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wishing to by-pass the unexpectedly late-summer heated debate about an artforum article, I wonder whether it is too late to remember Ion Ippolito, and also (as Ion mentions it as well), the earlier fascinating post by Roger Malina, in which Roger proposes to look beyond the "art world" collection protocols and gate keepers. >>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 >> so well spoken. I noted that no one answered, and this sometimes happens, surprisingly, here. Ion, i'm sorry i can't say anything concrete about your question about the new Beijing Treaty on Audiovisual Performances, i have not looked at the details yet and how this affects performance/media productions, but we did encounter quite a few licence restrictions in the Kafka's Wound project that I presented here the other week. I'll try and think this through further. About your "Ghetto Blasting," i think it already touches upon the current discussion, and I wish to thank Kevin Hamilton for his sharp and humorous commentary. >> [Kevin schreibt]: What remains less questioned in this discussion? The ways in which subjectivities are shaped by professions as well as media. >> regards Johannes Birringer >>> [Ion schreibt] * On ghetto blasting A stuffy Pompidou curator told me that an (even stuffier) art star told her he would never be in a show with "media" as a theme. So Steve Dietz is right, let's drop "media" as a theme and cozy up to art world insiders, hopefully persuading them to shrug off their elitism at the same time. (Steve's curated about ten times as many shows as I have, so he should know.) Speaking of the Art World and App Store, I think Steve will appreciate the fact that net artist-turned-appmaker Lia's fetching new Sum05 iPhone app looks a lot like his 1998 Beyond Interface logo! http://itunes.apple.com/us/app/sum05/id544376100?mt=8 http://www.museumsandtheweb.com/mw98/beyond_interface At the same time, I agree with Roger Malina that "curating" is no longer the province of art or even museums. I've recently learned this the hard way while crafting an online digital curation curriculum to accommodate scientists and government officials, not to mention Pinterest peeps and Tumblr types. More on this shift in curatorial focus here: http://www.youtube.com/user/UMaineDigCuration/videos Roger, I'd love to hear if you have any best-of-breed resources for data curation and citizen science. * On collecting performance I'd be curious about Johannes Birringer's take on the new Beijing Treaty on Audiovisual Performances, which adds a layer of copyright-like protection to audiovisual performers (actors, musicians, dancers). At first I thought this new legal restriction might have a silver lining in supporting the precarious life of the performing artist. Unfortunately, the EFF looked under the hood and saw that performers' rights can be transferred to the producers. Same old same old? https://www.eff.org/deeplinks/2012/07/beijing-treaty-audiovisual-performances * On embalming Grampa I loved Domenico's comment about how best to "preserve" the memory of loved ones. Richard Rinehart and I appraise the new market for personal data cemetaries in our forthcoming book Re-collection. To me, paying an Internet service to archive Facebook posts is like paying the Hindenberg to follow the Titanic around in case it sinks. >>>