View source for David 26/09/13 & David 03/10/13

==Recap from the tutorials with David==


task_| 26.09.13 <br>
"I would like you to write your own personal manifesto. What do you think (your) art** can or should achieve? I'm interested in your reasons, opinions and views. You can be radical, address wider issues if you wish, but please remain honest."
<center>I am for an art that is political-erotical-mystical, that does something
other than sit on its ass in a museum….<br>
….I am for art that is flipped on and off with a switch.
-Claes Oldenburg</center>
  
<center>We say that puzzling, obscure and form-obsessed art is decadent and a cruel denial of the Life of People.
- Gilbert and George</center>

Asked to write own manifesto ( or what our work manifests) I came up with the following ( very much provoked by the quotes above):<br>


'''I am for art''' that can trigger. 
or can leave a trace of (in the memory)
'''
I am for art''' that can survive/ inhabit a space outside the museum / the white box.<br>
in parallel the theater outside the black box.

'''I am for art''' that asks questions …(?) or draw a map of invisible ( the critical ME )
or leave you speechless…(the visual ME).

'''I am for art''' that allow you to participate involve you as a viewer / user / abuser. ----- more on that 

The art of participation, elaborates collectivist rather than individual consumption.

'''I am for art''' that is not for the elite / privileged / the curators / the art critics / art for artists.
/ art for the sake of art.

following by interesting discussion on what does define/ deferentialize the difference between Fine arts from Media program in PZI ?or what is MEDIA DESIGN?
we came with the conclusion that they both refer to the same questions: 
How do you communicate the work?
'''What is the subject of your work?'''
'''or what and how you find a subject of the work you are making?'''

// media field forms a third area - serves as a democratic aria where the form of the final work is shaped and contextualized, unfolding the research topic.  

====
David 03/10/13 

Time for show and tell--->David's feedback:

Start producing.( practice based ) forming your own voice in terms of pushing the idea to the unique personal approach.<br>
form a personal dialog <br>
reference work on the surveillance [http://www.jillmagid.net/EvidenceLocker.php Jill Magid Evidence_ Locker]

'''Michael comments_tutorial 19.11.2013:''' <BR>

Think about the grey zone nothing has been done in this field. It might lead to interesting research.<br>
Show the degradation of the object the hard drive itself. You can constantly examine the hard drives.<br>
In case of you want to publish it /make it available online you can look at the notion of permissions or assigned different permission to use the data. 
For example a common practice in archives is to have a flag of content. For instance the red color,  permission denied ( or the user has not give  permission to use his/her data)
yellow- somewhere in between ---> 
green  - you have a green card to use the data . What that usage will consist of ?
content of a loose narrative // or the choice how you can show the data by not showing it completely. 
<br>
ex:[http://kurenniemi.activearchives.org/logbook/ active archive Kurenniemi project]



David comments tutorial 20.11.2013:<br>

The material is rich you should be present while you are making a decision.
What standpoint you' re taking the political vs anthropological?
The ethical issue you are facing is relevant only for the personal data not for the rest of the material, where the 
The project it is not just an archive... I am fascinated by the idea of erase how you can accomplish the idea of erasure in the work you are making ...
Keep the images "broken" or the way how they are, as a result from the data recovery.