Latest revision as of 14:28, 24 September 2012

Dusan Barok, Graduation Project, Trimester 6, 2012.

Monoskop Library

Monoskop Library is a public resource for the new histories of media culture.

Over the years Dušan Barok has collected approximately 100 gigabytes of experimental films, video art, electroacoustic music, scanned versions of computer-aided paintings, graphics, prints, and numerous publications covering the development of media arts and culture from their pre-history back in the 1910s up until the last decade. He has focused primarily on those works which, though relevant, are not appropriately represented in the canon of art history. Archived in different cities and not accessible online, many of these works seemed destined to remain out of sight for many years to come. After being asked so many times to share a film or a recording, Dušan decided to share them all.

Preserving the legacy of these works involved three main goals: reaching the widest possible audience (including researchers); involving more people in the initiative; and maintaining public access. Rather than attempting to create some grand historical narrative interweaving the content, the collection is designed instead to provide quotable online resources, presented in their context, thus enabling other researchers to produce alternative art histories.

The work explores various problems related to private collecting and media archiving. Over the past few months, a context for the collection has been set up through a number of interventions, including a series of lectures, a magazine, a conference on media-art history, and an exhibition of remakes, by young artists, of historical media works.

The symposium in TENT on July 5, 2012 is an occasion for a public launch of the Monoskop Library and a discussion with invited artists, scholars and cultural practitioners: Annet Dekker, Darko Fritz, Florian Cramer, and Sandra Fauconnier.

How does an artwork become historical? How can a media archive create meaning? Why do so many collectors of digital materials choose to keep their treasures out of the public eye? How do we define ‘fair use’ of copyrighted material? Monoskop Library explores the intersection between personal collecting, media archiving, and collaborative production of art history.

http://monoskop.org/Symposium

Media

Photos

Jewna Jakobson, calculating machine, ca 1770.
Pál Selényi, experiments with oscillograph, 1930.

Essay

Abstract and bibs/ref + link to PDF (PDF must be uploaded to wiki).
Use Steve's recommendations for abstract length and bibliographic style.

Additional Information

non optional

One page itemised budget estimate

optional

Project URL: http://monoskop.org
extra wiki links: http://pzwart3.wdka.hro.nl/wiki/User:Dusan_Barok/Monoskop_library_(project_proposal)

@@ Line 1: / Line 1: @@
   Dusan Barok, Graduation Project, Trimester 6, 2012.
-= Monoskop library =
+= Monoskop Library =
-Monoskop library is a public resource for the new histories of media culture.
+Monoskop Library is a public resource for the new histories of media culture.
-Throughout the years I collected over a hundred gigabytes of experimental films, video art, electroacoustic music, digital photographs of computer-aided paintings, graphics, prints, as well as numerous publications covering media arts and culture from their pre-history back in the 1920s up until the last decade. I have been including especially the works which, despite their historical significance, are not part of the art historical canon. Silently kept in the archives in different cities and not accessible online many of these works were destined to be kept out of sight for years to come. In this work I decided to unlock my harddrive and unfold this 3500 files heavy collection to public view.
+Over the years Dušan Barok has collected approximately 100 gigabytes of experimental films, video art, electroacoustic music, scanned versions of computer-aided paintings, graphics, prints, and numerous publications covering the development of media arts and culture from their pre-history back in the 1910s up until the last decade. He has focused primarily on those works which, though relevant, are not appropriately represented in the canon of art history. Archived in different cities and not accessible online, many of these works seemed destined to remain out of sight for many years to come. After being asked so many times to share a film or a recording, Dušan decided to share them all.
-For the sake of legacy of the works I set the three main aims of ''publishing the archive'': to reach the widest audience including researchers; involve more people in the initiative; and maintain public access. From the start it was clear that creating a grand historical narrative interweaving the content together would be rather counterproductive, the archive shall instead function to provide source documents, and produce their context, so that multiple art histories can be produced, a ''living library'' so to say.
+Preserving the legacy of these works involved three main goals: reaching the widest possible audience (including researchers); involving more people in the initiative; and maintaining public access. Rather than attempting to create some grand historical narrative interweaving the content, the collection is designed instead to provide quotable online resources, presented in their context, thus enabling other researchers to produce alternative art histories.
-My work explores different ways of and questions related to publishing a private collection. In order to produce a context for the collected works so far it has taken the form of giving a series of lectures, co-editing a magazine and collaborating on an conference about media art histories, co-curating an exhibition of remakes of historical media works by young artists, and initiating an open access journal dedicated to history of media arts and culture. Coming up next is a symposium with invited scholars and cultural practitioners, and an online digital library built upon semantic wiki engine.
+The work explores various problems related to private collecting and media archiving. Over the past few months, a context for the collection has been set up through a number of interventions, including a series of lectures, a magazine, a conference on media-art history, and an exhibition of remakes, by young artists, of historical media works.
-How does an artwork become ''historical''? How can a media archive produce meaning? Why many digital collectors keep their treasures in the darknet? How do we define fair use of copyrighted material? Monoskop library operates in the intersection between personal collecting, media archiving, and collaborative production of art history.
+The symposium in TENT on July 5, 2012 is an occasion for a public launch of the Monoskop Library and a discussion with invited artists, scholars and cultural practitioners: Annet Dekker, Darko Fritz, Florian Cramer, and Sandra Fauconnier.
+How does an artwork become historical? How can a media archive create meaning? Why do so many collectors of digital materials choose to keep their treasures out of the public eye? How do we define ‘fair use’ of copyrighted material? Monoskop Library explores the intersection between personal collecting, media archiving, and collaborative production of art history.
 http://monoskop.org/Symposium
@@ Line 38: / Line 40: @@
-[[Category: Trimester Projects|Dusan Barok, Monoskop library, 2012]]
 [[Category: Graduation Projects|Dusan Barok, Monoskop library, 2012]]
+[[Category: 2011/2012]]

User:Dusan Barok/Monoskop library, 2012: Difference between revisions