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annie abraham's work has redefined webcasting: http://aabrahams.wordpress.com/ (she's also participated in low lives) h : ) On 24/01/12 5:01 AM, Kelani Nichole wrote: > Hi there, > Also of interest to you might be the Low Lives > Festival<http://www.lowlives.net/index.php?/contact/about/>, > now in its fourth year scheduled for this April 27th and 28th 2012. It is > a networked performance festival that "celebrates the transmission of ideas > beyond geographical, cultural and political borders". > > I am coordinating the event at little berlin gallery in Philadelphia, we > will be a co-presenter this year meaning we host a live performance which > is streamed in real time into the other presenting spaces/institutions > located all over the world. Then, for the remainder of the two days we > stream in performances from the other presenters and selected independent > artists. The entire Festival can be viewed online or in person at one of > the presenting spaces. > > An exciting project! > > Bests, > Kelani Nichole > *member, little berlin* > littleberlin.org > > On Mon, Jan 23, 2012 at 9:50 AM, Toni Sant<[log in to unmask]> wrote: > >> In direct response to the question: What artists' projects have >> (re)defined the idea of webcasting? >> >> I'd recommend you have a look at my book about Franklin Furnace, published >> last year by Intellect. Large chunks of the book focus on the >> organziation's pioneering work in webcasting. Their collaboration with (the >> original) Pseudo.com should not be overlooked, especially because it >> predates domestic broadband, for the most part. Pseudo was as self-billed >> as Internet Television. >> >> Martha Wilson's "What Franklin Furnace Learned from Presenting and >> Producing Live Art on the Internet, from 1996 to Now" is also a very >> significant first person narrative from the trenches. Her article appeared >> in Leonardo in 2005. >> >> Another important artists' project which defined early concepts of >> webcasting is Robert Galinsky, who now runs the New York Reality School. >> My 2001 interview with him appeared in TDR in 2005. >> >> TV Swansong was certainly a pioneering project, but it was far from the >> first. >> >> Best wishes... >> >> ...t.s. >> >> =================================================== >> Dr. Toni Sant >> Director of Research >> >> School of Arts and New Media >> The University of Hull - Scarborough Campus >> Filey Road, Scarborough - YO11 3AZ >> >> email: [log in to unmask] >> =================================================== >> >> -----Original Message----- >> From: Curating digital art - www.crumbweb.org on behalf of Sarah Cook >> Sent: Mon 23/01/2012 2:15 PM >> To: [log in to unmask] >> Subject: Re: [NEW-MEDIA-CURATING] quick piece of research regarding >> artist's television >> >> hello CRUMB again >> >> Thank you all so much for your generosity of thought (and time) in this >> research exercise. >> >> I know there are still more messages, which were sent to me off-list, >> which might be reposted here at my encouragement, as they are full of >> interesting nuggets, so keep them coming. Thanks to Fee also for filling in >> a bit of the history of TenantSpin too. >> >> Which leads me to ask if I can change the question, and segue towards a >> professional development workshop CRUMB will be running at the AV Festival >> in March: >> >> What artists' projects have (re)defined the idea of webcasting? >> >> How has the terrain of the webcast-art-event been mapped out and what >> contributions have artists made to the discussion around the pitfalls or >> delights of webcasting? >> >> I ask because this is something which TV Swansong is as much remembered >> for (or lamented?) - certainly as much as for its artists projects, which >> were each their own criticism or celebration of television. >> >> These reviews of the project at the time are interestingly telling: >> >> http://www.a-n.co.uk/interface/reviews/single/67298 >> "Artists were selected not so much for their technical familiarity with >> webcasts, but for their ability to bring something innovative to this >> developing medium. Several contributors appropriated existing TV/radio >> programme forms..." >> <http://www.a-n.co.uk/interface/reviews/single/67298> >> http://www.frieze.com/issue/review/tv_swansong/ >> "'TV Swansong' had the air of an off-kilter telethon, breathlessly jumping >> from event to event as programmes were rescheduled according to technical >> or logistical hiccups." >> >> Anyone care to make another list of art projects we should remember and >> why? >> >> As Fee noted in an email to me (and I'm sure she'll forgive me for >> reposting this bit here): >> >> "the history, what went before - when the >> hardware/software/platform/user/creative technique/etc either didn't exist >> or was incredibly complex and unstable - isn't referred to by contemporary >> practitioners. When they are referenced, usually that context isn't given, >> so that makes those works seems outdated, simple, pixelated, when actually >> they were building the foundation stones of contemporary practice, and >> helping current audiences understand how this stuff works." >> >> So how does TV Swansong sit in relation to the history of artistic webcast >> experiments? >> >> Sarah >> >> >> >> >> >> Hello CRUMB list >> as you are all eminently smart about art and technology and the history of >> art I have a request. >> >> There is a forthcoming publication from the Finnish Institute in London >> about >> artists' works and community television and I'm informally working with >> Nina >> Pope and Karen Guthrie to help them recontextualise their project TV >> Swansong. We'd like to gather some thoughts related to this project's place >> in history from you all, before the end of next week. >> >> At the time (2002, a decade ago) TV Swansong was billed as: >> "a cross-media art project which commissioned 8 new works reflecting on the >> current state of flux in television with idiosyncratic responses to its >> past, >> present and future." http://www.swansong.tv/ >> >> Some of you might remember the exhibition I cocurated with Kathy Rae >> Huffman >> on a similar topic - http://www.broadcastyourself.net/ - for AV Festival >> in >> 2008, which included TV Swansong's archive. A question we asked with >> Broadcast Yourself was how did we get here, to this moment of many online >> platforms for dissemination of broadcast work (the end of television?) - >> and >> what initiatives did artists take before this point. >> >> So we are wondering the same thing again now: how do works which deal with >> the 'current state' of technology age? >> How are works which were once live supposed to be exist within the history >> of >> art and technology in archived form? >> Is television dead? Is artist's television dead? Was TV Swansong ever >> considered as community television, or indeed television at all (as it was >> webcast)? >> Can artists continue to contribute in their work to discussions around >> community television and if so, how? >> >> As this is an informal chat we welcome any and all responses, which, with >> your permission, we'd like to quote in the dialogues we hope to be included >> in the publication. >> You can email back offlist if you like. >> >> We've got til the end of next week... and we'll launch some regular monthly >> discussions on CRUMB after that. >> >> Thanks all, >> Sarah >> >> >> >> ************************************************************** >> To view the terms under which this email is distributed >> please go to http://www2.hull.ac.uk/legal/disclaimer.aspx >> ************************************************************** >> -- ____________________________________________________________ helen varley jamieson: creative catalyst [log in to unmask] http://www.creative-catalyst.com http://www.make-shift.net http://www.upstage.org.nz ____________________________________________________________