its best to let it flow as the endless stream of chance and change.

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