The Archive of Digital Art expands its field and includes scholars in its documentation. Scholars are invited to become members of the online community and set up their own ADA entry!
Scholars have the possibility to upload publications and text pdfs, announce upcoming events, post comments, document exhibitions, conferences and other relevant events and be represented in the Archive.
The community features also allow the active exchange of professional information with peers and the new “Light box” tool facilitates the examination and comparison of images for research and teaching.
To ensure a high academic standard 5 published articles and/or curated exhibitions are requisite for scholars to become members of the ADA community. Interested scholars may apply for an account here.
Christopher Salter is a media artist, performance director and composer/sound designer based in Montreal, Canada and Berlin, Germany.
His artistic and research interests revolve around the development and production of real time,
Gianni Toti 22.01.2018 Per tutti gli interessati: vi segnaliamo il ciclo di laboratori "Gianni Toti Lab: Videoarte e Tecnologie nell'opere di Gianni Toti". Incontri laboratoriali trisettimanali presso La Casa Totiana, casa-archivio di Gianni Toti a a Roma. I laboratori sono tenuti da: Valentina Valentini, Bruno Di Marino, Silvia Bordini, #SandraLischi, #MarcoMariaGazzano, Francesca Gallo.
Tjebbe Van Tijen 21.01.2018 the digital archive as 'common wealth' 18th century concept practised in the 21st century
Marc Garrett 21.01.2018 Marc Garrett performs at transmediale 2018 Opening Rally, an updated version of Gerrard Winstanley's 'A Declaration from the Poor Oppressed People of England' originally published in 1649.
Winstanley was one of the founders of the English group known as the True Levellers or the Diggers. The group occupied public lands that had been privatised by enclosures. Garrett proposes that True Levellers or Diggers, and later the Luddites, were radically innovative, hacktivists in their own times, and we can still learn from their ideas, intentions and imaginative maneuvers against top-down domination by neoliberal elites whether it involves technological and or physical contexts. https://www.facebook.com/events/197035820878986/
Rachel Rits-Volloch 19.01.2018 Opening one week from today at Momentum Worldwide:
A culture collider bringing together artists from Korea and Berlin, featuring: aaajiao (Xu Wenkai), Claudia Chaseling, Jaerok Jang, Kira Kim + Hyungkyu Kim, Zinu Kim, David Krippendorff, Hye Rim Lee, Milovan Destil Marković, Jihye Park. Nothing here is quite what it seems...
Curated by Jung-Me Chai and Rachel Rits-Volloch.
MORE INFO: http://momentumworldwide.org/exhibitions/station_paradox/ https://www.facebook.com/events/1627425377346152/
Falk Heinrich 19.01.2018 JOURNAL OF SOMAESTHETICS
We are very happy to announce that The Journal of Somaesthetics received a grant from The Joint Committee for Nordic research councils in the Humanities and Social Sciences (NOS-HS). This means that we will continue the good work of the past three years working incessantly towards a journal that presents and discusses contemporary topics within the field of somaesthetics; for example, topics that operationalize and discuss issues relating to somatic perceptions and dimensions of aesthetic experience and to body concepts and practices in the arts, everyday aesthetics, design technologies, performance, health and physical culture studies.
In 2018, the Journal of Somaesthetics will work with two issues:
1. Somaesthetics and Technology (the call will shortly be published on our website)
2. Open call inviting current topics not limited by any thematic or formal focus. We invite abstracts and full articles that deal with the concerns of somaesthetics . This can be entirely theoretical pieces elaborating on the concepts of somaesthetics, case-based analyses, or presentation of somaesthetic intervention and experiments.
Please visit our website: https://journals.aau.dk/index.php/JOS/index
For further information and clarification, please contact Falk Heinrich, email@example.com. https://journals.aau.dk/index.php/JOS/index
Randall Packer 19.01.2018 Third Space Network is pleased to announce the next installment of Networked Conversations with Chip Lord, co-founder of the media collective Ant Farm, in a live Internet broadcasted interview from the NMC Lounge at the College Art Association Conference. https://www.facebook.com/events/154215621895835/
Oskar Fischinger 18.01.2018 A new Oskar Fischinger DVD is here from CVM! Includes Komposition in Blau, Muratti greift ein, Squares and early Gasparcolor tests, Studies 2, 5, 8, Swiss Trip, PIerrette I and much more... www.centerforvisualmusic.org/Fischinger/newdvd.htm https://vimeo.com/album/3111432/video/250034697
Andreas Müller-Pohle 17.01.2018 New Issue: European Photography 102 on "Extreme", published in cooperation with RAY Fotografieprojekte. With an introduction by Boris von Brauchitsch and portfolios by Antoine D'Agata, Mathieu Asselin, Martin Liebscher, Richard Mosse, Arno Rafael Minkkinen, Lois Hechenblaikner, Kathrin Sonntag, Sze Tsung Nicolás Leong, and Pradip Malde; an interview with Joel-Peter Witkin; reviews of Maxime Ballesteros, Pieter Hugo, Debi Cornwall, Cristina de Middel, Roger Ballen; a guide to Digital Photography Publications, and more. – Available at https://equivalence-shop.com https://www.facebook.com/photo.php?fbid=10213329524385860&set=gm.1314211668685569&type=3
Peter Drake 16.01.2018 Talks at the New York Academy of Art: Art, Crime and SoHo Sins with Richard Vine 1/17/18 (6:30pm) Open to the Public
Richard Vine, author of the art world crime novel SoHo Sins, and the longtime managing editor of Art in America, will talk about how art and crime have been deeply intertwined... drawing equally from art history, the news, and his own noir fiction.
Art, Crime and SoHo Sins by Richard Vine
Wednesday January 17 at 6:30
New York Academy of Art - 111 Franklin St.
Open to the public
Kit Galloway 15.01.2018 I posted this for Howard Rheingold's benefit elsewhere, but it’s worth nailing up again. It's about where the term "Virtual Communities" came from before Howard invented it.
In the spirit of better teaching through critique (as offered unapologetically in this extraordinary pre-TEL-O-MATIC document), and as opposed to the philosophy here that seems to be more towards giving every child a trophy, I re-enter the following document for the students that are weary of the underwhelming era that followed a 100 years of no competent legacy of artistic inquiry into symmetrical telecom systems.
As mentioned at the top of this attached piece it was never published in 1984 as intended - WHY? Because the Los Angeles Museum of Contemporary Art morons told us on the day we were to install from East L.A. to the Venice Beach the $100,200.00 worth of “custom systems-integrated computer & multimedia technologies that S&K designed,” — that the museum forgot to mention to us that THEY needed $30,000 from our budget to publish the “museum’s product,” namely the catalog of the project.
After six months of intensive ground work, multi-community potluck dinners, training everyone at our Santa Monica Airport Studio, and all the signed contracts and insurance coverage for every restaurant owner in risky “underserved communities!”
This is what LACMA proposed we do:
We could have just ONE “community installation” that would, over the course of 7+ weeks, travel to each of the different “ethnic” communities in turn - and thus… give each of the intended communities the “opportunity” to be “interactive” with the museum!?!?!?!?!?!
We told them to go fuck their stupid catalog and their stupid concept of what the Ecafe concept was about! Otherwise, “the ethnics” would burn this place to the ground! They backed off.
“We don’t need no stinking catalog!” “Homie, don’t do that crap white boy!”
There is however, a However!
There were many professions, educators, summer school classes, community outreach groups, and other committed public participants in each community to be sure. As a wise accommodation we obliged the “artists” participants in the Ecafe Network, all of who we trained on technology proficiency (beyond being end-users, and at the end of 7 weeks were the most proficient in the world, including in the HAM community - that respected our work BTW.), to “curate” the “local lives & history documents,” and of course telecollaborative inventions, and co-creation artifacts that became crafted from the hardcopy printouts created in this “new-world Ecafe context” that brought together the diverse culturally, politically, and physically segregated communities around L.A. closer together as neighbors, and which initiated an explosion of physical travel between these otherwise isolated and even “waring” (Korean vs Black South Central, communities. Hundreds and hundreds of artifacts (representing maybe only “one percent” of the thousands of exchanges, performances, collaborations in video, drawing, annotating, texts, that were a segment or sampling of what had literally become a wallpapering, as a great historic histogram of possibilities and accomplishments displayed at each Ecafe site - aspects of this were mounted on the museum walls and it was verboten for museum staff to even think about supervising it.
At the end of the 7+ weeks of the Olympics Arts Festival “UCLA Summer Interns” working at the museum ripped all these three-dimensional construction, portraits, hand colored prints, and giant 100+ image assemblages, baring witness to these amazing never-before manifest and uniquely original telecollaborative drawings, hand annotated works, “shared-screen telecollaborative art works” and video stills, etc., etc., were ripped from the walls, pilled on the floor, trashed and destroyed like unwanted refuge.
This may be why the most important social art work in TEL-O-MATIC history is not mentioned by the people that invited us to do a “telecom art piece” for the 1984 Olympics Arts Festival, and made the mistake of letting us inside the Los Angeles Museum of Modern Art.
But it can not explain why our body of work always remained outside the cognitive boundaries of Howard and the text-based Well - where everything was invented.
Kit Galloway 16.01.2018 To Randall Packer: REF: "Art of the Networked Practice Online Symposium 2018'
Our 1984 Olympics Orwellian antidote project took a further step in this trajectory you try to identify, but typical of our prototyping of the future, few in the arts have demonstrated an adequate aptitude for deconstructive the complex integration of systems we created time and time again - and for the first time. Gene saw it, he can help you discover the meaning and relevance of it.
Our tour-de-force Ecafe multimedia telecollaborative network allowed each Ecafe to broadcast (over the 7 different voice-grade phone lines per site) We had the pre-released and "most advanced SSTV video technology invented (we had serial # 01 through 10), and sound transmission went separately through one of the other on-tap teleconferencing bridges so that they could all broadcast uninterrupted audio and video to each other in a conference mode, OR they could list their upcoming broadcasts on the Community Memory calendar of "Upcoming Broadcasting Events." From day one the Ecafe's became the cultural centers of their indigenous communities. Korea Town, Black South Central, Spanish speaking East L.A., and eclectic Venice Beach, and Downtown L.A.
As a rule, at the start of each day, all the Ecafe's would convene on the audio conference net to find out who, what, and when each of them would be broadcasting that day. Bcasting was a regular occurrence. The Ecafe Net could also appropriate content from TV and the Olympics TV coverage. Each Ecafe determined if they would join the broadcast, or if they had a conflict, or prearranged live exchange or viewing engagement they would honor that program activity first. They could change the channel, or do do video with B, and audio with Z.
Randell, this was something new, and never offered to the public, or anyone before. Something way beyond the concept of Community Interactive TV Networking. Something that could be spontaneously and instantaneously reconfigured as a network point-to-point and multipoint-to-multipoint. This is several paradigm beyond what the art boys cobbled together years later at Venice '86!
"Tele-Theatre Sport" was hit - an interactive game between actors or others, where one side starts a narrative, and passes it to the other side to continue it, and pass it back. This was happening between different language communities. Musical, and dramatic original performance pieced took place that graduated slow-scan into a compelling form of performance art beyond what the artworld had cultivated before. Multipal images could be sent at once, speed changes had effects, a time-laps quadrant would rapidly write images clockwise following the four corners of the screen.
After the first week all the Ecafe's were populated by boys ranging from 9 to 15. They pushed the art by asking "What happens when you push all the buttons AT THE SAME TIME?" They started to run the places - became the ushers along with the Resident Artists and SYSOPS - helping folks of all agers to get a leg up in cyberspace - and beging asking the question "How can we use this, and what do we want it to be?"
TelePostic exchanges took place between black male revolutionary poets in South Central, and gay women in Venice Beach - they argued fearsly over the telecom without
any threat of physical harm (like we all do here). Then they decided to disagree, but then, they decided to meet all together in one place IN THE FLESH.
It was a fantastic culture clash of creativity and collaboration!!!
Poems and "video stills", and "hand illustrations" were uploaded to the "Ecafe-Augmented, Value-Added, and expanded keyword-serachable CM multimedia DATABASE." Were poems were readable, and the "accompanying "video stills", and "hand drawn illustrations, and annotated video images" could be viewed, along with all the countless other human events! The Shared-Screen Telewriters accommodated immediate intimacy because people when writing to each other got intimate so fast it took their breath away because writing until then was a personal experience. This was always a great ice breaker often leading to halarity and embarrassment - while accommodating Korean character sets. and the place were language translation got done and ideas could be illustrated between people that did not speak the same language. Live replay from the telewritters could be sent out, and the other end could watch a long version of a telewriter story be played back as an animation - another kind of Bcasting app.
This was the beauty and the brilliance of the first conceived and manifest Multimedia, Telecollaborative, Cross-cultural, Beyond-The-Keyboard, Social Network Multimedia, and Interactive Broadcasting System controlled and contextualized by the public!
Lee Felsenstein has said that S&K's extension of his text-based Community Memory Social Network was the "best iteration" of what CM had always hoped to become.
I think our 1984 Orwellian Antidote Ecafe Multimedia Network S&K created almost 10 years before ARPA Net went public should be the centerpiece of you revisiting, and heroic narrative, and webcasting event thingy you are calling "Art of the Networked Practice Online Symposium 2018'?
Because dude, S&K TOTALLY RAISED THE BAR in 1984. When everyone else was still just wanting to be on TV!
It's probably just me, but I still think we created the first three masterworks that invented the future, and followed that with ten years of ECI, where our many multimedia first challenged the Internet as we continued creating the future while working with the best people around in video & voice over IP, and VR. But you know us, we were not celebrity whores, we keep low, rather than pursue the indignity of trying to be noticed. A strategy to be better understood in the future, when being noticed can prevent you from doing what needs to get done.