Collecting and Conserving Net Art explores the qualities and characteristics of net art and its i... more Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies.Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes.
Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Contents
Introduction
Net Art
Documenting Variability
Networks of Care
Following Process and Openness
Authentic Alliances
What is a Document?
Conclusion
Archives are collections of records that are preserved for historical, cultural and evidentiary p... more Archives are collections of records that are preserved for historical, cultural and evidentiary purposes. As such, archives are considered as sites of a past, places that contain traces of a collective memory of a nation, a people or a group. Digital archives have changed from stable entities into flexible systems, at times referred to with the term ‘Living Archives’. In which ways has this change affected our relationship to the past? Will the erased, forgotten and neglected be redeemed, and new memories be allowed? Will the fictional versus factual mode of archiving offer the democracy that the public domain implies, or is it another way for public instruments of power to operate? Lost and Living (in) Archives shows that archives are not simply a recording, a reflection, or an image of an event, but that they shape the event itself and thus influence the past, present and future.
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai
edited volume with contributions by:
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekke... more edited volume with contributions by:
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekker: A Changing Aesthetics, or How to Define and Reflect on Digital Aesthetics. An interview with Christiane Paul
1.2 Olga Goriunova: Light Heavy Weight Curating
Future Scenarios
2.1 Edward Shanken: The 34.2 Million Dollar Question. Writing Histories or Staging Alternative Futures
2.2 Sarah Cook: We're Not Hobbyists or Dabblers Anymore
2.3 Annet Dekker: Museum Refresh. An E-mail Conversation Over Several Days: Jill Sterrett, Layna White and Christiane Berndes
Archive & Memory
3.1 Annet Dekker: Thinking From History Towards an Empowering of Use(r)s. An e-mail interview with Jussi Parikka
3.2 Nina Wenhart: Imaginative Rationalisation and Speculative Archiving. Thoughts About Language in Media Art Database Archives
3.3 Annet Dekker: On Re-Collection: New Media, Art and Social Media. An e-mail interview with Richard Rinehart
edited volume with contributions by
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imagin... more edited volume with contributions by
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imaginary Friends (8-11)
Hanne-Louise Johannesen, Performing Identity (11-9)
Annet Dekker, How to Be Pink and Conceptual at the Same Time. Annet Dekker in conversation with Martine Neddam (22-5)
Martine Neddam, Zen and the Art of Database Maintenance (26-32)
Deisgn: Karen Willey
Print: Knust
Adverstising: Philip Vincent Fokker and Eve Dullaart
Edited volume with contributions by:
0.0 Annet Dekker: Introduction + Report Archive2020 Expert ... more Edited volume with contributions by:
0.0 Annet Dekker: Introduction + Report Archive2020 Expert Meeting + Cultural Analytics by Lev Manovich
1.0 Martine Neddam: Zen and the Art of Database Maintenance
2.0 Anne Laforet, Aymeric Mansoux, Marloes de Valk: Rock, Paper, Scissors and Floppy Disks
3.0 Twan Eikelenbook in conversation with Florian Cramer: Print Out the Internet
4.0 Caitlin Jones: Do It Yourself. Distributing Responsibility for Media Arts Preservation and Documentation
5.0 Gabriele Blome, Gaby Wijers: Visibility, Distribution and Memory Through Networks and Collaboration
6.0 Lizzie Muller: Oral History and the Media Art Audience
7.0 Annet Dekker in conversation with Jeroen van Mastrigt: Serious Archiving: Preserving the Intangible by Capturing Processes
8.0 Maurits van der Graaf en Gerhard Nauta: Cultural Heritage in Limbo: Reflections on Preliminary Research into Born-Digital Cultural Heritage in the Netherlands
chapters Walled Garden:
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
0... more chapters Walled Garden:
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
02. Conference Working Groups
03. Tom Klinkowstein, Carla Gannis – 14 February 2030
04. Richard Rogers – Post-demographic Machines
05. Tapio Makela – Social Networking Beyond Medieval Economics
06. Matt Ratto, Stephen Hockema – FLWR PWR: Tending the Walled Garden
07. Aymeric Mansoux – The Art of Surviving in Simcities
08. Bronac Ferran – The Network as Laboratory
09. Edward Shanken in conversation with Annet Dekker – Inventing the future: Art and Net Ontologies
10. Erin Manning – 7 Propositions for the impossibility of isolation, or, the radical empirism of the network
11. Artist Presentations
asks the question of how our increasingly digital civilisation will persist beyond our lifetimes.... more asks the question of how our increasingly digital civilisation will persist beyond our lifetimes. The authors focus on the preservation of new media art as a case study in new media's broader challenge to social memory. Rinehart and Ippolito are well-known names in the field of media art preservation; both have respectively worked in the field as curators, teachers and initiators of various documentation models. Recollection has been in the making for quite some time and can be seen as a collection of their previous writings supplemented by futurological perspectives and practical guidelines as 'a recipe for cultural permanence' (p. 29). In this sense the book resembles a manifesto or a polemic essay. This is not to say that it lacks argumentation, but that it provides a single narrative. Better said, a dual narrative, because not only do the two authors alternate the chapters they also at times insert comments in each other's texts. Although this is not an uncommon practice and could be said to vaguely mimic today's digital culture of commenting, in this case it works well as the comments exemplify a multiplicity of perspectives that is also in the nature of the works that they discuss. However, at times the comments function more as alternative notes to upcoming sections and they loose their strength as complementary and critical observations.
Some people argue that the digital archive is an oxymoron (Laermans and Gielen 2007) or more akin... more Some people argue that the digital archive is an oxymoron (Laermans and Gielen 2007) or more akin to an anarchive (Ernst 2015, Zielinski 2014).Derrida used the word anarchive to signal that “what remains unvanquished remains associated with the anarchi.” Ernst relates it to the digital archive and describes the anarchive as something that cannot be ordered or catalogued because it is constantly re-used, circulated, and expanding, and thus only a metaphorical archive. Similarly, Foster describes how the anarchival is about obscure traces rather than absolute origins, emphasising the incomplete, which may offer openings to new interpretation, or ‘points of departure’ as mentioned by Foster (2004). These various descriptions imply that digital archives, and in particular Web-based archives, function less as a storage space and more as a recycling centre in which the material (the archival document, if one can still use this term) is dynamic. In other words, the default state of the digital archive is re-use instead of storage, circulation rather than centrally organised memory, constant change versus stasis. How to capture and retrieve all this data, information and documentation, but more importantly, in what way does archiving take place on the Web? In what follows I examine projects by artists who in various ways explore the challenges of online archiving. These examples show how information and data is captured and archived on the Web. In particular, how it becomes a networked environment, or performance space characterised by the transition from objects to processes. This new situation, I argue, means moving between dark and light archiving, and it’s the place where a new method of networked coarchiving emerges.
Collecting and Conserving Net Art explores the qualities and characteristics of net art and its i... more Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies.Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes.
Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Contents
Introduction
Net Art
Documenting Variability
Networks of Care
Following Process and Openness
Authentic Alliances
What is a Document?
Conclusion
Archives are collections of records that are preserved for historical, cultural and evidentiary p... more Archives are collections of records that are preserved for historical, cultural and evidentiary purposes. As such, archives are considered as sites of a past, places that contain traces of a collective memory of a nation, a people or a group. Digital archives have changed from stable entities into flexible systems, at times referred to with the term ‘Living Archives’. In which ways has this change affected our relationship to the past? Will the erased, forgotten and neglected be redeemed, and new memories be allowed? Will the fictional versus factual mode of archiving offer the democracy that the public domain implies, or is it another way for public instruments of power to operate? Lost and Living (in) Archives shows that archives are not simply a recording, a reflection, or an image of an event, but that they shape the event itself and thus influence the past, present and future.
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai
edited volume with contributions by:
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekke... more edited volume with contributions by:
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekker: A Changing Aesthetics, or How to Define and Reflect on Digital Aesthetics. An interview with Christiane Paul
1.2 Olga Goriunova: Light Heavy Weight Curating
Future Scenarios
2.1 Edward Shanken: The 34.2 Million Dollar Question. Writing Histories or Staging Alternative Futures
2.2 Sarah Cook: We're Not Hobbyists or Dabblers Anymore
2.3 Annet Dekker: Museum Refresh. An E-mail Conversation Over Several Days: Jill Sterrett, Layna White and Christiane Berndes
Archive & Memory
3.1 Annet Dekker: Thinking From History Towards an Empowering of Use(r)s. An e-mail interview with Jussi Parikka
3.2 Nina Wenhart: Imaginative Rationalisation and Speculative Archiving. Thoughts About Language in Media Art Database Archives
3.3 Annet Dekker: On Re-Collection: New Media, Art and Social Media. An e-mail interview with Richard Rinehart
edited volume with contributions by
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imagin... more edited volume with contributions by
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imaginary Friends (8-11)
Hanne-Louise Johannesen, Performing Identity (11-9)
Annet Dekker, How to Be Pink and Conceptual at the Same Time. Annet Dekker in conversation with Martine Neddam (22-5)
Martine Neddam, Zen and the Art of Database Maintenance (26-32)
Deisgn: Karen Willey
Print: Knust
Adverstising: Philip Vincent Fokker and Eve Dullaart
Edited volume with contributions by:
0.0 Annet Dekker: Introduction + Report Archive2020 Expert ... more Edited volume with contributions by:
0.0 Annet Dekker: Introduction + Report Archive2020 Expert Meeting + Cultural Analytics by Lev Manovich
1.0 Martine Neddam: Zen and the Art of Database Maintenance
2.0 Anne Laforet, Aymeric Mansoux, Marloes de Valk: Rock, Paper, Scissors and Floppy Disks
3.0 Twan Eikelenbook in conversation with Florian Cramer: Print Out the Internet
4.0 Caitlin Jones: Do It Yourself. Distributing Responsibility for Media Arts Preservation and Documentation
5.0 Gabriele Blome, Gaby Wijers: Visibility, Distribution and Memory Through Networks and Collaboration
6.0 Lizzie Muller: Oral History and the Media Art Audience
7.0 Annet Dekker in conversation with Jeroen van Mastrigt: Serious Archiving: Preserving the Intangible by Capturing Processes
8.0 Maurits van der Graaf en Gerhard Nauta: Cultural Heritage in Limbo: Reflections on Preliminary Research into Born-Digital Cultural Heritage in the Netherlands
chapters Walled Garden:
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
0... more chapters Walled Garden:
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
02. Conference Working Groups
03. Tom Klinkowstein, Carla Gannis – 14 February 2030
04. Richard Rogers – Post-demographic Machines
05. Tapio Makela – Social Networking Beyond Medieval Economics
06. Matt Ratto, Stephen Hockema – FLWR PWR: Tending the Walled Garden
07. Aymeric Mansoux – The Art of Surviving in Simcities
08. Bronac Ferran – The Network as Laboratory
09. Edward Shanken in conversation with Annet Dekker – Inventing the future: Art and Net Ontologies
10. Erin Manning – 7 Propositions for the impossibility of isolation, or, the radical empirism of the network
11. Artist Presentations
asks the question of how our increasingly digital civilisation will persist beyond our lifetimes.... more asks the question of how our increasingly digital civilisation will persist beyond our lifetimes. The authors focus on the preservation of new media art as a case study in new media's broader challenge to social memory. Rinehart and Ippolito are well-known names in the field of media art preservation; both have respectively worked in the field as curators, teachers and initiators of various documentation models. Recollection has been in the making for quite some time and can be seen as a collection of their previous writings supplemented by futurological perspectives and practical guidelines as 'a recipe for cultural permanence' (p. 29). In this sense the book resembles a manifesto or a polemic essay. This is not to say that it lacks argumentation, but that it provides a single narrative. Better said, a dual narrative, because not only do the two authors alternate the chapters they also at times insert comments in each other's texts. Although this is not an uncommon practice and could be said to vaguely mimic today's digital culture of commenting, in this case it works well as the comments exemplify a multiplicity of perspectives that is also in the nature of the works that they discuss. However, at times the comments function more as alternative notes to upcoming sections and they loose their strength as complementary and critical observations.
Some people argue that the digital archive is an oxymoron (Laermans and Gielen 2007) or more akin... more Some people argue that the digital archive is an oxymoron (Laermans and Gielen 2007) or more akin to an anarchive (Ernst 2015, Zielinski 2014).Derrida used the word anarchive to signal that “what remains unvanquished remains associated with the anarchi.” Ernst relates it to the digital archive and describes the anarchive as something that cannot be ordered or catalogued because it is constantly re-used, circulated, and expanding, and thus only a metaphorical archive. Similarly, Foster describes how the anarchival is about obscure traces rather than absolute origins, emphasising the incomplete, which may offer openings to new interpretation, or ‘points of departure’ as mentioned by Foster (2004). These various descriptions imply that digital archives, and in particular Web-based archives, function less as a storage space and more as a recycling centre in which the material (the archival document, if one can still use this term) is dynamic. In other words, the default state of the digital archive is re-use instead of storage, circulation rather than centrally organised memory, constant change versus stasis. How to capture and retrieve all this data, information and documentation, but more importantly, in what way does archiving take place on the Web? In what follows I examine projects by artists who in various ways explore the challenges of online archiving. These examples show how information and data is captured and archived on the Web. In particular, how it becomes a networked environment, or performance space characterised by the transition from objects to processes. This new situation, I argue, means moving between dark and light archiving, and it’s the place where a new method of networked coarchiving emerges.
Net art is one of the most viewed and experienced artforms, yet some net artworks stop functionin... more Net art is one of the most viewed and experienced artforms, yet some net artworks stop functioning in less than five months. At the heart of this research lies the question of net art's survival. While net art is hardly accounted for in museum collections-the traditional keepers of cultural heritage-this dissertation explores the material and behaviour of net art. Using a broad range of interdisciplinary resources the chapters open up key theoretical issues that rethink museum practices. Among others, this includes notions of authenticity, authorship, documentation and documents, networks, open source, performativity and processual. Arguing for the need to reconsider traditional attitudes in museums and notions of static conservation as well as acknowledging decentralised and community-based approaches, this dissertation describes an expanded practice of conservation in the computational age. It shows how net art operates through often imperceptible or ambiguous performance of processes and is networked in various ways. It then examines the way these strategies are used and fold back into notions of authenticity, documentation and variability. It is in addressing and answering some of the challenges facing net art that this dissertation makes a distinctive contribution to the field of conservation, curatorial studies as well as to cultural and museum analysis. At the same time, an exploration of net art's intersections with conservation puts studies on net art into a new perspective. Consequently, the study enables more informed decisions when responding to, critically analysing or working with net art, in particular software-based processes. Surviving FOREVER means embracing rather then fearing ephemerality, loss and obsolescence.
Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations... more Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240)
Jonas Lund's artistic practice revolves around the mechanisms that constitute contemporary art pr... more Jonas Lund's artistic practice revolves around the mechanisms that constitute contemporary art production, its market and the established 'art worlds'. Using a wide variety of media, combining software-based works with performance, installation, video, photography and sculptures, he produces works that have an underlying foundation in writing code. By approaching art world systems from a programmatic point of view, the work engages through a criticality largely informed by algorithms and 'big data'.
It's been just over a year since Lund began his projects that attempt to redefine the commercial art world, because according to him, 'the art market is, compared to other markets, largely unregulated, the sales are at the whim of collectors and the price points follows an odd combination of demand, supply and peer inspired hype'. Starting with The Paintshop.biz (2012) that showed the effects of collaborative efforts and ranking algorithms, the projects moved closer and closer to reveal the mechanisms that constitute contemporary art production, its market and the creation of an established 'art world'. Its current peak was the solo exhibition The Fear Of Missing Out, presented at MAMA in Rotterdam.
Open! Platform for Art, Culture and the Public Domain, Apr 17, 2014
La Société Anonyme: An avant-garde art collective with a corporate twist après la lettre. An inte... more La Société Anonyme: An avant-garde art collective with a corporate twist après la lettre. An interview for Open! Platform for Art, Culture and the Public Domain.
The SKOR Codex contains binary encoded image and sound files selected to portray the diversity of life and culture at SKOR and is intended for any intelligent terrestrial life form, or for humans in the future – actually, whomever finds it. The files are protected from bitrot, software decay and hardware failure via its transformation from magnetic transitions on a disk to ink on paper, which will render it safe for centuries. It includes instructions in a symbolic language that explain the origins of the book and explains how the contents can be decoded. La Société Anonyme noted that “the package will be encountered and the book decoded only if there will be advanced civilizations on earth in the far future. But the launching of this ‘bottle’ into the cosmic ‘ocean’ says something very hopeful about art on this planet”. As such, the record is best seen as a time capsule and a statement rather than an attempt to preserve SKOR for future art historians.
A year after its release, the first copy of The SKOR Codex was sent to SKOR’s legacy archive at the Lectoraat Art & Public Space at the Gerrit Rietveld Academie, followed by the Bibliothèque Nationale de France in Paris (via Jeu de Paume) and the Royal Library in The Hague, the Netherlands, and, more recently, offered to British computer scientist, Tim Berners-Lee, best known as the inventor of the World Wide Web, for the Open Data Initiative to secure in its archive. Recently it won the “New Face Award” at the Japan Media Arts Festival, which are more than enough reasons to tell a bit more about La Société Anonyme and The SKOR Codex.
With a background in architecture and fine arts Jan Robert Leegte has been experimenting in the W... more With a background in architecture and fine arts Jan Robert Leegte has been experimenting in the Web since the mid-1990s. He soon became known for his physical translations of specific computer elements: buttons, scrollbars and Photoshop selections. He is still deeply immersed in searching for ways to convert the digital medium into new experiences, but nowadays he finds his inspiration online instead of offline. Leegte is trying to penetrate digital materiality to view old concepts such as ‘original work’ and ‘authorship’ from other perspectives. He uses his project Remake of Robert Smithson’s Spiral Jetty in Minecraft (2013) to demonstrate shows that land art can also be digital.
About a year ago Eleanor Greenhalgh started her project The Dissolute Image (TDI), a speculative,... more About a year ago Eleanor Greenhalgh started her project The Dissolute Image (TDI), a speculative, poetic image hosting technique. By splitting images into individual pixels and distributing them, it enables banned content to be secretly posted on corporate social platforms. TDI enables users to post a single pixel on their own social media page. All the entries are tracked by TDI and each pixel will re-appear on a dedicated website, eventually re-forming the image. I asked Eleanor about her motivation and interest in censorship and hosting issues.
Foundland, Ghalia Elsrakbi (SY) and Lauren Alexander (SA), is a multi-disciplinary art and design... more Foundland, Ghalia Elsrakbi (SY) and Lauren Alexander (SA), is a multi-disciplinary art and design practice based in Amsterdam. With backgrounds in graphic design, art and writing Foundland’s approach focuses on research based, critical responses to current issues. While moving around in advertising, printed matter, the Internet, and off line art spaces they dig up interesting stories about Disney, SpongeBob and defected soldiers.
About 50% of global trade is channelled through tax havens and 83 of the 100 largest multinationa... more About 50% of global trade is channelled through tax havens and 83 of the 100 largest multinationals are based in the Netherlands for fiscal reasons. The flow of money seeks the path of least resistance – but where exactly do those paths lie today?’
This is how graphic designer Femke Herregraven began a presentation about her new online game Taxodus. Herregraven designed the prototype of Taxodus, a game about offshore tax avoidance, during a master class at Sandberg-Mediafonds. The offshore system offers companies advantages in countries where legislation relating to non-nationals guarantees certain privileges, for example, when it comes to corporate structures, in certain areas of business confidentiality, or low taxation. Taxodus is an accessible way to discover how you can avoid paying taxes, and if you can’t get away with it completely, how you can make sure you pay the lowest possible amount.
Sinds een paar jaar verkent de Zweedse kunstenaar Jonas Lund de dimensie tijd op het web en probe... more Sinds een paar jaar verkent de Zweedse kunstenaar Jonas Lund de dimensie tijd op het web en probeert hij na te gaan wat de invloed is van standaard sociale netwerksites zoals Facebook op onze beleving. Daarnaast is hij bezig met het opzetten van een nieuw businessmodel voor kunstenaars: The Paintshop.biz. Genoeg redenen om iets meer over zijn fascinaties te horen.
Naar aanleiding van het 50-jarig bestaan van het Nationaal Ballet kreeg choreograaf Ernst Meisner... more Naar aanleiding van het 50-jarig bestaan van het Nationaal Ballet kreeg choreograaf Ernst Meisner de vrije hand om een unieke choreografie te maken met zestig fotogenieke Canta’s; de populaire of juist tot ergernis leidende rode invalidewagentjes. Het Nationale Canta Ballet vond plaats op 28 juni in het Westerpark in Amsterdam. Die avond rijden de Canta’s uit heel Nederland de Gashouder binnen om gezamenlijk te gaan walsen. Als ik op de website kijk naar aanvullende informatie kom ik tot mijn verrassing een aantal GPS-video’s tegen van walsende Canta’s.
De video’s zijn gemaakt door het kunstenaarsduo Esther Polak en Ivar van Bekkum. Als een van de eerste kunstenaars dook Esther tien jaar geleden met haar project Amsterdam RealTime op GPS als medium. Tegenwoordig houdt ze zich samen met Ivar bezig met Google Earth (GE) als medium. Tijdens een gesprek met haar probeer ik achter haar fascinatie voor deze nieuwe media te komen en te horen hoe haar nieuwe samenwerkingen bevallen.
Met zijn kunst creëert Aram Bartholl interacties tussen publieke en private, online en offline we... more Met zijn kunst creëert Aram Bartholl interacties tussen publieke en private, online en offline werelden. Hij is geïnteresseerd in de manier waarop het fysieke leven het digitale leven beïnvloedt en vice versa. Dit leidt soms tot komische situaties waarbij mensen achtervolgd worden door tekstballonnen met uitspraken van chatrooms of de naam van hun avatar, maar ook serieuze projecten zoals de China Channel Firefox add-on: 'experience the censored Chinese Internet at home'.
Ik sprak Aram Bartholl toen hij in Amsterdam was voor een presentatie op het uitverkochte FITC Amsterdam. Het event met de slogan 'Design.Technology.Cool Shit.' maakte me nieuwsgierig naar wat Aram voor ons in petto heeft. Ik kende Aram met name van zijn performances op mediakunst festivals en workshops. Dit lijkt echter iets heel anders.
In de huidige digitale wereld is, zowel vanuit artistiek als sociaal oogpunt, een hernieuwde inte... more In de huidige digitale wereld is, zowel vanuit artistiek als sociaal oogpunt, een hernieuwde interesse zichtbaar voor het behoud van kunst en informatie. Sommigen voorspellen een Digital Dark Age indien er nu niets gedaan wordt aan het beschermen van digitale data. Deze verwachting toont naast ongerustheid ook een dringende noodzaak ons bewust te worden van de korte levensduur van digitaal materiaal. Dat digitale data verschillen van analoog materiaal is bij veel mensen bekend, maar de praktijk wijst uit dat dit niet automatisch betekent dat er een nieuwe aanpak ontwikkeld wordt die het nieuwe materiaal als uitgangspunt neemt.
Musea en nationale archieven zijn de traditionele instituten die zorg dragen voor ons (cultureel) erfgoed; zij zouden daarom aangewezen zijn om deze uitdaging aan te gaan. In de praktijk blijkt echter dat vooral kunstenaars zich bezighouden met het ontwikkelen en uitproberen van manieren om hun werk te beschermen en vast te leggen voor toekomstige generaties. Constant Dullaart en Robert Sakrowski geven het voorbeeld. Samen hebben ze gewerkt aan een concept dat netkunst contextualiseert door gebruikers te filmen die via hun beeldscherm een interactie aangaan met netkunst. Ik vroeg hen of ze me iets meer konden vertellen over het project.
A conversation between Metahaven and Annet Dekker, January 30, 2012. A cloud coin is a virtual sy... more A conversation between Metahaven and Annet Dekker, January 30, 2012. A cloud coin is a virtual symbol that is inserted into the viewing experience of a website. The symbol resembles a coin, token, or jewel. A cloud coin contains details retrieved from the WHOIS information relating to a particular website, and from a Google search for its domain name. This brings together data about the geographical hosting and ownership of a domain, with information on what that domain may have been involved in or used for, insofar as it is publicly available.
Edited by Annet Dekker and Martine Nedddam. Contributions by:
Kathryn Shinko, So What Is It?
Pa... more Edited by Annet Dekker and Martine Nedddam. Contributions by:
Kathryn Shinko, So What Is It?
Paule Mackrous, Imaginary Friends
Hanne-Louise Johannesen, Performing Identity
Annet Dekker in conversation with Martine Neddam, How To Be Pink and Conceptual At The Same Time
Martine Neddam, Zen and the Art of Database Maintenance
Alleen door zich veel afhankelijker te maken van zijn publiek, zal het kunstmuseum blijven bestaa... more Alleen door zich veel afhankelijker te maken van zijn publiek, zal het kunstmuseum blijven bestaan. In het derde en laatste deel van een serie over de toekomst van het museum is Nancy Proctor aan het woord, specialist op het gebied van mobiele, digitale strategieën voor het museum.
The Poetics of Space. Edited by Arie Altena and Sonic Acts. Amsterdam: Sonic Acts Press, 2010:169-178., 2010
This interview follows an earlier interview I did with Sonia Cillari, see http://nimk.nl/nl/space... more This interview follows an earlier interview I did with Sonia Cillari, see http://nimk.nl/nl/space-is-body-centered
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Books by annet dekker
Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Contents
Introduction
Net Art
Documenting Variability
Networks of Care
Following Process and Openness
Authentic Alliances
What is a Document?
Conclusion
Download as: epub, pdf and html
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekker: A Changing Aesthetics, or How to Define and Reflect on Digital Aesthetics. An interview with Christiane Paul
1.2 Olga Goriunova: Light Heavy Weight Curating
Future Scenarios
2.1 Edward Shanken: The 34.2 Million Dollar Question. Writing Histories or Staging Alternative Futures
2.2 Sarah Cook: We're Not Hobbyists or Dabblers Anymore
2.3 Annet Dekker: Museum Refresh. An E-mail Conversation Over Several Days: Jill Sterrett, Layna White and Christiane Berndes
Archive & Memory
3.1 Annet Dekker: Thinking From History Towards an Empowering of Use(r)s. An e-mail interview with Jussi Parikka
3.2 Nina Wenhart: Imaginative Rationalisation and Speculative Archiving. Thoughts About Language in Media Art Database Archives
3.3 Annet Dekker: On Re-Collection: New Media, Art and Social Media. An e-mail interview with Richard Rinehart
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imaginary Friends (8-11)
Hanne-Louise Johannesen, Performing Identity (11-9)
Annet Dekker, How to Be Pink and Conceptual at the Same Time. Annet Dekker in conversation with Martine Neddam (22-5)
Martine Neddam, Zen and the Art of Database Maintenance (26-32)
Deisgn: Karen Willey
Print: Knust
Adverstising: Philip Vincent Fokker and Eve Dullaart
0.0 Annet Dekker: Introduction + Report Archive2020 Expert Meeting + Cultural Analytics by Lev Manovich
1.0 Martine Neddam: Zen and the Art of Database Maintenance
2.0 Anne Laforet, Aymeric Mansoux, Marloes de Valk: Rock, Paper, Scissors and Floppy Disks
3.0 Twan Eikelenbook in conversation with Florian Cramer: Print Out the Internet
4.0 Caitlin Jones: Do It Yourself. Distributing Responsibility for Media Arts Preservation and Documentation
5.0 Gabriele Blome, Gaby Wijers: Visibility, Distribution and Memory Through Networks and Collaboration
6.0 Lizzie Muller: Oral History and the Media Art Audience
7.0 Annet Dekker in conversation with Jeroen van Mastrigt: Serious Archiving: Preserving the Intangible by Capturing Processes
8.0 Maurits van der Graaf en Gerhard Nauta: Cultural Heritage in Limbo: Reflections on Preliminary Research into Born-Digital Cultural Heritage in the Netherlands
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
02. Conference Working Groups
03. Tom Klinkowstein, Carla Gannis – 14 February 2030
04. Richard Rogers – Post-demographic Machines
05. Tapio Makela – Social Networking Beyond Medieval Economics
06. Matt Ratto, Stephen Hockema – FLWR PWR: Tending the Walled Garden
07. Aymeric Mansoux – The Art of Surviving in Simcities
08. Bronac Ferran – The Network as Laboratory
09. Edward Shanken in conversation with Annet Dekker – Inventing the future: Art and Net Ontologies
10. Erin Manning – 7 Propositions for the impossibility of isolation, or, the radical empirism of the network
11. Artist Presentations
Papers by annet dekker
Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Contents
Introduction
Net Art
Documenting Variability
Networks of Care
Following Process and Openness
Authentic Alliances
What is a Document?
Conclusion
Download as: epub, pdf and html
Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastajian, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Manu Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai
1.0 Annet Dekker: Introduction
Aesthetics
1.1 Annet Dekker: A Changing Aesthetics, or How to Define and Reflect on Digital Aesthetics. An interview with Christiane Paul
1.2 Olga Goriunova: Light Heavy Weight Curating
Future Scenarios
2.1 Edward Shanken: The 34.2 Million Dollar Question. Writing Histories or Staging Alternative Futures
2.2 Sarah Cook: We're Not Hobbyists or Dabblers Anymore
2.3 Annet Dekker: Museum Refresh. An E-mail Conversation Over Several Days: Jill Sterrett, Layna White and Christiane Berndes
Archive & Memory
3.1 Annet Dekker: Thinking From History Towards an Empowering of Use(r)s. An e-mail interview with Jussi Parikka
3.2 Nina Wenhart: Imaginative Rationalisation and Speculative Archiving. Thoughts About Language in Media Art Database Archives
3.3 Annet Dekker: On Re-Collection: New Media, Art and Social Media. An e-mail interview with Richard Rinehart
Kathryn Shynko, So What Is It? (4-7)
Paule Mackrous, Imaginary Friends (8-11)
Hanne-Louise Johannesen, Performing Identity (11-9)
Annet Dekker, How to Be Pink and Conceptual at the Same Time. Annet Dekker in conversation with Martine Neddam (22-5)
Martine Neddam, Zen and the Art of Database Maintenance (26-32)
Deisgn: Karen Willey
Print: Knust
Adverstising: Philip Vincent Fokker and Eve Dullaart
0.0 Annet Dekker: Introduction + Report Archive2020 Expert Meeting + Cultural Analytics by Lev Manovich
1.0 Martine Neddam: Zen and the Art of Database Maintenance
2.0 Anne Laforet, Aymeric Mansoux, Marloes de Valk: Rock, Paper, Scissors and Floppy Disks
3.0 Twan Eikelenbook in conversation with Florian Cramer: Print Out the Internet
4.0 Caitlin Jones: Do It Yourself. Distributing Responsibility for Media Arts Preservation and Documentation
5.0 Gabriele Blome, Gaby Wijers: Visibility, Distribution and Memory Through Networks and Collaboration
6.0 Lizzie Muller: Oral History and the Media Art Audience
7.0 Annet Dekker in conversation with Jeroen van Mastrigt: Serious Archiving: Preserving the Intangible by Capturing Processes
8.0 Maurits van der Graaf en Gerhard Nauta: Cultural Heritage in Limbo: Reflections on Preliminary Research into Born-Digital Cultural Heritage in the Netherlands
01. Annet Dekker, Annette Wolfsberger – Introduction Walled Garden.
02. Conference Working Groups
03. Tom Klinkowstein, Carla Gannis – 14 February 2030
04. Richard Rogers – Post-demographic Machines
05. Tapio Makela – Social Networking Beyond Medieval Economics
06. Matt Ratto, Stephen Hockema – FLWR PWR: Tending the Walled Garden
07. Aymeric Mansoux – The Art of Surviving in Simcities
08. Bronac Ferran – The Network as Laboratory
09. Edward Shanken in conversation with Annet Dekker – Inventing the future: Art and Net Ontologies
10. Erin Manning – 7 Propositions for the impossibility of isolation, or, the radical empirism of the network
11. Artist Presentations
It's been just over a year since Lund began his projects that attempt to redefine the commercial art world, because according to him, 'the art market is, compared to other markets, largely unregulated, the sales are at the whim of collectors and the price points follows an odd combination of demand, supply and peer inspired hype'. Starting with The Paintshop.biz (2012) that showed the effects of collaborative efforts and ranking algorithms, the projects moved closer and closer to reveal the mechanisms that constitute contemporary art production, its market and the creation of an established 'art world'. Its current peak was the solo exhibition The Fear Of Missing Out, presented at MAMA in Rotterdam.
The SKOR Codex contains binary encoded image and sound files selected to portray the diversity of life and culture at SKOR and is intended for any intelligent terrestrial life form, or for humans in the future – actually, whomever finds it. The files are protected from bitrot, software decay and hardware failure via its transformation from magnetic transitions on a disk to ink on paper, which will render it safe for centuries. It includes instructions in a symbolic language that explain the origins of the book and explains how the contents can be decoded. La Société Anonyme noted that “the package will be encountered and the book decoded only if there will be advanced civilizations on earth in the far future. But the launching of this ‘bottle’ into the cosmic ‘ocean’ says something very hopeful about art on this planet”. As such, the record is best seen as a time capsule and a statement rather than an attempt to preserve SKOR for future art historians.
A year after its release, the first copy of The SKOR Codex was sent to SKOR’s legacy archive at the Lectoraat Art & Public Space at the Gerrit Rietveld Academie, followed by the Bibliothèque Nationale de France in Paris (via Jeu de Paume) and the Royal Library in The Hague, the Netherlands, and, more recently, offered to British computer scientist, Tim Berners-Lee, best known as the inventor of the World Wide Web, for the Open Data Initiative to secure in its archive. Recently it won the “New Face Award” at the Japan Media Arts Festival, which are more than enough reasons to tell a bit more about La Société Anonyme and The SKOR Codex.
This is how graphic designer Femke Herregraven began a presentation about her new online game Taxodus. Herregraven designed the prototype of Taxodus, a game about offshore tax avoidance, during a master class at Sandberg-Mediafonds. The offshore system offers companies advantages in countries where legislation relating to non-nationals guarantees certain privileges, for example, when it comes to corporate structures, in certain areas of business confidentiality, or low taxation. Taxodus is an accessible way to discover how you can avoid paying taxes, and if you can’t get away with it completely, how you can make sure you pay the lowest possible amount.
De video’s zijn gemaakt door het kunstenaarsduo Esther Polak en Ivar van Bekkum. Als een van de eerste kunstenaars dook Esther tien jaar geleden met haar project Amsterdam RealTime op GPS als medium. Tegenwoordig houdt ze zich samen met Ivar bezig met Google Earth (GE) als medium. Tijdens een gesprek met haar probeer ik achter haar fascinatie voor deze nieuwe media te komen en te horen hoe haar nieuwe samenwerkingen bevallen.
Ik sprak Aram Bartholl toen hij in Amsterdam was voor een presentatie op het uitverkochte FITC Amsterdam. Het event met de slogan 'Design.Technology.Cool Shit.' maakte me nieuwsgierig naar wat Aram voor ons in petto heeft. Ik kende Aram met name van zijn performances op mediakunst festivals en workshops. Dit lijkt echter iets heel anders.
Musea en nationale archieven zijn de traditionele instituten die zorg dragen voor ons (cultureel) erfgoed; zij zouden daarom aangewezen zijn om deze uitdaging aan te gaan. In de praktijk blijkt echter dat vooral kunstenaars zich bezighouden met het ontwikkelen en uitproberen van manieren om hun werk te beschermen en vast te leggen voor toekomstige generaties. Constant Dullaart en Robert Sakrowski geven het voorbeeld. Samen hebben ze gewerkt aan een concept dat netkunst contextualiseert door gebruikers te filmen die via hun beeldscherm een interactie aangaan met netkunst. Ik vroeg hen of ze me iets meer konden vertellen over het project.
Kathryn Shinko, So What Is It?
Paule Mackrous, Imaginary Friends
Hanne-Louise Johannesen, Performing Identity
Annet Dekker in conversation with Martine Neddam, How To Be Pink and Conceptual At The Same Time
Martine Neddam, Zen and the Art of Database Maintenance