https://pzwiki.wdka.nl/mw-mediadesign/api.php?action=feedcontributions&user=Jonas+Lund&feedformat=atomXPUB & Lens-Based wiki - User contributions [en]2024-03-28T16:57:40ZUser contributionsMediaWiki 1.38.2https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/28-05-2013_-Event_1&diff=47189Calendars:Networked Media Calendar/Networked Media Calendar/28-05-2013 -Event 12013-05-16T12:41:01Z<p>Jonas Lund: </p>
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<div>Core Tutor[s]: Thomson and Craighead: http://www.thomson-craighead.net/ 10:00 - 18:15<br />
<br />
[one hour tutorials except for the last]<br />
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*'''10:00 - 11:00''' : <br />
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*'''11:00 - 12:00''' : <br />
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*'''12:00 - 13:00''' : Jonas<br />
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*'''13:00 - 14:00''' : lunch <br />
<br />
*'''14:00 - 15:00''' : petra<br />
<br />
*'''15:00 - 16:00''' : Manó<br />
<br />
*'''16:00 - 16:15''' : break<br />
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*'''16:15 - 17:15''' : these slots save for last they may need to leave early<br />
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*'''17:15 - 18:15''' : these slots save for last they may need to leave early</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=47058User:Jonas Lund/abstract biosBios2013-05-13T14:59:54Z<p>Jonas Lund: </p>
<hr />
<div>===Bio===<br />
Jonas Lund (SE) is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
<br />
<br />
===Abstracts===<br />
'The Credits' is a website showing names passing by in seemingly random order, like the opening credits to a movie. The names come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world. <br />
<br />
<br/><br />
'Curated By' is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of attributes in alphabetical order. Sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to.<br />
<br />
===Tech===<br />
2 x sony TV cubes <br/><br />
2 x computer <br/><br />
1 x beamer <br/><br />
1 x internet connection <br/><br />
<br />
===Abstract descriptive (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
<br />
__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=47057User:Jonas Lund/abstract biosBios2013-05-13T14:59:35Z<p>Jonas Lund: /* Abstracts */</p>
<hr />
<div>===Bio===<br />
Jonas Lund (SE) is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
<br />
<br />
===Abstracts===<br />
‘The Credits’ is a website showing names passing by in seemingly random order, like the opening credits to a movie. The names come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world. <br />
<br />
<br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of attributes in alphabetical order. Sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to.<br />
<br />
===Tech===<br />
2 x sony TV cubes <br/><br />
2 x computer <br/><br />
1 x beamer <br/><br />
1 x internet connection <br/><br />
<br />
===Abstract descriptive (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
<br />
__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Eleanorg/thesis/draft1.1/fullTHESISyo&diff=47053User:Eleanorg/thesis/draft1.1/fullTHESISyo2013-05-13T13:52:21Z<p>Jonas Lund: Created page with "==Abstract== London Indymedia recently shut up shop, claiming that the task today is not encouraging DIY publishing, but "curating from within the sea of content". As curatio..."</p>
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<div>==Abstract==<br />
<br />
London Indymedia recently shut up shop, claiming that the task today is not encouraging DIY publishing, but "curating from within the sea of content". As curation becomes central to (post-)digital publishing, those of us interested in collaborative production need to ask how these curatorial decisions are being made, and what assumptions about negotiation and agreement are encoded in collaborative software. I will look at these questions from a feminist angle, drawing specifically on feminist theories of consent, to evaluate collaborative publishing models from an ethical perspective.<br />
<br />
The thesis draws on personal interviews with feminist activists, who are struggling to articulate new models of (sexual) consent. I look in detail at emerging proposals, which critique the slogan "yes means yes" and articulate radical models of consent as an ongoing collaboration. I then ask how these speculative models for sexual consent might apply to collaborative decision-making in publishing. Specifically, I examine how a feminist tolerance for indecision and inaction might inform curatorial and design decisions. I report from the Libre Graphics Research Unit's recent lab "Collision 1" in Brussels, discussing the Collision project as a concrete example. I will give a feminist slant to the Collision project's claim that in design, "tension is deflated through erasure, simplification and filtering", and I will propose some answers to its question, "what would be ways to articulate collisions, instead of avoiding them?".<br />
<br />
<br />
==Introduction==<br />
<br />
[Introductory sentence: the importance of consent in democratic decision-making as opposed to 'democratic' curation algorithms; importance of 'yes']<br />
<br />
But of what does this 'yes' consist? <br />
<br />
Some of the most nuanced and challenging theories of the 'yes' are emerging from a field of activism for which the meaning of consent is of central concern: the feminist movement against sexual violence, and its complementary campaigns for consent. Standing in opposition to a culture in which "a deal is a deal, no matter how reluctantly, grudgingly, or desperately one side accepts it" (Millar p.37), feminists stress not only that "no means no" but that a reluctant yes, silence and "maybe also means no". (hugo s; OUSU; yes means yes, rtn?) <br />
<br />
Here the meaning of "consent", initially appearing as a straightforward alternative to the distortions of the vote, is thrown into question. What exactly is consent? How must it be communicated? Must it be an act, or can it be a state of mind? And is reluctant consent still valid? The results of consent, then, also vary depending on the question and the algorithm used. (Wertheimer)<br />
<br />
On the other hand, the feminist movement's celebrations of consent go under the mottos "yes means yes" and "consent is sexy". (yes means yes; consent is sexy) At first glance, this simultaneous problematising and celebration of consent is a contradiction, to say the least. In investigating this apparent contradiction through conversations with people active in the field, I have discovered a rich debate in which the work of resolving these questions gives rise to more radical theories of consent, which can usefully inform other fields.<br />
<br />
This difficult theoretical work - being done within the meetings, workshops and discussions of the feminist movement - offers valuable conceptual tools, which can be fruitfully exported to other settings in which the aim is to foster egalitarian collaboration. The sexual scenario, under the intense scrutiny of feminist questioning, throws into sharp relief the nuances involved in the process of establishing agreement. In this scenario the wording of a sentence, or the flicker of an eyelid, can mark the difference between democracy and disaster. It is not surprising, then, that it is in the high-stakes theorizing of this scenario that we find some of the most exquisitely nuanced and ethical theories of consent. Far from being inapplicable to other social scenarios, these hard-won theories are readily applied to other democratic settings in which, where they seem less pressing, the nuances of the 'yes' can be easily overlooked. (suzanne h; clare c interviews)<br />
<br />
After exploring in detail the conceptual work on consent that is happening within the feminist movement, I will look again at the problem of group decision-making, and use feminist theories of consent to evaluate various consent-based systems. I will look, specifically, at the example of collaborative online publishing. Just like face-to-face decision-making systems, online tools mediate our encounters, and encode certain models of what 'consent' and 'consensus' are.<br />
<br />
If the software we use to collaborate encodes certain models of consent, and if our model of consent is rendered up for grabs by feminist critique, then two questions arise. Firstly, what would a radical model of consent - one which gets beyond the problematic conservatism of "yes means yes" - look like? And secondly, is it possible to use such a model for collaborative publishing?<br />
<br />
<br />
<br />
<br />
Alessandro Ludovico uses the term "atomization of content" to describe the current situation of online publishing. Rather than consuming whole books or newspapers (or websites), readers today deal with smaller units - individual articles, images, posts - which may be aggregated and organized in various ways. The question for publishers is no longer how to create a comprehensive range of content, but how to aggregate the 'best of' from multiple sources. (Ludovico; Being the Media)<br />
<br />
This shift is well illustrated by the recent history of the radical news project Indymedia. Two years ago I interviewed activists during the fall-out from the difficult fork in the UK Indymedia project. A central question in the split was whether Indymedia's role should be to provide its own platform for publishing, or aggregate existing content. Those I interviewed had come to the 2011 Barncamp, a week-long activist tech retreat, to work on Be The Media - one of two projects emerging from the fork. Unlike a traditional Indymedia site, Be The Media would offer no facility to post content to the site, and would only display pre-existing feeds pulled in from elsewhere. <br />
<br />
This shift in approach has been more recently echoed by the London Indymedia collective, who shut up shop in November (?) 2012 with the rationale that "this Indymedia project is for many reasons no longer the one which we think is tactically useful to put our energy into... in many ways Indymedia won, because it pioneerd approaches which have now become mainstream... Self publishing is the norm." They conclude that rather than encouraging people to self-publish, "we in London see the challenges of today more in terms of collectivizing the individual outputs, of curating from within the sea of content".<br />
<br />
The immediate quetion, then, is how this curation is to be done. Commenting on the discussion in progress at Barncamp, participant Mick Fuzz said wryly to me: "I think what's interesting in terms of projects like Be The Media, which involve existing grassroots collectives sharing content, is that we're getting to grips with some of the politics of aggregation." While some onlookers wanted the new project to take an approach of "linking everybody up and making sure that everybody grows - including people you don't necessarily agree with", another from a local Indymedia collective commented that "think[ing] you should syndicate every fucking nutter in the world" was a symptom of "liberal guilt". He stressed the difference between "censorship" (of which Be The Media has been accused), and "not giving a platform to somebody's mad ranty blog". (being the media)<br />
<br />
The 'sea of content' we now live in will only make these debates more frequent, when it comes to choosing what to include in the limited space of a given page (whether digital or paper). Is it possible to do this in a genuinely democratic way?<br />
<br />
There are multiple ways to resolve the dilemma of what to include, and various algorithms available for sorting and prioritizing atomized content. For example, one type of algorithm we hear much of today is the 'filter bubble', a term coined by Eli Parisier to describe a model in which readers are served a personalized mix of content that reflects (and re-enforces) their own preferences. Parisier proposes a reactionary, paternalistic alternative in his project UpWorthy - a site which promotes the sharing of 'important' (check quote) content. Or there are the more democratic, populist 'most watched' models, in which the most popular content is displayed at the top of the page - creating a self-perpetuating cycle. The problem for activist curators lies, as ever, in our refusal to resort to such elitist, individualist or populist algorithms. We don't want to be coldly pragmatic, but to reach consensus on what is important. If we want the software we use for collaborative curation to encode radical models of decision-making (as opposed to populist algorithms), then we need to look closer at what is entailed in this decision-making, and what assumptions we are encoding. I will look in detail here at one aspect of a radical theory of decision-making; namely, individual consent - which makes the link between the will of the individual and the will of the group. If this consent is to be expressed (encoded) through software, and we are to design this software, then we must make certain decisions. These include what exactly we mean by 'consent'; how it is expressed; and in what way a consenting agent interacts with others.<br />
<br />
(give more detail here about web-to-print projects and how they use voting systems?)<br />
<br />
<br />
<br />
==Too Many Quiet I Guess So's: The Feminist Critique of Consent==<br />
<br />
On a cold November night I was out in the Oxford rain, shouting "whatever we wear, wherever we go: yes means yes and no means no!". It was the annual Reclaim the Night march, resurrected in Oxford in (year?) and, sadly, looking set to continue slogging away at the same ABCs for the forseeable future. No Means No. Yes Means Yes. Consent Is Sexy. <br />
<br />
The appalling statistics on sexual violence attest to the pressing need for a greater cultural undestanding of consent. These slogans are a vital starting-point, in a culture which still fosters the violence of playing cut & paste with women's words ("No means yes and yes means anal")(SocietyPages News). Until there is general agreement on the fact that, for example, a short skirt or shiny shoe or fetching hat is not semantically equivalent to the word "yes", we seem doomed to continue shouting in the rain.<br />
<br />
But my voice is getting hoarse from these simplistic slogans - and I'm not the only one. <br />
<br />
A famously crass government poster campaign should have given us pause for thought recently. Having apparently digested feminist demands, it emblazoned pub toilets across the UK with the image of an intimidating male inmate staring out from a prison cell bed, captioned by the question: "If you don't get a 'yes' before sex, who'll be your next sleeping partner?" (Home Office). Leaving aside the campaign's homophobia (and its almost unbelievable achievement of implicitly condoning (prison) rape), the telling phrase is this: "get a yes". <br />
<br />
Get a yes. Consent as an item to be aquired; as a commodity; as a type of insurance or entrace ticket. After all: yes means yes.<br />
<br />
A recent anthology of feminist visions for "a world without rape" uses this slogan as its title (yes means yes). Tellingly, many of the essays contained therein are at pains to debunk it. One article written for the book (though not eventually included) gets straight to the point: "the problem, of course, is that there is more than one kind of 'yes'... Too many 'yeses' are coerced; too many quiet 'okays' and 'I guess sos' are interpreted as blanket permission." (hugo s) Uncritical demands for consent-as-standard can backfire, and badly. Looking upon this muddle with a lawyer's eye, Alan Wertheimer ('Ethics of Consent' p. 195) summarizes:<br />
<br />
"[To say that sex should be consensual] raises more questions than it resolves. ...Firstly, in what does consent fundamentally consist? Is consent... a state of mind or is it an action? ....If an act of consent is necessary, is it sufficient? ...[W]hen does someone's 'token' of consent... render it permissable for the other party to proceed?" <br />
<br />
'Consent', then, far from being a straightforward democratic model, is a complex and thorny terrain. How we define and demand it are urgent questions with far-reaching political implications. Behind the black-and-white slogans, it is the recognition of this painful truth that is making the feminist movement today one of the more interesting discursive spaces in which to explore the meaning of consent, collaboration, and thus democratic decision-making more generally. There is a growing body of feminist writing and practice which problematises the formula "yes means yes and no means no", and in so doing, articulates important challenges to any simplisitc championing of 'collaborative', 'participatory' or 'consensus' processes. By extension, this body of theory gives us tools to evaluate how consent is encoded in formal systems, including in collaborative software.<br />
<br />
==The Nature of consent==<br />
<br />
In order to lay out the terms of the debates surrounding consent, I'll use a framework outlined by the legal philosopher John Kleinig (2010) in his essay "The Nature of Consent". According to Kleinig, consent has (among others) the following three components: an ontology (what it is), a signification (how it is tokened), and a grammar (who is involved, and how they interact). <br />
<br />
How the ontology, signification and grammar of consent are defined are political questions. These three terms give us starting-points for getting to grips with the various political positions available. (Footnote: I will take it as a given here that 'consent' is informed and voluntary; what interests me in this essay are the grey areas lying even well within the borders of legally and morally valid consent. Point to Wertheimer's discussion of legal/moral consent & coercion.)<br />
<br />
Firstly, what is the ontology of consent? "Does it consist primarily in a state of mind... Or is it constituted by a peformative act or the conventional signification of agreement...?" (Kleinig pp. 9-10) The answer to this question splits clearly along political lines. The feminist movement unambiguously endorses the "performative act" theory ('no means no') over the "state of mind" theory ('she wanted it') (Rape Crisis Scotland; RTN; Suzanne Holsomback). Wertheimer summarizes, "a woman's secret desires have little bearing on whether [another's] action is permissable." (Consent to Sexual Relations, p.149) According to this view, it is possible to want or desire something without consenting to it (Kleinig; footnote Wertheimer distinction between want & desire). And importantly, by distinguishing between consent and desire, this theory also carries the disconcerting implication that it is possible to consent to something without wanting or desiring it. 'Yes' means 'yes I will'; it does not necessarily mean 'yes I want to'. This poses a problem for any campaign based on consent.<br />
<br />
Secondly, how is consent signified? This is perhaps the most familiar of the popular debates surrounding consent. What, if anything, apart from 'yes' can signify consent? When we hear that a woman wearing a short skirt is "asking for it", an argument is being made about signification. Feminists are again fairly unified in rejecting this stance (see 'Not Ever', Rape Crisis Scotland), delimiting certain acceptable signifiers ('saying yes'), and rejecting others (short skirts, being drunk, flirting - see Oxford RTN 2011). There is still uncertainty within the feminist movement, however, about the finer points: must explicit verbal consent be given for each and every action? How often must it be sought and reiterated? Etc. (See critiques of the Antioch college policy in Wetheimer & Yes Means Yes). Various solutions have been offered for this question (give examples from Cochrane - 'short cicuiting' & Holsomback 'grey areas').<br />
<br />
Thirdly, what is the grammer of consent? Kleinig (2010) proposes the following grammar: "A consented (to B) to P" (p.5). There are always three parties involved: B, who seeks some kind of permission; A, the agent whose consent is sought; and P, the act for which permission is sought. P is "a course of action... for whose pursuit A's authorization, permission, or agreement is required... which B has no right to expect of A absent A's consent" (p.7). Kleinig notes here that consent is a reactive gesture; to initiate a course of action (for example, to make a sexual advance) is different from consenting to it.<br />
<br />
This seems fairly straightforward - and indeed Kleinig introduces it as uncontroversial groundwork in his essay. However, the grammar of consent is perhaps the most politically charged aspect of a working definition. Kleinig's favoured grammar is heavily loaded with gendered assumptions: an active (male) subject seeks the consent of a reactive (female) other. Millar & Wertheimer (2010, 'preface to a theory' in Ethics of Consent p.79) paint an unwittingly gendered picture when they summarize that consent works a "moral magic" that "make[s] it permissable for A to act with respect to B in a way that would be impermissable absent B's consent." Kleinig uses the still more telling metaphor that this type of consent "functions like a... gate that opens to allow another's access". The metaphor of the "gate" or "moral magic" is telling: the proposed act is understood as static and self-evident - indeed, the image conjured in these descriptions is of an act that will go ahead whether or not consent materialises. The only transformation it might undergo is in its ethical status; a blessing bestowed by (female) consent. It is from this grammar that the bluntly instrumentalist imperative to "get a yes" originates. <br />
<br />
For these reasons, many feminists today are drawing attention to the poverty of "mere legally valid consent" (Kramer-Bussel, 2008). In feminsit spaces, the word 'cosent' is increasingly prefixed with various qualifiers: "healthful consent" (Holsomback 2013); "enthusiastic consent" (OUSU workshop materials?); "meaningful consent"; "affirmative participation" (Thomas Millar p.40); (get example from consenst is sexy campaign.) <br />
<br />
These prefixes attempt to get around the awkward problem described above: that consent on its own does not preclude coercion, hierarchy or the absence of desire. Some feminists therefore demand enthusiasm /over and above/ consent. (Clare C.) Others attempt to re-define the term 'consent' itself, so that enthusiasm and active participation are part of a working definition (Holsomback). <br />
<br />
At this point I will generalize that the feminist movement's most visible, public campaigns for consent largely concern themselves with ontology and signification. Suzanne Holsomback's workshops look at "what consent is, and what it's not", and tackle questions such as, "does it always have to be verbal?" (Holsomback 2013). Campaigns from Rape Crisis, similarly, parallel Reclaim The Night motifs of laying out what "consent" is and isn't, and what "asking for it" is and isn't. (ref flyers) <br />
<br />
However, behind the scenes, the more radical question of grammar is up for debate. Arguments for a re-definition of the ontology of consent give us a useful 'way in' here. If "affirmative participation" is not an added extra but is built into the ontology of consent, then a parrallel shift in the relationships of the parties involved is implied. It is in this search for a better grammar of consent that the most interesting feminist theories of consent emerge - and where links to practices of radical democracy become most clear.<br />
<br />
So far I have discussed consent as it relates to sexual negotiation. The close feminist scrutiny of what happens in the process of reaching consent in this context helps us to put other types of consent, collaboration and agreement under the microscope too. Here I will look at the example of democratic collaboration as it is facilitated by software. I'll use Kleinig's terms - the ontology, signification and grammar of consent - to look closely at which models of consent are at work in three online platforms, where 'consent' has been encoded for computation.<br />
<br />
The three collaborative systems I'll look at are Wikipedia (built on the MediaWiki software), e-consensus, and Doodle. While designed for varied use-cases, what these systems have in common is that they accept input from various users, and allow users to co-ordinate that input by offering various ways of establishing consensus. All of them priviledge democratic negotiation, although each of them encode this process in slightly different ways.<br />
<br />
<br />
==Doodle==<br />
<br />
Doodle is a clear and elegant example of a decision-making system which encodes 'common-sense' ideas about reaching agreement. Doodle lets anyone who knows the URL of a poll share their preferred days for a meeting, via a simple calendar 'polling' interface. Users of Doodle aren't consenting to anything per se - it is intended as an information-gathering tool to help a meeting planner chose the best date. However, it is an interesting example of the way that individual vs group preferences can be recorded and displayed. Its aim is to arrive at a consensus by consulting with each group member, and to arrive at a date which may not suit everybody, but which achieves the maximum possible overlap of individual preferences.<br />
<br />
What is Doodle's grammar of consent? In any given instance a proposal can only be made by one person, the poll initiator. The initiator chooses which dates to include in the poll, thus delimiting the choices presented. For each date, participants have by default only two choices: to check the box (meaning, I can make it), or to leave it unchecked (can't make it). Checked dates turn green, unchecked dates turn red. The poll initiator can enable, if they choose, a halfway option 'Ifneedbe', which when checked displays orange. The single poll initiator therefore poses a question with various options, in line with the classical "yes or no" grammar of consent. <br />
<br />
How is consent signified? For each date, users may check the box, or leave it blank. If no dates are suitable, the participant may save the form without checking any boxes, or click a button reading "Can't make it", which also submits the form blank. By implication, then, silence signifies not consent but the opposite; while agreement must be actively signalled with by the gesture of ticking the relevant box. Any more detailed ambiguity than 'Ifneedbe' must be recorded in a separate comments box below the poll, which is not semantically linked to it. The system narrows users' options in order to produce a clear numeric 'favourite'; thus the checked boxes can only be a rough guide, and not a reliable indication of felt preferences or desires. <br />
<br />
==Wikipedia==<br />
<br />
Wikipedia articles may be edited by many users, with the aim of arriving at a consensus on the text.<br />
<br />
What is Wikipedia's grammar of consent? In Kleinig's terms, consent is given by A to B, for P. Here, P is any change to the text. B is the editor making the change. She seeks the consent of (plural) A, all other users. Wikipedia's grammar of consent thus conforms to a fairly conservative one in which consent is 'sought' and 'given'. However, it begins to stretch this grammar, as multiple users make proposals in an ongoing and collaborative process. A does not merely play the passive role of saying 'yes' or 'no', but is expected to be an active agent contributing her own changes if she disagrees. It is unclear whether A includes readers of Wikipedia who do not have an account on the site. Are they, by reading the text and not creating an account in order to change it, consenting to the status quo? This expectation of agency informs how consent is signified.<br />
<br />
How is consent signified? In its policy on consensus, Wikipedia (2013a) states clearly that: "Any edit that is not disputed or reverted by another editor can be assumed to have consensus." A related essay linked from this statement, "Silence and Consensus" (Wikipedia Editors, 2013b) - though not a policy document - comments that "Consensus can be presumed to exist until voiced disagreement becomes evident... [because] In wiki-editing, it is difficult to get positive affirmation for your edits..." (ibid). Kleinig himself notes that signifiers are culturally-specific, and may include silence in some cases (Kleinig 2010, p.11). Because of this, "there must be a convention whereby consent given is recognized as such" (ibid). Wikipedia's policy on Consensus attempts to set in place this convention. However, this convention is not without controversy. The Wikipedia Essay "Silence Means Nothing" gives several examples of things that silence may signify other than consent: "polite disagreement", not having seen, or choosing to ignore an edit (Wikipedia Editors 2013c).<br />
<br />
What is the ontology of consent? Because consent in Wikipedia is signalled by silence, there is no clear distinction made between the state of mind of agreement, and the act of giving consent. Indeed, the chronological version control of in wiki software means that the only active gesture available - making an edit - is one which signals /lack/ of consent to the status-quo.<br />
<br />
==eConsensus==<br />
<br />
EConsensus.org is a relatively new online tool to help activists organize. Within 'groups', group members can create and comment upon 'proposals' as well as creating 'decisions'. The image to the left shows the commenting options which are displayed next to each proposal. The current totals for each type of comment are shown. Clicking on one creates a new comment with that tag.<br />
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What is its grammar of consent? What is being consented to is clear on eConsensus.org - proposals are named as such and given a unique ID. Proposals are commented on, and ultimately consented to (or not) by group members, whose name is registered next to their consent (if given). It attempts to mimic face-to-face consensus decision-making used in activist groups, in which a proposal is presented, discussed, modified and ultimately consented to by all involved. It is notable that each proposal may be modified at any time - possibly creating confusion as to which version of the proposal the comments (and consent) below refer to.<br />
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What is the ontology of consent? Group users may comment upon proposals, and 'tag' their comment with only one option from this list: 'Question', 'Danger', 'Concerns', 'Consent', or merely 'Comment'. Consent must therefore be communicated as a clear gesture; writing a positive comment without tagging it as 'Consent' does not constitute consent. (Although users of the software may, of course, choose to implement their own conventions.)<br />
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How is consent signified? Consent is signalled by selecting 'Consent' from a dropdown list of tags (called 'ratings') when writing a comment on a proposal. The visual language used to display these tags is blunt. Comments tagged as 'Danger' have a red mark; comments tagged 'Consent' are bright green. 'Concerns' are orange, and sit in between Danger and Consent in the interface, creating a symbolic colour spectrum. (These are the very same colours that Doodle uses to encode 'yes', 'no' and 'ifneedbe'.) Unlike Doodle, eConsensus lets users decide how to tag their responses, rather than giving initiators the power to decide whether or not users will be able to express ambivalance ('Ifneedbe' in Doodle; 'Concern' in eConsensus).<br />
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It is interesting to note that it is not possible to give consent and to signal danger or concern in the same comment. 'Comment' and 'Question' sit at either end of this spectrum, apparently unrelated to the middle three options in their respective shades of grey and blue. There is no option to refuse consent, ie 'block' a proposal, as there is in conventional face-to-face consensus, or in the Doodle interface. The assumption in the system must therefore be that proposals are never final, and are open to modification as long as concerns or dangers persist. It takes the Wikipedia approach of assuming that a rejection of the current proposal should be expressed as a modification, not a refusal, and makes it technically impossible to say "no".<br />
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Note: I might split up this section and intersperse the text with these examples rather than putting them all together. Could use to illustrate a spectrum from 'over-simplified/coercive' to 'more open space'?<br />
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When I interviewed Reclaim The Night organizer and facilitator Clare Cochrane (2013), she emphasised the need for both "simplistic slogans on marches" at the same time as a deeper, long-term exploration of consent. While defending the continued need for reductionist slogans, she articulated passionately the problems with this conventional model of consent. Of the conventional "B consents to A" grammar, she said,<br />
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"as a feminist, I want to scotch that. That's a simplistic notion of consent, which is that... one person says, "I want to do this, will you do it?", and the other person says yes or no. And if they say yes you go ahead and do it, and if they say no you don't. Ok, look, if that's as far as you can get in a certain situation, that's better than nothing. ...But a fuller understanding of consent is not just that one person is agreeing to what the other person wants. ...in the end all you've got is a signature." (Cochrane 2013)<br />
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My friend the artist Dave Young's (2013a) project "Yet Another Collaborative Editor" (YACE) shows how this conservative, outcome-driven grammar of consent can be encoded in tools for collaborative production - and illustrates nicely the coercion it produces. Through "a hyper-democratic system" (Young 2013b - collision talk), users can submit text to a collaboratively-written document via a web interface. The catch is that every submission must be voted on by every other user before another piece of text can be submitted, and if anyone votes 'no' the sentence is discarded. There is a strict time limit after which no more sentences can be added, and the document is saved for .PDF export. So: when a concrete outcome is demanded, when there is limited time with no mechanism for discussion, and when proposals are not modifiable, the undemocratic and coercive nature of our working grammar of consent is revealed. Young's description of YACE as "a hyper-democratic system" is thus not strictly accurate, reflecting the common but mistaken conflation of this perfunctory grammar with consent itself.<br />
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How, then, to reimagine this grammar? Thomas Millar's (2008) essay "Towards a Performance Model of Sex" gives us a useful starting point. For Millar, our working grammar (what he calls our 'model') of sexual interaction is to blame for the perfunctory signature-seeking of the "get a yes" attitude. As long as sex - and thus consent - are conceptualized as "a substance that can be given, bought, sold or stolen" (p.30), then the logic of the market will define acceptable standards of consent. These will necessarily be impoverished, because "in order for commerce to flourish it is necessary to have rules about when someone is stuck with the bargain they made, even if they regret it or never really liked it in the first place." (p.37). We must accept that "a deal is a deal, however reluctantly, grudgingly, or desperately one side accepts it" (p.37). This grim outlook is lent some support by the tellingly economic logic of Wertheimer's (consent to sexual relations) comment that "by adopting the principle that consent is (ordinarily) /sufficient/ to legitimize interaction, we encourage mutually beneficial interactions" (p.124). More bluntly, "we are not interested in consent as a metaphysical problem, but because it renders it permissible for A to engage in sexual relations with B. [In defining it] we ask 'what could do that'?" (p.146). <br />
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Of course, as activists we are free not only to ask what we should render permissible, but what we might render possible in a much broader sense. Getting beyond the conservative grammar of 'permission' opens up exciting possibilities for consent as a more radical model of equal collaboration.<br />
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In order to priviledge "affirmative participation", Millar (2008, p.38) proposes rejecting the view of sex as a commodity over which deals must be struck, in favour of a model in which sex (read: any social interaction) is a collaborative performance. "Like the commodity model, the performance model implies a negotiation, but not an unequal or adversarial one. The negotiation is the creative process of building something from a set of available elements" (ibid, p.38). Millar closes with some reflections on what this collaboration could look like: "The palette available to them [the musical or sexual collaborators] is their entire skillset... and the product will depend on the pieces each individual brings to the performance. This process involves communication of likes and dislikes and preferences, not a series of proposals that meets with acceptance or rejection" (ibid, p.39).<br />
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Rachel Kramer-Bussel (2008) titles her contribution to the same anthology, "Beyond Yes or No: Consent as a Sexual Process". She claims that "consent is not simply a legal term, and should encompass more than simply yes or no" (ibid, p.44). For her, "'consent' encompasses the ways we ask for sex, and the ways we don't. It's about more than the letter of the law, and... at its heart is communication." (ibid, p.43) In opposition to legal pragmatists such as Kleinig and Wertheimer, for Kramer-Bussel, /asking/ (as well as aquiescing) is part of consent. The gendered distiction between asker and consenter is erased here, in favour of "an open dialogue" (p.48) which echoes Millar's call for consent as a "collaboration" based on "affirmative participation". <br />
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What is most striking about these proposals for a re-worked grammar of consent (which I will call 'consent-as-collaboration') is that consent is no longer an outcome, but must be a process in and of itself. This is not surprising when we think, for example, of the differences between democratic systems based on voting, and those based on consensus. If the aim is a decision made collectively (instead of a 'yes'/'no' vote), then the proposal to be consented to can no longer be static and self-evident; it must be modifiable. The process of proposing, discussing and modifying a proposal therefore cannot be divorced from the ultimate confirmation of agreement. So what does this collaborative process of negotiation look like?<br />
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[[File:consensusResults.png]] <br />
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Search for 'Consensus Decision Making' on Amazon and consider the first two results (Amazon.com, 2013). One: Facilitator's Guide to Participatory Decision-Making. I first encountered this book on my lunch break while working as a facilitator at an activist charity. It is a familiar face on the bookshelves of friends and like-minded folk - a bible perhaps, outlining the process of reaching decisions consensually. The second is another consensus manual I don't yet know. It promises a "clear and efficient path to generating widespread agreement while fostering full participation and true collaboration" (Hartnett, T. 2013).<br />
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What struck me about these top two books was their covers. The first one features a colour detail of one of the book's key diagrams - the 'diamond of consensus'. So-called because the group begins from a point of affinity (a narrow, huddled zone), and through the process of decision-making airs its differences, desires and conflicts (a wide zone of deliberation, dubbed "the groan zone"), finally to converge narrowly again, upon an outcome agreeable to all. It is this last phase which is privileged on the cover of the second book, in which a circle of stones are aligned in such a way that each one's individual marking connects to the others to form a coherent and peaceful pattern. Individual difference is subsumed by the eye's desire for the striking circular pattern. The smooth restful pebbles of meditation books and motivational calendars: harmony, peace and unity. The 'clear and efficient path'. By contrast, it is the central 'groan zone' that is privileged on the cover of the other book, in full exuberant colour. It is a jagged space of zig-zag lines, in strongly contrasting (though complementary) colours, peopled by isolated dots jostling for attention, and rendered in watercolour and wax which resist each other. <br />
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I tracked down the illustrator of this book cover, Karen Kerney, who explained her inspiration:<br />
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"I was currently working in a whole grain baking cooperative, daily dealing with group dynamics and decision making so I had a keen interest in the subject. My illustration tended to reflect a group going along in the river of life...flowing along... When the issues arise that need a group's attention, I think that life gets bigger (like the diamond shape)...every thing is expanded...energy levels rise...creativity flows... If we handle the chaos and confusion as a natural integral part of the decision making process (not to be avoided), we build skills, trust, experience and come to know that we can move forward and evolve as a group. This was my experience at the bakery..." (Kerney 2013)<br />
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These two book covers offer two contrasting visions of consensus process, and thus, perhaps, of consent itself. On the one hand, the egalitarian harmony of the perfect circle; on the other, a space containing difference. The latter, argues Kerney, is necessary for the former - there can be no consensus while "chaos and confusion" are suppressed. Perhaps these two illustrations also offer two contrasting justifications for attempting to establish consent. It is easy to endorse a process for its 'efficient path' to an outcome everyone will agree to. (Scroll down your Amazon results for plenty of business books stressing the "high commitment decisions" and "problem solving" offered by consensus decision-making - echoing the feminist rhetoric that "consent improves your love life" (find quotes)). But I am arrested by the Facilitator's Guide cover and its insistent, proud privileging of this colourful groan zone. This zone is a means to an end, for sure, but as Kerney explains, that end may not be the obvious one of a harmonious group decision. In this wide diamond, in this wax and watercolour confusion-zone, lies another way of thinking about our dealings with others. On the cover of this edition it is cropped before the diamond closes and convergence happens. Perhaps this is OK; perhaps this closure is sometimes a shame. Perhaps the groan zone could be an end in itself.<br />
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Adopting the consent-as-collaboration approach poses a similar challenge to the one that consensus decision making does. It challenges us to enter a space in which the outcome has not yet been articulated, let alone decided. It demands that we enter a negotiation without either 'seeking' a yes or merely 'giving' one, but creating something cooperatively. (quote D. Sokolov on contracts vs collaboration) This phase is referred to as the 'Groan Zone' by the Facilitator's Guide for good reason. If the discussion is allowed to continue past the 'clean' outcome of a vote, and people begin negotiation in earnest, things get much more difficult. <br />
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It is necessary to draw a distinction at this point between consent-as-collaboration, and consensus decision making. In consensus, the aim is to exit this zone with an ''outcome'' agreeable, if not ideal, to everybody. For feminists, by contrast, the aim of consent is to ''avoid unwanted outcomes'' - even at the cost of indecision and inaction. ("Maybe also means no" - Holsomback workshop materials.) Consent, and especially consent-as-collaboration, demand an exceptionally high tolerance for the Groan Zone, with no guarantee of agreement at the end. <br />
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As Millar (2008) says, our attachment to perfunctory and problematic grammars of consent comes from the imperative for "commerce to thrive". By contrast, consent-as-collaboration demands an open space in which outcomes are not pretedermined; in which no eventual "deal" is guaranteed. We shouldn't underestimate the demand made by this approach. Resistance to the spectre of indecision and inaction that it raises is strong. This was illustrated to me by a man I met once on the street, who rebuked me for calling him out on his sexist harrassment. If it weren't for behaviour like his, he claimed, human reproduction would cease. I owed my life, literally, to a cultural disregard for consent. This sentiment is echoed less baldly by the comments heard by Holsomback (2013) in her consent workshops: "that's not something I want to bring up, it kills the mood." Holsomback's reply, typical of the 'consent is sexy' approach, is telling: "I'm like, 'no it doesn't, raping someone will kill the mood'" (ibid). <br />
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When I asked Clare Cochrane (2013) what connection (if any) she sees between her work as a consensus facilitator and her feminist work on consent, she said, "it's about making space. ...In all the things I do, what I'm trying to do is make space for dialogue." Why, I asked, is 'making space' so important? "For consent and for consensus, when you've got a safe and held space, you can let go of outcomes." I countered that it is precisely its inefficiency in producing outcomes that is the chief criticism levelled against both consensus, and feminist demands for consent. She replied that not only is risking the outcome better than risking coercion, but "if you let go of outcomes and you can really be in a process (in either consensus or in a consent situation), then actually [the outcome] is more beautiful" (ibid).<br />
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Holsomback and Cochrane employ elegant and irresistible paradoxes: avoiding 'killing the mood' with non-consent kills the mood; letting go of outcomes delivers better outcomes. This may be true in some contexts. But the problem with this approach is that consent ''can'' "kill the mood". In Kerney's terms, "chaos and confusion" are "a natural integral part of the decision making process". And not only can a genuinely consensual discussion "kill" the elusive "mood", it may well rule out your desired outcome - or any outcome. I think glossing over these facts misses a valuable opportunity. By stressing that consent-as-collaboration produces better outcomes, we are co-opted by the old instrumentalism which stops us appreciating that a tolerance for the Groan Zone, and a commitment to "space for dialogue", may themselves be the winning features of feminist consent. <br />
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Any system that encodes consent-as-collaboration must therefore encode a tolerance for difference, indecision, and inaction. This poses a problem if we propose applying such a decision-making process to publication design - which, by its nature, involves the elimination of most of the options ("sea of content") to produce a singular outcome (edited "best-of"). For example, the Be The Media collective must decide which RSS feeds to pull in, and how to arrange their content in the limited space of a webpage. This imperative for decision is intensified in print, on a paper page which cannot avoid editorial decisions though dynamically served content, overlays or user queries. The withering phrase "design by committee" is traditionally levelled against those processes which fail to understand that indecision and compromise do not work in this context. But if we understand consent as a process of dialogue, then to 'agree to disagree' is a valid outcome. To agree to do nothing, or to do nothing ''now'', or to continue talking - all of these are, in fact, decisions. Could these decisions count as such in the context of publication design, though? 'Agreeing to disagree' or 'deciding not to decide' is a rich ethical approach; could it be an aesthetic one too?<br />
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== Notes: Playing Gutenberg - Collision 1, Brussels ==<br />
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This February I was fortunate enough to attend the first 'Collision' worksession in Brussels, organized by Pierre Huyghebaert and others of the Libre Graphics Research Unit and Constant. The meeting was an attempt to critique, and explore alternatives to, the logic of conflict resolution underlying conventional graphic design practice, and the collaborative tools it gives rise to. An introductory text summarizes,<br />
"Maps, schematics and books are complex graphic surfaces where meaningful elements fight for space in different dimensions. ...design is essentially the work of organising collisions. In a conventional design practice... tension is deflated through erasure, simplification and filtering. What would be ways to articulate collisions, instead of avoiding them?" (Huyghebaert 2013a, collision blog)<br />
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While this is a highly formalist brief, there is a clear ethical imperative behind this line of questioning. Mapnik, the graphical engine used by Open Street Maps, is given as an example: "If a streetname doesn’t fit, it disappears from the map; if there is a conflict, contributors are advised that it all comes down to a simple choice: “yours or mine”." The conflict between competing graphical elements, then, stands in for a conflict between people. Femke Snelting summarized this adversarial approach: "If it collides, erase. If it doesn't fit, take it out." (LGRU 2013a, introductory discussion) Parallels with a black-and-white discourse of "yes or no" consent are immediately apparent ("if they say yes you go ahead and do it, and if they say no you don't" (Cochrane 2013)).<br />
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The tenacious assumption behind the Collision project is that digital tools (and ways of thinking) undermine the necessity of this approach. (Footnote: see booklet '16 case studies re-imagining the practice of layout'.) "We can begin to rethink layout from scratch. So what is scratch? What is at the bottom of it? I think the bottom of it is Gutenberg", said Huyghebaert. Framing the question as one of historical progress, Huyghebaert expressed his frustration that graphic designers are still "playing Gutenberg... playing printer with little squares & rectangles. The separation that started with Gutenberg between the writing, which is really square, seems not useful anymore." (LGRU 2013a) <br />
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The analogy between lead blocks, which cannot co-exist in the same slot, and social proposals, which must be reduced to winner/loser, is a striking one. The Collision project attempts to articulate how we might get beyond this mode of thinking. And, crucially, it doesn't require that we fetishize digital media or conceptualize it as opposed to paper. The reductive box-model described by Huyghebaert ''started'' with Gutenberg; the implication is that a digital - as in hand-made - approach could be just as liberating as a digital - as in computational - one. As Ludovico notes, the opposition between (static) paper and (manipulable) digital media is a false one (see POD discussion, Ludovico PDP p.77). While paper is not analogous to screen (PDP p. 117), 'hybrid' publishing models (such as print-on-demand) mean that printed objects are increasingly (in)formed by computational processes. (Ludovico, Liberation article) This means that we can use 'digital' ways of thinking to approach design conflicts which are not, after all, inherent to the printed medium but in fact arise from social and historical assumptions ("playing Gutenberg").<br />
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The first workshop I attended during Collision 1 illustrated this point nicely. Showing us his favourite toy, a plotter printer, Gijs de Heij facilitated a battleships-style game in which two teams plot circles on the same sheet of paper, attempting to avoid 'collision' by not overlapping the other team's shapes. De Heij's custom browser interface allowed us to draw, or write text commands, in real-time, and see our designs rendered instantly by the plotter pens moving over the paper. The game was difficult - owing to the various layers of mediation between our bodies and the page. But importantly, it was also pointless. A plotter - which can go back and re-work the same surface in a fluid way impossible with a laserjet printer - lets us re-imagine the printed page as an open space where interactions can occur, rather than a grid in which lead blocks compete for their share.<br />
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The second workshop took a more digital approach to the same problem. Christoph Haag's 'Forkable' creates a (digital) space for multiple design options to co-exist. We were invited to clone a repository containing an image file (an SVG reading 'Badness and Conflict'). Each letter of this text was stored in a different layer of the SVG file, meaning it could be independently manipulated. We were invited to make and save changes to any or all layers, and add our version as a new file to the repository. Thus, multiple versions of the same file existed, with various possible permutations. Rejecting the imperative to chose one over another, this 'conflict' is resolved by a Bash script which picks layers at random from each SVG contributed, re-combining them each time the script is run. One time my version of the letter 'M' may be included; the next, yours may be. <br />
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On the final day of Collision 1, I spent the day with Femke Snelting and Pierre Marchand researching a real-world example of collision: the choice of which metadata to render on Open Street Maps (OSM). While anyone can contribute metadata to the OSM database - for example, describing a route as a 'footpath' or a building as a 'shop' - only certain tags are rendered on the official OSM website. Footpaths and shops will be labelled; but if you've tagged a place as a gay cruising area, don't expect that to show up. While Haag's 'Forkable' simply picks at random which options to include, the decision about which OSM tags to render is a complex, quasi-democratic process. There are various interest groups lobbying for their tags of choice to be rendered in the official map - presumably so they don't have to render and host their own versions. Amongst these are the proposal to tag adult shops, and the proposal to tag gay-friendly places. The latter has been proposed by Open Queer Map, a group who are already actively adding metadata to the OSM database indicating places which are gay-friendly. While this metadata is stored in the OSM database, it is not rendered on the official map, and Open Queer Map currently have to render and host their own map in order for this information to show up. There were several people present at Collision 1 who argued that, instead of 'cherry-picking' the most important tags - resulting in the current scenario of lobbying an elite of programmer-curators - OSM should be providing an interface which lets users, not OSM programmers, decide which metadata to render. We should not have to go to several different maps to get all the information we need, but be able to browse the appropriate information through a single interface.<br />
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In both the Forkable workshop, and the debates about Open Street Map, an approach emerged which offers possible answers to the question of whether indecision could be a viable design methodology. Indecision needn't mean paralysis, deadlock, or mediocrity. Instead, it could mean provisionality. In each iteration of the Forkable SVG, different people's versions will 'win'. Just as, if OSM gave users the power to chose which metadata to render, each map would still render only a limited range of this data. The difference is that that the decision is not final, and the algorithm used to arrive at the decision is made visible. <br />
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There is a danger, of course, of such an approach returning to the 'filter bubble', and serving users a customized pick of the crop. But it needn't go this way. In the Forkable repository, ''all'' iterations are visible, and it is clear that running the Bash script will simply produce one of many possible permutations. Similarly, the simple act of looking through the list of OSM tags and seeing which ones are in use allows us to see any given rendering as a provisional and partial snapshot of the database as a whole. In this approach, the 'competing' versions are all retained and on view; not discarded or hidden by the algorithms that create outputs from them. And this approach needn't rely on digital media or database queries. Other groups at Collision 1 produced paper prototypes rendering 'indecision' using techniques such as origami-like folded paper maps to allow multiple layers of information, cross-hatching to depict overlapping geographical zones, and so on.<br />
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These examples give concrete graphic form to the feminist proposal of consent-as-collaboration, in which negotiation does not consist of successful or unsuccessful proposals, but an open space in which possibilities are communicated and can co-exist.<br />
<br />
[ how does this relate to work of art digital manipulation - query as re-introducing benjamin-like 'aura' as each query is unique? ]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Eleanorg/thesis/draft1.1&diff=47052User:Eleanorg/thesis/draft1.12013-05-13T13:50:18Z<p>Jonas Lund: </p>
<hr />
<div>Thesis first draft<br />
# [[User:Eleanorg/thesis/draft1.1/fullTHESISyo | FULL, Doing everyone a favour yo]]<br />
<br />
==chapters==<br />
# [[User:Eleanorg/thesis/draft1.1/Intro | Introduction]]<br />
# [[User:Eleanorg/thesis/draft1.1/Online curation | The problem of collaborative curation]]<br />
# [[User:Eleanorg/thesis/draft1.1/Critique of consent | Consent: definitions and critiques]]<br />
# [[User:Eleanorg/thesis/draft1.1/online systems | ''Notes: how consent is encoded in 3 online systems'']]<br />
# [[User:Eleanorg/thesis/draft1.1/radical grammar | Towards a radical grammar of consent]]<br />
# [[User:Eleanorg/thesis/draft1.1/book covers | ''Notes: two book covers on books about consensus'']]<br />
# [[User:Eleanorg/thesis/draft1.1/groan zone | The Groan Zone and an ethics of indecision]]<br />
# [[User:Eleanorg/thesis/draft1.1/collision | ''Notes: Collision 1, Brussels: Badness And Conflict'']]<br />
# Conclusion<br />
<br />
==Appendices==<br />
<br />
* [[User:Eleanorg/thesis/appendices/Clare Cochrane | Interview with Clare Cochrane]]<br />
* [[User:Eleanorg/thesis/appendices/Suzanne Holsomback | Interview with Suzanne Holsomback]]<br />
* [[User:Eleanorg/thesis/appendices/Karen Kerney | Interview with Karen Kerney]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46902User:Jonas Lund/abstract biosBios2013-05-08T13:44:48Z<p>Jonas Lund: </p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstracts===<br />
‘The Credits’ is a website, by the Swedish artist Jonas Lund, showing names passing by at a seemingly random order, just like the opening credits to a movie. The names all come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world.<br />
<br/><br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of 81 attributes in alphabetical order. While building his ‘Art World Api’, artist Jonas Lund stumbled upon the attributes while he was searching for the curator of each exhibition in his database. Through a script, Lund googled for the exhibition title and the key words ‘Curated By’, returned the two following words after ‘Curated By’ and discovered the name of the curator. However sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to. The video aims to explore the importance of curators to give meaning and categorize the seemingly endless pool of exhibitions within the contemporary art world.<br />
<br />
===Tech===<br />
2 x sony TV cubes <br/><br />
2 x computer <br/><br />
1 x beamer <br/><br />
1 x internet connection <br/><br />
<br />
===Abstract descriptive (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
<br />
__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46901User:Jonas Lund/abstract biosBios2013-05-08T13:44:28Z<p>Jonas Lund: /* Tech */</p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstracts===<br />
‘The Credits’ is a website, by the Swedish artist Jonas Lund, showing names passing by at a seemingly random order, just like the opening credits to a movie. The names all come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world.<br />
<br/><br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of 81 attributes in alphabetical order. While building his ‘Art World Api’, artist Jonas Lund stumbled upon the attributes while he was searching for the curator of each exhibition in his database. Through a script, Lund googled for the exhibition title and the key words ‘Curated By’, returned the two following words after ‘Curated By’ and discovered the name of the curator. However sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to. The video aims to explore the importance of curators to give meaning and categorize the seemingly endless pool of exhibitions within the contemporary art world.<br />
<br />
===Tech===<br />
2 x sony TV cubes <br/><br />
2 x computer <br/><br />
1 x beamer <br/><br />
1 x internet connection <br/><br />
<br />
===Abstract descriptive (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46900User:Jonas Lund/abstract biosBios2013-05-08T13:44:15Z<p>Jonas Lund: </p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstracts===<br />
‘The Credits’ is a website, by the Swedish artist Jonas Lund, showing names passing by at a seemingly random order, just like the opening credits to a movie. The names all come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world.<br />
<br/><br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of 81 attributes in alphabetical order. While building his ‘Art World Api’, artist Jonas Lund stumbled upon the attributes while he was searching for the curator of each exhibition in his database. Through a script, Lund googled for the exhibition title and the key words ‘Curated By’, returned the two following words after ‘Curated By’ and discovered the name of the curator. However sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to. The video aims to explore the importance of curators to give meaning and categorize the seemingly endless pool of exhibitions within the contemporary art world.<br />
<br />
===Tech===<br />
2 x sony TV cubes<br />
2 x computer<br />
1 x beamer<br />
1 x internet connection<br />
<br />
<br />
===Abstract descriptive (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-05-2013_-Event_6&diff=46898Calendars:Networked Media Calendar/Networked Media Calendar/13-05-2013 -Event 62013-05-08T13:39:58Z<p>Jonas Lund: </p>
<hr />
<div>Michael tutorials (2nd years)<br />
* 14:00 Marie<br />
* 15:00 Dennis<br />
* 16:00 Dave<br />
* 17:00 Jonas</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-05-2013_-Event_5&diff=46897Calendars:Networked Media Calendar/Networked Media Calendar/13-05-2013 -Event 52013-05-08T13:39:45Z<p>Jonas Lund: </p>
<hr />
<div>Willie & Simon grad visits 10- 16:15<br />
<br />
* '''1o:00 - 10:45''' <br />
* '''10:45 - 11:30''' <br />
* '''11:30 - 12:15''' Janis<br />
* '''12:15 - 13:00''' Eleanor<br />
<br />
* '''13:00 - 14:00''' lunch<br />
<br />
* '''14:00 - 14:45''' Dennis<br />
* '''14:45 - 15:30''' Jonas<br />
* '''15:30 - 16:15''' Demet<br />
</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-05-2013_-Event_1&diff=46894Calendars:Networked Media Calendar/Networked Media Calendar/17-05-2013 -Event 12013-05-08T13:38:31Z<p>Jonas Lund: </p>
<hr />
<div>Steve Thesis Tutorials<br />
<br />
11:00<br />
<br />
12:00<br />
<br />
14:00 Jonas<br />
<br />
15:00<br />
<br />
16:00</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46815User:Jonas Lund/abstract biosBios2013-05-08T10:04:08Z<p>Jonas Lund: </p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstract (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
===more specific work descriptions===<br />
‘The Credits’ is a website, by the Swedish artist Jonas Lund, showing names passing by at a seemingly random order, just like the opening credits to a movie. The names all come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world.<br />
<br/><br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of 81 attributes in alphabetical order. While building his ‘Art World Api’, artist Jonas Lund stumbled upon the attributes while he was searching for the curator of each exhibition in his database. Through a script, Lund googled for the exhibition title and the key words ‘Curated By’, returned the two following words after ‘Curated By’ and discovered the name of the curator. However sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to. The video aims to explore the importance of curators to give meaning and categorize the seemingly endless pool of exhibitions within the contemporary art world.</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46814User:Jonas Lund/abstract biosBios2013-05-08T10:03:31Z<p>Jonas Lund: </p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstract (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstract (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified<br />
<br />
===more specific work descriptions===<br />
‘The Credits’ is a website, by the Swedish artist Jonas Lund, showing names passing by at a seemingly random order, just like the opening credits to a movie. The names all come from the art world and are a collection of connected artists, curators and writers. The names represents the identifiable brand of each of the actors within the art world game, some obscure others recognizable, ‘The Credits’ aims to question our perception of names as brands within the contemporary art world.<br />
<br/><br/><br />
‘Curated By’ is a single channel video projection depicting typical documentation pictures from exhibitions to the sound of a computer generated voice reading a list of 81 attributes in alphabetical order. While building his ‘Art World Api’, artist Jonas Lund stumbled upon the attributes while he was searching for the curator of each exhibition in his database. Through a script, Lund googled for the exhibition title and the key words ‘Curated By’, returned the two following words after ‘Curated By’ and discovered the name of the curator. However sometimes curators are described by a set of attributes, such as ‘The Acclaimed’ or ‘The Eminent’ and ‘Curated By’ is a compilation of these attributes, paired with a picture from the exhibition they refer to. The video aims to explore the importance of curators to give meaning and categorize the seemingly endless pool of exhibitions within the contemporary art world.</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=46469Graduate Research Seminar 2012/20132013-05-06T18:28:14Z<p>Jonas Lund: /* upload bios and abstracts here: */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
<br />
===upload bios and abstracts here:===<br />
<br />
<br />
Name<br />
<br />
Bio<br />
<br />
Abstract<br />
<br />
* [[User: Astrid van Nimwegen/Graduation_bio_abstract_images | Astrid bio_abstract_images]]<br />
* [http://pzwart3.wdka.hro.nl/wiki/User:Jonas_Lund/abstract_biosBios JonasBioAbstractAbstracts ]<br />
<br />
<br />
[[Graduation 2013 Planning |Graduation 2013 Planning Page]]<br />
<br />
<br />
<br />
I will be giving one hour tutorials on the <br />
<br />
9th April <br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/09-04-2013_-Event_3<br />
<br />
16th April <br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-04-2013_-Event_4<br />
<br />
17th April<br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-04-2013_-Event_2<br />
<br />
Please book ahead of time so I have time to prepare, read and take notes on your texts<br />
<br />
=== Thesis: Key Dates ===<br />
<br />
<br />
Jan 13: deadline, outline and bibliography of thesis<br />
<br />
Jan 25: deadline, 1st chapter of thesis<br />
<br />
March 13: deadline, 1st draft<br />
<br />
May 27: thesis deadline<br />
<br />
<br />
<br />
===Latest version thesis===<br />
06-5-13<br />
* [[User: Astrid van Nimwegen/Graduation_Thesis_Latest_version_06.5.2013_2013 | Astrid Thesis_Latest_version]]<br />
* [[User:Jasper van Loenen/thesis_2nd_reader| Jasper]]<br />
* Demet [https://www.dropbox.com/s/fb7yguord694qyh/THESIS-DEMETADIGUZEL.pdf]<br />
* [[User:Andre_Castro/2/thesis3_Thesis_v.3_in_draft | Andre]]<br />
* [[Media:Thesis draft 6 may 2013.pdf|Lucian Draft 6 May 2013]]<br />
* Jonas [https://dl.dropboxusercontent.com/u/958210/thesis_draft2.pdf SuperThesisDraftTwo]<br />
<br />
=== 13-3-13 ===<br />
<br />
<br />
Those of you who have been working in Aymeric's seminar will continue to read and comment on each other's texts<br />
<br />
Those who have not will form a group and read each other's texts<br />
<br />
In both groups the reader communicates to the writer what the text gave them to understand. <br />
<br />
The aim over the next few weeks is to get the draft into good shape ahead of the interim assessment (25 March), by which time the project and the thesis must both have a clear direction and structure.<br />
<br />
If you are unable to make the seminar please give notice of absence<br />
<br />
===1st Draft===<br />
13-3-13<br />
<br />
* [[User:Eleanorg/thesis/draft1.1 | Eleanor 1st draft]]<br />
* [[User: Andre_Castro/2/thesis/draft | Andre 1st draft]]<br />
* [http://pzwart3.wdka.hro.nl/~jvloenen/jasper_thesis.pdf Jasper]<br />
* [http://pzwart3.wdka.hro.nl/wiki/User:Jonas_Lund/superThesis2013 jönås]<br />
* [[Media:Thesis draft 6 may 2013.pdf|Lucian Draft 6 May 2013]]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/2/2f/Thesisdraft_march13th.pdf Dennis]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/d/d4/Thesis_1stDraft_Marie.pdf Marie]<br />
* [http://pzwart3.wdka.hro.nl/wiki/Dave_Young_-_Thesis Dave]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/3/34/1Thesis-Mano_Daniel_Szollosi.pdf Manó]<br />
* [[Media: 1st_draft.pdf|petra]]<br/><br />
* [[User:Astrid van Nimwegen/thesis draft1 | Astrid draft thesis]]<br />
* [[Janis Thesis draft 1.0 | <font color="hotblue"> Janis thesis draft 1.0 </font>]]<br />
<br />
===First chapters Thesis===<br />
25-1-13<br />
* [[User: Astrid van Nimwegen/ Draft 1st Chapter thesis | draft 1st chapter thesis Astrid]]<br />
* [[User: Andre_Castro/2/thesis/intro | Andre - thesis introduction - draft ]]<br />
* [[User: Lucian | Lucian - Thesis 1st Chapter draft ]]<br />
* [[User:Eleanorg/thesisResearch | Eleanor]]<br />
* [[User:Marie_Wocher/Introduction_%2B_1st_chapter | Marie - intro + 1st chapter]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
<br />
===Outline and Bibliography===<br />
16-1-13<br />
<br />
Please make a draft outline ahead of the seminar on Wednesday (one side of A4) and a bibliography. You may want to use your project proposal as a basis for this. <br />
<br />
''Thesis outlines''<br />
<br />
* [[User:Eleanorg/thesisOutline | Eleanor]]<br />
* [[User:Jonas Lund/to2013 | jonas-The5|sOutl¡n3]]<br />
* [[User:Lucian/thesisOutline | Lucian]]<br />
* [[User: Andre_Castro/2/thesis/outline | Andre ]]<br />
* [[Dave_Young_-_Thesis_Proposal | D.Young thesis outline]]<br />
* [[User:Mano Daniel Szollosi/Graduation Thesis | Manó's Thesis outline]]<br />
* [[User:Dennis van Vreden/thesisoutline | Dennis]]<br />
* [[Janis thesis outline | Janis thesis outline]]<br />
* [[User:Marie_Wocher/Thesis_Outline | Thesis Outline Marie]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
* [[User:Jasper van Loenen/grad/thesis_outline | Jasper]]<br />
* [[User: Astrid van Nimwegen/Outline thesis | Outline thesis Astrid]]<br />
* [[Javier Lloret - Thesis outline | Javi]]<br />
<br />
<br />
Here are some notes that may help as a guide:<br />
<br />
<br />
<br />
NOTES ON WRITING A THESIS <br />
<br />
The written thesis is a crucial part of any Master Project and needs to be carefully planned from the start. What follows are some notes to guide you in the construction of your thesis, according to a chosen format. Make use of the guidance available in other informational documents – including the PZI Programme Handbook and the PZI Proposal Guide.<br />
<br />
<br />
<br />
I. THESIS AIMS<br />
<br />
The main purpose of the thesis is to articulate in writing issues, questions and ideas that inform or shape your practice. <br />
<br />
Think of the thesis, regardless of what form it takes, as a parallel activity to the body of work you are developing for your graduation – a parallel text supported by images. The thesis can combine different kinds of discourse, each of which may have different, yet overlapping, functions (see examples under “Thesis Formats” below). With your writing tutor, you will establish which form of writing is most appropriate for your practice, develop a relationship between writing and practice, and learn to consider your writing as an integral part of your practice, as a medium of reflection and production.<br />
<br />
II. THESIS Formats <br />
<br />
The written thesis is produced in parallel to a Graduate project. It is meant to demonstrate your ability to articulate aesthetic and critical issues that emerge from your practice, as well as historical and theoretical contexts that you are responding to and are aiming to shape. The horizon of the written thesis, like the Graduate project you exhibit as a requirement for graduation, is that it is suitable for publication (i.e. to be read by professionals, peers, and a broader public). The role of the written thesis in relation to exhibited Graduate Project may vary: <br />
<br />
1) It can take the form of a report on practice and research. Here, "research" has an open definition, but one that you must be able to articulate clearly. It will be presented alongside a body of work that is directly addressed in the report.<br />
<br />
2) It can take the form of an analytical essay exploring related artistic, theoretical, historical and critical issues and practices that inform your practice, without necessarily referring to your work directly. The essay will, however, be evaluated against the exhibited body of work, and you will be asked to articulate in the Project Proposal and in the final assessment how your written thesis informs the aesthetic, theoretical and technical choices in your body of work. <br />
<br />
3) The presentation of a text as a body of work is possible, but requires close consultation with your advising tutors and your writing tutors. With this option, you will have to establish whether your Graduate Project and thesis are one and the same, or whether they form two distinct components. The form that your text may take is more open, but you are required to demonstrate research, as well as critical and theoretical mastery of the concepts that inform the choice of form. <br />
<br />
4) A combination of options 1), 2) or 3) is also possible, in which case the text as body of work is distinct from the part that constitutes a report or an analytical essay. In this case, the roles of the different textual materials comprising your thesis should be clearly articulated in your Project Proposal. <br />
<br />
Examples of what the different formats could include, are:<br />
<br />
• a descriptive account of developing ideas, processes and products, along with an analytical critique of your work and its formative processes <br />
• a narrative that traces a web of relationships – contextualizing your work in relation to other practitioners, practices and artworks, situating your work within relevant theoretical, philosophical, aesthetic and other fields of knowledge<br />
• an in-depth reflection on an artistic, literary, historical, critical or other practice which is inspirational to your own<br />
• a more creative or poetic discourse that that may be analogous to, or have structural affinities with, your body of work – shedding light on the themes, methods and visual signs that you have been exploring <br />
• a series of diagrams, tables and visualizations charting the progress of ideas and forms using textual alongside other material<br />
• a piece of artistic writing experimenting with formats of creative writing, authorship or publishing <br />
<br />
III. THESIS REQUIREMENTS<br />
<br />
The thesis presented as part requirement for the award of the Master of Fine Art degree is normally equivalent to not fewer than 7,000 words and not more than 8,000 words. In the case that you choose to combine your Graduate Project and thesis, meaning your entire Graduate Project is text-based, the number of words appropriate to your writing will have to be determined with the Course Director, your advising tutors and your writing tutor. <br />
<br />
With the report on practice and research (option 1) you are required:<br />
<br />
• to provide an analytical account of the development of your work (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to locate your work in relation to appropriate contexts (for example: relevant theories, ideas, historical and/or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the analytical essay (option 2) the requirements are very similar:<br />
<br />
• to provide an analytical account of the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Graduate Project Proposal<br />
• to create appropriate contexts for your practice (for example by writing about relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the text as a body of work (option 3) the requirements are again somewhat similar: <br />
<br />
• to demonstrate, by way of your artistic or experimental writing, an analytical approach to the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to create appropriate contexts for your practice (for example by supplementing your work with an experimental form of writing which develops relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
However, you will need to provide a preface or appendix if your approach does not perform the above.<br />
<br />
<br />
And here is some practical help:<br />
<br />
http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing<br />
<br />
===09-01-13===<br />
thesis outlines<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[Jasper_van_Loenen_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012 | Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal2 | Manó PROPOSAL FOR REASSESSMENT]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_Lund_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]<br />
<br />
=== Documentation process ===<br />
[[Archiving grad projects 2013]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/abstract_biosBios&diff=46468User:Jonas Lund/abstract biosBios2013-05-06T18:27:28Z<p>Jonas Lund: Created page with "===Bio=== Jonas Lund is an Amsterdam based artist. His work explores the performance of time within networked systems and our shared online experiences. His interest stretches..."</p>
<hr />
<div>===Bio===<br />
Jonas Lund is an Amsterdam based artist. His work explores the<br />
performance of time within networked systems and our shared online<br />
experiences. His interest stretches across a range of<br />
interdisciplinary media, focusing on the reciprocal potential of<br />
combining web based works with video, performance and installation.<br />
Born in Sweden, Jonas graduated from the Gerrit Rietveld Academie in<br />
2009.<br />
<br />
===Abstract (partly obscure)===<br />
The art world is a large and partly obscure system consisting of<br />
institutions, galleries, collectors, curators, auctions, art fairs,<br />
biennales, writers, publishers, exhibitions and artists. Each<br />
individual participant becomes a node in a network of relations – the<br />
art world is a system like any other networked based system. The<br />
amount of connections to each individual node in the network<br />
determines its performance, the more connection the more traffic and<br />
the more success. It’s partly a zero sum game, what benefits one node<br />
starves another in a network with limited resources. The data of the<br />
network is public, from artist CV’s to exhibition invitations, press<br />
releases and public auction results, it can all be collected,<br />
categorized and classified</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=46467User:Jonas Lund2013-05-06T18:25:49Z<p>Jonas Lund: /* 2012/2013 */</p>
<hr />
<div>=2012/2013=<br />
*[[User:Jonas Lund/superThesis20132 | SuperThesisDRAFT_Two]]<br />
*[[User:Jonas Lund/abstract_biosBios | abstract_biosBios]]<br />
*[[User:Jonas Lund/superThesis2013 | SuperThesisDRAFTit]]<br />
*[[User:Jonas Lund/to2013 | The5|sOutl¡n3]]<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=46466Graduate Research Seminar 2012/20132013-05-06T18:17:32Z<p>Jonas Lund: /* Latest version thesis */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
<br />
===upload bios and abstracts here:===<br />
<br />
<br />
Name<br />
<br />
Bio<br />
<br />
Abstract<br />
<br />
* [[User: Astrid van Nimwegen/Graduation_bio_abstract_images | Astrid bio_abstract_images]]<br />
<br />
<br />
<br />
[[Graduation 2013 Planning |Graduation 2013 Planning Page]]<br />
<br />
<br />
<br />
I will be giving one hour tutorials on the <br />
<br />
9th April <br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/09-04-2013_-Event_3<br />
<br />
16th April <br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-04-2013_-Event_4<br />
<br />
17th April<br />
http://pzwart3.wdka.hro.nl/wiki/Calendars:Networked_Media_Calendar/Networked_Media_Calendar/17-04-2013_-Event_2<br />
<br />
Please book ahead of time so I have time to prepare, read and take notes on your texts<br />
<br />
=== Thesis: Key Dates ===<br />
<br />
<br />
Jan 13: deadline, outline and bibliography of thesis<br />
<br />
Jan 25: deadline, 1st chapter of thesis<br />
<br />
March 13: deadline, 1st draft<br />
<br />
May 27: thesis deadline<br />
<br />
<br />
<br />
===Latest version thesis===<br />
06-5-13<br />
* [[User: Astrid van Nimwegen/Graduation_Thesis_Latest_version_06.5.2013_2013 | Astrid Thesis_Latest_version]]<br />
* [[User:Jasper van Loenen/thesis_2nd_reader| Jasper]]<br />
* Demet [https://www.dropbox.com/s/fb7yguord694qyh/THESIS-DEMETADIGUZEL.pdf]<br />
* [[User:Andre_Castro/2/thesis3_Thesis_v.3_in_draft | Andre]]<br />
* [[Media:Thesis draft 6 may 2013.pdf|Lucian Draft 6 May 2013]]<br />
* Jonas [https://dl.dropboxusercontent.com/u/958210/thesis_draft2.pdf SuperThesisDraftTwo]<br />
<br />
=== 13-3-13 ===<br />
<br />
<br />
Those of you who have been working in Aymeric's seminar will continue to read and comment on each other's texts<br />
<br />
Those who have not will form a group and read each other's texts<br />
<br />
In both groups the reader communicates to the writer what the text gave them to understand. <br />
<br />
The aim over the next few weeks is to get the draft into good shape ahead of the interim assessment (25 March), by which time the project and the thesis must both have a clear direction and structure.<br />
<br />
If you are unable to make the seminar please give notice of absence<br />
<br />
===1st Draft===<br />
13-3-13<br />
<br />
* [[User:Eleanorg/thesis/draft1.1 | Eleanor 1st draft]]<br />
* [[User: Andre_Castro/2/thesis/draft | Andre 1st draft]]<br />
* [http://pzwart3.wdka.hro.nl/~jvloenen/jasper_thesis.pdf Jasper]<br />
* [http://pzwart3.wdka.hro.nl/wiki/User:Jonas_Lund/superThesis2013 jönås]<br />
* [[Media:Thesis draft 6 may 2013.pdf|Lucian Draft 6 May 2013]]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/2/2f/Thesisdraft_march13th.pdf Dennis]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/d/d4/Thesis_1stDraft_Marie.pdf Marie]<br />
* [http://pzwart3.wdka.hro.nl/wiki/Dave_Young_-_Thesis Dave]<br />
* [http://pzwart3.wdka.hro.nl/mediawiki/images/3/34/1Thesis-Mano_Daniel_Szollosi.pdf Manó]<br />
* [[Media: 1st_draft.pdf|petra]]<br/><br />
* [[User:Astrid van Nimwegen/thesis draft1 | Astrid draft thesis]]<br />
* [[Janis Thesis draft 1.0 | <font color="hotblue"> Janis thesis draft 1.0 </font>]]<br />
<br />
===First chapters Thesis===<br />
25-1-13<br />
* [[User: Astrid van Nimwegen/ Draft 1st Chapter thesis | draft 1st chapter thesis Astrid]]<br />
* [[User: Andre_Castro/2/thesis/intro | Andre - thesis introduction - draft ]]<br />
* [[User: Lucian | Lucian - Thesis 1st Chapter draft ]]<br />
* [[User:Eleanorg/thesisResearch | Eleanor]]<br />
* [[User:Marie_Wocher/Introduction_%2B_1st_chapter | Marie - intro + 1st chapter]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
<br />
===Outline and Bibliography===<br />
16-1-13<br />
<br />
Please make a draft outline ahead of the seminar on Wednesday (one side of A4) and a bibliography. You may want to use your project proposal as a basis for this. <br />
<br />
''Thesis outlines''<br />
<br />
* [[User:Eleanorg/thesisOutline | Eleanor]]<br />
* [[User:Jonas Lund/to2013 | jonas-The5|sOutl¡n3]]<br />
* [[User:Lucian/thesisOutline | Lucian]]<br />
* [[User: Andre_Castro/2/thesis/outline | Andre ]]<br />
* [[Dave_Young_-_Thesis_Proposal | D.Young thesis outline]]<br />
* [[User:Mano Daniel Szollosi/Graduation Thesis | Manó's Thesis outline]]<br />
* [[User:Dennis van Vreden/thesisoutline | Dennis]]<br />
* [[Janis thesis outline | Janis thesis outline]]<br />
* [[User:Marie_Wocher/Thesis_Outline | Thesis Outline Marie]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
* [[User:Jasper van Loenen/grad/thesis_outline | Jasper]]<br />
* [[User: Astrid van Nimwegen/Outline thesis | Outline thesis Astrid]]<br />
* [[Javier Lloret - Thesis outline | Javi]]<br />
<br />
<br />
Here are some notes that may help as a guide:<br />
<br />
<br />
<br />
NOTES ON WRITING A THESIS <br />
<br />
The written thesis is a crucial part of any Master Project and needs to be carefully planned from the start. What follows are some notes to guide you in the construction of your thesis, according to a chosen format. Make use of the guidance available in other informational documents – including the PZI Programme Handbook and the PZI Proposal Guide.<br />
<br />
<br />
<br />
I. THESIS AIMS<br />
<br />
The main purpose of the thesis is to articulate in writing issues, questions and ideas that inform or shape your practice. <br />
<br />
Think of the thesis, regardless of what form it takes, as a parallel activity to the body of work you are developing for your graduation – a parallel text supported by images. The thesis can combine different kinds of discourse, each of which may have different, yet overlapping, functions (see examples under “Thesis Formats” below). With your writing tutor, you will establish which form of writing is most appropriate for your practice, develop a relationship between writing and practice, and learn to consider your writing as an integral part of your practice, as a medium of reflection and production.<br />
<br />
II. THESIS Formats <br />
<br />
The written thesis is produced in parallel to a Graduate project. It is meant to demonstrate your ability to articulate aesthetic and critical issues that emerge from your practice, as well as historical and theoretical contexts that you are responding to and are aiming to shape. The horizon of the written thesis, like the Graduate project you exhibit as a requirement for graduation, is that it is suitable for publication (i.e. to be read by professionals, peers, and a broader public). The role of the written thesis in relation to exhibited Graduate Project may vary: <br />
<br />
1) It can take the form of a report on practice and research. Here, "research" has an open definition, but one that you must be able to articulate clearly. It will be presented alongside a body of work that is directly addressed in the report.<br />
<br />
2) It can take the form of an analytical essay exploring related artistic, theoretical, historical and critical issues and practices that inform your practice, without necessarily referring to your work directly. The essay will, however, be evaluated against the exhibited body of work, and you will be asked to articulate in the Project Proposal and in the final assessment how your written thesis informs the aesthetic, theoretical and technical choices in your body of work. <br />
<br />
3) The presentation of a text as a body of work is possible, but requires close consultation with your advising tutors and your writing tutors. With this option, you will have to establish whether your Graduate Project and thesis are one and the same, or whether they form two distinct components. The form that your text may take is more open, but you are required to demonstrate research, as well as critical and theoretical mastery of the concepts that inform the choice of form. <br />
<br />
4) A combination of options 1), 2) or 3) is also possible, in which case the text as body of work is distinct from the part that constitutes a report or an analytical essay. In this case, the roles of the different textual materials comprising your thesis should be clearly articulated in your Project Proposal. <br />
<br />
Examples of what the different formats could include, are:<br />
<br />
• a descriptive account of developing ideas, processes and products, along with an analytical critique of your work and its formative processes <br />
• a narrative that traces a web of relationships – contextualizing your work in relation to other practitioners, practices and artworks, situating your work within relevant theoretical, philosophical, aesthetic and other fields of knowledge<br />
• an in-depth reflection on an artistic, literary, historical, critical or other practice which is inspirational to your own<br />
• a more creative or poetic discourse that that may be analogous to, or have structural affinities with, your body of work – shedding light on the themes, methods and visual signs that you have been exploring <br />
• a series of diagrams, tables and visualizations charting the progress of ideas and forms using textual alongside other material<br />
• a piece of artistic writing experimenting with formats of creative writing, authorship or publishing <br />
<br />
III. THESIS REQUIREMENTS<br />
<br />
The thesis presented as part requirement for the award of the Master of Fine Art degree is normally equivalent to not fewer than 7,000 words and not more than 8,000 words. In the case that you choose to combine your Graduate Project and thesis, meaning your entire Graduate Project is text-based, the number of words appropriate to your writing will have to be determined with the Course Director, your advising tutors and your writing tutor. <br />
<br />
With the report on practice and research (option 1) you are required:<br />
<br />
• to provide an analytical account of the development of your work (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to locate your work in relation to appropriate contexts (for example: relevant theories, ideas, historical and/or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the analytical essay (option 2) the requirements are very similar:<br />
<br />
• to provide an analytical account of the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Graduate Project Proposal<br />
• to create appropriate contexts for your practice (for example by writing about relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the text as a body of work (option 3) the requirements are again somewhat similar: <br />
<br />
• to demonstrate, by way of your artistic or experimental writing, an analytical approach to the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to create appropriate contexts for your practice (for example by supplementing your work with an experimental form of writing which develops relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
However, you will need to provide a preface or appendix if your approach does not perform the above.<br />
<br />
<br />
And here is some practical help:<br />
<br />
http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing<br />
<br />
===09-01-13===<br />
thesis outlines<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[Jasper_van_Loenen_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012 | Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal2 | Manó PROPOSAL FOR REASSESSMENT]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_Lund_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]<br />
<br />
=== Documentation process ===<br />
[[Archiving grad projects 2013]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/superThesis20132&diff=46465User:Jonas Lund/superThesis201322013-05-06T18:16:30Z<p>Jonas Lund: Created page with "[https://dl.dropboxusercontent.com/u/958210/thesis_draft2.pdf SuperThesisDraftTwo]"</p>
<hr />
<div>[https://dl.dropboxusercontent.com/u/958210/thesis_draft2.pdf SuperThesisDraftTwo]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=46464User:Jonas Lund2013-05-06T18:14:45Z<p>Jonas Lund: </p>
<hr />
<div>=2012/2013=<br />
*[[User:Jonas Lund/superThesis20132 | SuperThesisDRAFT_Two]]<br />
*[[User:Jonas Lund/superThesis2013 | SuperThesisDRAFTit]]<br />
*[[User:Jonas Lund/to2013 | The5|sOutl¡n3]]<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/superThesis2013&diff=44886User:Jonas Lund/superThesis20132013-04-15T10:51:07Z<p>Jonas Lund: </p>
<hr />
<div><div style="width: 720px;"><br />
<h1>Thesis</h1><br />
<br />
<h2>Is Social media networks driving artist to become more aware and strategic concerning economy and branding in their practice? </h2><br />
<br />
<h3>Art as a vehicle for business </h3><br />
The relation between contemporary art and economy is far from novel, the list of artists working with and commenting on economy, the art market and businesses is long. From Duchamp and Joseph Beuys to Andy Warhol, Jeff Koons and more recently Damien Hirst, through questioning the hierarchy of high and low culture, exploring immaterial art forms such as performance art and establishing imaginary economics. Velthuis argues in “Imaginary Currencies” that “[C]ontemporary art enhances our understanding of the economy” (Velthuis, p3) giving art a significant role in the reflection and the understanding of economical systems. By analyzing a selection of recent art works from emerging artists, I argue that the way in which the works deal with economy relates to the larger economical context in which they are created, with which an attempt to categorize and analyze a section of contemporary art that is directly relating to business practices and strategies as a mode of working, as a summary of the contemporary economical situation. As Amariglio argues in “Tokens of eccentricity”, “[T]he economic conditions surrounding the production, distribution, and consumption of artworks can be "read" in or into the works themselves.” (Amariglio, p30). Through this assertion the possibility to read the larger economical context through a series of art works bares merit. <br />
<br />
By exploring different ways emerging artists have created business models as art works in the last three years I want to see if there’s actual viable business models emerging and if it is enabling artist to sustain their practice and everyday life financially or if it’s rather functioning as a resource and material for critiquing economical and financial structures? When looking at the example art works to determine the potential of both the artworks economical profit possibility and its artistic context, Is it a viable business model, i.e., is it making money or has the potential of making money, is it critically engaging with its own economical context and what can it tell us about the economical surroundings in which the work has been created?<br />
<br />
<h3>An Art Work </h3><br />
The definition of an art work I will use throughout this thesis is following the institutional theory of art, initiated by Arthur Danto’s essay “The Artworld” in 1964 and rephrased very specifically by George Dickie in his article "Defining Art” – “A work of art in the classificatory sense is 1) an artifact 2) upon which some person or persons acting on behalf of a certain social institution (the artworld) has conferred the status of candidate for appreciation.”. While the theory has been criticized for being circular, an art work has to be defined as such by an art world, it’s still the most accurate definition of art. It’s important to note that the institutional theory of art isn’t discussing the quality of art works, wether it’s good or bad art but rather just defines an work as art as defined by its context within the art world. Wether a project should be classified as a business, an art work or both largely depends on its context and the intentions of the author and given that the institutional theory of art solely relies on the works context to define it as art the definition is a appropriate foundation while dissecting the projects in the coming sections.<br />
<br />
<h3>A successful business</h3><br />
A business is a company or organization working with trade of goods or services. Its operations are determined by the business model, which describes the strategies and plans for how the business operates and how the “organization creates, delivers and captures value”. The main goal of a for-profit business is to earn a profit, in other words the annual return of investment should be zero or positive. There’s many different types of businesses, from sole proprietorship to large international corporations. Looking at the Internet start up scene, it’s particularly interesting to notice that in most cases the businesses are not generating a positive return of investment, but rather live on the prospect of either being bought up by one of the major players in the field or to find a sustainable and profitable business model, and that can happen after many years of successful operations in terms of gaining users and investment capital. It is, for example, only recently that Twitter has started to become profitable, with over two hundred million active users and a huge market saturation, it’s amazing to note that they’re only now starting to make a profit, seven years after it’s debut. So it’s important to keep in mind that sometimes the prospect of finding a business model is a viable business plan, if you can back it up with an investment capital and the potential of a large amount of users.<br />
<br />
<h3>Dulltech </h3><br />
DullTech is a company started by Constant Dullaart in 2013. Its first product is a universal media player branded as a “media player for art”, which the artist states will support almost every playable media and will auto play the first found file on a connected usb stick. The media player is set to launch in the early summer of 2013 and will retail for 200 US Dollars. Dullaart points out in the specifications that it’s not only a working media player, but also a piece of art, a relatively cheap piece of art at that.[2] The company and device was conceived during a residency in She zen in China, the area where the majority of products by the major players in the market are produced, from the iPhone by Apple at Foxconn to the Samsung television sets. Dullaart is appropriating the business strategy of a typical chinese tech company, re-branding a no-name product and selling it under the wing of his newly founded company. Wether the work will be a success is yet to be determined as pre-orders are in the moment being accepted. What’s especially interesting about this piece is that the success of the art work and the success of the business goes hand in hand, if Dullaart manages the sell preorders and raise capital for the minimum required order of 200 devices the product will be launched and sold to institutions and early supporters around the world, if he on the other hand fails in reaching the amount of investments the product will never see the light of day and the media player would live on only as a concept. It’s quite plausible that the business DullTech will succeed, given the reach of the artists network, the relatively cheap investment cost and the utilitarian aspect of the product itself, it might sell fairly well. Determining the seriousness of the business model will always be at stake when exploring artworks as business, and in the case of DullTech there’s certainly a dose of irony in the conceptualization of the piece but never the less a serious investment. The gesture of producing what to many is a very mundane piece of technology, under the slightly ironic name DullTech is in many ways symptomatic of a whole generation of artist working online, relying heavily on irony, Internet references and a fundamental understanding of all the different aspects of the motivations to fully be able to appreciate the work.<br />
<br />
In order to determine the artists intentions with the piece, to see wether DullTech is a serious business endeavor with the potential of generating a revenue or rather a slightly ironic comment on the art world market and its object fetishism, a comparison with similar products void of the art context is a suitable reference point. In the case of DullTech, successfully supported projects in the technology category on the crowd funding website Kickstarter shares a significant amount of similarities with the DullTech media player. The projects on Kickstarter ranges from custom build micro controllers, iPhone charging and docking accessories, devices to control the lights in your house through wifi to thumb size micro computers. Typically each product aims to improve a small section of the life of a internet savvy, working professional that travels a lot through work. Each product is introduced with a video, encouraging the visitor to support the project through a list of different kickbacks: rewards that usually starts with simple stickers for a couple of dollars and goes as high as signing up for multiples of the product. <br />
<br />
DullTech’s media player fits well within the technology category in Kickstarter and it shares a similar function to many other products. It aims to improve a small section of the life of a working professional by giving the person a simplified way to enjoy media content. If DullTech was introduced on Kickstarter to raise the needed capital, its success will be determined by the market demand and the viral potential of the piece. In terms of media players the competition is stiff, from the Apple TV retailing for 100 US dollars, Boxee Cloud DVR to the Google TV, the market is highly saturated with high end media players all retailing for less than 200 US dollars. DullTech then needs to position itself, not in the general market for technological innovation, but in a different context to increase the chances of success based on the fact that there’s more capable devices in the market for a smaller price. Further, if successfully backed Kickstarter projects serves as a measure for what kind of products will be successful in the technological market, DullTech potential of success within a Kickstarter audience is average at best. During the last two years not a single project that aims to enter the media players market has been successfully backed[1]. It’s evident that no one has entered the market of custom media players due to both highly competitive and saturated market. If DullTech’s media player is not for the tech savvy working professional, then who is a suitable target group? Given the nature of the piece, it’s not only a working piece of equipment, but also an artwork, institutions, galleries and museums are highly suitable target groups. The media player could solve many of the complicated technical installations required while building up exhibitions, especially the wireless enabled video playback synchronization, which to the typical person is rather useless, could prove invaluable to a large institution. <br />
<br />
If DullTech manages to attract institutions to invest in the media player the chances of successfully funding and establishing the product is great. The merge between media player, art work and institution creates a symbiosis where the media player relies on the institution to give it merit as a piece of art and the institution relies on the media player to solve technical complications while installing exhibitions. The irony presents itself: each exhibition constructed with the help of the media player gives the media player additional merit as a piece of art, being represented by the institution and participating in the exhibition it helped to construct. DullTech becomes a reflection over how the institution operates, an attempt to ‘hijack’ an unexplored institutional territory, and position the art work within the mundane aspects of an institutions business. Further, there are more signs that points to DullTech being an observation of section of online tech fascination culture – the innovation hype where everything new matters more because it’s new. For example, DullTech’s website is an appropriation of Google Glass website. Google Glass is the newest product from Google, a handsfree wearable micro computer in the shape of a pair of glasses.The reference to Google Glass as being on the forefront of new technological innovation is evident. DullTech’s media player can then be seen as on the opposite side of innovation, far from novel, the media player is in essence mundane and through the mundane aspect of the media player in contrast to the excitement of Google Glass it comments on the whole technological industry, filled with promises, new experiences but ultimately leaves you bored. <br />
<br />
<br />
<h3>LoopHole4All </h3><br />
<br />
LoopHole4All is the latest project by Italian born and New York based artist Paolo Cirio. The artist hijacked the identities of 200000 shell companies registered in the Cayman Islands through a simple scraping script. On the website loophole4all.com you can purchase a certificate of one of these companies for 99 cents and start using it to send invoices and ultimately use similar tactics to evade taxes as employed by most of the major corporations in the world, “83 of the Fortune 100 companies in the US currently rely on them”. For 49 dollars Cirio is selling a mailbox with a mail rerouting service to redirect all the incoming mail to your own address. Cirio describes the work as a political protest and aims to democratize the possibility to evade taxes and enable corporate tax fraud for the every day man. The nature of the work is of a “hack”, meaning that the actual possibility of using it to evade taxes are slim at best, and functions rather as a way of pointing out the global strategies of finding loopholes in the Internal Revenue Service tax laws and aims to highlight that a change is needed in the economic corporate landscape. The viability of the business model here is on the same level as the actual function of the work itself, meaning that it’s highly unlikely that Cirio will sell a significant amount of certificates intended for it’s original purpose, given the very obvious reason that’s pointed out in one of the comments in The Verge article[4] discussing the piece – “If a company earns revenue in the United States, they must pay USA taxes regardless of where they are domiciled. Cayman entities only are for revenues earned overseas.” So to see the work as anything but a commentary would be a big stretch, and the work then becomes a good example of an artist started business that’s not intended to be a viable business at all but rather aims to critique a certain aspect of society through sensationalism. This motivation can be read early on through the press release of the work, claiming that the piece is based on a hack or corporate identity theft, where it’s in reality just a re-collection of publicly available data as confirmed by a press statement from the Cayman Islands Registry’s Senior Assistant Registrar Donnell Dixon. The strategy employed by Cirio with Loophole4all is similar to a virally driven marketing campaign, by relying on the uncritically of the tech news, using a vocabulary in the in line with the hacking group Anonymous and branding the piece as a hack, Cirio manages to raise a lot of awareness about the piece and consequently the global tax evasion schemes. Cirio summarizes the protest, “[…] the truth doesn't produce any change. People tend to adapt to injustice and absurdity. However, when concrete reality arrives, it is tough and it hurts”. [4]<br />
<br />
<br />
<br />
<h3>Brad Troemel’s Etsy Store </h3><br />
Branded as the “Internet’s Weirdest Etsy Store” by Gawker in 2012, Brad Troemel’s Etsy store is a mix of common every day objects combined and remixed in atypical ways, posted on the group Tumblr “The Jogging” and then added to the Etsy store as unique piece of art that’s for sale. The items ranges from “vacuum sealed MTV RIFF RAFF dazed and confused cover issue with Celebratory Lemons and Limes (Annies Organic Mac n Cheese w/ Fish Oil Pills)”, “DORITOSLOCOS taco MASTER LOCKED shut (Key Sold Separately) Highly Significant (Consider The Consequences of Tardiness)” – 55 US Dollars, to vacuum sealed Organic Petunia SHAMPOO in blooper sock with Whole Foods FLOWERS (Exquisite Formalism for creative minding) for 35 US Dollars. At the moment, the store has sold 81 items and the prices typically range from 20 to 60 dollars. <br />
<br />
Troemel argues that “[…] art is a conceptual way of making something that already exists more valuable and culturally relevant. I take pride in providing some of the most significantly organic, inscrutably rare, and immeasurably valuable products on Etsy.” The store is selling a combination of highly stylized items that’s as much about the movement and group belonging as it is about art. The notion of using an already existing online market place to distribute and sell your experimental art works instead of relying on the gallery system is a strategic decision by Troemel who says: “Etsy is an effective means to an end. My primary goal is to Sell Sell Sell, and what better place than through my generation's largest art market? Things practically never sell in galleries, one thing here, another thing here. Gallery people get happy when they sell ONE painting in a month. I've sold, like, five things in a week on Etsy.” By circumventing the gallery system, not only does Troemel increase the amount of sales, he’s also tailoring to a very different audience, bridging the gap between the typical Etsy buyer and the contemporary art gallery visitor. The store is an art work first and more of a commentary on the gallery system and the presentation and description of art rather than a long term business plan, the money earned from the 81 sales is more of a positive side effect next to the larger scheme of things. The items typically have encouraging superlatives describing the inherent value of the piece, from “Exquisite Formalism” to “Highly Controversial and Insensitive”, the descriptions aims to add artistic merit and position the pieces as contemporary art within a trades and craft oriented market place. The double context of the work is particularly interesting, where it exists both as a piece of contemporary online art on Thejogging Tumblr and as a commodity for sale in the Etsy. <br />
<br />
<h3>DIS Images </h3><br />
DIS Images (disimages.com) launched in February 2013 and is a fully functioning stock image library initiated by Dis Magazine (dismagazine.com). They received the first round of funding by being awarded one of the Rhizome commissions in 2011. Dis Magazine is a best described as a collective run life style magazine from a group of friends based in New York, in their own words, a “Post-Internet lifestyle publication about art, fashion and commerce. Creating images, text and video for an online platform, DIS seeks to expand creative economies, and depict a world in which there is no “alternative.”. DIS Images, as pointed out by Brian Droitcour in a Rhizome article, “marks a significant shift in the way artists approach stock photography”, meaning that traditionally stock images are meant to be void of implicit meaning but rather be able to fit anywhere, whereas DIS Images is quite on the contrary. By taking cliche stock image motives as a starting point and juxtaposing them with unpredictable items they aim to “explore the overproduction of images in the commercial photography market and the oversaturation of imagery in search engines and user-generated sites”. DIS Images have invited artists to produce fresh stock images for the collections and so far notable appearances include Timur Si-qin, Katja Novitskova and Bea Fremderman. Next to the images, DIS Images also use a tagging system, for example ‘Future Growth Approximation’ by Novitskova, depicting a zebra in a white cube space with a green upwards pointing arrow added on to the picture next to the zebra, is tagged with Success, Art Gallery Future Post-Human, Radicant, Stock Economics, Evolution, Cute Growth Prosperity, Art Market, Animals and so on, arguing that it’s not the how the tags infuses the image additional meaning, but rather how each image has the potential of many different uses, given the contradictory nature of the tags. Droitcour points out that “DIS Images fits with DIS magazine’s circular treatment of art as a lifestyle brand and fashion photography as a form of conceptual art” and that DIS Images hopes that the images are spread across newspapers, magazine around the world but that it’s primarily a new exploration into distributing and licensing art works. Ultimately DIS Images is positioned as an experimental economic model in the intersection between art and commerce, which has been a reoccurring theme appearing in the magazine. <br />
<br />
<h3>Absolute Vitality Inc. </h3><br />
Absolute Vitality Inc. by the berlin based artist duo Aids3D is a legal company registered by the tax evading shell company Wyoming Corporate Services in 2010. The duo bought the company in 2012 to “function as a special purpose vehicle for their projects”, meaning that they for example can use it to offer collectors a possibility to evade taxes through acquiring stocks in Absolute Vitality Inc. <br />
<br />
<h3>Gifmarket</h3><br />
Gifmarket (gifmarket.net) launched in 2011 and it is a collaboration between the two german artists Kim Asendorf and Ole Fach. It’s a website showing a series of 1024 different gif images, the first one being the most expensive and the 1024th being the cheapest. Asendorf explains “The GIFs show a black line which marks the centre for the 1px large particles rotating around it. #1 is the most unique, it has only 1 pixel flying around, and therefore the most expensive. Down to the end there are so many particles that you can’t see the difference between #950 and #1000.”. Each time a gif is sold the price of every gif on the website is increased, using this formula Price(€) = Total Sales / Number(#) * 16. Up until this point they’ve sold 181 gifs in total for 1,223.68€ with the estimated value of 21,986.87€. Each gif that is sold has the name of the owner underneath as well as a link of choice, so the buyer is not only purchasing a gif but also the opportunity to promote himself on the website, albeit the incoming traffic ought to be very low. <br />
<br />
<br />
<h3>Conclusion</h3><br />
???<br />
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References<br />
[1] http://www.kickstarter.com/discover/categories/technology/successful?ref=more#p28<br />
[2] http://dulltech.com/features/<br />
<br />
“Imaginary Currencies – Contemporary art on the market – critique, confirmation or play”, Olav Velthuis, <br />
<br />
[4] http://www.theverge.com/2013/2/26/4031516/wanna-buy-a-loophole-paolo-cirio-makes-corporate-identity-theft-into<br />
<br />
<br />
http://frieze.com/issue/article/net-gains/<br />
<br />
http://frieze-magazin.de/archiv/features/warenwahn/?lang=en<br />
young artists embracing the online strategies <br />
<br />
http://hyperallergic.com/66039/selling-out-the-impact-of-corporate-social-media-space-on-art/<br />
Our experience of the internet is an inherently monetary exchange, with web-based businesses profiting directly or indirectly from our accessing of information that others have chosen to make public.<br />
<br />
http://www9.georgetown.edu/faculty/irvinem/visualarts/institutional-theory-artworld.html<br />
<br />
art and labour: http://reginaldshepherd.blogspot.nl/2007/02/marx-labor-and-artist.html<br />
<br />
warhol: http://www.artinfo.com/news/story/36328/the-business-artist-how-andy-warhol-turned-a-love-of-money-into-a-228-million-art-career<br />
<br />
Dali: http://www.youtube.com/watch?v=EycMdz4fC0w<br />
<br />
DIS: http://rhizome.org/editorial/2013/mar/5/businesslike-dis/<br />
http://rhizome.org/commissions/proposal/2292/<br />
http://disimages.com/photos/view/276<br />
<br />
http://books.google.nl/books/about/Should_the_artist_become_a_man_of_the_wo.html?id=xbPyZwEACAAJ&redir_esc=y<br />
<br />
http://www.theatlantic.com/magazine/archive/2012/05/a-portrait-of-the-artist-as-a-young-brand/308933/<br />
<br />
http://www.economist.com/node/499033<br />
<br />
Twitter profits<br />
http://articles.latimes.com/2013/jan/11/business/la-fi-tn-did-vc-fred-wilson-just-tell-us-twitter-is-profitable-20130111<br />
<br />
Loophole4all<br />
<br />
http://www.fastcompany.com/3005965/200000-caymans-corporations-hacked-art-project<br />
<br />
http://www.cayman27.com.ky/2013/02/18/hacker-claims-cayman-breach<br />
<br />
http://www.compasscayman.com/caycompass/2013/02/20/Artist-sells-fake-Cayman-company-certificates/<br />
<br />
Etsy & Jogging<br />
http://www.huffingtonpost.com/2012/07/26/artist-brad-troemel-on-etsy_n_1703285.html<br />
<br />
http://gawker.com/5922870/taco-locks-and-other-delights-from-the-internets-weirdest-etsy-store/gallery/1<br />
<br />
http://www.papermag.com/2012/07/brad_troemel.php<br />
<br />
http://thejogging.tumblr.com/<br />
<br />
Gifmarket<br />
http://notfig.garethfoote.co.uk/gifmarket-selling-a-gif-as-an-artwork/<br />
<br />
http://thecreatorsproject.com/blog/patronize-digital-art-buy-a-gif-at-gif-market<br />
<br />
Absolute Vitality Inc.<br />
http://www.neueraachenerkunstverein.de/content/2012/ausstellungen/aids-3d-dan-kellernik-kosmas/?lang=en<br />
http://luxuryinprogress.com/corporate-takeover/<br />
<br />
<br />
</div><br />
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__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/superThesis2013&diff=44586User:Jonas Lund/superThesis20132013-04-04T12:59:45Z<p>Jonas Lund: </p>
<hr />
<div><div style="width: 720px;"><br />
<h1>Thesis</h1><br />
<br />
<h2>Is Social media networks driving artist to become more aware and strategic concerning economy and branding in their practice? </h2><br />
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<h2>Introduction</h2><br />
Every time we see a sponsored story in our Facebook feeds or a text based advertisement next to our email in the Gmail interface we are reminded that the service we are using is not free, in fact it’s paid for by us surrendering a certain amount of our personal data to the company who’s providing the service. Not only do we realize that the “free” services operate within a very rigid corporate structure, but we’re constantly faced with looking at advertisements promoting brands, which might be relevant to our lives or completely off target. The sheer amount of brand advertisement in our surrounding, both offline and online, is seeping into our lives. Every service we use online is a business in one way or another and its users are increasingly aware that they are being monetized. This thesis aims to question if the business driven social media networks have influenced artists to become more aware of their own branding and the economical and business like strategies employed in their practices. By looking at a selection of recent art works in the last three years by emerging artists working online and how these artists are using entrepreneurial and business minded tactics in their practices, I argue that it’s a necessity to be self managed and that it’s no longer possible to live in the dream of “artist genius” but rather every decision ought to be strategically planned to reach the biggest possible return of investment and that that move has been partly motivated by the social media networks. <br />
<br />
Further, by exploring different ways emerging artists have created business models as art works in the last three years I want to see if there’s actual viable business models emerging and if it is enabling artist to sustain their practice and everyday life financially or if it’s rather functioning as a resource and material for critiquing economical and financial structures? When looking at the example art works, let’s ask three question to determine the potential of both the artworks economical profit possibility and its artistic context.<br />
<br />
1) Is it a viable business model, i.e., is it making money or has the potential of making money?<br />
<br />
2) Is it critically engaging with its own economical context?<br />
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3) What motivated the creation of the business model?<br />
<br />
<h2>Art as a vehicle for business</h2><br />
Artists that attempt to create working business models have been increasingly popular over the last couple of years. The ambition to produce works that functions within a traditional white cube gallery in the contemporary art world and as well generates an actual revenue is a very attractive concept and no wonder artists are exploring this field in numerous ways. Imagine if you can produce a piece of art that’s also self sustaining and generates money, that’s quite a feat. Let’s see if it’s possible to create an actual working business as art by looking at some examples of works, but before going there, let’s define some ground rules for what an art work is and what a successful business is.<br />
<br />
<h3>An Art Work</h3><br />
The definition of an art work I will use throughout this thesis is following the institutional theory of art, initiated by Arthur Danto’s essay “The Artworld” in 1964 and rephrased very specifically by George Dickie in his article "Defining Art” – “A work of art in the classificatory sense is 1) an artifact 2) upon which some person or persons acting on behalf of a certain social institution (the artworld) has conferred the status of candidate for appreciation.”. While the theory has been criticized for being circular, an art work has to be defined as such by an art world, it’s still the most accurate definition of art and will help us throughout this thesis. It’s important to note that the institutional theory of art isn’t discussing the quality of art works, wether it’s good or bad art but rather just defines an work as art as defined by its context within the art world. When we start looking at different business models, it can at times be challenging to discern wether the work is indeed a business or an art work or both and as we shall see it will largely depend on its context and the ambitions of the author. <br />
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<h3>A successful business</h3><br />
A business is a company or organization working with trade of goods or services. Its operations are determined by the business model, which describes the strategies and plans for how the business operates and how the “organization creates, delivers and captures value”. The main goal of a for-profit business is to earn a profit, in other words the annual return of investment should be zero or positive. There’s many different types of businesses, from sole proprietorship to large international corporations. Looking at the Internet start up scene, it’s particularly interesting to notice that in most cases the businesses are not generating a positive return of investment, but rather live on the prospect of either being bought up by one of the major players in the field or to find a sustainable and profitable business model, and that can happen after many years of successful operations in terms of gaining users and investment capital. It is, for example, only recently that Twitter has started to become profitable, with over two hundred million active users and a huge market saturation, it’s amazing to note that they’re only now starting to make a profit, seven years after it’s debut. So it’s important to keep in mind that sometimes the prospect of finding a business model is a viable business plan, if you can back it up with an investment capital and the potential of a large amount of users.<br />
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<h3>Dulltech</h3><br />
DullTech is a company started by Constant Dullaart in 2013. Its first product is a universal media player branded as a “media player for art”, which the artist states will support almost every playable media and will auto play the first found file on a connected usb stick. The media player is set to launch in the early summer of 2013 and will sell for 200 US Dollars. Dullaart points out in the specifications that it’s not only a working media player, but also a piece of art, a relatively cheap piece of art at that. (http://dulltech.com/features/) The company and device was conceived during a residency in She zen in China, the area where the majority of products by the major players in the market are produced, from the iPhone by Apple at Foxconn to the Samsung television sets. Dullaart is appropriating the business strategy of a typical chinese tech company, re-branding a no-name product and selling it under the wing of his newly founded company. Wether the work will be a success is yet to be determined as pre-orders are in the moment being accepted. What’s especially interesting about this piece is that the success of the art work and the success of the business goes hand in hand, if Dullaart manages the sell preorders and raise capital for the minimum required order of 200 devices the product will be launched and sold to institutions and early supporters around the world, if he on the other hand fails in reaching the amount of investments the product will never see the light of day and the media player would live on only as a concept. It’s quite plausible that the business DullTech will succeed, given the reach of the artists network, the relatively cheap investment cost and the utilitarian aspect of the product itself, it might sell fairly well. Determining the seriousness of the business model will always be at stake when exploring artworks as business, and in the case of DullTech there’s certainly a dose of irony in the conceptualization of the piece but never the less a serious investment. The gesture of producing what to many is a very mundane piece of technology, under the slightly ironic name DullTech is in many ways symptomatic of a whole generation of artist working online, relying heavily on irony, Internet references and a fundamental understanding of all the different aspects of the motivations to fully be able to appreciate the work. <br />
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<h3>LoopHole4All</h3><br />
LoopHole4All is the latest project by Italian born and New York based artist Paolo Cirio. The artist hijacked the identities of 200000 shell companies registered in the Cayman Islands through a simple scraping script. On the website loophole4all.com you can purchase a certificate of one of these companies for 99 cents and start using it to send invoices and ultimately use similar tactics to evade taxes as employed by most of the major corporations in the world, “83 of the Fortune 100 companies in the US currently rely on them”. For 49 dollars Cirio is selling a mailbox with a mail rerouting service to redirect all the incoming mail to your own address. Cirio describes the work as a political protest and aims to democratize the possibility to evade taxes and enable corporate tax fraud for the every day man. The nature of the work is of a “hack”, meaning that the actual possibility of using it to evade taxes are slim at best, and functions rather as a way of pointing out the global strategies of finding loopholes in the Internal Revenue Service tax laws and aims to highlight that a change is needed in the economic corporate landscape. The viability of the business model here is on the same level as the actual function of the work itself, meaning that it’s highly unlikely that Cirio will sell a significant amount of certificates intended for it’s original purpose, given the very obvious reason that’s pointed out in one of the comments in The Verge article discussing the piece – “If a company earns revenue in the United States, they must pay USA taxes regardless of where they are domiciled. Cayman entities only are for revenues earned overseas.” So to see the work as anything but a commentary would be a big stretch, and the work then becomes a good example of an artist started business that’s not intended to be a viable business at all but rather aims to critique a certain aspect of society through sensationalism. This motivation can be read early on through the press release of the work, claiming that the piece is based on a hack or corporate identity theft, where it’s in reality just a re-collection of publicly available data as confirmed by a press statement from the Cayman Islands Registry’s Senior Assistant Registrar Donnell Dixon. The strategy employed by Cirio with Loophole4all is similar to a virally driven marketing campaign, by relying on the uncritically of the tech news, using a vocabulary in the in line with the hacking group Anonymous and branding the piece as a hack, Cirio manages to raise a lot of awareness about the piece and consequently the global tax evasion schemes. Cirio summarizes the protest, “[…] the truth doesn't produce any change. People tend to adapt to injustice and absurdity. However, when concrete reality arrives, it is tough and it hurts”.<br />
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<h3>Brad Troemel’s Etsy Store</h3><br />
Branded as the “Internet’s Weirdest Etsy Store” by Gawker in 2012, Brad Troemel’s Etsy store is a mix of common every day objects combined and remixed in atypical ways, posted on the group Tumblr “The Jogging” and then added to the Etsy store as unique piece of art that’s for sale. The items ranges from “vacuum sealed MTV RIFF RAFF dazed and confused cover issue with Celebratory Lemons and Limes (Annies Organic Mac n Cheese w/ Fish Oil Pills)”, “DORITOSLOCOS taco MASTER LOCKED shut (Key Sold Separately) Highly Significant (Consider The Consequences of Tardiness)” – 55 US Dollars, to vacuum sealed Organic Petunia SHAMPOO in blooper sock with Whole Foods FLOWERS (Exquisite Formalism for creative minding) for 35 US Dollars. At the moment, the store has sold 81 items and the prices typically range from 20 to 60 dollars. <br />
<br />
Troemel argues that “[…] art is a conceptual way of making something that already exists more valuable and culturally relevant. I take pride in providing some of the most significantly organic, inscrutably rare, and immeasurably valuable products on Etsy.” The store is selling a combination of highly stylized items that’s as much about the movement and group belonging as it is about art. The notion of using an already existing online market place to distribute and sell your experimental art works instead of relying on the gallery system is a strategic decision by Troemel who says: “Etsy is an effective means to an end. My primary goal is to Sell Sell Sell, and what better place than through my generation's largest art market? Things practically never sell in galleries, one thing here, another thing here. Gallery people get happy when they sell ONE painting in a month. I've sold, like, five things in a week on Etsy.” By circumventing the gallery system, not only does Troemel increase the amount of sales, he’s also tailoring to a very different audience, bridging the gap between the typical Etsy buyer and the contemporary art gallery visitor. The store is an art work first and more of a commentary on the gallery system and the presentation and description of art rather than a long term business plan, the money earned from the 81 sales is more of a positive side effect next to the larger scheme of things. The items typically have encouraging superlatives describing the inherent value of the piece, from “Exquisite Formalism” to “Highly Controversial and Insensitive”, the descriptions aims to add artistic merit and position the pieces as contemporary art within a trades and craft oriented market place. The double context of the work is particularly interesting, where it exists both as a piece of contemporary online art on Thejogging Tumblr and as a commodity for sale in the Etsy. <br />
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<h3>DIS Images</h3><br />
DIS Images (disimages.com) launched in February 2013 and is a fully functioning stock image library initiated by Dis Magazine (dismagazine.com). They received the first round of funding by being awarded one of the Rhizome commissions in 2011. Dis Magazine is a best described as a collective run life style magazine from a group of friends based in New York, in their own words, a “Post-Internet lifestyle publication about art, fashion and commerce. Creating images, text and video for an online platform, DIS seeks to expand creative economies, and depict a world in which there is no “alternative.”. DIS Images, as pointed out by Brian Droitcour in a Rhizome article, “marks a significant shift in the way artists approach stock photography”, meaning that traditionally stock images are meant to be void of implicit meaning but rather be able to fit anywhere, whereas DIS Images is quite on the contrary. By taking cliche stock image motives as a starting point and juxtaposing them with unpredictable items they aim to “explore the overproduction of images in the commercial photography market and the oversaturation of imagery in search engines and user-generated sites”. DIS Images have invited artists to produce fresh stock images for the collections and so far notable appearances include Timur Si-qin, Katja Novitskova and Bea Fremderman. Next to the images, DIS Images also use a tagging system, for example ‘Future Growth Approximation’ by Novitskova, depicting a zebra in a white cube space with a green upwards pointing arrow added on to the picture next to the zebra, is tagged with Success, Art Gallery Future Post-Human, Radicant, Stock Economics, Evolution, Cute Growth Prosperity, Art Market, Animals and so on, arguing that it’s not the how the tags infuses the image additional meaning, but rather how each image has the potential of many different uses, given the contradictory nature of the tags. Droitcour points out that “DIS Images fits with DIS magazine’s circular treatment of art as a lifestyle brand and fashion photography as a form of conceptual art” and that DIS Images hopes that the images are spread across newspapers, magazine around the world but that it’s primarily a new exploration into distributing and licensing art works. Ultimately DIS Images is positioned as an experimental economic model in the intersection between art and commerce, which has been a reoccurring theme appearing in the magazine. <br />
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<h3> Absolute Vitality Inc.</h3><br />
Absolute Vitality Inc. by the berlin based artist duo Aids3D is a legal company registered by the tax evading shell company Wyoming Corporate Services in 2010. The duo bought the company in 2012 to “function as a special purpose vehicle for their projects”, meaning that they for example can use it to offer collectors a possibility to evade taxes through acquiring stocks in Absolute Vitality Inc. <br />
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<h3>Gifmarket</h3><br />
Gifmarket (gifmarket.net) launched in 2011 and it is a collaboration between the two german artists Kim Asendorf and Ole Fach. It’s a website showing a series of 1024 different gif images, the first one being the most expensive and the 1024th being the cheapest. Asendorf explains “The GIFs show a black line which marks the centre for the 1px large particles rotating around it. #1 is the most unique, it has only 1 pixel flying around, and therefore the most expensive. Down to the end there are so many particles that you can’t see the difference between #950 and #1000.”. Each time a gif is sold the price of every gif on the website is increased, using this formula Price(€) = Total Sales / Number(#) * 16. Up until this point they’ve sold 181 gifs in total for 1,223.68€ with the estimated value of 21,986.87€. Each gif that is sold has the name of the owner underneath as well as a link of choice, so the buyer is not only purchasing a gif but also the opportunity to promote himself on the website, albeit the incoming traffic ought to be very low. <br />
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<h3> Conclusion</h3><br />
???<br />
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<h2> References</h2><br />
http://frieze.com/issue/article/net-gains/<br />
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http://frieze-magazin.de/archiv/features/warenwahn/?lang=en<br />
young artists embracing the online strategies <br />
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http://hyperallergic.com/66039/selling-out-the-impact-of-corporate-social-media-space-on-art/<br />
Our experience of the internet is an inherently monetary exchange, with web-based businesses profiting directly or indirectly from our accessing of information that others have chosen to make public.<br />
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http://www9.georgetown.edu/faculty/irvinem/visualarts/institutional-theory-artworld.html<br />
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art and labour: http://reginaldshepherd.blogspot.nl/2007/02/marx-labor-and-artist.html<br />
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warhol: http://www.artinfo.com/news/story/36328/the-business-artist-how-andy-warhol-turned-a-love-of-money-into-a-228-million-art-career<br />
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Dali: http://www.youtube.com/watch?v=EycMdz4fC0w<br />
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DIS: http://rhizome.org/editorial/2013/mar/5/businesslike-dis/<br />
http://rhizome.org/commissions/proposal/2292/<br />
http://disimages.com/photos/view/276<br />
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http://books.google.nl/books/about/Should_the_artist_become_a_man_of_the_wo.html?id=xbPyZwEACAAJ&redir_esc=y<br />
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http://www.theatlantic.com/magazine/archive/2012/05/a-portrait-of-the-artist-as-a-young-brand/308933/<br />
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http://www.economist.com/node/499033<br />
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Twitter profits<br />
http://articles.latimes.com/2013/jan/11/business/la-fi-tn-did-vc-fred-wilson-just-tell-us-twitter-is-profitable-20130111<br />
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Loophole4all<br />
http://www.theverge.com/2013/2/26/4031516/wanna-buy-a-loophole-paolo-cirio-makes-corporate-identity-theft-into<br />
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http://www.fastcompany.com/3005965/200000-caymans-corporations-hacked-art-project<br />
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http://www.cayman27.com.ky/2013/02/18/hacker-claims-cayman-breach<br />
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http://www.compasscayman.com/caycompass/2013/02/20/Artist-sells-fake-Cayman-company-certificates/<br />
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Etsy & Jogging<br />
http://www.huffingtonpost.com/2012/07/26/artist-brad-troemel-on-etsy_n_1703285.html<br />
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http://gawker.com/5922870/taco-locks-and-other-delights-from-the-internets-weirdest-etsy-store/gallery/1<br />
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http://www.papermag.com/2012/07/brad_troemel.php<br />
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http://thejogging.tumblr.com/<br />
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Gifmarket<br />
http://notfig.garethfoote.co.uk/gifmarket-selling-a-gif-as-an-artwork/<br />
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http://thecreatorsproject.com/blog/patronize-digital-art-buy-a-gif-at-gif-market<br />
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Absolute Vitality Inc.<br />
http://www.neueraachenerkunstverein.de/content/2012/ausstellungen/aids-3d-dan-kellernik-kosmas/?lang=en<br />
http://luxuryinprogress.com/corporate-takeover/<br />
</div><br />
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__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-04-2013_-Event_4&diff=44581Calendars:Networked Media Calendar/Networked Media Calendar/16-04-2013 -Event 42013-04-04T12:05:29Z<p>Jonas Lund: </p>
<hr />
<div>Steve Thesis Tutorials<br />
<br />
11-12 petra<br />
<br />
12-13 JONAS<br />
<br />
14-15<br />
<br />
15-16</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/19-03-2013_-Event_5&diff=43416Calendars:Networked Media Calendar/Networked Media Calendar/19-03-2013 -Event 52013-03-18T19:45:07Z<p>Jonas Lund: </p>
<hr />
<div>15:00 Michael Tutorials <br/><br />
15.00: Jonas</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/19-03-2013_-Event_5&diff=43415Calendars:Networked Media Calendar/Networked Media Calendar/19-03-2013 -Event 52013-03-18T19:44:48Z<p>Jonas Lund: </p>
<hr />
<div>Michael Tutorials <br/><br />
15.00: Jonas</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/19-03-2013_-Event_5&diff=43414Calendars:Networked Media Calendar/Networked Media Calendar/19-03-2013 -Event 52013-03-18T19:44:41Z<p>Jonas Lund: </p>
<hr />
<div>Michael Tutorials<br />
15.00: Jonas</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/19-03-2013_-Event_5&diff=43413Calendars:Networked Media Calendar/Networked Media Calendar/19-03-2013 -Event 52013-03-18T19:44:25Z<p>Jonas Lund: Michael Tutorials</p>
<hr />
<div>Michael Tutorials</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=42867Graduate Research Seminar 2012/20132013-03-12T16:50:16Z<p>Jonas Lund: /* 1st Draft */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
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==2012/2013==<br />
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[[Graduation 2013 Planning |Graduation 2013 Planning Page]]<br />
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=== Thesis: Key Dates ===<br />
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Jan 13: deadline, outline and bibliography of thesis<br />
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Jan 25: deadline, 1st chapter of thesis<br />
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March 13: deadline, 1st draft<br />
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May 27: thesis deadline<br />
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=== 13-3-13 ===<br />
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Those of you who have been working in Aymeric's seminar will continue to read and comment on each other's texts<br />
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Those who have not will form a group and read each other's texts<br />
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In both groups the reader communicates to the writer what the text gave them to understand. <br />
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The aim over the next few weeks is to get the draft into good shape ahead of the interim assessment (25 March), by which time the project and the thesis must both have a clear direction and structure.<br />
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If you are unable to make the seminar please give notice of absence<br />
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===1st Draft===<br />
13-3-13<br />
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* [[User:Eleanorg/thesis/draft1.1 | Eleanor 1st draft]]<br />
* [[User: Andre_Castro/2/thesis/draft | Andre 1st draft]]<br />
* [http://pzwart3.wdka.hro.nl/~jvloenen/jasper_thesis.pdf Jasper]<br />
* [http://pzwart3.wdka.hro.nl/wiki/User:Jonas_Lund/superThesis2013 jönås]<br />
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===First chapters Thesis===<br />
25-1-13<br />
* [[User: Astrid van Nimwegen/ Draft 1st Chapter thesis | draft 1st chapter thesis Astrid]]<br />
* [[User: Andre_Castro/2/thesis/intro | Andre - thesis introduction - draft ]]<br />
* [[User: Lucian | Lucian - Thesis 1st Chapter draft ]]<br />
* [[User:Eleanorg/thesisResearch | Eleanor]]<br />
* [[User:Marie_Wocher/Introduction_%2B_1st_chapter | Marie - intro + 1st chapter]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
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===Outline and Bibliography===<br />
16-1-13<br />
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Please make a draft outline ahead of the seminar on Wednesday (one side of A4) and a bibliography. You may want to use your project proposal as a basis for this. <br />
<br />
''Thesis outlines''<br />
<br />
* [[User:Eleanorg/thesisOutline | Eleanor]]<br />
* [[User:Jonas Lund/to2013 | jonas-The5|sOutl¡n3]]<br />
* [[User:Lucian/thesisOutline | Lucian]]<br />
* [[User: Andre_Castro/2/thesis/outline | Andre ]]<br />
* [[Dave_Young_-_Thesis_Proposal | D.Young thesis outline]]<br />
* [[User:Mano Daniel Szollosi/Graduation Thesis | Manó's Thesis outline]]<br />
* [[User:Dennis van Vreden/thesisoutline | Dennis]]<br />
* [[Janis thesis outline | Janis thesis outline]]<br />
* [[User:Marie_Wocher/Thesis_Outline | Thesis Outline Marie]]<br />
* [[User:Demet Adiguzel/Thesis Outline | Demet]]<br />
* [[User:Jasper van Loenen/grad/thesis_outline | Jasper]]<br />
* [[User: Astrid van Nimwegen/Outline thesis | Outline thesis Astrid]]<br />
* [[Javier Lloret - Thesis outline | Javi]]<br />
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<br />
Here are some notes that may help as a guide:<br />
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NOTES ON WRITING A THESIS <br />
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The written thesis is a crucial part of any Master Project and needs to be carefully planned from the start. What follows are some notes to guide you in the construction of your thesis, according to a chosen format. Make use of the guidance available in other informational documents – including the PZI Programme Handbook and the PZI Proposal Guide.<br />
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I. THESIS AIMS<br />
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The main purpose of the thesis is to articulate in writing issues, questions and ideas that inform or shape your practice. <br />
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Think of the thesis, regardless of what form it takes, as a parallel activity to the body of work you are developing for your graduation – a parallel text supported by images. The thesis can combine different kinds of discourse, each of which may have different, yet overlapping, functions (see examples under “Thesis Formats” below). With your writing tutor, you will establish which form of writing is most appropriate for your practice, develop a relationship between writing and practice, and learn to consider your writing as an integral part of your practice, as a medium of reflection and production.<br />
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II. THESIS Formats <br />
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The written thesis is produced in parallel to a Graduate project. It is meant to demonstrate your ability to articulate aesthetic and critical issues that emerge from your practice, as well as historical and theoretical contexts that you are responding to and are aiming to shape. The horizon of the written thesis, like the Graduate project you exhibit as a requirement for graduation, is that it is suitable for publication (i.e. to be read by professionals, peers, and a broader public). The role of the written thesis in relation to exhibited Graduate Project may vary: <br />
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1) It can take the form of a report on practice and research. Here, "research" has an open definition, but one that you must be able to articulate clearly. It will be presented alongside a body of work that is directly addressed in the report.<br />
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2) It can take the form of an analytical essay exploring related artistic, theoretical, historical and critical issues and practices that inform your practice, without necessarily referring to your work directly. The essay will, however, be evaluated against the exhibited body of work, and you will be asked to articulate in the Project Proposal and in the final assessment how your written thesis informs the aesthetic, theoretical and technical choices in your body of work. <br />
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3) The presentation of a text as a body of work is possible, but requires close consultation with your advising tutors and your writing tutors. With this option, you will have to establish whether your Graduate Project and thesis are one and the same, or whether they form two distinct components. The form that your text may take is more open, but you are required to demonstrate research, as well as critical and theoretical mastery of the concepts that inform the choice of form. <br />
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4) A combination of options 1), 2) or 3) is also possible, in which case the text as body of work is distinct from the part that constitutes a report or an analytical essay. In this case, the roles of the different textual materials comprising your thesis should be clearly articulated in your Project Proposal. <br />
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Examples of what the different formats could include, are:<br />
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• a descriptive account of developing ideas, processes and products, along with an analytical critique of your work and its formative processes <br />
• a narrative that traces a web of relationships – contextualizing your work in relation to other practitioners, practices and artworks, situating your work within relevant theoretical, philosophical, aesthetic and other fields of knowledge<br />
• an in-depth reflection on an artistic, literary, historical, critical or other practice which is inspirational to your own<br />
• a more creative or poetic discourse that that may be analogous to, or have structural affinities with, your body of work – shedding light on the themes, methods and visual signs that you have been exploring <br />
• a series of diagrams, tables and visualizations charting the progress of ideas and forms using textual alongside other material<br />
• a piece of artistic writing experimenting with formats of creative writing, authorship or publishing <br />
<br />
III. THESIS REQUIREMENTS<br />
<br />
The thesis presented as part requirement for the award of the Master of Fine Art degree is normally equivalent to not fewer than 7,000 words and not more than 8,000 words. In the case that you choose to combine your Graduate Project and thesis, meaning your entire Graduate Project is text-based, the number of words appropriate to your writing will have to be determined with the Course Director, your advising tutors and your writing tutor. <br />
<br />
With the report on practice and research (option 1) you are required:<br />
<br />
• to provide an analytical account of the development of your work (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to locate your work in relation to appropriate contexts (for example: relevant theories, ideas, historical and/or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the analytical essay (option 2) the requirements are very similar:<br />
<br />
• to provide an analytical account of the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Graduate Project Proposal<br />
• to create appropriate contexts for your practice (for example by writing about relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the text as a body of work (option 3) the requirements are again somewhat similar: <br />
<br />
• to demonstrate, by way of your artistic or experimental writing, an analytical approach to the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to create appropriate contexts for your practice (for example by supplementing your work with an experimental form of writing which develops relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
However, you will need to provide a preface or appendix if your approach does not perform the above.<br />
<br />
<br />
And here is some practical help:<br />
<br />
http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing<br />
<br />
===09-01-13===<br />
thesis outlines<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[Jasper_van_Loenen_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012 | Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal2 | Manó PROPOSAL FOR REASSESSMENT]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_Lund_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]<br />
<br />
=== Documentation process ===<br />
[[Archiving grad projects 2013]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/25-03-2013_-Event_1&diff=42858Calendars:Networked Media Calendar/Networked Media Calendar/25-03-2013 -Event 12013-03-12T14:01:10Z<p>Jonas Lund: </p>
<hr />
<div>Joint2: Integrated Assessment Day 1: 9:30 - 17:30 Mieke Bernink, David Haines, Aymeric Mansoux, Michael Murtaugh, Steve Rushton & Barend Onneweer <br />
<br />
<br />
* '''9:30-10:00''' Janis<br />
* '''10:00-10:30''' Eleanor<br />
* '''10:30-11:00''' Dave<br />
* '''11:00-11:30''' Astrid<br />
* '''11:30-12:00''' Marie<br />
* '''12:00-12:30''' Jasper<br />
* '''12:30-13:00''' Petra <br />
<br />
* '''13:00-14:00''' lunch<br />
<br />
* '''14:00-14:30''' Andre<br />
* '''14:30-15:00''' Jonas<br />
* '''15:00-15:30''' Lucian<br />
* '''15:30-16:00''' Manó<br />
* '''16:00-16:30''' Dennis <br />
* '''16:30-17:00''' Demet<br />
* '''17:00-17:30''' <br />
<br />
<br />
page 31 from the handbook:<br />
<br />
5.7 1.1 Integrated Assessment: Interim Assessment (Trimester 5)<br />
<br />
The third integrated assessment is held in trimester 5 and evolves around the graduation project in progress.<br />
<br />
5.8 Criteria for Integrated Assessment (Trimester 5)<br />
<br />
It is a follow-up to the proposal seminar, and allows all second year students to present their graduation project in progress to each other and their tutors. You will receive personal feedback during the assessment, a written report of the discussion as well as an individual assessment report, in which the tutors present their conclusions and recommendations regarding your progress. The interim assessment is held halfway through the graduation project, normally during the end of your fifth trimester or during the beginning your sixth trimester, leaving you sufficient time to redirect your project or undertake substantial additional work before the graduation assessment, if needed. If there are doubts about the feasibility or quality of your project at a Master level, you will be given clear indicators during this assessment. (see section on resubmission)</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/superThesis2013&diff=42803User:Jonas Lund/superThesis20132013-03-11T12:44:27Z<p>Jonas Lund: Created page with "<div style="width: 720px;"> <h1>Thesis</h1> <h2>Is Social media networks driving artist to become more aware and strategic concerning economy and branding in their practice? ..."</p>
<hr />
<div><div style="width: 720px;"><br />
<h1>Thesis</h1><br />
<br />
<h2>Is Social media networks driving artist to become more aware and strategic concerning economy and branding in their practice? </h2><br />
<br />
<h2>Introduction</h2><br />
Every time we see a sponsored story in our Facebook feeds or a text based advertisement next to our email in the Gmail interface we are reminded that the service we are using is not free, in fact it’s paid for by us surrendering a certain amount of our personal data to the company who’s providing the service. Not only do we realize that the “free” services operate within a very rigid corporate structure, but we’re constantly faced with looking at advertisements promoting brands, which might be relevant to our lives or completely off target. The sheer amount of brand advertisement in our surrounding, both offline and online, is seeping into our lives. Every service we use online is a business in one way or another and its users are increasingly aware that they are being monetized. This thesis aims to question if the business driven social media networks have influenced artists to become more aware of their own branding and the economical and business like strategies employed in their practices. By looking at a selection of recent art works in the last three years by emerging artists working online and how these artists are using entrepreneurial and business minded tactics in their practices, I argue that it’s a necessity to be self managed and that it’s no longer possible to live in the dream of “artist genius” but rather every decision ought to be strategically planned to reach the biggest possible return of investment and that that move has been partly motivated by the social media networks. <br />
<br />
Further, by exploring different ways emerging artists have created business models as art works in the last three years I want to see if there’s actual viable business models emerging and if it is enabling artist to sustain their practice and everyday life financially or if it’s rather functioning as a resource and material for critiquing economical and financial structures? When looking at the example art works, let’s ask three question to determine the potential of both the artworks economical profit possibility and its artistic context.<br />
<br />
1) Is it a viable business model, i.e., is it making money or has the potential of making money?<br />
<br />
2) Is it critically engaging with its own economical context?<br />
<br />
3) What motivated the creation of the business model?<br />
<br />
<h2>Art as a vehicle for business</h2><br />
Artists that attempt to create working business models have been increasingly popular over the last couple of years. The ambition to produce works that functions within a traditional white cube gallery in the contemporary art world and as well generates an actual revenue is a very attractive concept and no wonder artists are exploring this field in numerous ways. Imagine if you can produce a piece of art that’s also self sustaining and generates money, that’s quite a feat. Let’s see if it’s possible to create an actual working business as art by looking at some examples of works, but before going there, let’s define some ground rules for what an art work is and what a successful business is.<br />
<br />
<h3>An Art Work</h3><br />
The definition of an art work I will use throughout this thesis is following the institutional theory of art, initiated by Arthur Danto’s essay “The Artworld” in 1964 and rephrased very specifically by George Dickie in his article "Defining Art” – “A work of art in the classificatory sense is 1) an artifact 2) upon which some person or persons acting on behalf of a certain social institution (the artworld) has conferred the status of candidate for appreciation.”. While the theory has been criticized for being circular, an art work has to be defined as such by an art world, it’s still the most accurate definition of art and will help us throughout this thesis. It’s important to note that the institutional theory of art isn’t discussing the quality of art works, wether it’s good or bad art but rather just defines an work as art as defined by its context within the art world. When we start looking at different business models, it can at times be challenging to discern wether the work is indeed a business or an art work or both and as we shall see it will largely depend on its context and the ambitions of the author. <br />
<br />
<h3>A successful business</h3><br />
A business is a company or organization working with trade of goods or services. Its operations are determined by the business model, which describes the strategies and plans for how the business operates and how the “organization creates, delivers and captures value”. The main goal of a for-profit business is to earn a profit, in other words the annual return of investment should be zero or positive. There’s many different types of businesses, from sole proprietorship to large international corporations. Looking at the Internet start up scene, it’s particularly interesting to notice that in most cases the businesses are not generating a positive return of investment, but rather live on the prospect of either being bought up by one of the major players in the field or to find a sustainable and profitable business model, and that can happen after many years of successful operations in terms of gaining users and investment capital. It is, for example, only recently that Twitter has started to become profitable, with over two hundred million active users and a huge market saturation, it’s amazing to note that they’re only now starting to make a profit, seven years after it’s debut. So it’s important to keep in mind that sometimes the prospect of finding a business model is a viable business plan, if you can back it up with an investment capital and the potential of a large amount of users.<br />
<br />
<h3>Dulltech</h3><br />
DullTech is a company started by Constant Dullaart in 2013. Its first product is a universal media player branded as a “media player for art”, which the artist states will support almost every playable media and will auto play the first found file on a connected usb stick. The media player is set to launch in the early summer of 2013 and will sell for 200 US Dollars. Dullaart points out in the specifications that it’s not only a working media player, but also a piece of art, a relatively cheap piece of art at that. (http://dulltech.com/features/) The company and device was conceived during a residency in She zen in China, the area where the majority of products by the major players in the market are produced, from the iPhone by Apple at Foxconn to the Samsung television sets. Dullaart is appropriating the business strategy of a typical chinese tech company, re-branding a no-name product and selling it under the wing of his newly founded company. Wether the work will be a success is yet to be determined as pre-orders are in the moment being accepted. What’s especially interesting about this piece is that the success of the art work and the success of the business goes hand in hand, if Dullaart manages the sell preorders and raise capital for the minimum required order of 200 devices the product will be launched and sold to institutions and early supporters around the world, if he on the other hand fails in reaching the amount of investments the product will never see the light of day and the media player would live on only as a concept. It’s quite plausible that the business DullTech will succeed, given the reach of the artists network, the relatively cheap investment cost and the utilitarian aspect of the product itself, it might sell fairly well. Determining the seriousness of the business model will always be at stake when exploring artworks as business, and in the case of DullTech there’s certainly a dose of irony in the conceptualization of the piece but never the less a serious investment. The gesture of producing what to many is a very mundane piece of technology, under the slightly ironic name DullTech is in many ways symptomatic of a whole generation of artist working online, relying heavily on irony, Internet references and a fundamental understanding of all the different aspects of the motivations to fully be able to appreciate the work. <br />
<br />
<h3>LoopHole4All</h3><br />
LoopHole4All is the latest project by Italian born and New York based artist Paolo Cirio. The artist hijacked the identities of 200000 shell companies registered in the Cayman Islands through a simple scraping script. On the website loophole4all.com you can purchase a certificate of one of these companies for 99 cents and start using it to send invoices and ultimately use similar tactics to evade taxes as employed by most of the major corporations in the world, “83 of the Fortune 100 companies in the US currently rely on them”. For 49 dollars Cirio is selling a mailbox with a mail rerouting service to redirect all the incoming mail to your own address. Cirio describes the work as a political protest and aims to democratize the possibility to evade taxes and enable corporate tax fraud for the every day man. The nature of the work is of a “hack”, meaning that the actual possibility of using it to evade taxes are slim at best, and functions rather as a way of pointing out the global strategies of finding loopholes in the Internal Revenue Service tax laws and aims to highlight that a change is needed in the economic corporate landscape. The viability of the business model here is on the same level as the actual function of the work itself, meaning that it’s highly unlikely that Cirio will sell a significant amount of certificates intended for it’s original purpose, given the very obvious reason that’s pointed out in one of the comments in The Verge article discussing the piece – “If a company earns revenue in the United States, they must pay USA taxes regardless of where they are domiciled. Cayman entities only are for revenues earned overseas.” So to see the work as anything but a commentary would be a big stretch, and the work then becomes a good example of an artist started business that’s not intended to be a viable business at all but rather aims to critique a certain aspect of society through sensationalism. This motivation can be read early on through the press release of the work, claiming that the piece is based on a hack or corporate identity theft, where it’s in reality just a re-collection of publicly available data as confirmed by a press statement from the Cayman Islands Registry’s Senior Assistant Registrar Donnell Dixon. The strategy employed by Cirio with Loophole4all is similar to a virally driven marketing campaign, by relying on the uncritically of the tech news, using a vocabulary in the in line with the hacking group Anonymous and branding the piece as a hack, Cirio manages to raise a lot of awareness about the piece and consequently the global tax evasion schemes. Cirio summarizes the protest, “[…] the truth doesn't produce any change. People tend to adapt to injustice and absurdity. However, when concrete reality arrives, it is tough and it hurts”.<br />
<br />
<h3>Brad Troemel’s Etsy Store</h3><br />
Branded as the “Internet’s Weirdest Etsy Store” by Gawker in 2012, Brad Troemel’s Etsy store is a mix of common every day objects combined and remixed in atypical ways, posted on the group Tumblr “The Jogging” and then added to the Etsy store as unique piece of art that’s for sale. The items ranges from “vacuum sealed MTV RIFF RAFF dazed and confused cover issue with Celebratory Lemons and Limes (Annies Organic Mac n Cheese w/ Fish Oil Pills)”, “DORITOSLOCOS taco MASTER LOCKED shut (Key Sold Separately) Highly Significant (Consider The Consequences of Tardiness)” – 55 US Dollars, to vacuum sealed Organic Petunia SHAMPOO in blooper sock with Whole Foods FLOWERS (Exquisite Formalism for creative minding) for 35 US Dollars. At the moment, the store has sold 81 items and the prices typically range from 20 to 60 dollars. <br />
<br />
Troemel argues that “[…] art is a conceptual way of making something that already exists more valuable and culturally relevant. I take pride in providing some of the most significantly organic, inscrutably rare, and immeasurably valuable products on Etsy.” The store is selling a combination of highly stylized items that’s as much about the movement and group belonging as it is about art. The notion of using an already existing online market place to distribute and sell your experimental art works instead of relying on the gallery system is a strategic decision by Troemel who says: “Etsy is an effective means to an end. My primary goal is to Sell Sell Sell, and what better place than through my generation's largest art market? Things practically never sell in galleries, one thing here, another thing here. Gallery people get happy when they sell ONE painting in a month. I've sold, like, five things in a week on Etsy.” By circumventing the gallery system, not only does Troemel increase the amount of sales, he’s also tailoring to a very different audience, bridging the gap between the typical Etsy buyer and the contemporary art gallery visitor. The store is an art work first and more of a commentary on the gallery system and the presentation and description of art rather than a long term business plan, the money earned from the 81 sales is more of a positive side effect next to the larger scheme of things. The items typically have encouraging superlatives describing the inherent value of the piece, from “Exquisite Formalism” to “Highly Controversial and Insensitive”, the descriptions aims to add artistic merit and position the pieces as contemporary art within a trades and craft oriented market place. The double context of the work is particularly interesting, where it exists both as a piece of contemporary online art on Thejogging Tumblr and as a commodity for sale in the Etsy. <br />
<br />
<h3>Rafael Rozendaal’s Ad business</h3><br />
Rafaël Rozendaal is a brazilian/dutch artist who’s been active in the net art scene since the early 2000s. Over the years he has produced over 80 unique website pieces that are through sometimes interactive, sometimes very playful ways exploring formalistic aspects of the browser as a canvas. In 2012 the audience across all his websites reached over 40 million unique visitors, which should be considered a huge success in terms of distribution and viewership. While Rozendaal has previously explored different business models as a work of art, in for example his piece “Please Donate”, which is a website with a simple Paypal Donate button, encouraging the viewer to donate a small sum of money to the artist, his most successful business move has been to monetize his online works in a very interesting yet quite typical way. By placing simple Google Ads through Google’s Adsense service on three of his most popular websites, www.papertoilet.com, www.flamingcursor.com and www.misternicehands.com, he earned on average a hundred euros a day throughout 2012. It seems obvious to utilize a strategy that most big websites employ, drive traffic to monetize the viewers through an ad network, but it deserves recognition to execute that move within the field of online art as it’s making a direct link of artistic production and monetization of its users.<br />
<br />
<h3>DIS Images</h3><br />
DIS Images (disimages.com) launched in February 2013 and is a fully functioning stock image library initiated by Dis Magazine (dismagazine.com). They received the first round of funding by being awarded one of the Rhizome commissions in 2011. Dis Magazine is a best described as a collective run life style magazine from a group of friends based in New York, in their own words, a “Post-Internet lifestyle publication about art, fashion and commerce. Creating images, text and video for an online platform, DIS seeks to expand creative economies, and depict a world in which there is no “alternative.”. DIS Images, as pointed out by Brian Droitcour in a Rhizome article, “marks a significant shift in the way artists approach stock photography”, meaning that traditionally stock images are meant to be void of implicit meaning but rather be able to fit anywhere, whereas DIS Images is quite on the contrary. By taking cliche stock image motives as a starting point and juxtaposing them with unpredictable items they aim to “explore the overproduction of images in the commercial photography market and the oversaturation of imagery in search engines and user-generated sites”. DIS Images have invited artists to produce fresh stock images for the collections and so far notable appearances include Timur Si-qin, Katja Novitskova and Bea Fremderman. Next to the images, DIS Images also use a tagging system, for example ‘Future Growth Approximation’ by Novitskova, depicting a zebra in a white cube space with a green upwards pointing arrow added on to the picture next to the zebra, is tagged with Success, Art Gallery Future Post-Human, Radicant, Stock Economics, Evolution, Cute Growth Prosperity, Art Market, Animals and so on, arguing that it’s not the how the tags infuses the image additional meaning, but rather how each image has the potential of many different uses, given the contradictory nature of the tags. Droitcour points out that “DIS Images fits with DIS magazine’s circular treatment of art as a lifestyle brand and fashion photography as a form of conceptual art” and that DIS Images hopes that the images are spread across newspapers, magazine around the world but that it’s primarily a new exploration into distributing and licensing art works. Ultimately DIS Images is positioned as an experimental economic model in the intersection between art and commerce, which has been a reoccurring theme appearing in the magazine. <br />
<br />
<h3> Absolute Vitality Inc.</h3><br />
Absolute Vitality Inc. by the berlin based artist duo Aids3D is a legal company registered by the tax evading shell company Wyoming Corporate Services in 2010. The duo bought the company in 2012 to “function as a special purpose vehicle for their projects”, meaning that they for example can use it to offer collectors a possibility to evade taxes through acquiring stocks in Absolute Vitality Inc. <br />
<br />
<h3>Gifmarket</h3><br />
Gifmarket (gifmarket.net) launched in 2011 and it is a collaboration between the two german artists Kim Asendorf and Ole Fach. It’s a website showing a series of 1024 different gif images, the first one being the most expensive and the 1024th being the cheapest. Asendorf explains “The GIFs show a black line which marks the centre for the 1px large particles rotating around it. #1 is the most unique, it has only 1 pixel flying around, and therefore the most expensive. Down to the end there are so many particles that you can’t see the difference between #950 and #1000.”. Each time a gif is sold the price of every gif on the website is increased, using this formula Price(€) = Total Sales / Number(#) * 16. Up until this point they’ve sold 181 gifs in total for 1,223.68€ with the estimated value of 21,986.87€. Each gif that is sold has the name of the owner underneath as well as a link of choice, so the buyer is not only purchasing a gif but also the opportunity to promote himself on the website, albeit the incoming traffic ought to be very low. <br />
<br />
<br />
<h3> Conclusion</h3><br />
???<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<h2> References</h2><br />
http://frieze.com/issue/article/net-gains/<br />
<br />
http://frieze-magazin.de/archiv/features/warenwahn/?lang=en<br />
young artists embracing the online strategies <br />
<br />
http://hyperallergic.com/66039/selling-out-the-impact-of-corporate-social-media-space-on-art/<br />
Our experience of the internet is an inherently monetary exchange, with web-based businesses profiting directly or indirectly from our accessing of information that others have chosen to make public.<br />
<br />
http://www9.georgetown.edu/faculty/irvinem/visualarts/institutional-theory-artworld.html<br />
<br />
art and labour: http://reginaldshepherd.blogspot.nl/2007/02/marx-labor-and-artist.html<br />
<br />
warhol: http://www.artinfo.com/news/story/36328/the-business-artist-how-andy-warhol-turned-a-love-of-money-into-a-228-million-art-career<br />
<br />
Dali: http://www.youtube.com/watch?v=EycMdz4fC0w<br />
<br />
DIS: http://rhizome.org/editorial/2013/mar/5/businesslike-dis/<br />
http://rhizome.org/commissions/proposal/2292/<br />
http://disimages.com/photos/view/276<br />
<br />
http://books.google.nl/books/about/Should_the_artist_become_a_man_of_the_wo.html?id=xbPyZwEACAAJ&redir_esc=y<br />
<br />
http://www.theatlantic.com/magazine/archive/2012/05/a-portrait-of-the-artist-as-a-young-brand/308933/<br />
<br />
http://www.economist.com/node/499033<br />
<br />
Twitter profits<br />
http://articles.latimes.com/2013/jan/11/business/la-fi-tn-did-vc-fred-wilson-just-tell-us-twitter-is-profitable-20130111<br />
<br />
Loophole4all<br />
http://www.theverge.com/2013/2/26/4031516/wanna-buy-a-loophole-paolo-cirio-makes-corporate-identity-theft-into<br />
<br />
http://www.fastcompany.com/3005965/200000-caymans-corporations-hacked-art-project<br />
<br />
http://www.cayman27.com.ky/2013/02/18/hacker-claims-cayman-breach<br />
<br />
http://www.compasscayman.com/caycompass/2013/02/20/Artist-sells-fake-Cayman-company-certificates/<br />
<br />
Etsy & Jogging<br />
http://www.huffingtonpost.com/2012/07/26/artist-brad-troemel-on-etsy_n_1703285.html<br />
<br />
http://gawker.com/5922870/taco-locks-and-other-delights-from-the-internets-weirdest-etsy-store/gallery/1<br />
<br />
http://www.papermag.com/2012/07/brad_troemel.php<br />
<br />
http://thejogging.tumblr.com/<br />
<br />
Gifmarket<br />
http://notfig.garethfoote.co.uk/gifmarket-selling-a-gif-as-an-artwork/<br />
<br />
http://thecreatorsproject.com/blog/patronize-digital-art-buy-a-gif-at-gif-market<br />
<br />
Absolute Vitality Inc.<br />
http://www.neueraachenerkunstverein.de/content/2012/ausstellungen/aids-3d-dan-kellernik-kosmas/?lang=en<br />
http://luxuryinprogress.com/corporate-takeover/<br />
</div><br />
<br />
__NOINDEX__<br />
__NOTOC__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=42802User:Jonas Lund2013-03-11T12:40:07Z<p>Jonas Lund: /* 2012 */</p>
<hr />
<div>=2012/2013=<br />
*[[User:Jonas Lund/superThesis2013 | SuperThesisDRAFTit]]<br />
*[[User:Jonas Lund/to2013 | The5|sOutl¡n3]]<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=42801User:Jonas Lund2013-03-11T12:39:56Z<p>Jonas Lund: /* 2012 */</p>
<hr />
<div>=2012=<br />
*[[User:Jonas Lund/superThesis2013 | SuperThesisDRAFTit]]<br />
*[[User:Jonas Lund/to2013 | The5|sOutl¡n3]]<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Students&diff=42800Students2013-03-11T12:39:18Z<p>Jonas Lund: /* 2011/2013 */</p>
<hr />
<div>__NOTOC__<br />
<br />
=== 2012/2014 ===<br />
* [[User:M.|Michaela Lakova]]<br />
* [[User:Lassebosch|Lasse van den Bosch Christensen]]<br />
* [[User:Joak|Joak]]<br />
* [[User:Marlon|Marlon Harder]]<br />
* [[User:Menno_Harder|Menno Harder]]<br />
* [[User:Mathijs_van_Oosterhoudt|Mathijs van Oosterhoudt]]<br />
* [[User:Roelroscama|Rrrrrrroellll]]<br />
* [[User:Yoana Buzova|<font color="black">Yoana Buzova</font>]]<br />
* [[User:Nicole Hametner|Nicole Hametner]]<br />
* [[User:Nan Wang|Nan Wang]]<br />
* [[User:Zigbe|Ceatnao Cavrahlo]]<br />
* [[User:Niek Hilkmann|Niek Hilkmann]]<br />
* [[User:Mths|mmths]]<br />
<table width="100%"><br />
<tr><br />
<br />
<td width="50%" valign="top"><br />
<br />
== Networked Media ==<br />
<br />
<br />
=== 2011/2013 ===<br />
* [[User:Jasper van Loenen|Jasper van Loenen]]<br />
* [[User:Jonas Lund |Jonas]]<br />
* (ǝƃuɐɥɔxǝ) [[User:sebastians | ƃǝıɯɥɔs uɐıʇsɐqǝs]]<br />
* [[User:Silviolorusso | Silvio Lorusso]] (sort of exchange :P)<br />
* [[User:eleanorg|Eleanor Greenhalgh]]<br />
* [[User:Petra Milicki|Petra Milicki]]<br />
* [[User: Andre Castro|Andre Castro]]<br />
* [[Image:Dave.gif|link=User:Dave Young]]<br />
* [[User:Marie Wocher | Marie Wocher]]<br />
* (exchange) [[User:grrrreat | Bartholomäus Traubeck]]<br />
<span style="float:right;">[[Image:Bug.gif]]</span><br />
<br />
=== 2010/2012 ===<br />
* [[User:Amy Suo Wu|Amy Suo Wu]]<br />
* [[User:Danny van der Kleij|Danny van der Kleij]]<br />
* [[User:Dusan Barok|Dusan Barok]]<br />
* [[User:Fako_Berkers|Fako Berkers]]<br />
* [[User:Inge Hoonte|Inge Hoonte]]<br />
* [[User:Laura Macchini|Laura Macchini ]]<br />
* [[User:Laurier Rochon|Laurier Rochon]]<br />
* [[User:Lieven Van Speybroeck|Lieven Van Speybroeck]]<br />
* [[User:Mirjam Dissel|Mirjam Dissel]]<br />
* (exchange) [[User:Fabien Labeyrie|Fabien Labeyrie]]<br />
* (exchange) [[User:Natasa Siencnik|Natasa Siencnik]]<br />
* (partial) [[User:Tolga Ozuygur|Tolga Ozuygur]]<br />
* (partial) [[User:Yiorgos Bagakis|Yiorgos Bagakis]]<br />
<br />
=== 2009/2011 ===<br />
* [[User:Albert Jongstra|Albert Jongstra]]<br />
* [[User:Birgit_bachler|Birgit Bachler]]<br />
* [[User:Darija Medic|Darija Medic]]<br />
* [[User:Megan_Hoogenboom|Megan Hoogenboom]]<br />
* [[User:Ozalp Eroz|Ozalp Eroz]]<br />
* [[User:Renee_Oldemonnikhof|Renee Oldemonnikhof]]<br />
</td><br />
<br />
<td width="50%" valign="top"><br />
<br />
== Lens-Based Media ==<br />
<br />
=== 2011/2013 ===<br />
*[[User:Demet Adiguzel|Demet Adiguzel]]<br />
*[[User:Dennis van Vreden|<font color="hotpink">Dennis van Vreden</font>]]<br />
*[[User:Javier Lloret|Javier Lloret]]<br />
*[[User:Janis Klimanovs|Janis Klimanovs]]<br />
*[[User:Astrid van Nimwegen|Astrid van Nimwegen]]<br />
*[[User:Mano Daniel Szollosi|<font color="green">Mano Daniel Szollosi</font>]]<br />
*[[User:Lucian Wester|Lucian Wester]]<br />
<br />
=== 2010/2012 ===<br />
*[[User:Sebastian Cimpean|Sebastian Cimpean]]<br />
*[[User:Luis Soldevilla|Luis Soldevilla]]<br />
*[[User:Quinten Swagerman|Quinten Swagerman]]<br />
*[[User:Zhang Yan|<font color="red">Zhang Yan</font>]]<br />
*[[User:Lena Mueller|Lena Mueller]]<br />
*[[User:Loes van Dorp|Loes van Dorp]]<br />
*[[User:Laura Sicouri|Laura S]]<br />
*[[User:Kadavrexquis|Kadavrexquis]]<br />
*[[User:Daan Bunnik|Daan Bunnik]]<br />
*[[User:Tomas Navarro|Tomas Navarro]]<br />
</td><br />
<br />
</tr><br />
</table><br />
<br />
== XXXX-TEMPLATE-XXXX ==<br />
* [[User:Luther_Blissett|Luther Blissett]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=39933Graduate Research Seminar 2012/20132013-01-09T04:28:20Z<p>Jonas Lund: /* 09-01-13 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
=== Thesis: Key Dates ===<br />
<br />
<br />
Jan 13: deadline, outline and bibliography of thesis<br />
<br />
Jan 25: deadline, 1st chapter of thesis<br />
<br />
March 13: deadline, 1st draft<br />
<br />
May 27: thesis deadline<br />
<br />
<br />
Please make a draft outline ahead of the seminar on Wednesday (one side of A4) and a bibliography. You may want to use your project proposal as a basis for this. <br />
<br />
Here are some notes that may help as a guide:<br />
<br />
<br />
<br />
NOTES ON WRITING A THESIS <br />
<br />
The written thesis is a crucial part of any Master Project and needs to be carefully planned from the start. What follows are some notes to guide you in the construction of your thesis, according to a chosen format. Make use of the guidance available in other informational documents – including the PZI Programme Handbook and the PZI Proposal Guide.<br />
<br />
<br />
<br />
I. THESIS AIMS<br />
<br />
The main purpose of the thesis is to articulate in writing issues, questions and ideas that inform or shape your practice. <br />
<br />
Think of the thesis, regardless of what form it takes, as a parallel activity to the body of work you are developing for your graduation – a parallel text supported by images. The thesis can combine different kinds of discourse, each of which may have different, yet overlapping, functions (see examples under “Thesis Formats” below). With your writing tutor, you will establish which form of writing is most appropriate for your practice, develop a relationship between writing and practice, and learn to consider your writing as an integral part of your practice, as a medium of reflection and production.<br />
<br />
II. THESIS Formats <br />
<br />
The written thesis is produced in parallel to a Graduate project. It is meant to demonstrate your ability to articulate aesthetic and critical issues that emerge from your practice, as well as historical and theoretical contexts that you are responding to and are aiming to shape. The horizon of the written thesis, like the Graduate project you exhibit as a requirement for graduation, is that it is suitable for publication (i.e. to be read by professionals, peers, and a broader public). The role of the written thesis in relation to exhibited Graduate Project may vary: <br />
<br />
1) It can take the form of a report on practice and research. Here, "research" has an open definition, but one that you must be able to articulate clearly. It will be presented alongside a body of work that is directly addressed in the report.<br />
<br />
2) It can take the form of an analytical essay exploring related artistic, theoretical, historical and critical issues and practices that inform your practice, without necessarily referring to your work directly. The essay will, however, be evaluated against the exhibited body of work, and you will be asked to articulate in the Project Proposal and in the final assessment how your written thesis informs the aesthetic, theoretical and technical choices in your body of work. <br />
<br />
3) The presentation of a text as a body of work is possible, but requires close consultation with your advising tutors and your writing tutors. With this option, you will have to establish whether your Graduate Project and thesis are one and the same, or whether they form two distinct components. The form that your text may take is more open, but you are required to demonstrate research, as well as critical and theoretical mastery of the concepts that inform the choice of form. <br />
<br />
4) A combination of options 1), 2) or 3) is also possible, in which case the text as body of work is distinct from the part that constitutes a report or an analytical essay. In this case, the roles of the different textual materials comprising your thesis should be clearly articulated in your Project Proposal. <br />
<br />
Examples of what the different formats could include, are:<br />
<br />
• a descriptive account of developing ideas, processes and products, along with an analytical critique of your work and its formative processes <br />
• a narrative that traces a web of relationships – contextualizing your work in relation to other practitioners, practices and artworks, situating your work within relevant theoretical, philosophical, aesthetic and other fields of knowledge<br />
• an in-depth reflection on an artistic, literary, historical, critical or other practice which is inspirational to your own<br />
• a more creative or poetic discourse that that may be analogous to, or have structural affinities with, your body of work – shedding light on the themes, methods and visual signs that you have been exploring <br />
• a series of diagrams, tables and visualizations charting the progress of ideas and forms using textual alongside other material<br />
• a piece of artistic writing experimenting with formats of creative writing, authorship or publishing <br />
<br />
III. THESIS REQUIREMENTS<br />
<br />
The thesis presented as part requirement for the award of the Master of Fine Art degree is normally equivalent to not fewer than 7,000 words and not more than 8,000 words. In the case that you choose to combine your Graduate Project and thesis, meaning your entire Graduate Project is text-based, the number of words appropriate to your writing will have to be determined with the Course Director, your advising tutors and your writing tutor. <br />
<br />
With the report on practice and research (option 1) you are required:<br />
<br />
• to provide an analytical account of the development of your work (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to locate your work in relation to appropriate contexts (for example: relevant theories, ideas, historical and/or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the analytical essay (option 2) the requirements are very similar:<br />
<br />
• to provide an analytical account of the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Graduate Project Proposal<br />
• to create appropriate contexts for your practice (for example by writing about relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
With the text as a body of work (option 3) the requirements are again somewhat similar: <br />
<br />
• to demonstrate, by way of your artistic or experimental writing, an analytical approach to the development of artistic practice, theoretical, historical or cultural phenomena (thinking processes as well as material processes) in relation to the aims and objectives identified in your Project Proposal<br />
• to create appropriate contexts for your practice (for example by supplementing your work with an experimental form of writing which develops relevant theories, ideas, historical or contemporary art and design practices)<br />
• to evaluate critically your body of work as a whole, against clearly formulated criteria<br />
<br />
However, you will need to provide a preface or appendix if your approach does not perform the above.<br />
<br />
<br />
And here is some practical help:<br />
<br />
http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing<br />
<br />
===09-01-13===<br />
''Thesis outlines''<br />
<br />
* [[User:Eleanorg/thesisOutline | Eleanor]]<br />
* [[User:Jonas Lund/to2013 | jonas-The5|sOutl¡n3]]<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[Jasper_van_Loenen_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012 | Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_Lund_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/to2013&diff=39932User:Jonas Lund/to20132013-01-09T04:27:21Z<p>Jonas Lund: /* Outline */</p>
<hr />
<div>=Thesis=<br />
<br />
==Summary==<br />
My thesis will explore how the art market and the art world is ranking and evaluating art and contrast, compare and juxtapose that with algorithmic based evaluation and recommendation strategies.<br />
<br />
==Outline==<br />
*How is artist and art works ranked and how can they be compared with each other?<br />
*Can art be categorized into an art-genome? You like this piece, therefor you will also like this piece.<br />
*What kind of aspects does the art market share with the stock market? <br />
*Is there a formula for a successful piece and a strategic art career move?<br />
*Case-studies, Artfacts, Art.sy, S[Edition], Artstack, Mutual Art<br />
<br />
==Bibliography / References==<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
(others)<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/to2013&diff=39931User:Jonas Lund/to20132013-01-09T04:27:03Z<p>Jonas Lund: Created page with "=Thesis= ==Summary== My thesis will explore how the art market and the art world is ranking and evaluating art and contrast, compare and juxtapose that with algorithmic base..."</p>
<hr />
<div>=Thesis=<br />
<br />
==Summary==<br />
My thesis will explore how the art market and the art world is ranking and evaluating art and contrast, compare and juxtapose that with algorithmic based evaluation and recommendation strategies.<br />
<br />
==Outline==<br />
How is artist and art works ranked and how can they be compared with each other?<br />
Can art be categorized into an art-genome? You like this piece, therefor you will also like this piece.<br />
What kind of aspects does the art market share with the stock market? <br />
Is there a formula for a successful piece and a strategic art career move?<br />
Case-studies, Artfacts, Art.sy, S[Edition], Artstack, Mutual Art<br />
<br />
==Bibliography / References==<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
(others)<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=39930User:Jonas Lund2013-01-09T04:26:07Z<p>Jonas Lund: /* 2012 */</p>
<hr />
<div>=2012=<br />
*[[User:Jonas Lund/to2013 | The5|sOutl¡n3]]<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/gradprop2012&diff=39828User:Jonas Lund/gradprop20122013-01-06T16:33:43Z<p>Jonas Lund: </p>
<hr />
<div>=The Paintshop Version 2=<br />
<br />
==General Introduction==<br />
My wish is to create a microcosms version of the art world at large by building a new version of the Paintshop.biz. The new version will build on the previous one and include, next to a tool for artistic production, an artist/artwork ranking system, a market place/auction house and a gallery system. <br />
<br />
The art world works by rather opaque mechanisms, how can one work of art be more relevant or worth compared to a seemingly very similar work. Clearly it’s a combination of many factors that determines an artist worth and thus his body of work, including the amount of shows, the artistic research, how well the work performs at auctions, how ‘collectible’ the work is and how socially capable the artist is. That’s all and well, but how does it actually work? I’m deeply interested in all different parameters which are used to evaluate an artist and want to explore this by making my own ranking system within my own system.<br />
<br />
With the Paintshop I want to make a version of the art world, which is transparent in its production and evaluation processes to determine wether there’s a possibility to make a better system and put focus on the different aspects how we look and judge art. Similar to what Google did with their ‘PageRank’ for determining the usefulness of search results to a query, I want to build a system, which can automatically evaluate and independently distribute art produced within the Paintshop to give artists an alternative to the art world at large and to build a system, in which there’s a real possibility of earning a buck.<br />
<br />
==Relation to previous practice==<br />
The Paintshop.biz version 1.0 is a real time collaborative painting tool offering possibilities to sell artworks and buy great pieces of art for very competitive prices. All the painters share the same canvas. The painting can at any time be signed by one of the painters, who then becomes the owner of the piece. When the painting is signed, the canvas is cleared for all the other painters, and another painting can be produced.<br />
<br />
The signed painting is for sale in the gallery in an edition of one. When the painting is sold, it's shipped to the buyer printed on high quality canvas (40x50cm) and the money, minus production costs and gallery commission (50%), is transferred to the owner. <br />
<br />
The price of each painting is calculated using the Paintshop Rank™ algorithm which analyzes a combination of the Artfacts ranking of the author, the popularity of the artwork itself, Facebook Likes, Retweets, Google PageRank, how old the painting is, if it’s sold, has it been in a show, and is updated daily.<br />
<br />
The Paintshop.biz is successful in the collaborative creational process, which since launched has produced well over 3,000 paintings but performs rather poorly in regards of sales, at the time of writing only 3 paintings have been sold. The result of The Paintshop.biz offered up new problems in relation to my and many others artistic practices; how to find a sustainable financial model that can support further cultural production. In the Paintshop.biz the main incentive for production was a possibility to get rewarded by a potential sale in the market, but as the realization that the sale was rather unlikely to happen the production rate went down. <br />
<br />
==Relation to a larger context==<br />
Building my own microcosm version of the art world relates to a larger context by a set of different aspects. Primarily it can be collected into three categories, Production, Evaluation and Distribution. <br />
<br />
Notable examples within the net art field in relation to distribution are the Art Micro Patronage initiative, which started with a series of online exhibitions exploring micro payments as a way of supporting artist and their works. Notably the C.R.E.A.M exhibition, curated by Lindsay Howard with an attached essay, explores some of the problematics with monetizing net art. The exhibition raised over 200 US dollars through micro payments by the community, which doesn’t sound like a lot, but should be considered as at least a successful attempt at monetizing the viewing and consumption of net art.<br />
<br />
In May this year Creatorsproject explored the digital art market through a series of essays and interviews, isolating different problems. Does the digital art market need to relate to the larger established art market? <br />
<br />
In 2008, Academy Of Art And Design published a collection of essays in the book ‘Owning Online Art, Selling And Collecting netbased artworks’, which explores problematics with selling, distributing and moneizting net art as well as the current collections of net art and active galleries dealing/selling net art.<br />
<br />
In terms of evaluation the most important service is Artfacts.net, which is the leading artist ranking service. They are ranking artist from high to low, starting with Andy Warhol on position number 1, and they keep track of up to 300,000 artist. They’re using a combination of exhibitions and auction performance in their ranking system. The more shows at respectable institutions and galleries, the higher ranked you will become. <br />
<br />
Algorithmic based evaluation and recommendation engines are incredibly interesting in terms how to evaluate data, especially how Google ranks their search queries, how Art.sy recommends works of art based on your taste-profile, how Netflix can know what you want to watch next based on what you just saw and rated. They’re all using similar techniques for quantifying a taste profile and evaluating what you want next. <br />
<br />
Next to the technical algorithmic side of things, there’s plenty of art evaluation services, who will on demand give you an estimate price for any piece art. What kind of aspects are they evaluating when giving a you a price. A notable example is Mutual Art (http://mutualart.com).<br />
<br />
<br />
==Timeline==<br />
* Sep–Nov, Research<br />
* Nov–Dec, Building the new version.<br />
* Dec, Create a Paintshop Exhibition at the Van Abbe Museum to engage with bigger and more diverse audience.<br />
* Dec, Prepare a presentation with the background, research and conclusions at the time, to engage and get feedback.<br />
* Mid Jan, Launch V2 Beta at Eyebeam Annual Showcase with an accompanying exhibition showcasing some of the works produced.<br />
* Mid Jan, organize a panel discussion – ‘How To Make Money Online’<br />
* Feb, Evaluate, Iterate, Update, Improve.<br />
* March, present V2 together with Baltan Labs at Van Abbe Museum, with a drawing workshops.<br />
* March–May, Write Thesis<br />
* May–June, Prepare different forms of how the Painthshop V2 can be presented within the graduation exhibition<br />
<br />
==References==<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
(others)<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index<br />
<br />
<br />
==Works in reference==<br />
* http://www.caleblarsen.com/projects/a-tool-to-deceive-and-slaughter/<br />
* http://www.scratchingonthings.com/works/001/<br />
* http://www.milliondollarhomepage.com/<br />
* http://eyebeam.org/projects/p2p-gift-credit-card-gift-finance<br />
* http://www.kmikeym.com/<br />
<br />
<br />
==Update==<br />
<div id="update"></div><br />
The Paintshop V2 is an ironic build of the art world as a game. It will function as a game model of the art world, syndicating a similar systematic setup, while at the same time be disconnected from it. <br />
<br />
The Paintshop V2 is a way to explore how the art world system works, by building the different parts of the art world into the Paintshop V2 and engage the community to become the players of this art world game. Compared to the first version of the Paintshop, which was largely illustrating that the idea of collaborative painting as a model for production, the new version will include more ways for the users to engage with the system and a stronger focus on gamification.<br />
<br />
A central piece to Paintshop V2 is its evaluation algorithm, the Paintrank, and by being transparent in how the algorithm is ranking the art produced in the Paintshop, the consequences of the evaluation becomes clear and open for manipulation. With the new version, the users has to sign in through Facebook to access the painting tool, so their identity can be more or less guaranteed, thus taking the ranking to a new level with the possibility of using their ‘real’ person’s qualities and achievements as factors in the ranking. <br />
<br />
The Paintshop V2 is an economic and artistic end game, where the ranking of the artists and the works produces becomes the backdrop for monetization and the better your perform, the more money you will make. A self-contained microcosms with real life economic consequences.</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=38477Graduate Research Seminar 2012/20132012-12-06T16:58:37Z<p>Jonas Lund: /* 20-11-12 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[Jasper_van_Loenen_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012 | Andre_Castro_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_Lund_Graduation_Project_Proposal_Final_version_05.12.2012_2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/gradprop2012&diff=38476User:Jonas Lund/gradprop20122012-12-06T16:57:47Z<p>Jonas Lund: </p>
<hr />
<div>=The Paintshop Version 2=<br />
<br />
==General Introduction==<br />
My wish is to create a microcosms version of the art world at large by building a new version of the Paintshop.biz. The new version will build on the previous one and include, next to a tool for artistic production, an artist/artwork ranking system, a market place/auction house and a gallery system. <br />
<br />
The art world works by rather opaque mechanisms, how can one work of art be more relevant or worth compared to a seemingly very similar work. Clearly it’s a combination of many factors that determines an artist worth and thus his body of work, including the amount of shows, the artistic research, how well the work performs at auctions, how ‘collectible’ the work is and how socially capable the artist is. That’s all and well, but how does it actually work? I’m deeply interested in all different parameters which are used to evaluate an artist and want to explore this by making my own ranking system within my own system.<br />
<br />
With the Paintshop I want to make a version of the art world, which is transparent in its production and evaluation processes to determine wether there’s a possibility to make a better system and put focus on the different aspects how we look and judge art. Similar to what Google did with their ‘PageRank’ for determining the usefulness of search results to a query, I want to build a system, which can automatically evaluate and independently distribute art produced within the Paintshop to give artists an alternative to the art world at large and to build a system, in which there’s a real possibility of earning a buck.<br />
<br />
==Relation to previous practice==<br />
The Paintshop.biz version 1.0 is a real time collaborative painting tool offering possibilities to sell artworks and buy great pieces of art for very competitive prices. All the painters share the same canvas. The painting can at any time be signed by one of the painters, who then becomes the owner of the piece. When the painting is signed, the canvas is cleared for all the other painters, and another painting can be produced.<br />
<br />
The signed painting is for sale in the gallery in an edition of one. When the painting is sold, it's shipped to the buyer printed on high quality canvas (40x50cm) and the money, minus production costs and gallery commission (50%), is transferred to the owner. <br />
<br />
The price of each painting is calculated using the Paintshop Rank™ algorithm which analyzes a combination of the Artfacts ranking of the author, the popularity of the artwork itself, Facebook Likes, Retweets, Google PageRank, how old the painting is, if it’s sold, has it been in a show, and is updated daily.<br />
<br />
The Paintshop.biz is successful in the collaborative creational process, which since launched has produced well over 3,000 paintings but performs rather poorly in regards of sales, at the time of writing only 3 paintings have been sold. The result of The Paintshop.biz offered up new problems in relation to my and many others artistic practices; how to find a sustainable financial model that can support further cultural production. In the Paintshop.biz the main incentive for production was a possibility to get rewarded by a potential sale in the market, but as the realization that the sale was rather unlikely to happen the production rate went down. <br />
<br />
==Relation to a larger context==<br />
Building my own microcosm version of the art world relates to a larger context by a set of different aspects. Primarily it can be collected into three categories, Production, Evaluation and Distribution. <br />
<br />
Notable examples within the net art field in relation to distribution are the Art Micro Patronage initiative, which started with a series of online exhibitions exploring micro payments as a way of supporting artist and their works. Notably the C.R.E.A.M exhibition, curated by Lindsay Howard with an attached essay, explores some of the problematics with monetizing net art. The exhibition raised over 200 US dollars through micro payments by the community, which doesn’t sound like a lot, but should be considered as at least a successful attempt at monetizing the viewing and consumption of net art.<br />
<br />
In May this year Creatorsproject explored the digital art market through a series of essays and interviews, isolating different problems. Does the digital art market need to relate to the larger established art market? <br />
<br />
In 2008, Academy Of Art And Design published a collection of essays in the book ‘Owning Online Art, Selling And Collecting netbased artworks’, which explores problematics with selling, distributing and moneizting net art as well as the current collections of net art and active galleries dealing/selling net art.<br />
<br />
In terms of evaluation the most important service is Artfacts.net, which is the leading artist ranking service. They are ranking artist from high to low, starting with Andy Warhol on position number 1, and they keep track of up to 300,000 artist. They’re using a combination of exhibitions and auction performance in their ranking system. The more shows at respectable institutions and galleries, the higher ranked you will become. <br />
<br />
Algorithmic based evaluation and recommendation engines are incredibly interesting in terms how to evaluate data, especially how Google ranks their search queries, how Art.sy recommends works of art based on your taste-profile, how Netflix can know what you want to watch next based on what you just saw and rated. They’re all using similar techniques for quantifying a taste profile and evaluating what you want next. <br />
<br />
Next to the technical algorithmic side of things, there’s plenty of art evaluation services, who will on demand give you an estimate price for any piece art. What kind of aspects are they evaluating when giving a you a price. A notable example is Mutual Art (http://mutualart.com).<br />
<br />
<br />
==Timeline==<br />
* Sep–Nov, Research<br />
* Nov–Dec, Building the new version.<br />
* Dec, Create a Paintshop Exhibition at the Van Abbe Museum to engage with bigger and more diverse audience.<br />
* Dec, Prepare a presentation with the background, research and conclusions at the time, to engage and get feedback.<br />
* Mid Jan, Launch V2 Beta at Eyebeam Annual Showcase with an accompanying exhibition showcasing some of the works produced.<br />
* Mid Jan, organize a panel discussion – ‘How To Make Money Online’<br />
* Feb, Evaluate, Iterate, Update, Improve.<br />
* March, present V2 together with Baltan Labs at Van Abbe Museum, with a drawing workshops.<br />
* March–May, Write Thesis<br />
* May–June, Prepare different forms of how the Painthshop V2 can be presented within the graduation exhibition<br />
<br />
==References==<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
(others)<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index<br />
<br />
<br />
==Works in reference==<br />
* http://www.caleblarsen.com/projects/a-tool-to-deceive-and-slaughter/<br />
* http://www.scratchingonthings.com/works/001/<br />
* http://www.milliondollarhomepage.com/<br />
* http://eyebeam.org/projects/p2p-gift-credit-card-gift-finance<br />
* http://www.kmikeym.com/</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=38451Graduate Research Seminar 2012/20132012-12-06T12:30:07Z<p>Jonas Lund: /* 20-11-12 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre - v.3]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie_Wocher_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=38433Graduate Research Seminar 2012/20132012-12-06T09:26:31Z<p>Jonas Lund: /* 20-11-12 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre - v.3]]<br />
* [[User: Astrid van Nimwegen/Graduation_Project_Proposal_Final version_05.12.2012_2012 | Astrid]]<br />
* [[ Javier Lloret Graduation Project Proposal Final version 05.12.2012 | Javier_Lloret_Graduation_Project_Proposal_Final_version_05.12.2012]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie]]<br />
* [[Janis project proposal | <font color="hotblue">Janis_ Graduation_Project_Proposal_Final version_05.12.2012</font>]]<br />
* [[Eleanor_Greenhalgh_ Graduation_Project_Proposal_Final version_05.12.2012_2012 | Eleanor]]<br />
* [[Petra_Milicki_Graduation_Project_Proposal_Final_version_05.12.2012 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis - Grad Project Proposal - Final Version 28.11.2012</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[Lucian_Wester_Graduation_Project_Proposal_Final version_05.12.2012_2012 | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas_ Graduation_Project_Proposal_Final version_05.12.2012]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=38220Graduate Research Seminar 2012/20132012-12-02T19:10:26Z<p>Jonas Lund: /* 20-11-12 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre - v.3]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid]]<br />
* [[Javier Lloret - Final Project Proposal | Javi]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie]]<br />
* [[Janis project proposal | <font color="hotblue">Janis</font>]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | Eleanor]]<br />
* [[19/11/12 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/grad/draft_proposal | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Draft Project Proposal]]<br />
* [[User:Jonas Lund/gradprop2012 | Jonas]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Graduate_Research_Seminar_2012/2013&diff=38219Graduate Research Seminar 2012/20132012-12-02T19:09:12Z<p>Jonas Lund: /* 20-11-12 */</p>
<hr />
<div>==The Past==<br />
View 2011/2012 Graduate Research Seminar documentation here => [[Graduate Research Seminar 2011/2012]]<br/><br />
View Research Methodologies Seminar documentation here => [[Reading,_Writing_%26_Research_Methodologies_2011/2012]]<br />
<br />
==2012/2013==<br />
<br />
===20-11-12===<br />
''Proposal Presentations''<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre - v.3]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid]]<br />
* [[Javier Lloret - Final Project Proposal | Javi]]<br />
* [[User:Marie Wocher/Draft_Proposal | Marie]]<br />
* [[Janis project proposal | <font color="hotblue">Janis</font>]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | Eleanor]]<br />
* [[19/11/12 | Petra]]<br />
* [[User:Dennis van Vreden/proposal1 | <font color="hotpink">Dennis</font>]]<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/grad/draft_proposal | Lucian]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Draft Project Proposal]]<br />
* [[User:Jonas Lund/projectoutline2012 | Jonas]]<br />
<br />
===7-11-12===<br />
<br />
Individual tutorials. Bring latest draft of proposal.<br />
Use proposal outline below as template.<br />
<br />
===10-10-12===<br />
<br />
<br />
'''Plan for weeks leading to autumn break.'''<br />
<br />
'''10-10-12''' Individual tutorials with Steve all day. <br />
Agenda: We will look at the texts you have compiled over the past few weeks and plan a (very) rough draft proposal (go to [[Calendars:Networked_Media_Calendar]] to book place – and check the proposal outline below).<br />
<br />
'''17-10-12''' Before we take a break we will look at our (very) rough drafts and discuss how you we can build on what you have.<br />
<br />
===03-10-12===<br />
<br />
Things to get together for Wednesday’s seminar<br />
<br />
'''To all:''' follow Aymeric’s advice and identify key words; remember that the writing and study you did last year in the methods sem is a resource that you can draw on as you gather material for your proposal and thesis. <br />
<br />
'''Demet:''' Make descriptions of recent projects (what) <br />
<br />
'''Astrid:''' Bring descriptions together and describe method<br />
<br />
'''Dennis:''' Bring descriptions together, describe method, make plan<br />
<br />
'''Marie:''' describe recent projects, relation to last year’s annotations and essays (there is a strong connection there that needs articulating)<br />
<br />
'''Jasper:''' look at why and how; extend on things you have made before and make link to essay and annotations<br />
<br />
'''Janis:''' descriptions of work; points of connection; description of how method is developing; also, re the digital image as coded image, Simon advises you check<br />
<br />
http://www.davidbordwell.net/books/pandora.php<br />
and the blog:<br />
http://www.davidbordwell.net/blog/<br />
see also Objectivity by Galison, Steve has copy<br />
<br />
'''Mano:''' Analyse descriptions and try to make an overview which will describe method; emphasis on why and how; link to annotations and essays <br />
<br />
'''Dave:''' articulate connections to practical projects; identify separate themes in your workshop proposal and ask how different concerns are best addressed; what is the role of the audience and what is the role of the experiment? => [[Dave_Young_-_Workshop_themes | workshop themes]]<br />
<br />
'''Petra:''' Analyse work patterns (describe practice) and relate it to your essays, annotations and notes from last year. <br />
<br />
'''Eleanor:''' articulate method, link to annotations and essays from yr1<br />
<br />
'''Andre: ''' identify keywords, processes and interests' link to work - [[User:Andre_Castro/2.1/semniar-2012-10-03-assignment | text]]<br />
<br />
===19-09-12 Seminar===<br />
<br />
[[Project Proposal Outline]]<br />
<br />
[[Three stages to proposal]]<br />
<br />
===Assignments 1st Trimester===<br />
====Assignments 17 October 2012====<br />
* [[User:Mano Daniel Szollosi/Graduation Project Proposal | Manó]]<br />
* [[User:Lucian Wester/draft gradProposal | Lucian]]<br />
* [[User:Astrid van Nimwegen/draft gradproposal | Astrid - draft project graduation proposal]]<br />
* [[User:Astrid van Nimwegen/2nd draft gradproposal | Astrid - 2nd draft project graduation proposal]]<br />
* [[User:Jasper van Loenen/grad/draft_proposal_v2 | Jasper]]<br /><br />
*<font color="hotblue">[[Janis project proposal | <font color="hotblue">Janis]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-summary | Andre Draf proposal]]<br />
* [[User:Eleanorg/2.1/gradProposal1 | eleanor draft proposal]]<br />
* [[Dave_Young_-_Project_Proposal_Outline | Dave Young, Project Proposal outline]]<br />
* [[User:Demet Adiguzel/Project Proposal | Demet - Proposal - very very draft]]<br />
* [[17/10/12 | Petra - draft of a draft]]<br />
* [[User:Marie Wocher/Project Proposal | Marie - Draft Proposal]]<br />
<br />
===Assignments October 10th 2012===<br />
* [[User:Dennis van Vreden/proposaldraft | <font color="hotpink">Dennis - Project Proposal Draft</font>]]<br />
* [[User:Andre_Castro/2.1/semniar-2012-10-10-assignment | Andre - methodology]]<br />
* [[User:Demet Adiguzel/Descriptions Of Recent Works | Demet ]] <br />
* [[User:Astrid van Nimwegen/okt 10 | Astrid - Methodology]]<br />
<br />
====Assignments 3 October 2012====<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Lucian Wester/gradProposal | Lucian]]<br />
* [[User:Dennis van Vreden/connections | <font color="hotpink">Dennis</font>]]<br />
* [[User:Andre_Castro/2.1/seminar-year1-works description | Andre - keywords, interest and process]]<br />
* [[User:Demet Adiguzel/Oct 3 | Demet - the word-list + inspirations-ish]]<br />
* [[User:Marie Wocher/Oct 3 | Marie - Methodology]]<br />
* [[User:Astrid van Nimwegen/okt3 | Astrid - Keywords + inspirations]]<br />
*<font color="hotblue">[[Janis_-_combination_of_description | <font color="hotblue"> Janis project descriptions]]<br />
<br />
====Assignment 26th september 2012====<br />
* [[Mano - All descriptions | Mano descriptions]]<br />
* [[User:Dennis van Vreden/descriptions | <font color="hotpink">Dennis</font>]]<br />
* [[Marie - All descriptions | Marie All descriptions]]<br />
* [[Lucian Wester - All descriptions | Lucian All descriptions]]<br />
* [[User:Jasper van Loenen/RWRM/2-combination-of-descriptions-of-work | Jasper - Combination of descriptions]]<br />
* [[Dave_Young_-_Collected_Annotations | Dave Young assignment]]<br />
* [[Janis - combination of description | Janis - combination of description]]<br />
* [[Petra - descriptions | Petra - descriptions]]<br />
* [[User:Eleanorg/gradProposal | Eleanor]]<br />
* [[User:Astrid van Nimwegen/All descriptions | Astrid - All descriptions]]<br />
<br />
====Assignment 19th september 2012====<br />
* [[Astrid van Nimwegen - description | Astrid van Nimwegen description intro film]]<br />
* [[Marie - description | Marie description TP 2 and 3]]<br />
* [[DaveYoung-DescriptionOfYear1 | Dave description of research]]<br />
* [[User:Eleanorg/gradProposal/2012-09-18 | Eleanor - description of a project + working process]]<br />
* [[Lucian Wester - description | Lucian Wester description expo]]<br />
*[http://pzwart3.wdka.hro.nl/mediawiki/images/a/ac/Posthumantranshuman.pdf <font color="hotpink">Dennis</font>]<br />
* [[User:Jasper van Loenen/RWRM/2-description-of-work | Jasper - Description]]<br />
* [[Janis Klimanovs description | Janis Klimanovs description]]<br />
* [[Petra - description | Petra - description of a project]]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/gradprop2012&diff=38218User:Jonas Lund/gradprop20122012-12-02T19:03:54Z<p>Jonas Lund: </p>
<hr />
<div>=The Paintshop V2=<br />
<br />
==General Introduction==<br />
I aim to create a sustainable model for collaborative creation, distribution and monetization of online art.<br />
<br />
In June 2012 I launched the Paintshop.biz, a collaborative painting tool with an embedded market place. V1 is a simple manifestation of how production and monetization could work, and has the potential to grow in a much bigger and more extensive piece of work. For my graduation project I wish to create a new version of The Paintshop (V2). <br />
<br />
The key questions in my research leading up to V2 are ‘What are the historical and current examples of monetization of net art and how can they be improved’, “What kind of incentives triggers someone to purchase/collect art’, ‘What’s the correlation between economic value and cultural relevance?’ ‘What’s the perceived value of digital art in comparison to traditional art?’ <br />
<br />
==Relation to previous practice==<br />
The Paintshop.biz version 1.0 (V1) is a real time collaborative painting tool offering possibilities to sell artworks and buy great pieces of art for very competitive prices.<br />
<br />
All the painters share the same canvas. The painting can at any time be signed by one of the painters, who then becomes the owner of the piece. When the painting is signed, the canvas is cleared for all the other painters, and another painting can be produced.<br />
<br />
The signed painting is for sale in the gallery in an edition of one. When the painting is sold, it's shipped to the buyer printed on high quality canvas (40x50cm) and the money, minus production costs and gallery commission (50%), is transferred to the owner.<br />
<br />
The price of each painting is calculated using the Paintshop Rank™ algorithm and updated daily.<br />
<br />
The Paintshop.biz is successful in the collaborative creational process, which since launched has produced well over 3,000 paintings but performs rather poorly in regards of sales, at the time of writing only 3 paintings have been sold.<br />
<br />
The result of The Paintshop.biz offered up new problems in relation to my and many others artistic practices; how to find a sustainable financial model that can support further cultural production. In the Paintshop.biz the main incentive for production was a possibility to get rewarded by a potential sale in the market, but as the realization that the sale was rather unlikely to happen the production rate went down. <br />
<br />
The problem of selling art is not a simple one, and in relation to the Paintshop.biz it opens a lot of questions, which in my research I aim to seek answers to.<br />
<br />
Next to the Paintshop.biz I’ve also explored the notion of privacy through a constant broadcast of parts of my browsing activities in real time. This exploration started in May 2011 with the work I’m Here And There (2011), which simply put my last visited link in the center of the website – imhereandthere.com. <br />
<br />
This piece was followed up with a 24 hour surf performance called ‘Selfsurfing’ in March 2012. ‘Selfsurfing’ cloned my whole browser and synced every interaction with it across all viewers by a Chrome extension, which received all the data through an intermediate server. To view ‘Selfsurfing’ one had to install an extension, which when started, cloned tab positions, urls and scroll position of each website that I had opened in my browser, but it did not handle logged in session, so for example when I was viewing Facebook the viewer saw either a login screen or his own Facebook.<br />
<br />
In September 2012 I turned ‘Selfsurfing’ into a browser based piece ‘Public Access Me’, launched together with the New Museum’s online exhibition series ‘First Look’. Public Access Me (PAM) is a live stream of what my browser sees, unlike Selfsurfing, PAM is capturing everything I see and sends that over websockets to public-access.me. When I’m viewing my email or Facebook the viewer see my email and Facebook.<br />
<br />
‘I’m Here And There’, ‘Selfsurfing’ and ‘Public Access Me’ are all live and continuous and at the same time a growing archive of my browsing activities, they each have their dedicated database, which is collecting everything and archiving it for the future. <br />
<br />
The explorations stem from an interest in sharing and connecting with an audience and a community and recognizing that privacy is slowly turning into a discourse of the past. Using a computer and browsing is a lonely activity, I spend hours and hours every day alone in front of a screen, despite interacting in social networks, the act of using the computer is a lonely one. By opening up my browsing I want to extend that, so I can be in multiple places and feel connected to larger community and audience. This relation to the community and the audience plays a pivotal role in my practice.<br />
<br />
==Relation to a larger context==<br />
How to create a sustainable model for artistic production and monetization relates to larger context in almost an infectious way, there’s numerous works and exhibitions dealing with the financing of the arts and in one way or another every artistic practice needs to deal with the question of ‘How can I sustain my lifestyle through my artistic practice’. <br />
<br />
Notable examples within the net art field are the Art Micro Patronage initiative, which started with a series of online exhibitions exploring micro payments as a way of supporting artist and their works. Notably the C.R.E.A.M exhibition, curated by Lindsay Howard with an attached essay, explores some of the problematics with monetizing net art. The exhibition raised over 200 US dollars through micro payments by the community, which doesn’t sound like a lot, but should be considered as at least a successful attempt at monetizing the viewing and consumption of net art.<br />
<br />
In May this year Creatorsproject explored the digital art market through a series of essays and interviews, isolating different problems. Does the digital art market need to relate to the larger established art market? <br />
<br />
In 2008, Academy Of Art And Design published a collection of essays in the book ‘Owning Online Art, Selling And Collecting netbased artworks’, which explores problematics with selling, distributing and moneizting net art as well as the current collections of net art and active galleries dealing/selling net art.<br />
<br />
==Relation to Eyebeam Residency Research and Current Status of Project==<br />
<br />
At Eyebeam I’ve been researching different ways of monetizing net art through the history of net art sales, its place within art collections and the current situation today. <br />
<br />
It has become evident to me that the problematics in relation to net art monetization is not of a technical nature nor the lack of ‘uniqueness’, which is often accredited as a cause for net art’s low sales performance. Rather, the lack of institutional and art world recognition is the bigger part of the problem. <br />
<br />
The goal of the research is to figure out a way for net art to gain a larger cultural and art world recognition and will culminate into a piece, which will critically examine the problematics with selling net art and possibly open up a potential solution for furthering the spread of net art. <br />
<br />
Early on in my research a statement came up in relation to selling art by Steve Fletcher (Carroll/Fletcher London based Gallery); “We can sell whatever, as long as its packaged correctly”. <br />
<br />
This statement stuck in my mind, and of course it’s clear, you can sell whatever, as long as all the components make sense and if you have a buyer. In relation to net art the package would include everything from how the work itself is packaged, how the collector receives the work, how its authenticity is guaranteed, what type of certificate is connected to the work, who the artist is and how the piece is ‘signed’. <br />
<br />
From this a further conclusion can be drawn; to sell (net)art to a collector, the only thing that matters is who made it. To sell art to a “non-collector” in a more commercial manner, the package is the most important. <br />
<br />
I think the separation between collector and non-collector is an important one as it separates different types of monetizing as well different packages. For example, a non-collector would buy a poster of the Starry Nights by Van Gogh and a collector would only be interested in the original painting, regardless both aspects have significant commercial values.<br />
<br />
Having considered many different options for how to package and (re)sell/re-represent net art I have, based on my new findings, decided to return back to the Paintshop.biz and develop it further. The aim of the Paintshop.biz V2 is to increase production and sales and refine the price setting/ranking algorithm and turn the gallery into a more lively place, in closer relation to the producers and the community. <br />
<br />
Next to the new version of the Paintshop.biz I will make a series of exhibitions at the Van Abbe Museum starting in the beginning of December, from works produced in the Paintshop.biz. I’ve selected the thousand best paintings according to the ranks and complexity and printed them on 40x50cm laser prints. From this I will make daily selections and curate them into temporary shows at the Van Abbe Museum, the process will be well documented on thepaintshop.biz and all the prints will be for sale for a rather low price.<br />
<br />
The goal of the exhibition series is three fold, to increase sales, to target a larger audience and to give the works more cultural relevance. <br />
<br />
To increase sales the prices of each painting will be drastically lowered to between 3–5 Euros, and the paintings will already be represented in ‘real’ so the incentive to buy what you see should be stronger. <br />
<br />
The location of the exhibition place, the Van Abbe Museum studio, already has a quite specific audience, so that’s the primary target group for the exhibition space. Next to this, each exhibition will be documented online, with a title and an attached curatorial statement.<br />
<br />
By placing the works from the Paintshop.biz in the Van Abbe Museum the relevance of each painting is automatically upgraded from a painting to a painting that has been shown in a contemporary art museum. Further, if the painting is sold the artist has now been upgraded from a non-selling artist to a selling artist. <br />
<br />
As I will continue to redefine what the new version of the Paintshop.biz will be, so the product develop further into a graduation piece. There’s so many options for how it can be shown in a exhibition space, how it can grow online, turned in to workshops, discussions, talks that I don’t foresee any problems with it extending into a graduation work. <br />
<br />
<br />
==Practical Steps==<br />
===What Needs To Be Done===<br />
Through my research I will evaluate V1 and isolate what can be extended and moved into different areas. My wish is to create a microcosms version of the art world at large and in order to do so I need to add a set of components to V2. <br />
<br />
===Timeline===<br />
* Sep–Nov, Research<br />
* Nov–Dec, Building the new version.<br />
* Dec, Create a Paintshop Exhibition at the Van Abbe Museum to engage with bigger and more diverse audience.<br />
* Dec, Prepare a presentation with the background, research and conclusions at the time, to engage and get feedback.<br />
* Mid Jan, Launch V2 Beta at Eyebeam Annual Showcase with an accompanying exhibition showcasing some of the works produced.<br />
* Mid Jan, organize a panel discussion – ‘How To Make Money Online’<br />
* Feb, Evaluate, Iterate, Update, Improve.<br />
* March, present V2 together with Baltan Labs at Van Abbe Museum, with a drawing workshops.<br />
* March–May, Write Thesis<br />
* May–June, Prepare different forms of how the Painthshop V2 can be presented within the graduation exhibition<br />
<br />
==References==<br />
<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
/<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index<br />
<br />
<br />
==Works in reference==<br />
* http://www.caleblarsen.com/projects/a-tool-to-deceive-and-slaughter/<br />
* http://www.scratchingonthings.com/works/001/<br />
* http://www.milliondollarhomepage.com/<br />
* http://eyebeam.org/projects/p2p-gift-credit-card-gift-finance<br />
* http://www.kmikeym.com/<br />
<br />
<br />
==some quotes==<br />
Pricing fine art might seem like a preoccupation of the wealthy few, but it’s of interest to economists, who see it as a way to test fundamental questions about value. As Mugrabi points out, the market behaves in unusual ways: Demand for an artist’s work tends to rise as prices do, because the more expensive it becomes, the more status it confers. And while value is usually a function of scarcity, the opposite can be true for artists—some great ones, like Warhol and Picasso, left behind a prolific body of work. The most unpredictable thing about art’s valuation, though, is that it’s entirely in the eye of the beholder.<br />
<br />
an artwork is only worth what the next guy is going to pay for it.<br />
<br />
“It’s from the marketplace that you want approval,” Dunphy says. “That’s always what you’re looking for in the end: Are people buying the work?”<br />
<br />
By the calculations of Moses, the retired NYU professor, contemporary art has returned 12.6 percent a year on average during the 2000s<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/gradprop2012&diff=38217User:Jonas Lund/gradprop20122012-12-02T19:01:48Z<p>Jonas Lund: Created page with "# The Paintshop V2 ## General Introduction I aim to create a sustainable model for collaborative creation, distribution and monetization of online art. In June 2012 I launch..."</p>
<hr />
<div># The Paintshop V2<br />
<br />
## General Introduction<br />
I aim to create a sustainable model for collaborative creation, distribution and monetization of online art.<br />
<br />
In June 2012 I launched the Paintshop.biz, a collaborative painting tool with an embedded market place. V1 is a simple manifestation of how production and monetization could work, and has the potential to grow in a much bigger and more extensive piece of work. For my graduation project I wish to create a new version of The Paintshop (V2). <br />
<br />
The key questions in my research leading up to V2 are ‘What are the historical and current examples of monetization of net art and how can they be improved’, “What kind of incentives triggers someone to purchase/collect art’, ‘What’s the correlation between economic value and cultural relevance?’ ‘What’s the perceived value of digital art in comparison to traditional art?’ <br />
<br />
## Relation to previous practice<br />
The Paintshop.biz version 1.0 (V1) is a real time collaborative painting tool offering possibilities to sell artworks and buy great pieces of art for very competitive prices.<br />
<br />
All the painters share the same canvas. The painting can at any time be signed by one of the painters, who then becomes the owner of the piece. When the painting is signed, the canvas is cleared for all the other painters, and another painting can be produced.<br />
<br />
The signed painting is for sale in the gallery in an edition of one. When the painting is sold, it's shipped to the buyer printed on high quality canvas (40x50cm) and the money, minus production costs and gallery commission (50%), is transferred to the owner.<br />
<br />
The price of each painting is calculated using the Paintshop Rank™ algorithm and updated daily.<br />
<br />
The Paintshop.biz is successful in the collaborative creational process, which since launched has produced well over 3,000 paintings but performs rather poorly in regards of sales, at the time of writing only 3 paintings have been sold.<br />
<br />
The result of The Paintshop.biz offered up new problems in relation to my and many others artistic practices; how to find a sustainable financial model that can support further cultural production. In the Paintshop.biz the main incentive for production was a possibility to get rewarded by a potential sale in the market, but as the realization that the sale was rather unlikely to happen the production rate went down. <br />
<br />
The problem of selling art is not a simple one, and in relation to the Paintshop.biz it opens a lot of questions, which in my research I aim to seek answers to.<br />
<br />
Next to the Paintshop.biz I’ve also explored the notion of privacy through a constant broadcast of parts of my browsing activities in real time. This exploration started in May 2011 with the work I’m Here And There (2011), which simply put my last visited link in the center of the website – imhereandthere.com. <br />
<br />
This piece was followed up with a 24 hour surf performance called ‘Selfsurfing’ in March 2012. ‘Selfsurfing’ cloned my whole browser and synced every interaction with it across all viewers by a Chrome extension, which received all the data through an intermediate server. To view ‘Selfsurfing’ one had to install an extension, which when started, cloned tab positions, urls and scroll position of each website that I had opened in my browser, but it did not handle logged in session, so for example when I was viewing Facebook the viewer saw either a login screen or his own Facebook.<br />
<br />
In September 2012 I turned ‘Selfsurfing’ into a browser based piece ‘Public Access Me’, launched together with the New Museum’s online exhibition series ‘First Look’. Public Access Me (PAM) is a live stream of what my browser sees, unlike Selfsurfing, PAM is capturing everything I see and sends that over websockets to public-access.me. When I’m viewing my email or Facebook the viewer see my email and Facebook.<br />
<br />
‘I’m Here And There’, ‘Selfsurfing’ and ‘Public Access Me’ are all live and continuous and at the same time a growing archive of my browsing activities, they each have their dedicated database, which is collecting everything and archiving it for the future. <br />
<br />
The explorations stem from an interest in sharing and connecting with an audience and a community and recognizing that privacy is slowly turning into a discourse of the past. Using a computer and browsing is a lonely activity, I spend hours and hours every day alone in front of a screen, despite interacting in social networks, the act of using the computer is a lonely one. By opening up my browsing I want to extend that, so I can be in multiple places and feel connected to larger community and audience. This relation to the community and the audience plays a pivotal role in my practice.<br />
<br />
## Relation to a larger context<br />
How to create a sustainable model for artistic production and monetization relates to larger context in almost an infectious way, there’s numerous works and exhibitions dealing with the financing of the arts and in one way or another every artistic practice needs to deal with the question of ‘How can I sustain my lifestyle through my artistic practice’. <br />
<br />
Notable examples within the net art field are the Art Micro Patronage initiative, which started with a series of online exhibitions exploring micro payments as a way of supporting artist and their works. Notably the C.R.E.A.M exhibition, curated by Lindsay Howard with an attached essay, explores some of the problematics with monetizing net art. The exhibition raised over 200 US dollars through micro payments by the community, which doesn’t sound like a lot, but should be considered as at least a successful attempt at monetizing the viewing and consumption of net art.<br />
<br />
In May this year Creatorsproject explored the digital art market through a series of essays and interviews, isolating different problems. Does the digital art market need to relate to the larger established art market? <br />
<br />
In 2008, Academy Of Art And Design published a collection of essays in the book ‘Owning Online Art, Selling And Collecting netbased artworks’, which explores problematics with selling, distributing and moneizting net art as well as the current collections of net art and active galleries dealing/selling net art.<br />
<br />
## Relation to Eyebeam Residency Research and Current Status of Project<br />
<br />
At Eyebeam I’ve been researching different ways of monetizing net art through the history of net art sales, its place within art collections and the current situation today. <br />
<br />
It has become evident to me that the problematics in relation to net art monetization is not of a technical nature nor the lack of ‘uniqueness’, which is often accredited as a cause for net art’s low sales performance. Rather, the lack of institutional and art world recognition is the bigger part of the problem. <br />
<br />
The goal of the research is to figure out a way for net art to gain a larger cultural and art world recognition and will culminate into a piece, which will critically examine the problematics with selling net art and possibly open up a potential solution for furthering the spread of net art. <br />
<br />
Early on in my research a statement came up in relation to selling art by Steve Fletcher (Carroll/Fletcher London based Gallery); “We can sell whatever, as long as its packaged correctly”. <br />
<br />
This statement stuck in my mind, and of course it’s clear, you can sell whatever, as long as all the components make sense and if you have a buyer. In relation to net art the package would include everything from how the work itself is packaged, how the collector receives the work, how its authenticity is guaranteed, what type of certificate is connected to the work, who the artist is and how the piece is ‘signed’. <br />
<br />
From this a further conclusion can be drawn; to sell (net)art to a collector, the only thing that matters is who made it. To sell art to a “non-collector” in a more commercial manner, the package is the most important. <br />
<br />
I think the separation between collector and non-collector is an important one as it separates different types of monetizing as well different packages. For example, a non-collector would buy a poster of the Starry Nights by Van Gogh and a collector would only be interested in the original painting, regardless both aspects have significant commercial values.<br />
<br />
Having considered many different options for how to package and (re)sell/re-represent net art I have, based on my new findings, decided to return back to the Paintshop.biz and develop it further. The aim of the Paintshop.biz V2 is to increase production and sales and refine the price setting/ranking algorithm and turn the gallery into a more lively place, in closer relation to the producers and the community. <br />
<br />
Next to the new version of the Paintshop.biz I will make a series of exhibitions at the Van Abbe Museum starting in the beginning of December, from works produced in the Paintshop.biz. I’ve selected the thousand best paintings according to the ranks and complexity and printed them on 40x50cm laser prints. From this I will make daily selections and curate them into temporary shows at the Van Abbe Museum, the process will be well documented on thepaintshop.biz and all the prints will be for sale for a rather low price.<br />
<br />
The goal of the exhibition series is three fold, to increase sales, to target a larger audience and to give the works more cultural relevance. <br />
<br />
To increase sales the prices of each painting will be drastically lowered to between 3–5 Euros, and the paintings will already be represented in ‘real’ so the incentive to buy what you see should be stronger. <br />
<br />
The location of the exhibition place, the Van Abbe Museum studio, already has a quite specific audience, so that’s the primary target group for the exhibition space. Next to this, each exhibition will be documented online, with a title and an attached curatorial statement.<br />
<br />
By placing the works from the Paintshop.biz in the Van Abbe Museum the relevance of each painting is automatically upgraded from a painting to a painting that has been shown in a contemporary art museum. Further, if the painting is sold the artist has now been upgraded from a non-selling artist to a selling artist. <br />
<br />
As I will continue to redefine what the new version of the Paintshop.biz will be, so the product develop further into a graduation piece. There’s so many options for how it can be shown in a exhibition space, how it can grow online, turned in to workshops, discussions, talks that I don’t foresee any problems with it extending into a graduation work. <br />
<br />
<br />
## Practical Steps<br />
### What Needs To Be Done<br />
Through my research I will evaluate V1 and isolate what can be extended and moved into different areas. My wish is to create a microcosms version of the art world at large and in order to do so I need to add a set of components to V2. <br />
<br />
### Timeline<br />
* Sep–Nov, Research<br />
* Nov–Dec, Building the new version.<br />
* Dec, Create a Paintshop Exhibition at the Van Abbe Museum to engage with bigger and more diverse audience.<br />
* Dec, Prepare a presentation with the background, research and conclusions at the time, to engage and get feedback.<br />
* Mid Jan, Launch V2 Beta at Eyebeam Annual Showcase with an accompanying exhibition showcasing some of the works produced.<br />
* Mid Jan, organize a panel discussion – ‘How To Make Money Online’<br />
* Feb, Evaluate, Iterate, Update, Improve.<br />
* March, present V2 together with Baltan Labs at Van Abbe Museum, with a drawing workshops.<br />
* March–May, Write Thesis<br />
* May–June, Prepare different forms of how the Painthshop V2 can be presented within the graduation exhibition<br />
<br />
## References<br />
<br />
* Digital Divide, Art Forum<br />
http://artforum.com/inprint/issue=201207&id=31944&pagenum=0<br />
<br />
* Owning Online Art, Selling And Collecting netbased artworks. UAS NorthWestern Switzerland, Academy Of Art And Design edited by Markus Schwander and Reinhard StOrz<br />
<br />
* Art of the Deal: Contemporary Art in a Global Financial Market<br />
Noah Horowitz<br />
<br />
* Discussing the Ethics and Economics of Art<br />
http://www.wdw.nl/event/everyone-for-themselves-nl-2/<br />
<br />
* Growth, Paul Graham, http://paulgraham.com/growth.html<br />
<br />
* ‘For a Bit of Colored Ribbon’, Jeff Atwood, http://www.codinghorror.com/blog/2012/11/for-a-bit-of-colored-ribbon.html<br />
<br />
* Damien Hirst: Jumping the Shark – http://www.businessweek.com/articles/2012-11-21/damien-hirst-jumping-the-shark<br />
<br />
* Revealed: Google's manual for its unseen humans who rate the web<br />
http://www.theregister.co.uk/2012/11/27/google_raters_manual/<br />
<br />
(DIGART - creators project)<br />
* http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
* http://www.thecreatorsproject.com/blog/digart-are-brands-the-new-medicis<br />
* http://thecreatorsproject.com/blog/digart-the-web-browser-as-aesthetic-framework-why-digital-art-today-looks-different<br />
* http://www.thecreatorsproject.com/blog/digart-excavating-abandoned-digital-art-galleries<br />
* http://www.thecreatorsproject.com/en-uk/blog/digart-revolutionizing-the-way-digital-art-is-displayed%E2%80%94qa-with-framed<br />
* http://www.thecreatorsproject.com/blog/digart-10-reasons-why-digital-art-doesnt-need-the-traditional-art-market<br />
* http://www.thecreatorsproject.com/blog/digart-jodi-makes-art-online-but-don%E2%80%99t-call-them-net-artists<br />
* http://thecreatorsproject.com/de/blog/digart-what-will-the-art-world-20-look-like<br />
<br />
(others)<br />
* http://www.artinfo.com/news/story/38508/can-digital-art-make-money/<br />
* http://www.shirky.com/writings/fame_vs_fortune.html<br />
* http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
* http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
* http://www.nakedcapitalism.com/2012/09/project-s-h-a-m-e-on-megan-mcardle-portrait-of-a-taxpayer-subsidized-libertarian.html<br />
* http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
* http://www.fastcompany.com/3000359/buying-twitter-followers-beware-statuspeople-service-exposes-social-medias-black-market<br />
* http://blog.liqui-site.com/2012/08/ff-social-media-black-market-exposed.html<br />
* http://www.mutualart.com/<br />
* http://en.wikipedia.org/wiki/Money_flow_index<br />
<br />
<br />
## Works in reference<br />
* http://www.caleblarsen.com/projects/a-tool-to-deceive-and-slaughter/<br />
* http://www.scratchingonthings.com/works/001/<br />
* http://www.milliondollarhomepage.com/<br />
* http://eyebeam.org/projects/p2p-gift-credit-card-gift-finance<br />
* http://www.kmikeym.com/<br />
<br />
<br />
## some quotes<br />
<br />
Pricing fine art might seem like a preoccupation of the wealthy few, but it’s of interest to economists, who see it as a way to test fundamental questions about value. As Mugrabi points out, the market behaves in unusual ways: Demand for an artist’s work tends to rise as prices do, because the more expensive it becomes, the more status it confers. And while value is usually a function of scarcity, the opposite can be true for artists—some great ones, like Warhol and Picasso, left behind a prolific body of work. The most unpredictable thing about art’s valuation, though, is that it’s entirely in the eye of the beholder.<br />
<br />
an artwork is only worth what the next guy is going to pay for it.<br />
<br />
“It’s from the marketplace that you want approval,” Dunphy says. “That’s always what you’re looking for in the end: Are people buying the work?”<br />
<br />
By the calculations of Moses, the retired NYU professor, contemporary art has returned 12.6 percent a year on average during the 2000s<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=38216User:Jonas Lund2012-12-02T19:01:15Z<p>Jonas Lund: /* 2012 */</p>
<hr />
<div>=2012=<br />
*[[User:Jonas Lund/gradprop2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund&diff=38215User:Jonas Lund2012-12-02T19:01:05Z<p>Jonas Lund: /* 2012 */</p>
<hr />
<div>=2012=<br />
*[[User:Jonas Lund/projectoutline2012 | Grad Prop 2012]]<br />
*[[User:Jonas Lund/projectoutline2012 | Project Outline 2012]]<br />
*[[User:Jonas Lund/2012notes | Notes]]<br />
*[[User:Jonas Lund/dump | console.log()]]<br />
<br />
=Archive=<br />
*[[User:Jonas Lund/archive2011 | Archive 2011]]<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Tuesday_Film&diff=35636Tuesday Film2012-10-09T14:25:21Z<p>Jonas Lund: /* Film suggestions: */</p>
<hr />
<div><div style="font-size:15px;"><br />
=Next film: 9 October<br />=<br />
<span style="font-size:40px;font-weight:bold;">[http://www.imdb.com/title/tt0058898/ Alphaville]</span><br />
</div><br />
<br />
<br />
=Film suggestions:<br />=<br />
Put your suggestions here:<br />
* [http://www.imdb.com/title/tt0069369/ Themroc]<br />
* [http://www.imdb.com/title/tt0088846/ Brazil]<br />
* [http://www.imdb.com/title/tt0387808/ Idiocracy]<br />
* [http://www.imdb.com/title/tt0080596/ The Day Time Ended]<br />
* [http://www.imdb.com/title/tt0057012/ Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb]<br />
* [http://www.imdb.com/title/tt1194173/ The Bourne Legacy]<br />
<br />
=Previously watched films:<br />=<br />
* [http://www.imdb.com/title/tt0096256/ They Live (We Sleep)]</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/2012notes&diff=34641User:Jonas Lund/2012notes2012-09-27T19:06:00Z<p>Jonas Lund: </p>
<hr />
<div>=Notes=<br />
<br />
==Growth==<br />
http://paulgraham.com/growth.html<br />
<br />
The growth of a successful startup usually has three phases:<br />
There's an initial period of slow or no growth while the startup tries to figure out what it's doing.<br />
<br />
As the startup figures out how to make something lots of people want and how to reach those people, there's a period of rapid growth.<br />
<br />
Eventually a successful startup will grow into a big company. Growth will slow, partly due to internal limits and partly because the company is starting to bump up against the limits of the markets it serves. [5]<br />
<br />
If there's one number every founder should always know, it's the company's growth rate. <br />
<br />
The best thing to measure the growth rate of is revenue. The next best, for startups that aren't charging initially, is active users. <br />
<br />
A company that grows at 1% a week will grow 1.7x a year, whereas a company that grows at 5% a week will grow 12.6x. A company making $1000 a month (a typical number early in YC) and growing at 1% a week will 4 years later be making $7900 a month, which is less than a good programmer makes in salary in Silicon Valley. A startup that grows at 5% a week will in 4 years be making $25 million a month. [10]<br />
<br />
The test of any investment is the ratio of return to risk. Startups pass that test because although they're appallingly risky, the returns when they do succeed are so high.<br />
<br />
A rapidly growing company is not merely valuable, but dangerous. If it keeps expanding, it might expand into the acquirer's own territory<br />
--<br />
<br />
==CREAM==<br />
http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
<br />
The conversation around online art and commerce is not a new one. In 1996, Nick Szabo predicted the failure of micropayments, suggesting that their "mental transaction cost" [1] is too high. This assertion was later supported by Clay Shirky who, in 2003, argued that the goal of the Internet is "fame, not fortune," citing free content as an "evolutionarily stable strategy".<br />
<br />
The past year has seen a major influx of mainstream art world influencers seeking real estate online (see: VIP Art Fair, Art.sy, and Paddle 8), no doubt looking to capitalize on the web’s massive distribution potential.<br />
<br />
==Why Your .JPEGs Aren't Making You A Millionaire==<br />
http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
<br />
It’s time we get realistic about making money from selling internet art—it’s not going to happen. [...] digital content is infinitely reproducible and free while physical commodities are scarce and expensive. <br />
<br />
1. Completely Free To Use and We Also Sell Your Data<br />
one of the most profitable uses of digital information and it is also the least likely to be applied to internet art. No one wants demographic information or ad space on a single artist’s website—there aren’t enough viewers, their clicking habits are limited<br />
<br />
2. Freemium, or, Free Up Until You Want Better Features<br />
With such a saturated market of images and videos, it should go without saying that no one is going to pay for access to an artist’s Tumblr archive, and if they did it would be copied and reposted immediately.<br />
<br />
3. Donation-based Personal Charities<br />
Personal charities are a viable option in the short term but not a sustainable one. Besides—who wants to be the person to incessantly ask her friends for change? <br />
<br />
4. Micro-patronage<br />
Everyone is a viewer, an artist, and a curator and in an attention economy a $3 donation may not be as valuable as a well-placed link or write-up.<br />
<br />
5. On-demand Production<br />
In all of the competitive social jockeying for attention that takes place among internet artists, I’m surprised no one has yet went ahead and attempted to sell commissioned website links on their Facebook page for money.<br />
<br />
when someone buys something from either of them, they are buying their art as a token of investment in the value of a brand—they are buying into a name through the guise of an object.<br />
<br />
<br />
==Fame vs Fortune: Micropayments and Free Content== (2003)<br />
http://www.shirky.com/writings/fame_vs_fortune.html<br />
<br />
mental transaction costs, the energy required to decide whether something is worth buying or not, regardless of price. The only business model that delivers money from sender to receiver with no mental transaction costs is theft, and in many ways, theft is the unspoken inspiration for micropayment systems.<br />
<br />
Like the salami slicing exploit in computer crime, micropayment believers imagine that such tiny amounts of money can be extracted from the user that they will not notice, while the overall volume will cause these payments to add up to something significant for the recipient. But of course the users do notice, because they are being asked to buy something. Mental transaction costs create a minimum level of inconvenience that cannot be removed simply by lowering the dollar cost of goods.<br />
<br />
The fame vs fortune choice matters because of substitutability, the willingness to accept one thing as a substitute for another. Substitutability is neutralized in perfect markets. For example, if someone has even a slight preference for Pepsi over Coke, and if both are always equally available in all situations, that person will never drink a Coke, despite being only mildly biased.<br />
<br />
>For a creator more interested in attention than income, free makes sense. <br />
<br />
The economics of content creation are in fact fairly simple. The two critical questions are "Does the support come from the reader, or from an advertiser, patron, or the creator?" and "Is the support mandatory or voluntary?"<br />
<br />
<br />
==Bare-Knuckle Reflections About Art and Commerce from a Digital Nomad==<br />
http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
<br />
Art is a luxury (if not utopian) commodity, priced according to volatile and subjective market parameters. The art market is exceptionally hierarchical, with a long tail structure that means that most art “workers” receive little renumeration for their efforts while a tiny minority trade their goods at markups that would make a stock trader blush.<br />
<br />
I will not pay-to-play. I will ask for an exhibition fee (common in Europe.) I will not license work to Fortune 100 companies for free. I will not give a gallery percentages on income it did not generate. Finally, I won’t accept the implication that art making is an end in itself and thus should require no compensation. The production of the sublime is not without economic realities, and the failure to acknowledge this fact merely helps to marginalize art as a utopian pursuit fit only for idealists and dreamers.<br />
<br />
The romantic idea that artists should create their work in blissful ignorance of market mechanisms is contradicted by even the briefest investigation of art world realities. Even in an art economy based on public funding (say, in my motherland of Norway) artists will adapt their work to fit market demand, such as the tendency of state-run institutions to value socially relevant or discursive projects over object-based practices.<br />
<br />
>it’s hard to justify buying luxury commodities over making more of my own work.<br />
<br />
==Newspapers, Paywalls, and Core Users==<br />
http://www.shirky.com/weblog/2012/01/newspapers-paywalls-and-core-users/<br />
Commercial radio is ad-supported because no one could figure out a way to restrict access to radio waves; cable TV collects revenues because someone figured out a way to restrict access to co-axial cables. The logic of the internet is that everyone pays for the infrastructure, then everyone gets to use it. This is obviously incompatible with print economics, but oddly, the industry’s faith in ‘every reader a customer’ has been largely unshaken by newspapers’ own lived experience of the move to the web.<br />
<br />
In discussing why the most loyal subset of readers would pay for access to the Times, Felix Salmon described some of the motivations reported by users: “I like the product, understand the incentives involved, and want its production to continue” and “I feel that maintaining a quality NYT is immensely important to the country as a whole.” Now, and presumably from now on, the readers that matter most are disproportionately likely to score high on the God Forbid index (as in “God forbid the Sun-Times not be around to keep an eye on the politicians!”)<br />
<br />
>an urge to preserve it as an institution rather than a business.<br />
<br />
<br />
==Micropayments and Mental Transaction Costs==<br />
http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
<br />
Price Granularity<br />
1. negotiated price<br />
2. congestion price (variable but posted price/small value unit)<br />
3. fungible (one price/small value unit)<br />
4. flat fee (one price/large value unit)<br />
<br />
Each of these levels successively imposes fewer mental transaction costs on the customer than the previous level. <br />
<br />
==The Mental Accounting Barrier to Micropayments== (1996)<br />
http://szabo.best.vwh.net/micropayments.html<br />
<br />
A basic requirement for market pricing to work is that both sides to a transaction be able to map charges to value obtained or rendered, so that they can adjust their buying or selling behavior accordingly.<br />
<br />
__NOINDEX__</div>Jonas Lundhttps://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Jonas_Lund/2012notes&diff=34640User:Jonas Lund/2012notes2012-09-27T19:05:49Z<p>Jonas Lund: </p>
<hr />
<div>=Notes=<br />
<br />
==Growth==<br />
http://paulgraham.com/growth.html<br />
<br />
The growth of a successful startup usually has three phases:<br />
There's an initial period of slow or no growth while the startup tries to figure out what it's doing.<br />
<br />
As the startup figures out how to make something lots of people want and how to reach those people, there's a period of rapid growth.<br />
<br />
Eventually a successful startup will grow into a big company. Growth will slow, partly due to internal limits and partly because the company is starting to bump up against the limits of the markets it serves. [5]<br />
<br />
If there's one number every founder should always know, it's the company's growth rate. <br />
<br />
The best thing to measure the growth rate of is revenue. The next best, for startups that aren't charging initially, is active users. <br />
<br />
A company that grows at 1% a week will grow 1.7x a year, whereas a company that grows at 5% a week will grow 12.6x. A company making $1000 a month (a typical number early in YC) and growing at 1% a week will 4 years later be making $7900 a month, which is less than a good programmer makes in salary in Silicon Valley. A startup that grows at 5% a week will in 4 years be making $25 million a month. [10]<br />
<br />
The test of any investment is the ratio of return to risk. Startups pass that test because although they're appallingly risky, the returns when they do succeed are so high.<br />
<br />
A rapidly growing company is not merely valuable, but dangerous. If it keeps expanding, it might expand into the acquirer's own territory<br />
--<br />
<br />
==CREAM==<br />
http://artmicropatronage.org/exhibition/C.R.E.A.M-Lindsay-Howard<br />
<br />
The conversation around online art and commerce is not a new one. In 1996, Nick Szabo predicted the failure of micropayments, suggesting that their "mental transaction cost" [1] is too high. This assertion was later supported by Clay Shirky who, in 2003, argued that the goal of the Internet is "fame, not fortune," citing free content as an "evolutionarily stable strategy".<br />
<br />
The past year has seen a major influx of mainstream art world influencers seeking real estate online (see: VIP Art Fair, Art.sy, and Paddle 8), no doubt looking to capitalize on the web’s massive distribution potential.<br />
<br />
==Why Your .JPEGs Aren't Making You A Millionaire==<br />
http://thecreatorsproject.com/blog/digart-why-your-jpegs-arent-making-you-a-millionaire<br />
<br />
It’s time we get realistic about making money from selling internet art—it’s not going to happen. [...] digital content is infinitely reproducible and free while physical commodities are scarce and expensive. <br />
<br />
1. Completely Free To Use and We Also Sell Your Data<br />
one of the most profitable uses of digital information and it is also the least likely to be applied to internet art. No one wants demographic information or ad space on a single artist’s website—there aren’t enough viewers, their clicking habits are limited<br />
<br />
2. Freemium, or, Free Up Until You Want Better Features<br />
With such a saturated market of images and videos, it should go without saying that no one is going to pay for access to an artist’s Tumblr archive, and if they did it would be copied and reposted immediately.<br />
<br />
3. Donation-based Personal Charities<br />
Personal charities are a viable option in the short term but not a sustainable one. Besides—who wants to be the person to incessantly ask her friends for change? <br />
<br />
4. Micro-patronage<br />
Everyone is a viewer, an artist, and a curator and in an attention economy a $3 donation may not be as valuable as a well-placed link or write-up.<br />
<br />
5. On-demand Production<br />
In all of the competitive social jockeying for attention that takes place among internet artists, I’m surprised no one has yet went ahead and attempted to sell commissioned website links on their Facebook page for money.<br />
<br />
when someone buys something from either of them, they are buying their art as a token of investment in the value of a brand—they are buying into a name through the guise of an object.<br />
<br />
<br />
==Fame vs Fortune: Micropayments and Free Content== (2003)<br />
http://www.shirky.com/writings/fame_vs_fortune.html<br />
<br />
mental transaction costs, the energy required to decide whether something is worth buying or not, regardless of price. The only business model that delivers money from sender to receiver with no mental transaction costs is theft, and in many ways, theft is the unspoken inspiration for micropayment systems.<br />
<br />
Like the salami slicing exploit in computer crime, micropayment believers imagine that such tiny amounts of money can be extracted from the user that they will not notice, while the overall volume will cause these payments to add up to something significant for the recipient. But of course the users do notice, because they are being asked to buy something. Mental transaction costs create a minimum level of inconvenience that cannot be removed simply by lowering the dollar cost of goods.<br />
<br />
The fame vs fortune choice matters because of substitutability, the willingness to accept one thing as a substitute for another. Substitutability is neutralized in perfect markets. For example, if someone has even a slight preference for Pepsi over Coke, and if both are always equally available in all situations, that person will never drink a Coke, despite being only mildly biased.<br />
<br />
>For a creator more interested in attention than income, free makes sense. <br />
<br />
The economics of content creation are in fact fairly simple. The two critical questions are "Does the support come from the reader, or from an advertiser, patron, or the creator?" and "Is the support mandatory or voluntary?"<br />
<br />
<br />
==Bare-Knuckle Reflections About Art and Commerce from a Digital Nomad==<br />
http://blog.art21.org/2012/09/26/bare-knuckle-reflections-about-art-and-commerce-from-a-digital-nomad/<br />
<br />
Art is a luxury (if not utopian) commodity, priced according to volatile and subjective market parameters. The art market is exceptionally hierarchical, with a long tail structure that means that most art “workers” receive little renumeration for their efforts while a tiny minority trade their goods at markups that would make a stock trader blush.<br />
<br />
I will not pay-to-play. I will ask for an exhibition fee (common in Europe.) I will not license work to Fortune 100 companies for free. I will not give a gallery percentages on income it did not generate. Finally, I won’t accept the implication that art making is an end in itself and thus should require no compensation. The production of the sublime is not without economic realities, and the failure to acknowledge this fact merely helps to marginalize art as a utopian pursuit fit only for idealists and dreamers.<br />
<br />
The romantic idea that artists should create their work in blissful ignorance of market mechanisms is contradicted by even the briefest investigation of art world realities. Even in an art economy based on public funding (say, in my motherland of Norway) artists will adapt their work to fit market demand, such as the tendency of state-run institutions to value socially relevant or discursive projects over object-based practices.<br />
<br />
>it’s hard to justify buying luxury commodities over making more of my own work.<br />
<br />
==Newspapers, Paywalls, and Core Users==<br />
http://www.shirky.com/weblog/2012/01/newspapers-paywalls-and-core-users/<br />
Commercial radio is ad-supported because no one could figure out a way to restrict access to radio waves; cable TV collects revenues because someone figured out a way to restrict access to co-axial cables. The logic of the internet is that everyone pays for the infrastructure, then everyone gets to use it. This is obviously incompatible with print economics, but oddly, the industry’s faith in ‘every reader a customer’ has been largely unshaken by newspapers’ own lived experience of the move to the web.<br />
<br />
In discussing why the most loyal subset of readers would pay for access to the Times, Felix Salmon described some of the motivations reported by users: “I like the product, understand the incentives involved, and want its production to continue” and “I feel that maintaining a quality NYT is immensely important to the country as a whole.” Now, and presumably from now on, the readers that matter most are disproportionately likely to score high on the God Forbid index (as in “God forbid the Sun-Times not be around to keep an eye on the politicians!”)<br />
<br />
>an urge to preserve it as an institution rather than a business.<br />
<br />
<br />
==Micropayments and Mental Transaction Costs==<br />
http://www.gernot-gawlik.de/wp-content/uploads/2009/02/micrpapayments-and-mental-transaction-costs.pdf<br />
<br />
Price Granularity<br />
1. negotiated price<br />
2. congestion price (variable but posted price/small value unit)<br />
3. fungible (one price/small value unit)<br />
4. flat fee (one price/large value unit)<br />
<br />
Each of these levels successively imposes fewer mental transaction costs on the customer than the previous level. <br />
<br />
==The Mental Accounting Barrier to Micropayments== (1996)<br />
http://szabo.best.vwh.net/micropayments.html<br />
<br />
A basic requirement for market pricing to work is that both sides to a transaction be able to map charges to value obtained or rendered, so that they can adjust their buying or selling behavior accordingly.<br />
<br />
_NOINDEX_</div>Jonas Lund