User:Zigbe/ThematicProject 1

If history is defined by those in power. The new power will be defined by the precision an algorithm has to transform the agglomeration of digital data in an archive.

3rd Oktorberrr

The Task of the Translator - Walter Benjamin
...

A Work of Art from A Work of Art - Becky Edmunds
Notes and Thoughts:
Becky Edmunds is a filmmaker with her background in dance and choreography. In this text she talks about the problematic of live documentation of dance performance. Also she talks about her process to capture the essence of aliveness (if this exists at all).

I understand here that Becky is finding solutions for the frustration that emerge from big gap between performance and documentation. Shes proposes that the documentation of a dance performance has to be a work in itself as much as the choreography is. And in the process of making this documentation, the one who documents have to make decisions of what's going to be out of this documentation. As there is loss between the action and the documentation, its the responsibility of the one who documents to choose how to work with those gaps. In order to properly document a choreography, Becky imposes herself a set of limitations which helps her to take the necessary decisions. A performance is an combination of presence, time and space. Which makes every performance unique. I understand here that the only limitation this set of rules imposes to her is how much she has to think about the camera. (for example the in camera edit) As she focus on the action, she transforms her presence as part of her documentation, the documentation becomes an action of documentation, a performance behind the camera. Therefore she grants her presence and time, and focus in the translation of the choreography into a new space.

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.....SOOoooo mucH INFrrrmation I cccaAANt't FOcus. My head hurts.. ..

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28th okkotoberrr

Invisible and inaudible voices: on Performativity & Process

Jacoba Bruneel presentation on documentation and performance and after talk.
Documentation as economic / political form to maintain the museums.

My notes on performance and documentation of unstable:
Yet to come the proper way to document an experience, after this talk it made me
think that the museums / market tries to take away the most important factor of a
time based experience, the experience. Performance has been an important factor in
Modern Art, from its beginning artist seems to be engaging gradually to the action,
and the medium becomes documentation. Jackson Pollock, Expressionism, Duchamp's "3
standard stoppages". Works which showed the richness of a movement, thought or action
into one single image. As in modern art, performance comes later with the naive idea of
changing the politics inside the museum. The same can be said to net.art in the 90's
 Maybe there's no perfect method to archive unstable media, and the best offer is that
the artist thinks in the importance of hers/his works remains for a future technology to come.

Goodiepal "making music for the artificial intelligence to come"

Helio Oiticica, Brazilian concretism/experimental/tropicalist/conceptual/whatever artist,
focused his last works on the "undocumentable" realm. Creating works which highlights the
experience. Parangoles, is a vest which once dressed in a body assumes its form as art.
The body, the movement, the person, the fashion.

https://www.google.nl/search?q=helio+oiticica+parangoles&client=firefox-a&hs=CXU&rls=org.mozilla:en-US:official&source=lnms&tbm=isch&sa=X&ei=w4GcUuSPKenV0QX_y4HIBA&ved=0CAkQ_AUoAQ&biw=1536&bih=746 [youtube:http://youtu.be/yGYHJaGXHOU]

The point here is not the quality of his work, but assumption that the work and the
documentation might be the same thing.
No news on that.

How can we think together with institutions
on the archiving process of contemporary practices?
How can we create new museums which fit contemporary practice and leave the old
stuff for those old institutions that might not be able to think in accordance 
o the risks of time and cycles of death (igor stromajer)?
How can we free ourselves from the anxiety of fitting those institutions by
constraining our practice in a rigid framework (Rafael Rozendaal vs. Jonas Lund)?

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28th Noveemberrr

Notes on:Robert Sakrowski, Dragan Espenschied & Igor Stromajer

### 28/11/2013

### Robert Sakrowski
# - Curating Youtube .net - project - net.artdatabase.org (in collaboration with Constant Dullart)
- youtube as a collaborative way to archive.
- save the web - lets raise the browser cash up to 500mb and start a torrent
- evolt.org - save the browsers
- protection of historical net-mo(nu)ments
- problems of archiving net art: Technical borders (server, software, files, "is it the source code?")
- youtube as archive, soluction - meta data inserted in the video
- the work of art is inseparable from its historical context, hardware.
- Manifest of net art in stone - 1999 (the subject of archive by then)
- artist are always aware of being archive, they are in teh context of the museum.

@ V2 #####

- the wall street code - by Marije Meerman
- Talking about Algorythms
- ask for the nationalization of the algorythms?
- We have to politicize ourselves
- Curating as one of the most used words in network 
- A curator, chooses, exhibits and 
- curating as a technique of action / acting in the internet 2.0 phenomena
- if you see 3600 youtube videos together you gonna youtube in real time.
  monitor need to be 10 x 6 meters, grid 60 x 60.
- gridr.org
- can you exhbit youtub videos out of its context
- what's the taxonomy, to archive those artifacts


## question
- documentation should be a story about the project or a video
of how it is used? Is it about sharing the experience, or recreating it?
- isn't it easier to share the context through words?
- Does this atempt to mimic the context (of a netart piece)
makes it harder to understand context?
- youtube is a volatile system like any other technology.
Is changeble by cicurnstance and based in time. Is it trustable
as a stable technology for longer term archiving? 

### Dragan Espenschied (book digital folklory)
- http://oneterabyteofkilobyteage.tumblr.com/
- big data in personal scale
- not databased data - no value
- How databases shape digital culture
- Digital culture s always about a practce, not about an artifact
- ressurrecting my revolution - two artist try to reconstruct twits that
were errased from arab springs. Reconstruct probably replacements of
deleted digital data by comparing the answer to a deleted tweet.
- the idea of ambiguous data, and databased data - Eahc unit in the DB
is the smallest semantic unic possible
- ambiguous data being dangerous, bad or not worth
- free form personal page, not stright frward communication to a computer, not DBsable.
- unubiguous big data. small data, good quality for making it easier to
be databasable. easier to metadata.
- ambiguous systems of organization - autobiographical organizational for
music (itunes?)
- arbitrary combinations
- thru the tumblr showing the are ther ways to use computers
- in a network arhive is not about choosing good or bad, but keeping
things on use
- reocities website - 
- It shows there is a user culture
- rebelion in the net is a roll designed for you. there's no way to be rebel
in the internet 2.0
- 

@ V2 #####
- pirates group dont ask question just copy
- digital culture is mass culture.
- thinking with ambiguity - "click the lips" when you can click anywhere,
but the text ask you to click specific part f the photo.
- the ambiguity of older platforms is very different from the singularity
proposed in databasses such as facebook
- databases platform (internet 2.0) destroyed a ambiguous form of communication
- jason scott - internet.archive.org
- "Digital artifacts"

### Igor Stromajer
"If you ever wanna erase your body of work, do it with class and make a big case of it."

- intimate mobile communicator
- Deleted his previous net.art works
- "make love not art"
- # points between theater and internet
- theater: understands the public as a unit
- internet: the context where one2one interaction can happen. Perfect
platform for intimate communication.
- netart: the user need to be active to experience the work
- Igor wants to activate the user/visitor
- internet: art comes to the safety of your home
- about singin the HTML codes: the pavarot of HTML
- presenting net art live as singing and dancing the source code
- Ballettikka Internettkka
- Formaly know as netart
- WAP -internet went mobile - Wireless Application Protocol "?"
- pmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm 
- program >< deprogram / construct >< deconstruct
- life cycle of an artwork
- delete not as a act of agression, but a part of a proccess.
- whatever you remove there will always be some remains
- broken pieces can enrich the rmantic idea of what it once was
- Remains might tell much more about the works than before they were delete
- some works are online since there's no access to the servers
- digital restaurantion - richier instutions can keep rewriting and fixing the code
- conditions when seeling the work to ponpidou - "What are we buying?"
"how do we know if we are buying the original" "how do we do the art trannsfer?"
- revisiting past
- fragmented archive
- things have to be translated.

- less data we have, more fantasy we use

- Expunction - intima.org/expunction
- a non-project about erasing personal net.art works from server

- TTS - intima.org/miat/english.html
- e-book by igor

## question
- Erasing the past. Is it a statement in art, or a personal statement on memory?
- Isn't desapearance a natural part of the process (lifespan) of a net art work?
# world without art #
- aren't we looking to the wrong places?
- isn't it just a western idea of a too institutionalized practice?

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