tag:blogger.com,1999:blog-79643804763627445372024-03-05T05:11:54.220-08:00Histories and Theories of IntermediaThis Blog contains materials and resources for the University of Maine Intermedia MFA ProgramDr. Fluxhttp://www.blogger.com/profile/06128467537978064848noreply@blogger.comBlogger821125tag:blogger.com,1999:blog-7964380476362744537.post-62131370088453024552017-05-14T09:31:00.000-07:002017-05-14T09:31:13.965-07:00Bill Viola - Artist Biography <div style="overflow: auto; height: 400px;"> <br /><br />
ARTIST BIOGRAPHY<br />
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Bill Viola (b.1951) is internationally recognized as one of today’s leading artists. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to greatly expand its scope in terms of technology, content, and historical reach. For 40 years he has created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast. Viola’s video installations—total environments that envelop the viewer in image and sound—employ state-of-the-art technologies and are distinguished by their precision and direct simplicity. They are shown in museums and galleries worldwide and are found in many distinguished collections. His single channel videotapes have been widely broadcast and presented cinematically, while his writings have been extensively published, and translated for international readers. Viola uses video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences—birth, death, the unfolding of consciousness—and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian mysticism. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.<br />
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Bill Viola received his BFA in Experimental Studios from Syracuse University in 1973 where he studied visual art with Jack Nelson and electronic music with Franklin Morris. During the 1970s he lived for 18 months in Florence, Italy, as technical director of production for Art/Tapes/22, one of the first video art studios in Europe, and then traveled widely to study and record traditional performing arts in the Solomon Islands, Java, Bali, and Japan. Viola was invited to be artist-in-residence at the WNET Channel 13 Television Laboratory in New York from 1976-1980 where he created a series of works, many of which were premiered on television. In 1977 Viola was invited to show his videotapes at La Trobe University (Melbourne, Australia) by cultural arts director Kira Perov who, a year later, joined him in New York where they married and began a lifelong collaboration working and traveling together.<br />
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In 1979 Viola and Perov traveled to the Sahara desert, Tunisia to record mirages. The following year Viola was awarded a U.S./Japan Creative Artist Fellowship and they lived in Japan for a year and a half where they studied Zen Buddhism with Master Daien Tanaka, and Viola became the first artist-in-residence at Sony Corporation’s Atsugi research laboratories. Viola and Perov returned to the U. S. at the end of 1981 and settled in Long Beach, California, initiating projects to create art works based on medical imaging technologies of the human body at a local hospital, animal consciousness at the San Diego Zoo, and fire walking rituals among the Hindu communities in Fiji. In 1987 they traveled for five months throughout the American Southwest photographing Native American rock art sites, and recording nocturnal desert landscapes with a series of specialized video cameras. More recently, at the end of 2005, they journeyed with their two sons to Dharamsala, India to record a prayer blessing with the Dalai Lama.<br />
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Music has always been an important part of Viola’s life and work. From 1973-1980 he performed with avant-garde composer David Tudor as a member of his Rainforest ensemble, later called Composers Inside Electronics. Viola has also created videos to accompany music compositions including 20th century composer Edgard Varèse’ Déserts in 1994 with the Ensemble Modern, and, in 2000, a three-song video suite for the rock group Nine Inch Nails’ world tour. In 2004 Viola began collaborating with director Peter Sellars and conductor Esa-Pekka Salonen to create a new production of Richard Wagner’s opera, Tristan und Isolde, which was presented in project form by the Los Angeles Philharmonic in December 2004, and later at the Lincoln Center for the Performing Arts, New York (2007). The complete opera received its world premiere at the Opéra National de Paris, Bastille in April 2005.<br />
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Since the early 1970s Viola’s video art works have been seen all over the world. Exhibitions include Bill Viola: Installations and Videotapes, Museum of Modern Art, New York, 1987; Bill Viola: Unseen Images, seven installations toured six venues in Europe, 1992-1994, organized by the Kunsthalle Düsseldorf and Kira Perov. Viola represented the U.S. at the 46th Venice Biennale in 1995 with Buried Secrets, a series of five new installation works. In 1997 the Whitney Museum of American Art organized Bill Viola: A 25-Year Survey that included over 35 installations and videotapes and traveled for two years to six museums in the United States and Europe. In 2002 Viola completed his most ambitious project, Going Forth By Day, a five part projected digital “fresco” cycle, his first work in High-Definition video, commissioned by the Deutsche Guggenheim Berlin and the Guggenheim Museum, New York. Bill Viola: The Passions, a new series inspired by late medieval and early Renaissance art, was exhibited at the J. Paul Getty Museum, Los Angeles in 2003 then traveled to the National Gallery, London, the Fondación “La Caixa” in Madrid and the National Gallery of Australia, Canberra. One of the largest exhibitions of Viola’s installations to date, Bill Viola: Hatsu-Yume (First Dream) (2006-2007), drew over 340,000 visitors to the Mori Art Museum in Tokyo. In 2007 nine installations were shown at the Zahenta National Gallery of Art, Warsaw; and Ocean Without a shore was created for the 15th century Church of San Gallo during the Venice Biennale. In 2008 Bill Viola: Visioni interiori, a survey exhibition organized by Kira Perov, was presented in Rome at the Palazzo delle Esposizioni. In 2014, twenty works were shown at the Grand Palais, Paris, in his largest survey exhibition to date, and a few months later, part one of the St. Paul’s commission was installed in the London cathedral, Martyrs (Earth, Air, Fire, Water).<br />
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Viola has received numerous awards for his achievements, including the MacArthur Foundation Fellowship (1989), XXI Catalonia International Prize (2009), and the Praemium Imperiale from the Japan Art Association (2011). <br />
<br />above copied from: http://www.billviola.com/biograph.htm/<br /><br /></div>Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com10tag:blogger.com,1999:blog-7964380476362744537.post-34326614367984397862017-05-14T09:26:00.000-07:002017-05-14T09:26:27.664-07:00Andre Breton - Philosopher, Artist, Publisher, Author, Editor, Journalist, Poet, Literary Critic<div style="height: 400px; overflow: auto;">
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French writer and poet André Breton is best known as one of the founders of the Surrealist movement in literature and art.<br />
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“I believe in the future resolution of these two states, dream and and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality.”
—André Breton<br />
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Synopsis<br />
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André Breton was born on February 18, 1896, in Tinchebray, France. After a brief medical career and military service in World War I, he settled in Paris and joined the city's artistic avant-garde. In the early 1920s he became one of the founders of the Surrealist movement. He wrote a Surrealist manifesto encouraging free expression and the release of the subconscious mind, followed by the novel Nadja and volumes of essays and poetry. He died in Paris in 1966.<br />
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Early Career and Influences<br />
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André Breton was born into a working-class family on February 18, 1896, in Tinchebray, a small town in Normandy, France. As a young man, he attended medical school, taking a particular interest in the study of mental illness. When his education was interrupted by his service in World War I, he worked in the psychiatric wards of military hospitals. He also read the writings of famous psychoanalyst Sigmund Freud, whom he would meet in 1921.<br />
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Breton was also interested in the work of Symbolist poets like Arthur Rimbaud and Charles Baudelaire, and in the political theory of Karl Marx. He soon came into contact with other aspiring writers who shared his interests, including Guillaume Apollinaire. In 1916, Breton joined the group of artists associated with the subversive Dada movement in Paris, including Marcel Duchamp and Man Ray.<br />
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The Surrealist Movement<br />
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By the early 1920s, however, Breton had shifted his allegiance to another group of intellectuals who would become known as the Surrealists. In 1924, he published Le Manifeste du Surréalisme (The Manifesto of Surrealism), a document announcing the new movement's embrace of all forms of liberated expression and its rejection of social and moral conventions. The Surrealists were fascinated by the fine line between reason and irrationality, especially as manifested in dreams, erotica and mental disorders. They encouraged writers and artists to adopt spontaneous means of expression such as free association and a stream-of-conscious method called "automatism."<br />
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Breton was one of the co-founders of Littérature, an influential journal that featured the first written example of automatism, titled Les Champs magnétiques (The Magnetic Fields). He also promoted visual artists such as Pablo Picasso, Joan Miró and Max Ernst by reproducing their work in the journal La Révolution Surréaliste (The Surrealist Revolution).<br />
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In the 1920s and '30s, Breton composed two more Surrealist manifestos and other texts about Surrealism, including Les Vases Communicants (The Communicating Vessels) and Qu'est-ce le que le Surréalisme? (What is Surrealism?). He also wrote poetry and fiction. His most famous novel, Nadja (1928), is a fantastical love story between the narrator and a mysterious, possibly insane, woman. L'Amour Fou (Mad Love), published in 1937, is a poetic meditation on obsessive love.<br />
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Breton's commitment to Marxism led him to join the French Communist Party in 1927. Although he left the party in 1935, he remained dedicated to Marxist philosophy. In 1938, he traveled to Mexico, where he and revolutionary leader Leon Trotsky collaborated on "Manifesto for an Independent Revolutionary Art," which examines art's connection to social upheaval.<br />
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Travels and Later Work<br />
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Breton emigrated from France in 1941 in order to escape World War II. He lived in New York City for several years, and in 1942, he organized a groundbreaking exhibition of Surrealist art at Yale University. After his return to Paris in 1946, Breton published more poetry collections and essays on Surrealism.<br />
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Breton married three times, to Simone Kahn, Jacqueline Lamba (with whom he had a daughter named Aube) and Elisa Claro. In his later years, he divided his time between a country house in southwest France and an apartment in Paris. He died in Paris on September 28, 1966.<br />
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above copied from: http://www.biography.com/people/andr%C3%A9-breton-37471/<br />
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Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-26787675988935665022017-05-14T09:20:00.003-07:002017-05-14T09:20:45.342-07:00Surrealism - Examples and Definitions<div style="height: 400px; overflow: auto;">
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Definition of Surrealism<br />
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The term surrealism indicates a specific thought and movement in literature, the arts, and theatre, which tries to integrate the confused realms of imagination and reality. The proponents of surrealism endeavor to mix up the differences of conscious and unconscious thought through writing and painting by using irrational juxtaposition of images.<br />
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Initiated by André Breton (1896-1966), surrealism is a kind of artistic movement started in the French capital, Paris, during the 1920s. This movement lasted until the 1940s. Breton, a famous writer as well as a philosopher, boosted this movement further by publishing his manifesto, “The Manifesto of Surrealism.”<br />
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Although it gave new dimensions to art, it was not a political manifesto. The manifesto states that, horrified by the destruction caused by the world wars and subsequent confusion, art and literature faced numerous political challenges in resolving those confusions, the reaction of which emerged in the shape of surrealism. This movement rather aimed at preventing bloody revolutions by breaking the limitations placed on arts and literature by the politics of that time.<br />
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Examples of Surrealism in Literature<br />
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Example #1: Freedom Of Love (By Andre Breton)
“My wife with the hair of a wood fire
With the thoughts of heat lightning
With the waist of an hourglass
With the waist of an otter in the teeth of a tiger
My wife with the lips of a cockade and of a bunch of stars of the last magnitude
With the teeth of tracks of white mice on the white earth
With the tongue of rubbed amber and glass
My wife with the tongue of a stabbed host.”
(Lines 1-8)
This is one of the best examples of surrealist poetry by Andre Breton. These lines have been taken from his poem “Freedom of Love.” See the irrationality in images about his wife and a wood fire, an hourglass, and teeth of a tiger. None of these images have any relation. They have been just irrationally put together to demonstrate the mind of the poet, and a situation of the reality in which he is living.<br />
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Example #2: Dark Poet (by Antonin Artaud)
“Dark Poet, a maid’s breast
Haunts you,
Embittered poet, life seethes
And life burns,
And the sky reabsorbs itself in rain,
Your pen scratches at the heart of life.”
(Lines 1-6)
These lines have been taken from poem “Dark Poet” by Antonin Artaud. This poem juxtaposes the poet with the breasts that is quite irrational and hence surreal.<br />
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Example #3: A Season in Hell (by Arthur Rimbaud)
“A while back, if I remember right, my life was one long party where all hearts were open wide, where all wines kept flowing.
One night, I sat Beauty down on my lap.—And I found her galling.—And I roughed her up.
I armed myself against justice.
I ran away. O witches, O misery, O hatred, my treasure’s been turned over to you!
(Lines 1-5)
Just check the images presented in the first few lines of this poem by Arthur Rimbaud. These are contradictory and irrational images. That is why “A Season in Hell” is one of the best surreal poems.
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Example #4: Hidden Faces (by Salvador Dali, translated by Chevalier)
“Then an unheard-of being, unheard-of beings, will be seen to rise, their brains compressed by sonorous helmets, their temples pierced by the whistling of air waves, their bodies naked, turned yellow by fever, pocked by deep vegetal stigmata swarming with insects and filled to the brim with the slimy juices of venom, overflowing and running down a skin tiger-striped and leopard-spotted by the gangrene of wounds and the leprosy of camouflage, their swollen bellies plugged to death by electric umbilical chords [sic] tangling with the ignominiousness of torn intestines and bits of flesh, roasting in the burning steel carapaces of the punitive tortures of gutted tanks.<br />
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That is man! Backs of lead, sexual organs of fire, fears of mica, chemical hearts of the televisions of blood, hidden faces and wings — always wings, the north and south of our being!”<br />
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This excerpt has been taken from “Hidden Faces,” a novel by Salvador Dali. it uses irrational images to describe a person.<br />
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Function of Surrealism<br />
Life became topsy-turvy after two world wars. Literature and art faced the dilemma of presenting this topsy-turvy state of mind in words or colors. The artists and writers of that time tried to resolve this situation by presenting strange and shocking images in their writings and paintings. This technique of presenting images helps the readers and the audiences connect with the confused state of mind of that time, and of the people living after the two world wars. Surrealism is a representation of this confusion. It makes people aware of bizarre reality around them. They connect themselves with this reality and become familiar with it.
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above copied from: https://literarydevices.net/surrealism//<br />
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Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-42593913390161110522017-05-14T09:16:00.003-07:002017-05-14T09:16:46.010-07:00Surrealist Writing Techniques<div style="height: 400px; overflow: auto;">
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The dream narratives, the exquisite corpses and writing under hypnosis are all the others techniques used by the Surrealists to combine happenstance and unconsciousness into writing.<br />
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AUTOMATIC WRITING<br />
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Practiced by most surrealist writers, automatic writing is about leaving free field in the brain, writing every spontaneous thought down on paper before logic takes over and rephrases it. The more passive the writer is, the more automatic the writing will be – that’s at least what Breton, who experimented with this process in 1913, affirms, almost a decade before the beginnings of Surrealism. His text Magnetic Fields, published in 1920, was also almost completely written according to the process of automatic writing.
Closely linked to the interest André Breton has on psychoanalysis and Freud's theories, automatic writing must make the subconscious speak, and even the unconscious, before the Id, ego, and super ego, psychic portion of each man subject to pressures and social restrictions, take over it.
The resulting writing, sometimes transcendent, does not remain at least without an absurd side, which defies logic. In this sense, it approaches the 'Pataphysics of Alfred Jarry, science theorizing reconstruction of reality in the absurd. Jarry, held in high esteem by the Surrealists, and especially by André Breton - who said the playwright was a real surrealist, because of his absinthe consumption but also because of his vision of the world – it’s not so far from the surrealists in his deliberately absurd writing, which claims, for instance: "God is the shortest path from zero to infinity, in one way or another."<br />
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NARRATIVE OF DREAMS AND WRITING UNDER HYPNOSIS<br />
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As automatic writing, the dream narratives, under hypnosis, or even under the influence (of drugs, alcohol) are intended to eliminate the possible control of the flow of writing. The writer finds themselves completely unrestricted in their possibilities. Several surrealist authors, again intrigued by the psychoanalytic theories of the time, were interested in the relationship between dream narratives and the "common thread" connecting them to reality.<br />
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EXQUISITE CORPSE<br />
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The only rule of this playful writing technique, widely adopted today as a game, in all contexts, is to follow the grammatical form: noun, adjective, verb, and direct object, adjective..
On a folded sheet, where participants cannot see the word written by the previous player, they must write a word of their choice that respects the order shown above. Wacky phrases are obtained, such as that which gave the game its name ("The exquisite corpse will drink the new wine") or even "White bread will shake the oblong breast laughing." This exquisite corpse is also one of the first obtained: in the first meeting of the Surrealists where the game is played, André Breton, Jacques Herold, Victor Brauner, Yves Tanguy, Peret and Elsie Houston are present.
Behind this "objective chance" seemingly harmless, obviously hides a pleasing deeper reflection: opposite to automatic writing, where the writer plays alone with their unconscious, and therefore closer to psychoanalysis, the exquisite corpse allows both real intrusion of chance in writing as well as the discovery, purely poetic, of new combinations of unthought words.<br />
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TECHNIQUES THAT SPAN THE MEDIA<br />
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The automatism, the role of chance and the unconscious are not exclusive features of the surrealist literature: they are also found in all other types of art that affect this movement. Automatic writing finds its equivalent in the automatic drawing, practiced for example by André Masson, French painter of the years 1920-1950. The exquisite corpse, too, is as well practiced with words as with body parts! Max Ernst's collages or the photosensitive works of Man Ray also recall the patched appearance of the exquisite corpse.
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above copied from: http://www.surrealismart.org/history/writing-techniques.html/<br />
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Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-82949986577174114502017-05-14T09:13:00.001-07:002017-05-14T09:13:17.974-07:00A Brief Guide to Surrealism<div style="overflow: auto; height: 400px;"> <br /><br />
Surrealism emerged as the direct result of the publication of André Breton’s first Le Manifeste du Surréalisme (Manifesto of Surrealism) (1924). In this manifesto, Breton presented two definitions of surrealism:
SURREALISM, noun, masc., Pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. Thought dictated in the absence of all control exerted by reason, and outside all aesthetic or moral preoccupations.
ENCYCL. Philos. Surrealism is based on the belief in the superior reality of certain forms of association heretofore neglected, in the omnipotence of the dream, and in the disinterested play of thought. It leads to the permanent destruction of all other psychic mechanisms and to its substitution for them in the solution of the principal problems of life.
The first definition speaks to the surrealist methodology—the use of techniques, such as automatic writing, self-induced hallucinations, and word games like the exquisite corpse to make manifest repressed mental activities. The second definition lays out the surrealist view of reality and expresses the surrealist’s desire to open the vistas of the arts through the close observation of the dream state and the free play of thought.
The roots of surrealism can be traced back to Charles Baudelaire, Arthur Rimbaud, and Isidore Ducasse, also known as Comte de Lautréamont. Surrealists also found inspiration in the poetic methods, such as calligrammatic poetry, used by Stéphane Mallarmé and Guillaume Apollinaire. The first text that took up the banner of surrealism and used automatic writing as its methodology was Les Champs magnétiques (The Magnetic Fields), penned collaboratively by Breton and Philippe Soupault.
The surrealist coalition that formed around Breton included such young French poets as Louis Aragon, Antonin Artaud, René Crevel, Robert Desnos, Paul Éluard, Michel Leiris, Benjamin Péret, and eventually the Dadaist Tristan Tzara. The group’s membership fluctuated due to changes in ideology and personality clashes. During this time several journals served as a space for the expression of the growing surrealist ideals, journals such as Révolution surréaliste (1924-29), Le Surréalisme au service de la révolution (1930-33), and Minotaure (1933-39). A second generation of surrealists included René Char, Aimé Césaire, and David Gascogne.
The final stage of surrealism began after the end of World War II. By this point surrealism had disseminated around the world in various diluted forms. The far-flung practitioners were held together by their use of personal juxtapositions, placing distant realities together, so that the interconnections between them were only apparent to the creator.
<br />above copied from: https://www.poets.org/poetsorg/text/brief-guide-surrealism/<br /><br /></div>Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-55917606289069051662017-05-14T09:09:00.005-07:002017-05-14T09:11:12.226-07:00Surrealist Writers<div style="overflow: auto; height: 400px;"> <br /><br />
Surrealism is a movement in literature and art whose effective life is generally assigned the years 1924-1945 by historians. In 1924, André Breton's first Manifesto of Surrealism appeared, defining the movement in philosophical and psychological terms. Its immediate predecessor was Dada, whose nihilistic reaction to rationalism and the reigning "morality" that produced World War I cleared the way for Surrealism's positive message. (Other precursors and influences are listed below.)
Surrealism is often characterized only by its use of unusual, sometimes startling juxtapositions, by which it sought to trancend logic and habitual thinking to reveal deeper levels of meaning and unconscious associations. Thus it was instrumental in promoting Freudian and Jungian conceptions of the unconscious mind.
Throughout the 1920s and '30s, the movement flourished and spread from its center in Paris to other countries. Breton controlled the group rather autocratically, annointing new members and expelling those with whom he disagreed, in an effort to maintain focus on what he conceived as the essential principals or the fundamental insight which Surrealism manifested (a conception which changed, to some extent, during his life).
In the early '30s the group published a periodical entitled Surrealism at the Service of the Revolution (Le Surrealisme au service de la revolution, 1930-33). Communism appealed to many intellectuals at this time and the movement flirted briefly with Moscow; but the Soviets demanded full allegiance and the subordination of art to the purposes of "the State." The surrealists sought absolute freedom and their aim was a profound psychological or spiritual revolution, not an attempt to change society on a merely political or economic level. (The full history of surrealist political involvement is quite complex and led to dissent and the formation of various factions within the movement.)
With the advent of World War II, many of the Parisian participants sought safety in New York, leaving Paris to the Existentialists. By the war's end in 1945, Abstract Expressionism had superseded Surrealism as the western world's most important active art movement. "Ab Ex" grew out of both the tradition of Abstraction (exemplified by Kandinsky) and the "automatic" branch of Surrealism (exemplified by Joan Miro and André Masson) with Roberto Matta and Arshile Gorky as key pivotal figures.
But Surrealism did not die in 1945. Though the attention of the fickle art world may have shifted away, Breton continued to expound his vision until his death in 1966, and many others have continued to produce works in the surrealist spirit to the present day. The ongoing impact of Surrealism cannot be underestimated and must be granted a distinct place in the history of literature, art and philosophy.
<br />above copied from: http://alangullette.com/lit/surreal//<br /><br /></div>Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-24239974525076971962017-05-14T08:42:00.000-07:002017-05-14T08:49:51.299-07:00Capturing Ideas: The Surreal Photography of Erik Johansson<div style="overflow: auto; height: 400px;"> <br /><br />
Swedish and Berlin-based mixed media photographer Erik Johansson has created astounding work that is perhaps only surpassed by his remarkable process. We featured an image of his earlier on. At first glance, his surreal images – essentially landscape photographs transformed into something more magical – rouse wonder in people, and upon closer inspection, they are dressed to impress, with every minor detail considered and perfected.
It’s his process, however, that really had us at hello. While many Photoshop artists use stock images to create their art, Erik is going out of his way to make his photographs more realistic and entirely his own. He meticulously draws, paints, creates miniature sets and cardboard cutouts, and shoots different spots and locations himself, all the while paying great attention to every single detail, before blending all these aspects together in a single photograph.
Erik tells the Phoblographer:
“To me photography is a way to collect material to realize the ideas in my mind. I get inspired by things around me in my daily life and all kinds of things I see. Although one photo can consist hundreds of layers I always want it to look like it could have been captured. Every new project is a new challenge and my goal is to realize it as realistic as possible.”
Erik’s dedication to the craft is something we don’t see every day, which makes his work all the more inspiring. And with his painstaking creations, he actualizes images in his mind and molds them into something real for others.
As he points out, “I don’t capture moments, I capture ideas.”
See Erik Johansson’s breathtaking work and his behind-the-scenes videos after the jump.
To see more of Erik’s work, visit his website.
<br />above copied from: http://www.thephoblographer.com/2014/08/27/capturing-ideas-surreal-photography-erik-johansson//<br /><br /></div>Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-55688827611485265472017-05-14T08:38:00.002-07:002017-05-14T08:48:40.114-07:00Surrealist Photographer Erik Johansson Bends Reality Without Photoshop<div style="overflow: auto; height: 400px;"> <br /><br />
Even if you’ve never heard of Erik Johansson, chances are that you’ve already come across one of his surrealistic masterpieces online. The Swedish-born photo artist uses both physical objects and special retouching techniques to create fantastical worlds in which everything seems possible.
Erik currently lives in Berlin where he’s steadily working on his amazingly creative photo projects, producing an astonishing amount of work and giving an incredible TED Talk before hitting his thirties.
The Creators Project: Can you tell us about the creative process behind making these photos?
Erik Johansson: For me, it's basically just problem solving when I’m trying to make a picture. It always starts with an idea and then I just have to sort of figure out how to translate that idea into an image. Every image consists of different parts and because I always want my work to look as realistic as possible, I shoot all of those parts individually with my camera and never use CGI. So in my work, I’m constantly trying to find out where and how I can capture all the various elements that make up a work.
It takes just as much time to do something in real life as it does trying to "fake it" in Photoshop, so I just thought it would be more fun to do it for real. And because you use actual images, no one can ever tell you it doesn’t look realistic, which to me is very important. Finally, I really like the contrast of being in the countryside taking the photos and then coming to the city and putting it together. I like to combine both parts.
Apart from the stunning visual effect, what other messages are you trying to convey with your photography?
There's not some hidden meaning or something that you can figure out by looking at the images. It’s more about the visual aspects of it all, and the images reflect what I am thinking.
So I guess it’s more up to the viewer to see the message in that sense. When I would read children's books as a kid, I rarely read the text. I just wanted to look at the pictures and create my own story. People should be able to do the same with my pictures. I merely want to give it a title and not talk too much about the message of the picture.
"Let's Leave"
"Face Fist"
What inspires your work? Any specific sources, in particular?
Inspiration can basically come from anywhere. It’s about seeing connections between things that normally don’t fit together. For example, I have this work where you see high-voltage cables that run into a guitar. That idea came simply by looking at it and thinking: Hey, those could be guitar strings. That was how the idea was born. It can be that simple sometimes.
On your website there are a lot of instructional videos on how you made your projects. Can you tell us about offering these tips and encouraging people to possibly make similar work?
I really enjoy seeing behind-the-scenes videos from other artists, as well. I think it’s very interesting to see how others work and how they create something. But if I had to give beginning artists a piece of advice, I’d say: Trying is the best way of learning. Just go out there and do stuff.
With photography you just have to take pictures, you don’t need a fancy camera or know how to retouch something. You can learn a lot with very little. When I don't know something, I just Google it and find a solution for what I need. In the end, it's all about imagination and what you can come up with. I would really like to see more people doing this sort of thing. I think that would be very interesting.
The scenes in your images are so specific that it's clear they come from one person's control and vision. Would you describe yourself as a control freak?
I think you need to be a little bit of a control freak in order to do this kind of work. I always try to make it look perfect. And although I think it is impossible to actually achieve perfection, I hope I’m getting closer all the time.
At some point you’re so tired of working with the pictures that you just have to leave it for a while and then later on you have to force yourself to go back to it. It’s good to have that kind of perfectionist goal.
With regards to your photo, Iron Man, I once met someone who actually tried to iron her clothes while wearing them because she was in a hurry. Of course she burned herself: Do you think surrealism can encourage some regrettable ideas to people?
[Laughs] Well, I don’t think that people should try the things that I do in my pictures. But maybe I should add a warning label or something. That could be important.
"Fishy Island"
"Vertical Turn"
<br />above copied from: https://creators.vice.com/en_us/article/surrealist-photographer-erik-johansson-bends-reality-without-photoshop/<br /><br /></div>
Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-14425208265886056892017-05-14T08:35:00.003-07:002017-05-14T08:44:42.032-07:00Photography and Surrealism<div style="overflow: auto; height: 400px;"> <br /><br />
Surrealism was officially launched as a movement with the publication of poet André Breton’s first Manifesto of Surrealism in 1924. The Surrealists did not rely on reasoned analysis or sober calculation; on the contrary, they saw the forces of reason blocking the access routes to the imagination. Their efforts to tap the creative powers of the unconscious set Breton and his companions on a path that carried them through the territory of dreams, intoxication, chance, sexual ecstasy, and madness. The images obtained by such means, whether visual or literary, were prized precisely to the degree that they captured these moments of psychic intensity in provocative forms of unrestrained, convulsive beauty.
Photography came to occupy a central role in Surrealist activity. In the works of Man Ray (2005.100.141) and Maurice Tabard (1987.1100.141), the use of such procedures as double exposure, combination printing, montage, and solarization dramatically evoked the union of dream and reality. Other photographers used techniques such as rotation (1987.1100.49) or distortion (1987.1100.321) to render their images uncanny. Hans Bellmer (1987.1100.15) obsessively photographed the mechanical dolls he fabricated himself, creating strangely sexualized images, while the painter René Magritte (1987.1100.157) used the camera to create photographic equivalents of his paintings. In her close-up photograph of a baby armadillo suspended in formaldehyde, Dora Maar performs a typical Surrealist inversion, making an ugly, or even repulsive subject compelling and bizarrely appealing (2005.100.443).
But the Surrealist understanding of photography turned on more than the medium’s facility in fabricating uncanny images. Just as important was another discovery: even the most prosaic photograph, filtered through the prism of Surrealist sensibility, might easily be dislodged from its usual context and irreverently assigned a new role. Anthropological photographs, ordinary snapshots, movie stills, medical and police photographs—all of these appeared in Surrealist journals like La Révolution Surréaliste and Minotaure, radically divorced from their original purposes.
This impulse to uncover latent Surrealist affinities in popular imagery accounts, in part, for the enthusiasm with which Surrealists embraced Eugène Atget’s photographs of Paris. Published in La Révolution Surréaliste in 1926 at the suggestion of his neighbor, Man Ray, Atget’s images of vanished Paris were understood not as the work of a competent professional or a self-conscious artist but as the spontaneous visions of an urban primitive—the Henri Rousseau of the camera. In Atget’s photographs of the deserted streets of old Paris and of shop windows haunted by elegant mannequins, the Surrealists recognized their own vision of the city as a “dream capital,” an urban labyrinth of memory and desire.
<br />above copied from: http://www.metmuseum.org/toah/hd/phsr/hd_phsr.htm/<br /><br /></div>Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-68799478065361617672017-05-14T08:30:00.000-07:002017-05-14T08:43:58.121-07:00Man Ray, The Gift
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The American artist Man Ray (born Emanuel Radnitzky) arrived in Paris in 1921. Within a year, the artist had his first solo show at a Parisian gallery. Among the works he exhibited was one unlisted sculpture: the object, which he called The Gift, was an everyday flatiron with brass tacks glued in a column down its center. According to Man Ray in his autobiography Self-Portrait, the object was made quickly, in a bout of inspiration, the day of the gallery opening.
What do we make of Man Ray's relatively simple, yet subversive act of presenting a modified household
Samuel Kravitt, A Sister's Hands Ironing, c. 1931-36, photo, Hancock Shaker Village, Massachusetts (Library of Congress)
Samuel Kravitt, A Sister's Hands Ironing, c. 1931-36, photo, Hancock Shaker Village, Massachusetts (Library of Congress)
appliance as a work of art? The flatiron – intended to smooth wrinkles from fabric – has been rendered useless with the addition of a row of brass tacks. We are perhaps expected to react the way the store owner supposedly did when Man Ray purchased these items, by exclaiming, “But you'll ruin the shirt if you put tacks there!”
Dada, or the nonsense of the everyday
Before arriving in Paris, Man Ray was associated with the New York Dada group, which included the artist Marcel Duchamp. As a loosely-affiliated group of like-minded artists, they were particularly interested in using humor and antagonism to question the definition of a work of art. Re-defining art was prevalent in Duchamp's Readymades, such as his Bicycle Wheel, a sculpture made by conjoining a bicycle wheel and a stool, two utilitarian objects.
The Surrealist object
Marcel Duchamp, Bicycle Wheel, 1951 (third version, after lost original of 1913), metal wheel mounted on painted wood stool, 129.5 x 63.5 x 41.9 cm (The Museum of Modern Art), © 2014 Artists Rights Society (ARS), New York / ADAGP, Paris / Estate of Marcel Duchamp
Marcel Duchamp, Bicycle Wheel, 1951 (third version, after lost original of 1913), metal wheel mounted on painted wood stool, 129.5 x 63.5 x 41.9 cm (The Museum of Modern Art)
Although made in the spirit of Dada, Man Ray's The Gift prefigured by several years a key artistic practice that would develop within the Surrealist movement: the “Surrealist object,” a type of three-dimensional art work that included found objects, modified objects, and sculpted objects.
The Surrealist object—one of many literary and visual practices in the movement—became prominent beginning in 1936, after its association with a series of extravagant international expositions organized in London and Paris. Surrealism had been first publicly announced in 1924, with the publication of André Breton's first "Manifesto of Surrealism." Stridently activist, Surrealists sought to release society from cultural constraints and the need to conform to social norms, which they felt curtailed people's desires to live as they wished.
Function/Dysfunction
Of the many types of Surrealist objects that were produced, two important features are present in Man Ray's The Gift. First, an everyday object has been changed so that its original function is denied. Indeed, the artist's relatively simple addition of tacks transforms a useful device into a destructive one.
Second, Man Ray's alteration gives a common object a symbolic function. The flatiron, associated with social expectations of propriety and middle-class values, becomes a subversive attack on social expectations. Even if Man Ray's tack-lined iron is no longer used for pressing clothes, the object resonates with ruinous, violent possibilities.
Denial and destruction
While denial and destruction are qualities are not intrinsic to all Surrealist art, there are striking examples, like The Gift, that show Surrealists working with banal objects to question the viewer's expectations, and force us to re-evaluate the function of those objects in our lives.
Wolfgang Paalen, Articulated Cloud, umbrella in foam, 1938
Wolfgang Paalen, Articulated Cloud, umbrella in foam, 1938
Wolfgang Paalen's work from 1938, Articulated Cloud, an umbrella crafted from spongy foam, denies the object's intended function by causing water to be absorbed rather than repelled. It also makes the umbrella rather useless for anyone seeking shelter from rain.
Another object by Man Ray—a metronome with a photograph of a woman's open eye clipped to it—adds an ominous sense of relentless observation to an ordinary musician's timing instrument. Man Ray's title of the piece, Object to Be Destroyed, seems mysterious at first. But when we consider the psychological effects of such obsessive observation—and think about what kind of impulses such regulations might evoke - the artist's title becomes easier to understand.
Man Ray, Indestructible Object (or Object to Be Destroyed), 1964 (replica of 1923 original), metronome with cutout photograph of eye on pendulum, 22.5 x 11 x 11.6 cm (The Museum of Modern Art) © 2014 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris
Man Ray, Indestructible Object (or Object to Be Destroyed), 1964 (replica of 1923 original), metronome with cutout photograph of eye on pendulum, 22.5 x 11 x 11.6 cm (The Museum of Modern Art)
No longer a simple time-keeping device, Object To Be Destroyed summons feelings of irritation over being watched, and powerlessness in the face of endless time. There is no means to stop the cycle, except to destroy the object itself.
Don't touch the art!
The violent implications of The Gift and other Surrealist objects by Man Ray came to fruition in 1957 when Object to Be Destroyed was lost during a Man Ray retrospective. Varying stories exist as to the fate of the sculpture. In his autobiography, Man Ray recounts that a group of students visited the exhibition and caused a scene, during which one of them walked off with the sculpture, and it was never seen again. Numerous historians, however, state that during the exhibition one of the students took the title literally and smashed it with a hammer.
Whether stolen or smashed, Object to Be Destroyed no longer existed. This compelled Man Ray to remake the sculpture, but he pointedly changed the title to Indestructible Object.
Essay by Josh Rose
<br />above copied from: https://www.khanacademy.org/humanities/art-1010/art-between-wars/surrealism1/a/man-ray-the-gift/<br /><br /></div>
Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-61425121050825297282017-05-14T08:07:00.002-07:002017-05-14T08:10:30.039-07:00Camera-less Photography Techniques<div style="height: 400px; overflow: auto;">
<br />
<br />
The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper.
Images made with a camera imply a documentary role. In contrast, camera-less photographs show what has never really existed. They are also always ‘an original’ because they are not made from a negative. Encountered as fragments, traces, signs, memories or dreams, they leave room for the imagination, transforming the world of objects into a world of visions.
Processes & techniques
Camera-less photographs can be made using a variety of techniques, the most common of which are the photogram, the luminogram and the chemigram. These techniques are sometimes used in combination. Many involve an element of chance.<br />
<br />
Chemigram<br />
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Chemigrams are made by directly manipulating the surface of photographic paper, often with varnishes or oils and photographic chemicals. They are produced in full light and rely on the maker's skill in harnessing chance for creative effect. Documented experiments are often an important part of the process.<br />
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Digital C-print<br />
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A print made from digital images using digital printers. Inside such printers, chromogenic (or 'C'-type) photographic paper is exposed to red, green and blue lasers. The paper is then processed in the traditional, chemical-based manner. Images created by camera-less methods can be digitised and turned into C-prints. When processed in this way, camera-less images can be retouched, enlarged and reproduced as multiples.<br />
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Dye destruction print<br />
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A print made using direct positive colour paper. This paper was originally introduced in 1963 for printing colour transparencies or negatives. It is coated with at least three layers of emulsion, each of which is sensitised to one of the three primary colours. Each layer also contains a dye related to that colour. During development of the image, any unexposed dyes are bleached out (hence 'dye destruction'). The remaining dyes form a full-colour image.<br />
<br />
Gelatin-silver print<br />
<br />
A print made using paper that has been coated with gelatin containing silver salts. Where light strikes the silver salts, they become dark. The image is then developed out using chemical developer. The paper itself can have a matt or gloss surface, and the image can be toned. Introduced in 1871, the gelatin-silver print is still in general use today.<br />
<br />
Luminogram<br />
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A variation of the photogram (see below). In a luminogram, light falling directly on the paper forms the image. Objects placed between the light and the paper (but not touching the paper) will filter or block the light, depending on whether they are transparent or opaque.<br />
<br />
Photogram<br />
<br />
Photograms are made by placing an object in contact with a photosensitive surface in the dark, and exposing both to light. Where the object blocks the light, either partially or fully, its shadow is recorded on the paper.
The term 'photogram' seems to have appeared around 1925. The photogram artist is not able to predict the results in the viewfinder of a camera, and often works in the dark. The final image is only apparent after physical and chemical manipulation or development.
<br />
<br />
Reading list
Luis Nadeau, Encyclopedia of Printing, Photographic and Photomechanical Processes New Brunswick, NJ (Atelier Luis Nadeau), 1989, and the related website, photoconservation.com
Gordon Baldwin, Looking at Photographs: A Guide to Technical Terms Los Angeles and London (J. Paul Getty Museum in association with the British Museum Press), 1991
This text was originally written to accompany the exhibition Shadow Catchers: Camera-less Photography, on display at the V&A South Kensington between 13 October 2010 and 20 February 2011.
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<br />
above copied from: [http://www.vam.ac.uk/content/articles/c/camera-less-photography-techniques/] <br />
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Anonymoushttp://www.blogger.com/profile/11557561376853678705noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-49095883995595885482017-05-12T06:23:00.002-07:002017-05-12T06:23:35.338-07:00<div style="height: 400px; overflow: auto;">
How a Humble Pineapple Became Art<br />
By DAN BILEFSKY MAY 11, 2017<br />
LONDON — How did a pineapple become a postmodern masterpiece?
The aesthetic merits of tropical fruit inadvertently entered Britain’s national cultural conversation after two students jokingly placed a store-bought pineapple on an empty table at an art exhibition this month at Robert Gordon University in Aberdeen, a port city in northeastern Scotland.
When they returned a few days later to the exhibition — part of the Look Again festival, which aims to highlight Aberdeen’s cultural heritage — they were shocked to discover their pineapple protected by a glass display case, instantly and mysteriously transformed into a work of art.
After one of the students, Lloyd Jack, 22, who studies business, put a photograph of the pineapple on Twitter, along with the words, “I made art,” the image was shared widely on social media, turning the fruit, fairly or not, into a cultural sensation. To some, though, the stunt was a self-promoting social media prank befitting the digital age.
Mr. Jack’s post received nearly 5,000 likes on Twitter. Before long, the work, which the two students titled “Pineapple,” had been deconstructed on art blogs and social media worldwide; parsed in Paris, Texas and Tokyo; and even featured on Canadian television. Some on Twitter lauded its “genius,” while others ridiculed it as the latest example of conceptual art’s plodding banality.
Mr. Jack said he and the other student, Ruairi Gray, also 22, had been stunned by the attention afforded the pineapple, which he said the two had put on the table in a moment of lighthearted whimsy, slanted slightly to the left to give it a bit more gravitas and flair. He said the “work” was on display for nearly a week before it was removed.
“We weren’t sure how the glass case got there, and initially assumed it was bungling curators,” he said. “We couldn’t believe our eyes, and didn’t expect our lowly little supermarket pineapple to become a global star.”
The fruit cost one pound, or about $1.30.
Nevertheless, he said, the pineapple, alone in its display case and destined to rot, was a poignant symbol of Britain in the era of “Brexit,” the nation’s decision to leave the European Union. (Unlike England, Scotland voted overwhelmingly to remain.) “The pineapple symbolizes the U.K. leaving the E.U., standing alone, attempting to survive, cut off from the outside world,” he said.
Others saw hidden meaning in the pineapple, including an art professor at the university who, Mr. Gray said, enthusiastically lauded the “purposeful way” in which the display case had pressed down on the fruit’s leaves.
“It just goes to show the ludicrousness of conceptual art and how anything can become art,” Mr. Jack said.
Others were not altogether amused, including the organizers of the Look Again festival, who found their exhibition suddenly hijacked by a fruit. After investigating the renegade pineapple, they discovered that the glass case had been placed at the exhibition by a janitor — though it was unclear whether the act had been motivated by humor, artistic sensibility or both.
“This pineapple was nothing more than a prank,” said Hilary Nicoll, an associate director of the festival, with amusement tinged with slight irritation.
</div>
DSmithhttp://www.blogger.com/profile/11588231506120132842noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-41931768763577731902017-05-11T11:42:00.000-07:002017-05-13T16:42:15.849-07:00Most Successful Virtual Band: Gorillaz "Adding Substance to Pop"<div style="height: 400px; overflow: auto;">
<b>Most Successful Virtual Band: The Gorillaz “Adding Substance to Pop”</b><br />
<br />
<b>Genre:</b>
Avant-Pop, Experimental Pop, Alternative Rock, Brit Pop, Trip Hop, Hip Hop, Electronica, Indie, Dub, Reggae and Pop.<br />
<br />
<b>Awards:</b> Grammy Award, Two MTV Video Music Awards, NME Award, (New Musical Express) Three MTV Europe Music Awards, Nominated for Nine Brit Awards<br />
<br />
<b>Studio Albums</b>
Gorillaz 2001
Demon Days 2005
Plastic Beach 2010
The Fall 2010
Humanz 2017<br />
<br />
<b>Tours</b>
Phase One Tour (2001-02)
Demon Days Live (2005-06)
Escape to Plastic Beach Tour (2010)
Demon Days Festival (2017)
Humanz Tour (2017)<br />
<br />
<b>Permanent Band Members</b>
Damon Albarn- Vocals, Keyboard, Guitar, Bass Guitar, Drums, Percussion, Melodica (1998-Present)
Jamie Hewlett- Illustration, Visuals, FX (1998-Present)<br />
<br />
<b>Live Band Members</b>
Mike Smith- Keyboards (1998-Present)
Jeff Wootton- Lead Guitar (2010-Present)
Seye Adelekan- Bass guitar (2017-Present)
Jesse Hackett- Keyboards (2010-Present)
Gabriel Wallace- Drums, Percussion (2010-Present)
Karl Vanden Bossche- Drums (2005-2007, 2010-Present)<br />
<b><br /></b>
<b>Animated Band Members</b>
2-D
Murdoc Niccals
Noodle
Russel Hobbs<br />
<br />
The british virtual band Gorillaz was created in 1998 by “Blur” Musicians named Damon Albarn, and Graham Coxon. During a Blur interview Albarn and Coxon met Jamie Hewlett of Deadline Magazine. Hewlett began to hang out after the interview in with Damon sharing common interests. One evening they had a conversation at Albarns while he and Hewlett were watching MTV and Hewlett remarked…<br />
<br />
“If you watch MTV for too long, it’s a bit like hell, there's nothing of substance there. So we got this idea for a cartoon band, and something that would comment on that.” [1]<br />
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MTV during 1998 would have shown the Backstreet Boys, Third Eye Blind, Usher, Matchbox Twenty and other popular artists. These contemporary 1998 pop artists provided good jumping off contextual building points for the two to start creating their ideas and begin their Avant-Pop directed approach.
Originally after formation the Gorillaz identified as singular “Gorilla” without the “z” and released their first song “Ghost Train”. <br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1YXbG5UKN_g" width="560"></iframe>
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Which lives on the second side of the single “Rock the House”, and the second side of compilation “G Sides”. The “Ghost Train”collaboration included Albarn, Del The Funky Homosapien, Dan the Automator, and Kid Koala. The same producers that worked on “Time Keeps on Slipping” by Deltron 3030. Although Albarn still claims,
“The first ever Gorillaz tunes was the Blur 1997 Single “Own Your Own”. [2]<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kQVIIWq9gIQ" width="560"></iframe> <br />
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Jamie Hewlett was the artist to bring alive the 4 animated members that would eventually populate the Gorillaz media. This was the first virtual band that the world had ever seen. Hewletts previous comic work “Tank Girl” served as a jumping off point for the aesthetic of the animated members of the captivating virtual band.
The virtual band consists of, 2-D who’s the lead vocalist that plays keyboards. Murdoc Niccals that plays bass guitar & vocals. Noodle plays guitar and keyboards. Russel Hobbs is the Drummer & percussion sounds. The four characters are completely fictional and are intended to not resemble any real contemporary musicians or themselves. At this point in time it was extremely avant-garde and experimental in the music video world to be using cartoon characters. It’s even more avant-garde in the sense that the cartoon characters were not resembling any real life musicians. What was really evocative was Albarn and Hewletts creation of a fictional universe for which these characters lived. Viewers can find characters in the video pieces jump from, 2-D book art to 3-D engineered characters side by side with non cartoon footage to create a realistic and non realistic surrealist landscapes. Fantastic revolutionary imagery that really grounded their work arises as being different than other MTV pop. You can find the band currently contributing the creative media on their website, and music videos, social media, and DVDs. Their website (www.gorillaz.com) provides instant interaction for visitors and has an open video during the duration of a surfers visit. The only places to click on the site include the tabs, News, Store, Fan Club Sign Up, and social media links. They currently use a disappearing sidebar that holds the band's visual and audio releases.<br />
For every Gorillaz release since “Blur’s 1997 Single, Own Your Own” (Albarn's proclaimed original Gorillaz song.) Damon Albarn has served as lead composer. Although every piece of their work serves as a collaboration between a variety of musicians responsible for covering such pop genre avenues. Most would classify the Gorillaz genre as Alternative Rock, Trip Hop, Hip Hop, Electronica, Indie-Dub, and Reggae. Arguably they set out to purify the pop genre itself in all aspects. Albarn's and Hewlett’s success amongst others have continued to impress. However it’s more appropriate to label their content and visual delivery systems in a bundled critique in which they are extremely Avant-Pop with new ideas of visuals and performances that no one in their time has been releasing.<br />
The first Gorillaz album “Gorillaz” was a 15 track project released in 2001 and sold 7 million copies, and the Guinness book of world records awarded them the,<br />
<br />
“Most Successful Virtual Band.” [3]<br />
<br />
This award comes without question as they have continued to shape their own intermedial practice throughout their discography, visualizations, and merchandising. Not to mention avid attention to contemporary technological times allows them to develop amongst application releases and virtual projection performances all using the building block fictional characters in artistic environments. This avenue continues to propel their success as an avant-pop artist. The 2001 album “Gorillaz” included 4 very popular singles:<br />
<br />
<u>Clint Eastwood</u> (first album release, memorable hit, back side containing song Dracula, vocals performed by Del tha Funkee Homosapien, the genre is electronic dub and hip hop, when Clint Eastwood released in early March, it landed at number 4 on the UK charts.)<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UclCCFNG9q4" width="560"></iframe><br />
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<u>19-2000</u> (used for EA Sports FIFA video game 2002 [4], most memorable as “get the cool shoeshine” vocals by Damon Albarn, with a video of the Gorillaz riding around in their Geep, and mimicking MTV cribs).<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Tq7Ovshz1UI" width="560"></iframe><br />
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<u>Tomorrow Comes Today</u> (the first EP, including Tomorrow Dub, Tomorrow Comes Today Video, and Film Music.) Tomorrow Comes Today was co-produced with Hip Hop producer Dan the Automator, featuring Phi Life Cypher (UK Rap Group) and Del the Funky Homosapien (US Rapper).<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PiNdcBg3xC8" width="560"></iframe><br />
<br />
<u>Rock The House</u> (a hit amongst United Kingdom charts, vocals by Del tha Funkee Homosapien, during the time being sued by Doppelgangerz for stealing the idea for the “Gorillaz” the video had visuals associated with emotions the band was having, and portrayed some of the characters as satanists in kong studios)<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/lRlmM88zzbY" width="560"></iframe><br />
<br />
The same year as the September 11th attacks, D12 (Hip Hop band commonly in collaboration with rapper Eminem) was stranded in England without Eminem and Albarn invited D12 to the studio to start collaborating on a track on September 13th [5]. This project Albarn felt extremely appropriate as he was experimenting with middle-eastern music at the current point in time. [5] This would be an appropriate project to release to promote working together. This approach would be rather experimental in regards to western pop culture's current view towards the middle east as perpetuated through the media. This release titled "911" debuted in December of 2001.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/uugauMXV1Rw" width="560"></iframe>
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Gorillaz swung into 2002 performing February 22nd at the Brit Awards in London. This performance included 3-D animations on 4 large screens and included Phi Life Cypher rapping during the event. That year they were nominated for four Brit Awards, Best British Group, Best British Album, and Best British Newcomer. However they didn't win any.
Dan the automator (Dan Nakamura) added in an Interview about the event...<br />
<br />
"You can't determine in advance how well a thing like this is going to do, It was done for fun, so it's always a surprise when it takes on a life of its own." [6]<br />
<br />
More importantly this notes the artistic vision of the Gorillaz, and processes that Gorillaz and their collaborators kept in common throughout production. Their next visual project built off of the Gorillaz 2001 album. They released the DVD. “Phase One: Celebrity Take Down”. This project included 4 visual pieces, “5/4”, “Charts of Darkness Documentary”, “Gorilla Bitez (Which included multiple skits with the band's virtual characters)” and “MEL 9000 Tour of the website” [7]. They even designed the DVD menu like the band's website starting to depict Kong Studios an important part of the virtual characters environment and personal story development involving Murdoc and Russel, 2-D, and Noodle. The media DVD release propelled the ideas of a film project that was soon abandoned by Albarn and Hewlett after multiple studio meetings with Hollywood executives amounting to Albarn saying,<br />
<br />
“Fuck it we'll sit on the idea until we can do it ourselves and maybe raise the money ourselves.” [8]<br />
<br />
Generally artists that venture down this lane of approach find more reward and control in production. Albarn and Hewlett are addicted to control and sometimes barely agree with each other let alone would be successful taking orders of direction from a studio that doesn't share the same building block vision. It also reinforces the logic of working with what you got. Which is a common theme of production for the group.<br />
In October of 2004 the Gorillaz released “Rock It” a website video to get fans ready for the album release of Demon Days in 2005.<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_ue714d1V6I" width="560"></iframe>
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Demon Days hit Japan May 11th, May 23rd United Kingdom and May 24th the United States. The album debuted landing at number 1 and top of the UK Album Chart. Two of the more recognizable tracks:<br />
<br />
“Dirty Harry” was charted No.6 in the UK in its first week as a single release. Referencing “George Bush’s Mission Accomplished” speech, with an image for the cover resembling the film Full Metal Jacket’s.<br />
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“Dare” was a number 1 United Kingdom hit and is sung completely by Damon Albarn, more memorable the lyrics “its coming up, its coming up, its coming up, its dare.” In this video 2-D walks around Shaun Ryder of Happy Mondays live real head.<br />
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Demon days sold 1 million copies in the UK in 2005. Since it has gone 5 Times platinum (platinum = selling 500,000 copies) in the UK, Double Platinum in the United States, Triple Platinum in Australia, selling a total of 6 million copies worldwide. [9]
The 2005 MTV Video Music Awards gave the Gorillaz two awards for “Feel Good Inc”, Breakthrough video and best Visual Effects. They continued to perform “Feel Good Inc” in concert using music video parts in their performance.<br />
In 2005 Gorillaz also coordinated the Demon Days release with “Gorillaz Figurines” released by designer toy maker “Kidrobot”. The sets varied in editions and had sets of anywhere from limiting 1,000-60,000 limited issues in circulation. Quite genius approach to bringing sculptured on screen characters into fans hands. They released figures simultaneously with videos like “Dare” where character Noodle was sold in limited edition, amongst others. During the 2006 Brit Awards in London they performed “Dirty Harry”, and were nominated for Best British Group and Best British Album.
They took the virtual characters a step further and created a fan frenzy when they did holographic performances at the 2005 MTV Europe Music Awards and the 2006 Grammy Awards.<br />
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Their April 2006 announcement of Demon Days american tour, sold out in the begining hours. They then announced a plan for a holographic world tour in 2007. Where the cartoons would actually appear on stage using a technology called Musion Eyeliner. Musion Eyeliner would captivate audiences bringing colored lifesize and larger than life holograms moving across stage using the live stage illusion referred to as “Pepper’s ghost. The illusion is not truly a hologram because it places reflective material at an angle in front of the audience that is illuminated by a LED screen below so characters appear to 3D volume.
2006 was a visual high point for the group when Hewlett and Albarn started collaborating with movie mogul Harvey Weinstein from Weinstein company and Miramax films. September 2006 Albarn announced...<br />
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“the band has been a fantastic journey which isn't over because we're making a film. We’ve got Terry Gilliam Involved. But as far as being in a big band and putting pop music out there it's finished. We won't be doing that anymore.” [10]<br />
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Little did they know about the projects to come…
October 27 2007 the official Gorillaz fansite announced documentary film “Bananaz” would be released. A Film directed by Ceri Levy would document the previous band years. It was released on Babelgum Website April 20th 2009, and on DVD June 2009.
Albarn & Hewlett began work on Carousel a visual project that actually birthed the band's third album Plastic Beach, shortly after commenting by Albarn that Gorillaz were done making music. Meanwhile Gorillaz simultaneously etching out the ongoing avant-pop adventure throughout his and Hewletts artistic practice. They didn't know they had a project to start until they were already working in their artistic practices of visuals and DVDs. More importantly they weren't ever done when they thought they were done. Reinforcing experimentation through process at its root. It was also important to their history in understanding that by staying on course they were able to extract and start to work with new ideas and stimulus for creation of new projects.<br />
Albarn takes a leap when talking to the public saying Plastic Beach, “is the biggest and most pop record I've ever made in many ways, but with all my experience i’ll try to and at least present something that has got depth…” [11]<br />
They planned on having Plastic Beach collaborations with Snoop Dogg, Lou Reed, Mos Def, Bobby Womack, Gruff Rhys, Mark E. Smith, Mick Jones, Paul Simonon, Kano, Bashy, De La Soul, Little Dragon, Hypnotic Brass Ensemble, sinfonia ViVA, the Lebanese National Orchestra for Oriental Arabic Music. Here’s some notable popular tracks from the 16 track project.<br />
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<u>On Melancholy Hill</u> (was a synthpop production that had Damon Albarn's charismatic lyrics that helps listeners become pulled out of a gloomy day, and focus on the brightening up the listening session with catchy lyrics “Up on melancholy hill, sits a manatee, just looking out for the day, when you're close to me!)<br />
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Stylo (was a electro funk song that collaborated with Mos Def and Bobby Womack “convinced by his granddaughter”[12] to be on a Gorillaz track. You can also hear Damon Albarn through the back up vocals. The visuals use most real life footage of Bruce Willis driving a red Chevy El Camino, while Murdoc, 2-D, and Noodle find time to cause a fast pace car chase.<br />
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January 18th they announced that they would be headlining the final night of Coachella Valley Music and Arts festival. The same year Damon Albarn made statements in an interview to defend the integrity and direction of the avant-pop work they have been making. During the same time he was under the impression that the cast of Glee wanted to cover the group's recent songs. To which Albarn said,
“The Fox tv show is a poor substitute for the real thing.”[13]
At this point the pop media industry can't expect anything less of a response from Albarn given they were soon to be releasing their idea to “Reject the false Icons” emphasizing thinking for yourself and more importantly to have ideas about power of self development and an anti popular culture ideology.<br />
December 8 2010, “Plastic Beach” was announced to be released for download for free to website fan club members on Christmas Day. The same day they released the album “The Fall” which was recorded on the American leg of the "Escape to Plastic Beach" tour. The Fall ended up being in collaboration with a release of the application iElectribe by Korg. A software development company developing for the iPad, and Apple Platforms. The application had Gorillaz designed interface, including 128 sound samples that were created by the band. Including 64 ready to use loops made by Gorillaz sound engineer Stephen Sedgwick and Korg designers. This is a big leap for any music group in the 20th century to jump into application collaboration and development. Reinforcing ideas that anyone can be an artist and to let fans become composers as well. Shortly after the iElectribe release the Gorillaz announced:<br />
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<u>Do Ya Thing</u> (was a song that partnered with Converse in February 2012, on a project called Three Artists One Song project and included James Murphy from LCD Soundsystem and Andre 3000 of Outkast. The single included a visual by Hewlett and animated versions of 2-D in 3D using green suits to map the directions of the character.<br />
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In April Albarn told The Guardian [14] that Hewlett and Albarn had a “fall out” and future projects were unlikely due to tension building during Plastic Beach and The Fall. Word spread quickly through the fanbase. By the time it does however Albarn and Hewlett had already had their arguments worked out by the end of the same month. It’d be hard to believe Albarn and Hewlett would let a fall out occur at this point, but it was actually weird timing being after “The Fall” Album. This does however nail home the fundamental idea in collaboration, being sometimes you just have to take a punch for someone else's idea or not be afraid to let another collaborators idea weigh heavier than your own. Nevertheless to jumpstart the fanbase and kick things off they started scheming a follow up to Plastic Beach. They planned releasing new content in 2016 with so called upbeat humorous and positive melodies. [15] All the tracks contained nothing less than 125 bpm. One hundred and twenty five beats per minute is comparable to nodding your head repeatedly for .75 seconds up and down.<br />
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“I'm starting recording in September for a new Gorillaz record, I've just been really, really busy so I haven't had a chance. I'd love to just get back into that routine of being at home and coming to the studio five days a week”[16], Albarn states.<br />
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Reinforcing the concept of working in a present place in time conducive to completing projects and building off of pieces to make paths for new ideas. Not to mention the previous Hewlett, Albarn April argument has been referred to as making their collaborative friendship and relationship a lot stronger. In April 2016 Hewlett showed life of a new project on social media platform Instagram showing work on album featuring content from Liam Bailey, Albarn Himself, Twilite Tone, Vic Mensa and Jean Michael Jarre. They also jump started their media worlds and fan base by releasing interactive media stories about what the fictional band members have been up to sense the last project. They featured Noodle, in “The Book of Noodle” where she ended up in Japan tracking down a demon crime boss. Russel featured in “The Book of Russel” which had him on the shore of plastic beach in North Korea, and starved to point he shriveled back to normal size. Murdoc, in “The Book of Murdoc” was captured by the label EMI at sea and told to make another album. 2-D in “The Book of 2-D was swallowed by a whale named Massive Dick and washed up on an empty part of Cabo San Lucas surviving by eating the whale's blubber. They then gave Noodle her own instagram in October of 2016 augmenting her character personality in further clips. This marks a huge milestone for the virtual band as they continue to pave their own road through captivating their fan base and creating new relationships with viewers using compelling character stories on social media.<br />
This year (2017) has already been a big year for the Gorillaz. A new horizon is born as they are creating a unique festival called “Demon Dayz Festival” to start the 10th of June 2017 at Dreamland Margate, in Margate, England. Now becoming the first “virtual band” to have their own festival. The festival will feature virtual characters Noodle, 2-D, Murdoc, and Russel and other animations new and old, using new lights and installations and more Musion Eyeliner technology.<br />
The new 2017 project “Humanz” tracklist was initially leaked as one would expect given today's digital age. The actual “Humanz” album was said to drop via instagram on march 23rd saying the scheduled release date was the 28th of April 2017. Showing features of, De La Soul, Popcaan, Vince Staples, Pusha T, Rag n Bone Man, Anthony Hamilton, Kilo Kash, and Kali Uchis... Leading up to the release date singles started appearing on the band's youtube page.<br />
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<u>"Saturnz Barz"</u> (a hip hop, trip hop dancehall song with a music video came out in 360 view and normal view. This was a huge release and powerful hit featuring jamaican dancehall artist Popcaan and Abarn. The 360 video was named across the internet by Billboard and NME (New Music Entertainment) most successful debut of Virtual Reality music videos thus far. [17] Which is nothing short of surprising given the band's project history. It defeated the previous VR music video record that achieved 1.3 million plays total. Saturnz Barz actually got 3 million views in the first 48 hours.<br />
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<u>“Andromeda”</u> (was a visual and audio release on youtube that had an animated planet in galaxy featuring american rapper D.R.A.M. & Albarn is something one would consider post-disco, and alternative dance mixed with synthpop as it is a song one would find accompanied in an 80s club.<br />
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<u>“Ascension”</u> was along the same type of visual, where the camera moves along a street on a left to right continuous pan through a dark city scape featuring american rapper Vince Staples. Marking the first of a Gorillaz, and a Vince Staples collaboration. This song would fall into the genre of alternative hip hop and alternative dance. Staples vocals on this piece fit the tempo very well and is extremely evocative.<br />
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<u>“We Got the Power”</u> featured Jehnny Beth of english rock band "Savages" and Noel Gallagher of "Oasis". This visual was a stationary shot of the animated traffic jam on a multiple leveled highway. This amongst other pieces serving as a visual metaphor to go with the lyrical message. This track is a synthpop genre and actually has back up vocals by D.R.A.M for a second album collaboration.<br />
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<u>“Let Me Out”</u> a trip hop and alternative hip hop track featured Vince Staples and Pusha T american rappers. The visual was the 4 animated band mates over a checkered visualizer that would move blocks around the video. To spread the message that the content doesn't have to be changing too much to be entertaining, that sometimes people just want something familiar, like social critiques on the inauguration of Donald Trump.<br />
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Who knows what's next for Albarn, Hewlett, and Coxon, only time will tell as they meander through their upcoming performances and collaborations. One things for sure there's no argument that the Gorillaz are one of the most influential avant-pop experimental collaborative and revolutionary virtual band making compositions beyond music, in applications, merch and festivals. They constantly deliver beautifully melodic yet beneficial social criticisms for listeners, to disrupt the content that normally populates the pop industry and more so western culture through their lyrical content, instrument content and artistic process.<br />
Throughout their history they operated on foundational conceptual building blocks. Such blocks continued to propel projects based on their day one goals in 1997 since the have been "adding substance to the pop world". There’s plenty of hints and obvious pieces of content that lean us toward understanding Albarn, Hewlett and their collaborators aim. They're continuing to set the bar higher for themselves and every album release so fans and other artists are able to experience music in a visual and audio world that had yet to be explored since the Gorillaz came into the pop scene.<br />
The past two decades of pop have Albarn and Hewlett and their collaborators to thank for really beautiful pieces of music and virtual/live performances that will help carve out societies concentrations in a new mass communicated light and set forth new methods to approach and talk and communicate on current environmental & social problems, Gorillaz truly serve as revolutionary twentieth century Avant-Garde artists.<br />
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Presentation: http://prezi.com/bmto8hg_wpnr/?utm_campaign=share&utm_medium=copy<br />
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Sources<br />
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[9] “Artist Profile - Gorillaz” https://web.archive.org/web/20081115114738/http://www.emimusicpub.com/worldwide/artist_profile/gorillaz_profile.html . EMI. 2006.<br />
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[13] Associated Press (10/12/2010) “Gorillaz: We Won’t Let ‘Glee’ Cover Our Songs” Billboard.com. http://www.billboard.com/articles/news/954190/gorillaz-we-wont-let-glee-cover-our-songs<br />
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[15] Book, Ryan. “Damon Albarn Writing A Musical While Flirting with Blur and Gorillaz Comebacks” http://www.musictimes.com/articles/7797/20140721/damon-albarn-writing-musical-flirting-blur-gorillaz-comebacks.htm The Music Times. The Music Times. July 2014<br />
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[17] Britton, Luke (March 30, 2017) “Gorillaz Break Record with ‘Saturn Barz’ VR video” NME, http://www.nme.com/news/music/gorillaz-break-record-saturnz-barz-vr-video-2030640<br />
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[5] Brown, Cass; Gorillaz (2 November 2006). Rise of the Ogre https://scififantasylitchick.wordpress.com/2013/11/10/book-review-rise-of-the-ogre-by-cass-browne-gorillaz/ United States: Penguin. p. 43. ISBN 1-59448-931-9<br />
<br />
[3] Cooper, James (19 November 2007). “Gorillaz: D-Sides” http://www.bbc.co.uk/music/reviews/6r25/<br />
<br />
[16] “Damon Albarn: New Gorillaz Album Coming, Recording Starts in September http://www.billboard.com/articles/columns/rock/6634331/gorillaz-new-album-2015-damon-albarn . Billboard, Retrieved 31 July 2015<br />
<br />
[4] David Roberts (2006). British Hit Singles & AlbumsRoberts, David. Guinness Book of British Hit Singles & Albums. Guinness World Records Ltd. 18th edition (May 2005). ISBN 1-904994-00-8
London: Guinness World Records Limited <br />
<br />
[1] Gaiman, Neil (July 2005). “Keeping It (Un)real”. Wired. https://www.wired.com/2005/07/gorillaz-2/<br />
<br />
[6] Grant, Kieran (23 February 2002). “Gorillaz come out of the mist” http://jam.canoe.com/Music/Artists/G/Gorillaz/2002/02/23/745445.html<br />
<br />
[12] Greene, Andy (9 April 2009). “Gorillaz Attempt to Draft Bobby Womack For Upcoming Album” http://everything.explained.today/Plastic_Beach/<br />
<br />
[8] Joseph, Michael (2 November 2006). "Gorillaz in the Midst". The Big Issue in Scotland (604):<br />
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[7] Mitchum, Rob (5 February 2003). “Phase One: Celebrity Take Down DVD” Pitchfork. http://pitchfork.com/article/record_review/18165-phase-one-celebrity-take-down-dvd/<br />
<br />
[11] Morley, Paul (27 November 2009). “Paul Morley’s Showing Off… Damon Albarn”(MP3). The Guardian. 29 November 2009. http://audio.theguardian.tv/audio/kip/music/series/paul-morley-showing-off/1259329339795/8827/AlbarnMorleyFINAL.mp3 <br />
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[10] Williamson, Nigel (November 2006). "West London Calling". Uncut: 88.<br />
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Anonymoushttp://www.blogger.com/profile/05778517633553585672noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-9028847241556065852017-05-10T18:01:00.005-07:002017-05-10T18:01:34.625-07:00Hi-tech art that talks back.<div style="height: 400px; overflow: auto;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Hi-tech art that talks back. By:
Driedger, Sharon Doyle, Maclean's, 00249262, 4/24/95, Vol. 108, Issue 17</span></b></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Art</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">In a bold new show artists express
joys and fears about cyberspace</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Portraits by Montreal artist Luc
Courchesne do not hang quietly on a gallery wall. They chat and, occasionally,
argue with each other. They talk to viewers and, if they like someone, will
share their feelings and perhaps even confide a secret. If not, they become
moody, abruptly ending the dialogue. Courchesne creates this dazzling illusion
of art-with-an-attitude in his interactive work, Family Portrait: Encounter
with a Virtual Society. The artist's ``virtual beings,'' who respond to the
click of a mouse, are stunningly lifelike. They appear suspended in space, as
if separate from the computers, video monitors and laser discs that generate
them. But electronic wizardry is not the point of Family Portrait, says
Courchesne, whose work has been exhibited at the National Gallery in Ottawa and
New York City's Museum of Modern Art. ``I'm like an alchemist,'' he says. ``I
try to do crazy things--like turn technology into experience.'' </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Courchesne, 42, is one of six
Canadian artists represented in Press Enter: Between Seduction and Disbelief,
an international exhibit on art and technology that opens this week at
Toronto's Power Plant gallery, part of the beleaguered Harbourfront cultural
centre. This timely show focuses on artists' fascination with cyberspace as
well as their skepticism about an increasingly wired world. A strong
undercurrent of technology has flowed through the art world for more than a
decade with the proliferation of microcomputers. ``Then, in '94, there was an
explosion as the Internet brought everybody together,'' says Derrick de
Kerckhove, director of the McLuhan Program at the University of Toronto. ``Now,
art and technology is literally taking off.'' An array of new computer
technologies is transforming culture, as musicians perform ``live'' on the
Internet, museums offer tours via modem, and virtual reality plays on the
stage. ``Technology is evolving our traditional notions of art,'' says Mark
Jones, publisher of CyberStage, a new Canadian quarterly devoted to art and
technology. ``It's also creating new forms of its own.'' </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Artists are applying their new
electronic palette in surprising ways. ``They are stretching the use of these
technologies,'' says Jean Gagnon, associate curator of media art at the
National Gallery. ``They can be playful and ironic and give a humoristic twist
to them.'' They are also addressing serious issues. De Kerckhove theorizes that
artists express the collective unconscious of a society, and ``there is a great
deal of fear of computers out there.'' That anxiety about cyberspace and
individual identity is one of the main themes of Press Enter. And, according to
Louise Dompierre, chief curator of the exhibit, most of the artworks are
interactive, so people can experience them ``in a real, visual way.'' Some deal
with issues of privacy, notably American Jim Campbell's Untitled (for
Heisenberg), in which, through an ingenious use of computers and video, the
viewer's image pops up in bed with a naked couple. Others, such as German
artist Christian Moller's Electronic Mirror, which unexpectedly erases a
visitor's reflection, illustrate a lack of control over technology. </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">It was the potential for interaction
that first attracted 34-year-old <b>David</b> <b>Rokeby</b> to the electronic
medium. ``I wanted to repair the rip that had appeared between the audience and
contemporary art,'' explains <b>Rokeby</b>, originally from Tillsonburg, Ont.
Behind him, in a corner of his studio in the heart of Toronto's Chinatown, two
color-splashed canvases lean casually on a bookcase. They were art school
projects, painted before <b>Rokeby</b> switched to an experimental program.
Since then, <b>Rokeby</b>, who was recently featured in Wired, the U.S.
magazine about hi-tech culture, has immersed himself in computers, circuit
boards and cables--the tools of his chosen medium. Now, there are signs that he
has realized his art-school dream of ``making art that connects with people.''
Acclaimed internationally, <b>Rokeby</b> has participated in the prestigious
Venice Biennale. And at an exhibit in Hamburg in 1993, visitors lined up for
hours to see his latest work. </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Silicon Remembers Carbon, the art
that drew crowds in Europe, also appears in Press Enter. In the installation, <b>Rokeby</b>'s
``canvas'' is a bed of sand enclosed by a narrow walkway, on the floor of a
darkened room. Sounds and images of flowing water, blowing winds, fire and
shadows are projected onto the sand in ever-changing patterns. The effect is
compelling and one that allows <b>Rokeby</b> to play with viewers' perceptions
of art and of their own bodies. If visitors, for instance, dip their hands into
the convincing video ``pools of water,'' they will feel dry sand. That is, if
they dare to touch it. ``There is no barrier except people's fear,'' says <b>Rokeby</b>.
``The question is, `what is the art here?' '' Silicon Remembers Carbon presents
an unspoken challenge for viewers to literally cross the line into the
sand--and into the artist's illusion. ``An interactive work creates a radically
different situation for an audience,'' says <b>Rokeby</b>. ``There are no
rules.'' </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The medium presents challenges for
artists as well as audiences. Sylvie Belanger once sold some of her cherished
antiques to finance her ambitious electronic art projects. The petite artist
with an international reputation works on a grand scale. Some of her early
installations traversed rooftops and covered towering church walls. But
Belanger, born near Montreal, has kept enough pine armoires and ladder-back
chairs to lend a distinctly Quebecois flavor to her studio home in a converted
factory in Toronto's west end. After 10 years in the city, the 44-year-old artist
has also retained her French-Canadian sensibilities. ``As a Quebecer,'' says
Belanger, ``the question of identity has been part of my upbringing.'' Now, the
artist is exploring the issue in the context of technology and how it is
affecting human identity--the theme of The Silence of the Body, her complex
installation in Press Enter. There are three parts to Belanger's interactive
photo-video artwork. One wall has a dramatic, back-lit mural of a pair of eyes.
The adjacent wall features a huge ear. On the floor beneath them is a mouth.
Each organ is enhanced, literally and metaphorically, by electronic technology,
and exaggerated to superhuman dimensions. Taken together, the three elements
suggest a face. But they are physically fragmented, not quite human.
``Technology disembodies us,'' suggests Belanger, ``but it also allows us to
create a new self.'' </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">While Belanger focuses on the
future, Alberta artist George Bures Miller looks at how existing technologies,
like television, affect personal communications. And, indeed, his work space
over the old Woolworth's in downtown Lethbridge looks more like a TV repair
shop than an artist's studio. Miller is convinced that the artwork he rigs out
of cables, monitors and cameras ``can humanize technologies that aren't very
human.'' He adds, ``Man, there's all this stuff happening with computers and TV
and we don't think much about it.'' </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">One of his pieces,
Conversation/Interrogation, shown in Press Enter, provides what he describes as
a ``rude and scary'' awakening to the fiction of television. The installation
is simple and spare. A wooden office chair sits in front of a blank TV screen.
Off to the side, a surveillance camera focuses on the chair. But this art,
unlike a painting or a sculpture, is incomplete without a viewer. Only when a
visitor accepts the posted invitation to ``please sit down,'' does the artist
appear on the screen. In a tone that ranges from suggestive to intimidating, he
draws in the viewer, whose own image appears on the screen--but without sound.
``You remind me of your lover,'' Miller intones. ``You know all of my
conversations with you are recorded.'' The viewer becomes the viewed, and the
experience is, at once, amusing and unsettling. ``I wanted to make the viewers
physically aware of how TV leaves us voiceless,'' says Miller. ``A painting
would not have the same emotional impact.'' </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">But is it art? ``There are people
who still don't think that it is a valid medium,'' says <b>Rokeby</b>. ``But
then there are people who still don't think photography is a valid medium.''
Gagnon, de Kerckhove and other experts say that resistance to electronic media
is rapidly disappearing as the art form gains critical legitimacy. Still, few
private galleries display the works, which often fill entire rooms, and even fewer
collectors purchase them. ``Most buyers for that kind of work are museums,''
says Gagnon. Part of the problem lies in the technology itself. Equipment can
be difficult to operate, sometimes breaks down and quickly becomes obsolete.
``It's a very expensive medium for collectors and artists,'' says Courchesne.
He, and others, survive through grants, teaching jobs and sheer determination.
``Electronic art is particularly pertinent right now,'' says <b>Rokeby</b>.
``Like it or not, we are surrounded by technology and we need to understand how
it transforms the way we experience the world.'' As long as there is a
cyberspace, artists will be exploring it with cyberart. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">PHOTO (COLOR): <b>Rokeby</b> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">PHOTO (COLOR): Silicon Remembers
Carbon: `making art that connects with people' </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">PHOTOS (COLOR): The Silence of the
Body -- Belanger: artistic inquiries into the ways that `technology disembodies
us, but also allows us to create a new self' </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">~~~~~~~~</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">By Sharon Doyle Driedger </span></div>
<div align="center" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">
<hr align="center" noshade="" size="2" style="color: #a0a0a0;" width="100%" />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Copyright of Maclean's is the
property of Rogers Media Inc. and its content may not be copied or emailed to
multiple sites or posted to a listserv without the copyright holder's express
written permission. However, users may print, download, or email articles for
individual use.</span></div>
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<br /></div>
<div class="MsoNoSpacing">
<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine
Folger Library Database on 05.10.17</a></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Chicago
Style Citation</span></b></div>
<div class="MsoNormal">
Driedger, Sharon Doyle. "Hi-tech art that talks
back." <i>Maclean's</i> 108, no. 17 (April 24, 1995): 60. <i>Academic
Search Complete</i>, EBSCO<i>host</i> (accessed May 10, 2017).<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></b></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-978154863570403962017-05-10T17:56:00.002-07:002017-05-10T17:56:10.764-07:00Dances with Machines by Rebeccla Zacks<div style="height: 400px; overflow: auto;">
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<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="_Hlk482212831"><b style="mso-bidi-font-weight: normal;">Dances
with Machines by Rebeccla Zacks</b></a></div>
<span style="mso-bookmark: _Hlk482212831;"></span>
<div class="MsoNormal">
Section: </div>
<div class="MsoNormal" style="margin-left: .5in;">
Humachines</div>
<div class="body-paragraph" data-auto="body_paragraph">
The movements of the lanky man of the
videotape mesh perfectly with the undulating rhythms and cascading tones that
accompany his dance. As the music swells, his gestures grow pronounced and
emphatic; as the sound dwindles to the pulse of a synthesized bass or the
flutter of an electronic clarinet, his motions diminish to the twitch of a hand
or the slow weep of an arm. The choreographer, it seems, must have worked
closely with the dancer and the composer to make such a seamless piece. The
reality is more complex; This dancer is, in fact, also choreographer and
composer, choosing his moves on the fly while simultaneously making the music
to match in a intimate collaboration with a video camera and a homemade
computer system. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Sprawled shoeless on the living room
floor in his Toronto home, 38-year-old <strong data-auto="strong_text">David</strong>
<strong data-auto="strong_text">Rokeby</strong> watches the 28-year-old version
of himself on a small TV set. Though his worn jeans, wire-rimmed glasses and
only slightly scruffy hair make him look like the math professor his parents
wanted him to be, <strong data-auto="strong_text">Rokeby</strong> has instead
become an internationally known interactive artist--his multimedia
installations invite gallery goers and exhibition attendees to become active
participants in the artistic process. </div>
<div class="body-paragraph" data-auto="body_paragraph">
In language that shifts easily
between the professorial and the poetic, <strong data-auto="strong_text">Rokeby</strong>
explains both the technology and the artistic intentions behind his work. In
many ways, his career sounds like that of a researcher. <strong data-auto="strong_text">Rokeby</strong> thinks of each of his installations as
an experiment; observing the hundreds of thousands of people who have
participated with his pieces has given him an invaluable opportunity to learn
about humans, machines and the very complicated relationships between them. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Through these artistic explorations, <strong data-auto="strong_text">Rokeby</strong> has begun to understand how people's
interactions with computers change as technogadgetry becomes more and more
common. And he has uncovered some ways that machines can subtly distort human
perceptions. After years of investigating such ideas, <strong data-auto="strong_text">Rokeby</strong> worries that our increasing interaction
with the Internet and "intelligent" technologies might cause us to
devalue some of the attributes that make us human. So while others work toward
a transparent interface between person and machine, <strong data-auto="strong_text">Rokeby</strong> aims to expose the quirks, foibles and
rough edges of that relationship. "Because I've programmed a lot, because
I've built computers, I know what it's like to write a program and then watch
people deal with it, and watch how my decisions change people's
experiences" says <strong data-auto="strong_text">Rokeby</strong>.
"For me, it's important that I somehow articulate the importance of that
act." </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
played the videotape of his dance on a sunny January afternoon to demonstrate
his best-known project: Very Nervous System. The name is an umbrella term for
an ongoing series of installations the project's technological roots date back
to some fiddling around with light sensors and a synthesizer that <strong data-auto="strong_text">Rokeby</strong> did in the early 1980s. Over the years,
<strong data-auto="strong_text">Rokeby</strong> has used the technology behind
Very Nervous System not only in his artistic endeavors, but also to support
them; reduced to its initials, VNS is an image-processing device he builds and
sells to performers, composers, researchers and other artists. </div>
<div class="body-paragraph" data-auto="body_paragraph">
What VNS does, essentially, is
translate the motion captured in a live video image into a digital signal. That
signal can, via a Macintosh computer, drive electronic equipment such as
synthesizers, video players and lights--all in real time. In a typical Very
Nervous System installation, a body moving in the camera's field of vision
becomes an integral part of the work, triggering and modulating sounds or other
effects. </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
develops software and hardware for projects such as Very Nervous System with
little outside help, and no formal technical training. As a teenager growing up
in southern Ontario in the 1970s, he taught himself programming in order to
indulge a fascination with electronic music and computer graphics. At 19, with
an offer on the table for a lucrative but uninspiring job in data processing, <strong data-auto="strong_text">Rokeby</strong> instead embarked on a "five-year
plan"--he would focus on the things that interested him and avoid those
that "smacked of career." If it didn't work out, he figured, he could
always go back to school and get a computer science degree. </div>
<div class="body-paragraph" data-auto="body_paragraph">
After a stint at the Ontario College
of Art, almost five years to the day after he hatched his plan, <strong data-auto="strong_text">Rokeby</strong> received an invitation to show his work
at the Venice Biennale, arguably the world's premier art show. The list of his
artistic honors has grown steadily since. </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
isn't the only artist exploring the gray area between the body, the mind and
the computer ('see "Virtual Plants," p. 62), but he began doing this
kind of interactive work long before most of the other artists currently on the
scene, says Finnish media scholar Erkki Huhtamo, a visiting professor in the
department of design at the University of California, Los Angeles. What's more,
Huhtamo says, <strong data-auto="strong_text">Rokeby</strong> is one of few to
have constructed his own technological tools. "He's wonderfully capable of
doing that," says Huhtamo, "but on the other side he has applied
those tools for various artworks--a career that combines these two sides
meaningfully and interestingly is rather rare." </div>
<div class="body-paragraph" data-auto="body_paragraph">
Virtuosity in both technology and art
has given <strong data-auto="strong_text">Rokeby</strong> a unique perspective
on the evolving ways people relate to machines. Audiences of the early
installations, shown at a time before many people used much computing power
outside arcade video games, were "more open to the raw experience," <strong data-auto="strong_text">Rokeby</strong> recalls. They focused on the physical,
and felt as though they were bumping into invisible objects that made noise. As
time went on, though, people became more interested in the "geewhiz"
technical aspects of the installations, and in tying the experience into a
rapidly expanding computer culture. </div>
<div class="body-paragraph" data-auto="body_paragraph">
But even as PCs became ubiquitous and
"virtual reality" and "interactive media" attained buzzword
status, there was an ecstatic quality to how people reacted to the piece.
"Very Nervous System is very exciting," <strong data-auto="strong_text">Rokeby</strong> says. "To show it is very
satisfying on a certain level because people love it, and come up to you and
tell you that it's brilliant and fabulous and it has changed their way of
looking at something." But <strong data-auto="strong_text">Rokeby</strong>
began to worry that his work was too exciting, that people were so blown away
by the real-time physical experience that they weren't stopping to ask the
questions he had hoped they would: "'What happened between me and the
machine? What does that mean for my relationship with my word processor?'"
</div>
<div class="body-paragraph" data-auto="body_paragraph">
To <strong data-auto="strong_text">Rokeby</strong>,
the answers to these questions have implications far beyond artistic concerns.
He noticed that people tended to credit Very Nervous System with more than its
fair share of responsibility for certain effects; they might, for example,
synchronize their movements unconsciously to a particular preprogrammed rhythm
in the mix but believe it was the technology that adjusted to them. </div>
<div class="body-paragraph" data-auto="body_paragraph">
"Given people's general sense
that machines are very smart," <strong data-auto="strong_text">Rokeby</strong>
says, "they have a strong tendency to attribute the smarts to the machine,
even if it's their own smarts reflected back." <strong data-auto="strong_text">Rokeby</strong> believes that as interactive
technologies, particularly the Internet, begin to play a central role in
communications, commerce and civic activities, "the sense of where the
control is and where the intelligence is becomes more significant, more
politically and socially important." </div>
<div class="body-paragraph" data-auto="body_paragraph">
To get away from the distracting
excitement of Very Nervous System, in the 1990s <strong data-auto="strong_text">Rokeby</strong>
began working on pieces that were less physical and lacked the frenzied
feedback between audience and computer. In 1995, he started showing a piece
that turned his early installations inside out, giving audiences the chance to
watch the computer's image-processing operation as it happened and to see what
the machine had been seeing for all those years. "One of the things that
was always weird about Very Nervous System," <strong data-auto="strong_text">Rokeby</strong> says, "is that it is a
surveillance system, but no one ever felt threatened by it--people didn't feel
like they were being watched." </div>
<div class="body-paragraph" data-auto="body_paragraph">
So in Watch, <strong data-auto="strong_text">Rokeby</strong> created an overtly voyeuristic
experience. Video projectors shine two images side-by-side, each a processed
version of a surveillance camera's view of a nearby public space. In Very
Nervous System, the computer extracts motion from a video signal by comparing
one frame with the last and determining which pixels have changed, but that
whole procedure is invisible to the viewer. The image-processing techniques
used in Watch are a dissection of VNS's internal workings. On one side only the
things that are moving show up, white ghosts gliding through a black void; the
other side shows only what's still, a seemingly normal but frozen
black-and-white video image. </div>
<div class="body-paragraph" data-auto="body_paragraph">
To these images, <strong data-auto="strong_text">Rokeby</strong> adds a soundtrack: The occasional noise
of a camera shutter or electronic beeping interrupts soft hypnotic sounds of
breathing, a heartbeat and a ticking clock. It's a reminder, <strong data-auto="strong_text">Rokeby</strong> says, that there might be something
wrong with spying on people in this way. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Watch also serves as a reminder of
how different the world can look when seen through varying technological
lenses. In the early days of developing the piece, <strong data-auto="strong_text">Rokeby</strong> aimed the camera out his studio window
at a busy intersection. The two different video filters--one catching motion,
the other stasis--became socioeconomic filters: In one image, members of a
vibrant crowd moved swiftly about their business, in the other, panhandlers appeared
to be sitting quietly alone on a deserted sidewalk. </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
again draws from art a lesson about the impact of technology on our
perceptions. The image-filtering techniques he employs in Watch are very
similar to those used to compress video for storage or transmission.
(Programmers save digital space by recording or sending only the changing
pixels in successive frames of a moving image.) The more we use such techniques
in daily life, he says, the more we wear inherently biased lenses. <strong data-auto="strong_text">Rokeby</strong> says he is particularly concerned by
the large number of design decisions being made "by programmers in startup
companies working on intense deadlines, with very little experience of
philosophy and politics." </div>
<div class="body-paragraph" data-auto="body_paragraph">
Though the insights <strong data-auto="strong_text">rokeby</strong> has gained through his art may put him
in a better position to make such programming decisions, he has no desire to
tie himself to his own startup company. He builds and sells only a few VNS
units a year, though many more people would like to get their hands on one,
according to Todd Winkler, a music professor at Brown University. "In the
computer music world, his system is very well known and people talk about it,
want to learn about it all the time" says Winkler, who has used his own
VNS setup for more than three years in installations, performances and
demonstrations. Still, Winkler understands <strong data-auto="strong_text">Rokeby</strong>'s
decision to focus primarily on art rather than commerce. "Getting into the
business of making little metal boxes that everybody in the world wants could
really consume you completely," Winkler says. </div>
<div class="body-paragraph" data-auto="body_paragraph">
On the contrary, what is consuming <strong data-auto="strong_text">Rokeby</strong> these days is his latest project, The
Giver of Names. It's a concept that came to the artist almost instantaneously
on the day after his birthday in 1990. "The idea was there would be a
computer and objects and you could present the objects to the computer and it
would talk about them," he recounts. Realizing this seemingly
straightforward notion, however, has taken the better part of the decade. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Part of the motivation behind The
Giver of Names was what <strong data-auto="strong_text">Rokeby</strong>,
perhaps presciently, saw as a shift in the interplay between people and
technology. As he wrote in an e-mail quoted in the catalogue for the 1998
premiere of The Giver of Names, in the 1980s it was the body that was
"most challenged by the computer. ... In the '90s it seems to be the
notions of intelligence, and consciousness." </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
worries that as we grow accustomed to such phenomena as intelligent agents on
the Internet and computerized phone systems, we may devalue certain human
attributes. To talk to that computerized receptionist, for example, we often
have to exaggerate and mechanize our speech--the change in enunciation is a
"subtle dumbing-down process." So rather than trying to make The
Giver of Names a flawless facsimile of human thought, <strong data-auto="strong_text">Rokeby</strong> wanted to leave it rough, exposing the
"quirky textures" of a strictly mechanical intelligence rather than
using clever programming to paper them over. </div>
<div class="body-paragraph" data-auto="body_paragraph">
In action, The Giver of Names is
quirky indeed. The installation space is spare: A video camera aims at a black
pedestal around which a variety of objects are strewn. Off to one side is a
Macintosh G3. Visitors can select objects from the pile, or items they've
brought with them, and arrange them on the pedestal; the computer captures an image
and processes it, identifying colors, outlines and shapes. The system then
begins a mechanical version of free-association, pulling up words that are
somehow connected to the details culled from the image. The Giver of
Names'"state of mind" in this process is a relational database of
100,000 objects, words and ideas. </div>
<div class="body-paragraph" data-auto="body_paragraph">
An object on the pedestal, <strong data-auto="strong_text">Rokeby</strong> explains, "is like a pebble
dropped in a pond of memory, and the associations are like ripples moving away
from the initial object and exciting or stimulating different parts of the
memory." The words most "stimulated" in this process become the
palette from which the computer chooses in forming sentences that appear on the
computer screen. At the same time, male and female voices fill the installation
space as they utter the words. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Presented with a soda bottle and an
apple, for example, the system might pick up on the red of the apple and the
shape of the bottle--these would probably stimulate the word "wine,"
among others, says <strong data-auto="strong_text">Rokeby</strong>. "As
for the sentence, it could be anything from 'The wine spilled' to something
completely off the wall like 'Red aliens from inner cities flopped sumptuously
on the wine-stained sofa.'" </div>
<div class="body-paragraph" data-auto="body_paragraph">
Early on, The Giver of Names tended
to talk about war. The system's fixation on generals and grenades prompted <strong data-auto="strong_text">Rokeby</strong> to consider the fact that many of the
databases he used were developed for military-sponsored artificial intelligence
and natural-language processing research. "It's kind of interesting,"
he says, that the tools "used to train artificial intelligences about
language will inevitably have a strong defense bias, because the best resources
right now were funded by the Defense Department." </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong>
is the first to admit that such specific lessons aren't likely to be obvious in
his artworks, that most people won't listen to The Giver of Names talking about
a piece of fruit and say, "Gee, I should really think about the effects of
military funding on the future of artificial intelligence." But by seeing
ourselves in collusion with and in contrast to the mechanical perceiving,
thinking and speaking systems that <strong data-auto="strong_text">Rokeby</strong>
builds, we can all begin to think about, as he puts it, "how much of what
we do is basically mechanical and how much of what we do does imply something
richer and more complicated." And <strong data-auto="strong_text">Rokeby</strong>
takes great satisfaction in the unique intensity with which interactive art
allows him to communicate such ideas. Not everyone gets the point of each
installation, he says, "but when they get it, boy do they get it." </div>
~~~~~~~~<br />
<div class="body-paragraph" data-auto="body_paragraph">
By Rebecca Zacks </div>
<h5>
VIRTUAL PLANTS AND OTHER (ONLINE) CREATURES </h5>
<div class="body-paragraph" data-auto="body_paragraph">
Though <strong data-auto="strong_text">David</strong> <strong data-auto="strong_text">Rokeby</strong>
and other artists who create interactive installations are starting to gain a
foothold in the mainstream art world, it's still unlikely that you'll be able
to find their work at a museum near you. You can, however, readily find these
folks on the Internet, where their combination of computer savvy and artistic
sensibility produces Web sites that are well worth exploring. Here's a small
sample of what's out there: </div>
<div class="body-paragraph" data-auto="body_paragraph">
<strong data-auto="strong_text">Rokeby</strong> himself provides an extensive catalogue
of his pieces, along with some of his writings, at <a href="http://www.interlog.com/%7Edrokeby/">http://www.interlog.com/~drokeby/</a>.
</div>
<div class="body-paragraph" data-auto="body_paragraph">
Austrian-born Christa
Sommerer and French-born Laurent Mignonneau teamed up in 1992, and now work at
the ATR Media Integration and Communications Research Laboratories in Kyoto,
Japan. At their ATR Web site (<a href="http://www.mic.atr.co.jp/%7Echrista/">http://www.mic.atr.co.jp/~christa/</a>)
you'll find images from and explanations of the elaborate virtual ecosystems
they've created for installations and Web-based pieces. Sommerer and Mignonneau
have built a number of unique viewer/machine interfaces: Audiences can create
new plants or creatures and influence their behavior by drawing on touch
screens, sending e-mail, moving through the installation space, and even by
touching real plants wired to the computer. </div>
<div class="body-paragraph" data-auto="body_paragraph">
Janine Cirincione and
Michael Ferraro, both faculty members at New York's School of Visual Arts,
founded their design studio, Possible Worlds, in 1992. The company's elegant
site (<a href="http://www.possibleworlds.com/">http://www.possibleworlds.com/</a>)
provides a glimpse both of commercial projects (which include a new animated
show for MTV) and of interactive installations--joystick-controlled journeys
through surreal computer-generated landscapes populated with quirky characters.
</div>
<div class="body-paragraph" data-auto="body_paragraph">
New York performance and
installation artist Toni Dove has shown a number of virtual-reality and
video-laser disc pieces. A viewer's gestures drive the sound and images in
Dove's interactive movie, Artificial Changelings, which tells the parallel
tales of a 19th-century kleptomaniac and a 21st-century hacker. Read more about
Dove and Artificial Changelings at <a href="http://www.funnygarbage.com/dove/,">http://www.funnygarbage.com/dove/,</a>
and be sure to click on the small moving pictures at the bottom of the opening
screen for an archive of images from the installation. </div>
<div class="body-paragraph" data-auto="body_paragraph">
The Ars Electronica Center
in Linz, Austria, is a home for interdisciplinary investigation of art, society
and technology. At the center's somewhat labyrinthine site (<a href="http://web.aec.at/">http://web.aec.at/</a>), you can explore the
institution's "Museum of the Future," as well as archives from its
annual festival and from the Prix Ars Electronica--an international computer
art competition that has had a special category for interactive art since 1990.
</div>
<div class="body-paragraph" data-auto="body_paragraph">
Finally, installation artist
Stephen Wilson, a professor in San Francisco State University's
Conceptual/Information Arts Program, has compiled an encyclopedic list of links
on "Intersections of Art, Technology, Science & Culture" at <a href="http://userwww.sfsu.edu/%7Einfoarts/links/">http://userwww.sfsu.edu/~infoarts/links/</a>
wilson. artlinks2. html. From here, you can get to pages on a vast number of
artists, events, organizations and areas of research. Wilson's book,
Information Arts, is due out soon. </div>
<div class="body-paragraph">
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Zacks, Rebecca. "Dances with Machines." <i>Technology
Review</i> 102, no. 3 (May 1999): 58. <i>Academic Search Complete</i>, EBSCO<i>host</i>
(accessed May 10, 2017).<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></b></div>
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<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
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<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
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Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</w:LatentStyles>
</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com2tag:blogger.com,1999:blog-7964380476362744537.post-18108644842041524892017-05-10T16:58:00.004-07:002017-05-10T16:58:57.999-07:00Ten Dreams of Technology<div style="height: 400px; overflow: auto;">
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<b style="mso-bidi-font-weight: normal;">Ten Dreams of
Technology</b></div>
<div class="MsoNormal">
<a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/results?searchtype=regular&filtered_content=author&search_term=%22Steve%20Dietz%22">Steve
Dietz</a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Abstract</b></div>
This article presents the ten dreams of technology that frame the
author/curator's selection of ten new media artworks. The "dreams" or
themes presented by the author have been developed and/or questioned by artists
throughout the history of the intersection of art and technology. This history
emerges through artworks that the author describes as containing a "compelling
vitality that we must admire." The collection of dreams includes:
Symbiosis, Emergence, Immersion, World Peace, Transparency, Flows, Open Work,
Other, New Art, and Hacking. The author notes that these dreams of technology
have a future, even if it is not yet determined.<br />
Tom Stoppard, in his play <em>Arcadia</em>, states, "The future is
disorder.... It's the best possible time to be alive, when almost everything
you thought you knew is wrong." From Richard Wagner's <em>gesamtkunstwerk</em>
and Marinetti's Futurist Manifesto to Nam June Paik's "electronic
highway" and Jaron Lanier's virtual reality universe to Roy Ascott's
"vegetal reality," the history of the intersection of art and
technology is one of the prognostications of an irrefutable, inevitable, and
even immanent future that never comes to pass-at least not exactly as we
thought it might [1].<br />
This is not to deny that Douglas Engelbart or Alan Kay or Marc Weiser, or
even Brenda Laurel and Purple Moon "predict the future by inventing
it" [2]. Arguably, however, "technological art" is always less
fulfilling than when the technology on which it is based becomes more or less
invisible-a tool like a pencil, as John Baldessari would have it. The ultimate
demonstration may have been Engelbart's mouse-a spellbinding vision of a future
few others could even imagine at the time. But it is Perry Hoberman's Cathartic
User Interface that is the most compelling and cathartic statement of where
that future has dumped us [3].<br />
In between the invention of a technology and its quotidian disappearance are
the manifestoes, declaimed and implicit. Janet Murray has suggested the notion
of "incunabular" media. In this stage we can imagine the outlines of
Shakespeare and the very idea of a written literature in the magical, mechanical
reproductions of the early printing press. We can also imagine something beyond
the incunabular RPG and shooter video games.<br />
In either case, these dreams of a certain future have such compelling
vitality that we must admire them, even as we quibble about their navel-gazing
mediumness and complain about how simplistic and complex they are. We must then
acknowledge their inability to change humankind into the likeness of their
vision.<br />
Here, in no particular order, are ten dreams of technology that have a future,
even if we do not yet know what it is and despite the certainty with which it
is predicted [4].<br />
<h1>
1. The Dream of Symbiosis</h1>
The hope is that, in not too many years, human brains and computing machines
will be coupled together very tightly, and that the resulting partnership will
think as no human brain has ever thought and process data in a way not
approached by the information-handling machines we know today.<br />
<div class="MsoNormal">
-J.C.R. Licklider, 1960 [5]</div>
Norbert Wiener is credited with coining the term "cybernetics"
from the Greek word "kybernetes," or steersman. This research on
controlled feedback loops-interaction between humans and machines-postulated
that by allowing each to learn from the interaction with the other, both could
evolve to higher levels of functioning. Many artists have dreamed the dream of
what Wiener's younger contemporary, J.C.R. Licklider, referred to as<strong>
[End Page 509] </strong>man-machine symbiosis, from Joseph Weizenbaum's <em>Eliza</em>
(<a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b6">1966</a>)
to Ken Rinaldo's <em>Autopoiesis</em> (<a href="https://www.blogger.com/null" name="b6-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b6"><span style="mso-bookmark: b6-text;">2000</span><span style="mso-bookmark: b6-text;"></span></a><span style="mso-bookmark: b6-text;"></span>) [6].<br />
At the same time, as David Rokeby suggests, "Interaction is banal. We
talk to each other on the street. We breathe in air, modify it chemically, then
breathe it back out to be breathed in by others. We drive cars. We make love.
We walk through a forest and scare a squirrel. I am looking forward to a time
when interaction in art becomes as banal and unremarkable ... merely another
tool in the artistic palette, to be used when appropriate" [7].<br />
Rokeby's <em>Giver of Name</em>s (<a href="https://www.blogger.com/null" name="b8-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b8"><span style="mso-bookmark: b8-text;">1990-present</span><span style="mso-bookmark: b8-text;"></span></a><span style="mso-bookmark: b8-text;"></span>) is one of the most profoundly engaging
dreams of cybernetic symbiosis, in part because of his disinterest in a
simplistic "click and response" notion of the interactive feedback
loop [8]. There is a great deal of computer research on issues of accurate
visual identification, but <em>Giver of Names</em> has no such agenda. It is a
metaphor producer, which invokes the awe of naming and the power of the word to
create universes. The <em>Giver of Names</em> does not provide a literal
description of the object. At the same time, it clearly does not generate
random phrases. As Rokeby writes, his intent is that "sufficient tension
exist between the object and the name given to challenge the viewers'
preconceptions of the objects, and draw them into speculative exploration"
[9]. The symbiotic feedback loop infers that over the course of more than a
decade, the computer "learns " more and more about the world, and its
oblique, almost Delphic utterances of our mundane combinations of boot and
rubber-duck-and-ball objects also causes us to perceive the world differently.
Not a bad definition of art-or of a "partnership that will think as no
human brain has ever thought."<br />
<h1>
2. The Dream of Emergence</h1>
Teilhard de Chardin. Marshall McLuhan. Pierre Levy. George Dyson. Arnold
Schwarzenegger's character in <em>Terminator</em>. There is a veritable academy
based on the notion of networks as an extended or augmented nervous system out
of which intelligence eventually and inevitably, emerges. Even Nathaniel
Hawthorne saw this coming.<br />
By means of electricity, the world of matter has become a great nerve,
vibrating thousands of miles in a breathless point of time...The round globe is
a vast...brain, instinct with intelligence!<br />
<div class="MsoNormal">
-<em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">The House of Seven Gables</span></em>,
1851</div>
As mysteriously and magically "intelligent " as networks can seem,
however, the critical, common denominator of emergent systems is, as Steven
Johnson puts it, that "agents residing on one scale start producing
behavior that lies one scale above them: ants create colonies; urbanites create
neighborhoods; simple pattern-recognition software learns how to recommend new
books. The movement from low-level rules to higher-level sophistication is what
we call emergence" [10].<br />
Artists have long created works out emergent, simple, rule-based systems:
Paul Vanouse's <em>Personal Data Confidante</em>, Jane Prophet's <em>Technosphere</em>,
Ken Goldberg's <em>Jester</em>, and John Klima's forthcoming Rhizome interface,
to name just a few [11]. The role of the network in these projects is
essentially to create an open system of input to promote adaptation, without
which complexity is "like the intricate crystals formed by a snowflake:
it's a beautiful pattern, but it has no function" [12].<br />
Christa Sommerer and Laurent Mignonneau are two of the most influential
artists working consistently with emergent systems: <em>A-Volve</em> (1994-95),
<em>Life Spacies</em> (1997), <em>Life Spacies II</em> (1999), and <em>Verbarium</em>
(1999) [13]. With all of these works, relatively simple rules govern which
virtual creatures will "a-volve," and the input for behaviors is
provided by viewer-participants both at the physical installation of the
project and via the Internet.<br />
With <em>A-Volve</em>, for example, visitor input creates the initial shape
of a virtual creature, and the longer that shape can survive the more likely it
is to be able to mate and reproduce. There is no directly discernible
correlation, however, between a visitor's actions and the evolution of the
creatures.<br />
Importantly, Sommerer and Mignonneau are not simply illustrating their
ability to write algorithms. <em>A-Volve</em> and later projects engage in
issues of human-machine intercourse as well as the intersection of the physical
and virtual worlds.<br />
<h1>
3. The Dream of Immersion</h1>
Whereas the public, that representative of daily life, forgets the confines
of the auditorium, and lives and breathes now only in the artwork which seems
the wide expanse of the whole World.<br />
<div class="MsoNormal">
-Richard Wagner, Outlines of the Artwork of the Future [14]</div>
From Wagner to Daguerre's panoramic dioramas to James Turrell's <em>Roden
Crater</em> , artists have dreamed of artworks in which the viewer is totally
immersed. So-called virtual reality is one technological manifestation of this
dream. One of the earliest pioneers in this regard was Myron Krueger, who
created what he called "responsive environments" and coined the term
"artificial reality." Regarding the efficacy of what came to be called
virtual reality, Krueger had this to say in an interview:<br />
It is true that today's virtual reality provides very limited tactile
feedback, almost no proprioceptive feedback (as would be provided by walking on
a sandy beach or on rough terrain), rare opportunities to smell, and little
mobility. However, it is just getting started. Criticizing a new idea because
it is not yet fully realized seems unreasonably impatient. On that basis, the
caves at Lascaux would never have been painted because we did not have a full
palette and could not animate in three dimensions. Give us a few centuries and
then revisit this complaint<br />
<div class="MsoNormal">
[15].</div>
Not quite a few centuries later, one of the most important and successful
heirs working with immersive environments is Char Davies and her works <em>Osmose</em>
(1995) and <em>Éphémère</em> (1998) [16]. For her, envelopment is core and at
the same time anti Cartesian:<br />
For a long time, I have been interested in conveying a sense of being
enveloped in an all-encompassing, all-surrounding space, a subjective embodied
experience that is very different from the Cartesian notion of absolute, emty,
abstract, xyz space<br />
<div class="MsoNormal">
[17].<strong><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"> [End Page 510] </span></strong></div>
In a sense, Davies is attempting to create completely non-technical feeling
spaces and experiences with some of the highest technology available [18]. One
way she does this is to use breath and balance as a means of navigation. It is
not about gesturing or tracking or manipulating input devices. One uses one's
whole body to float through the worlds of <em>Osmose</em>. Davies' dream of
immersion is an almost literal one-dreamlike and enveloping-with no pretense at
simulation and no mimetic worries about the computer's ability to render
polygons in order to create photo-realistic environments.<br />
<h1>
4. The Dream of World Peace</h1>
An ocean cable is ... a living fleshy bond between severed portions of the
human family, along which pulses of love and tenderness will run backward and
forward forever. By such strong ties does it tend to bind the human race in
unity, peace and concord.<br />
<div class="MsoNormal">
-Henry Field [19]</div>
<div class="continued">
There is no communication technology that assures world
peace. The rhetoric goes that the ability to communicate quickly and easily
leads to greater understanding, which then leads to tolerance and the certainty
of harmony. Demonstrably, this is not true, and arguably whether it is the goal
of prosecuting war without casualties by remote communication with munitions or
networks of terrorist "sleeper cells" that are also remotely
activated, the communications network and technologies have not had any
calculable effect on humanity's penchant for destruction.</div>
Nevertheless, the dream remains powerful. As Kit Galloway and Sherrie
Rabinowitz put it: "We must create at the same scale as we can destroy.
The counterforce to the scale of destruction is the scale of communication, and
... our legacy or epitaph will be determined in many ways by our ability to
creatively employ informal, multimedia, multicultural, conversational,
telecommunications and information technologies " [20].<br />
Galloway and Rabinowitz, pioneers of seminal projects such as the <em>Satellite
Arts Project</em> (1977) and <em>Hole In Space</em> (1980), instigated a
network of electronic cafés at the time of the 1984 Olympics, which had nodes
in five Los Angeles neighborhoods, as well as in the Museum of Contemporary
Art. In many ways, this was a harbinger of the Internet cafés to come. But
Galloway and Rabinowitz's electronic café was explicitly community-based,
providing channels of exploration between groups and geographical locales that
did not usually connect despite being in the same city. In addition, they were
visionary about creating multi-modal tools, with which one could write, draw,
and share images without much prior computer knowledge and not solely through a
standard-issue keyboard and mouse. These ideas of physical computing are only
now coming into the mainstream.<br />
Galloway and Rabinowitz went on to create a permanent <em>Electronic Café
International</em> on 18th Street in Santa Monica in 1989, which actively
programmed global tele-events for over a decade, most of it prior to the
popular explosion of the World Wide Web. Contemporary engaged projects such as
the Sarai New Media Initiative in New Delhi, India, are an important
continuation of dreams first glimpsed at the <em>Electronic Café</em>.<br />
<h1>
5. The Dream of Transparency</h1>
A corollary to issues of communications is transparency. The modernist
ethics of form follows function without camouflaging artifice, or the
contemporary open source movement and general public license, which require
software code to be accessible and modifications to be returned to the
community of users for further iteration. Transparency also has tendrils in
events like Happenings or cinema verité, which break down the codes of theater
and film to transparently present life as art.<br />
01.org's <em>life_sharing</em> project is not exactly like the joke where
two behavioral psychologists meet on the street and say, "You're fine; how
am I?" But it dreams of a transparency that exposes their life to the
outside world almost as clearly as to themselves. 01.org have set up their
computer's file sharing system so that anyone with an Internet connection can
access their files equally as well as they can. I have had the experience of
e-mailing 01.org about a meeting and having a stranger from Boston reply
whether he should come to New York to meet me then also. <em>life_sharing</em>
has little to do with the idea of exposure and voyeurism per se, although it
does have an element of durational performance, which is as much about
perception—recognizing life as art—as spectacle. Crucial to the project,
however, is its central tenet, the equation "file sharing = life
sharing." In part, this is simply the reality of the contemporary
fulfillment of Licklider's dream of human-computer symbiosis. 01.org writes:<br />
Whoever works with a computer on a daily basis, at least for a few years,
will soon realize that his own computer resembles more and more to its owner.
You share everything with your computer: your time (often even for 13 hours a
day), your space (desktop), your culture (bookmarks), your personal
relationships (e-mails), your memories (photo archives), your ideas, your
projects, etc. To sum up, a computer, with the passing of time, ends up looking
like its owner's brain<br />
<div class="MsoNormal">
[21].</div>
Most importantly, via transparency, 01.org suggests that not only has the
contemporary Frankenstein come to pass, but that we are also part machine with
a much more tenuous yet stronger bond than mere mechanical or bioengineered
implants.<br />
<h1>
6. The Dream of Flows</h1>
"Utopia is not the construction of a new city; utopia is the movement
towards the potential of working together with the complexity of an existing
big city in order to develop new forms of urban agencies" [22].<br />
Even if postmodernism has come to be seen as a failed pastiche of styles and
an uncritical refusal of commitment to any original ideas, "anything
goes," the dream of unfixedness, of multiplicity, and of hybridity, recurs
[23]. Einstein's relativity and Heisenberg's uncertainty have become our own.
Even if we do not understand the science, we experience the reality.<br />
Artists have always tried to capture the<strong> [End Page 511] </strong>dynamic
nature of the universe, from Cubist fracturing to Rashomonic indeterminacy.
Computational media can begin to model it.<br />
One of the places where process is most apparent is the constantly morphing
city. Knowbotic Research's <em>IO_dencies</em> project "combines physical,
local urban dynamics ... with virtual network flows (the activities of the
participants in the net). The movements towards 'an other city' [is] generated
by manipulating, operating and modifying the urban flows" [24].<br />
Ultimately, <em>IO_dencies</em>' questioning of urbanity is an experiment to
"develop new forms of urban agency." But underlying this is the
hypothesis that "contemporary cities are being transformed by the[ir]
informational fluxes," and <em>IO_dencies</em> is both a tool to
dynamically map these flows and to affect them.<br />
Borges's fable of a 1:1 map [25] is a cartography of uselessness, but with
computational media, Knowbotic attempts a cartography of flows that is dynamic,
much like what it is representing. If malleable it can be affected by input
from viewer-participants (the I or input of IO). If it has agency its
cybernetic flow of feedback (the O or output of IO) affects the original input
as well as the city itself. As Andreas Broeckmann writes in a slightly
different context, for Knowbotic "the notion of permanent and
uncontrollable change, multiple influences, complex sets of parameters, etc.,
are fundamental parameters of their practice" [26].<br />
<h1>
7. The Dream of the Open Work</h1>
[A work of art is] a complete and closed form in its uniqueness as a
balanced organic whole, while at the same time constituting an open product on
account of its susceptibility to countless different interpretations which do
not impinge upon its unadulterated specificity. Hence, every reception of a
work of art is both an interpretation and a performance of it, because in every
reception the work takes on a fresh perspective.<br />
<div class="MsoNormal">
-Umberto Eco [27]</div>
<div class="continued">
Eco argues that the reception of a work of art makes it both
performative and open. One of the strongest shifts of emphasis in the digital
age has been on the production side and on the movement from creating finished
works of art to creating systems for the production of art. Muntadas's <em>The
File Room</em> (1994) is a progenitor in this regard and particularly important
for its explicit agenda, using the combination of the database and the network
to allow any viewer-user to add comments or new information about issues of
censorship. This is a notoriously fraught issue regarding coverage-or lack
thereof-by mainstream media.</div>
Many other significant projects that use an open database have followed, but
not only was <em>The File Room</em> one of the earliest of these projects, but
in its installation form, with a single computer on a desk in a room lined with
rows of filing cabinets, it was visually stunning and a proto-example of
net.installation-works for which the open access of the Internet are integral
and for which the artist specifies at least one physical interaction modality.<br />
<h1>
8. The Dream of the Other</h1>
From Frankenstein to Eduardo Kac's <em>GFP Bunny</em>, the technological <em>other</em>
is often perceived as some kind of mutant. Even the "good"
mutants-Wonder Woman, Spiderman, et al.-are portrayed as practically human
despite their techno-biological deformities. The dream of the <em>other</em>,
however, is to somehow inhabit the psyche of an <em>other</em>-to not merely
deduce their feelings but to experience them.<br />
Lynn Hershman's <em>Lorna</em> was the first artist-produced interactive
laser disc. It was a kind of turning point for Hershman, moving from her own
performative inhabitation of her alter ego, <em>Roberta Breitmore</em> , to
understanding the power of interactivity and its sense of agency to allow
others to "be" Lorna.<br />
<em>Lorna</em> is a middle-aged agoraphobic, fearful of leaving her tiny
apartment dominated by a television, which is the site of Hershman's
installation. Viewer-participants can use a remote control to access chapters
of a branching narrative of Lorna's life, based on the artifacts in the room.
It is a simple structure, where the ability to pick and chose how to proceed
allows the viewer-participant a sense of self-directed exploration that mutates
into a kind of bonding/understanding of Lorna.<br />
<h1>
9. The Dream of a New Art</h1>
One of the most persistent tropes of the intersection of technology and art
is that it will lead to a whole new art form, just as moving images eventually
created cinema. This may be particularly true of Internet-based art. By
creating a site explicitly dedicated to purely virtual art, <em>äda'web</em>
pursued this dream vigorously with a remarkable series of projects by Jenny
Holzer, Julia Scher, Muntadas, Lawrence Wiener, and Doug Aitken, among others.<br />
Curated by Benjamin Weil, <em>äda'web</em> was specifically conceived along
the lines of an atelier, generally pairing established artists with a
remarkable team of digital artists, led by Vivian Selbo, to workshop a project
over a number of months.<br />
Yet <em>äda'web</em> is truly a case where the whole is greater than the sum
of its parts. The interface that interconnects the various elements, projects,
contexts, links to other works, commentary, creation of community,
self-archiving, balance between practical usability and encouraging
exploration, and even the attempts at e-commerce, all combine to powerfully
imagine the contours of a new art form where it is not easy to point to a
pre-existing model.<br />
<h1>
10. Hacking the Dream</h1>
Artists were among the earliest and most active participants to recognize
the potential of the Internet—certainly long before most institutions and
corporations. One result was to hack its capabilities for alternative purposes.
From Rachel Baker's <em>Sainsbury TM</em> to Electronic Disturbance Theater's <em>Floodnet</em>,
there is a long history of active contingents hacking the dreams of e-commerce
and universal surveillance. Mongrel's <em>Natural Selection</em> was set up as
an alternative search engine. Most of its queries simply passed to a commercial
search engine such as Google or AltaVista, and then presented the results as
its own. If, however, certain keywords were input-<strong> [End Page 512] </strong>generally
to do with race-<em>Natural Selection</em> would create a result set that
linked to artist Web sites about that keyword. Often, a casual browser might
not realize that a site presented a very different worldview than he or she had
been looking for.<br />
Many of these tactical media projects get shut down by "legal
bugs" [28] or stepped-up security features, but as long as the basic
protocols of the Internet remain open, hacking the dream-artistically and
politically-will remain viable. Unfortunately, continued openness is not a
foregone conclusion and future dreams of technology may be only what the
corporations and institutions can imagine, which would be the biggest failure
of all.<br />
<div class="MsoNormal">
<a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#front" id="L12">Steve
Dietz</a></div>
Steve Dietz is the Director of New Media Initiatives at the Walker Art
Center, where he is also responsible for the programming of the online
"Gallery 9." He is the principal of YProductions, which works with
museums to architect digitally based cultural programming. He was formerly the
head of publications and new media initiatives at the National Museum of
American Art, where he established one of the earliest extensive museum Web
sites on the Internet and co-produced the CD-ROM "National Museum of
American Art," which won the first prize in Arts and Culture at the 1997
International MILIA Festival. He was also a member of the executive committee
of the Coalition for the Computer Interchange of Museum Information (CIMI) and
project coordinator for the museum's participation in the Museum Educational
Site Licensing Project (MESL). He is currently on the board of the Museum
Computer Network (MCN).<br />
Steve Dietz, Director,<br />
New Media Initiatives<br />
Walker Art Center, Vineland Place<br />
Minneapolis, MN 55408, U.S.A.<br />
E-mail: <a href="mailto:steve.dietz@walkerart.org">steve.dietz@walkerart.org</a><br />
Web site: <a href="http://www.walkerart.org/gallery9/">http://www.walkerart.org/gallery9/</a><br />
<h1>
References</h1>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b1"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b1-text"><span style="mso-bookmark: b1;">1. </span><span style="mso-bookmark: b1;"></span></a><span style="mso-bookmark: b1;"></span>Randall Packer and Ken Jordan, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Multimedia: From Wagner to Virtual Reality</span></em>
(Norton: New York, 2001) is an excellent general resource for original documents
related to the Ten Dreams of Technology.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b2"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b2-text"><span style="mso-bookmark: b2;">2. </span><span style="mso-bookmark: b2;"></span></a><span style="mso-bookmark: b2;"></span>See <a href="http://www.smalltalk.org/alankay.html">http://www.smalltalk.org/alankay.html</a>
for context of this oft quoted remark by Kay.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b3"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b3-text"><span style="mso-bookmark: b3;">3. </span><span style="mso-bookmark: b3;"></span></a><span style="mso-bookmark: b3;"></span>Perry Hoberman, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Cathartic
User Interface</span></em>, 1995. <a href="http://www/hoberman.com/perry">http://www/hoberman.com/perry</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b4"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b4-text"><span style="mso-bookmark: b4;">4. </span><span style="mso-bookmark: b4;"></span></a><span style="mso-bookmark: b4;"></span>Ten is an arbitrary number, and it should be
clear that every referred project exceeds its particular category.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b5"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b5-text"><span style="mso-bookmark: b5;">5. </span><span style="mso-bookmark: b5;"></span></a><span style="mso-bookmark: b5;"></span>J.C.R. Licklider. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Man-Computer
Symbiosis</span></em>, originally published in IRE Transaction on Human Factors
in Electronics, Volume HFE-1, pp. 4-11, March 1960. See <a href="http://memex.org/licklider.pdf">http://memex.org/licklider.pdf</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b6"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b6-text"><span style="mso-bookmark: b6;">6. </span><span style="mso-bookmark: b6;"></span></a><span style="mso-bookmark: b6;"></span>Joseph Weizenbaum, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Eliza</span></em>,
1966; <a href="http://web.mit.edu.prxy4.ursus.maine.edu/STS001/www/Team7/eliza.html">http://web.mit.edu.prxy4.ursus.maine.edu/STS001/www/Team7/eliza.html</a>
and <a href="http://www-ai.ijs.si.prxy4.ursus.maine.edu/eliza/eliza.html">http://www-ai.ijs.si.prxy4.ursus.maine.edu/eliza/eliza.html</a>.
Ken Rinaldo, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Autopoiesis</span></em>, 2000; <a href="http://www.accad.ohiostate.edu/%7Erinaldo/">http://www.accad.ohiostate.edu/~rinaldo/</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b7"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b7-text"><span style="mso-bookmark: b7;">7. </span><span style="mso-bookmark: b7;"></span></a><span style="mso-bookmark: b7;"></span>David Rokeby, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Lecture for 'Info Art,'</span></em>
Kwangju Biennale, 1996; <a href="http://www.interlog.com/%7Edrokeby/install.html">http://www.interlog.com/~drokeby/install.html</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b8"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b8-text"><span style="mso-bookmark: b8;">8. </span><span style="mso-bookmark: b8;"></span></a><span style="mso-bookmark: b8;"></span>David Rokeby, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Giver of Names</span></em>,
1991-present; <a href="http://www.interlog.com/%7Edrokeby/gon.html">http://www.interlog.com/~drokeby/gon.html</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b9"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b9-text"><span style="mso-bookmark: b9;">9. </span><span style="mso-bookmark: b9;"></span></a><span style="mso-bookmark: b9;"></span>Rokeby [8].</div>
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<a href="https://www.blogger.com/null" name="b10"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b10-text"><span style="mso-bookmark: b10;">10. </span><span style="mso-bookmark: b10;"></span></a><span style="mso-bookmark: b10;"></span>Steven Johnson, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Emergence:
The Connected Lives of Ants, Brains, Cities, and Software</span></em> (New
York: Scribner, 2001) p. 18.</div>
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<a href="https://www.blogger.com/null" name="b11"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b11-text"><span style="mso-bookmark: b11;">11. </span><span style="mso-bookmark: b11;"></span></a><span style="mso-bookmark: b11;"></span>Paul Vanouse, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Persistent
Data Confidante</span></em>, <a href="http:///">http://pdc.walkerart.org</a>,
Jane Prophet, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Technosphere</span></em>, <a href="http://www.technosphere.org.uk/">http://www.technosphere.org.uk/</a>, Ken
Goldberg, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Jester</span></em>, <a href="http://shadow.ieor.berkeley.edu/humor/">http://shadow.ieor.berkeley.edu/humor/</a>,
John Klima, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Context Breeder</span></em>, <a href="http://www.cityarts.com/rhizome/">http://www.cityarts.com/rhizome/</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b12"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b12-text"><span style="mso-bookmark: b12;">12. </span><span style="mso-bookmark: b12;"></span></a><span style="mso-bookmark: b12;"></span>Johnson, p. 20.</div>
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<a href="https://www.blogger.com/null" name="b13"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b13-text"><span style="mso-bookmark: b13;">13. </span><span style="mso-bookmark: b13;"></span></a><span style="mso-bookmark: b13;"></span><a href="http://www.mic.atr.co.jp/%7Echrista/WORKS/index.html">http://www.mic.atr.co.jp/~christa/WORKS/index.html</a>.</div>
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<a href="https://www.blogger.com/null" name="b14"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b14-text"><span style="mso-bookmark: b14;">14. </span><span style="mso-bookmark: b14;"></span></a><span style="mso-bookmark: b14;"></span>Richard Wagner, "Outlines of the Artwork
of the Future," in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Multimedia</span></em> [1].</div>
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<a href="https://www.blogger.com/null" name="b15"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b15-text"><span style="mso-bookmark: b15;">15. </span><span style="mso-bookmark: b15;"></span></a><span style="mso-bookmark: b15;"></span><em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Myron Krueger Live</span></em>,
Interview with Jeremy Turner, CTheory, ARTICLES: A104, January 23, 2002; <a href="http://www.ctheory.net/text_file?pick=328">http://www.ctheory.net/text_file?pick=328</a>.</div>
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<a href="https://www.blogger.com/null" name="b16"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b16-text"><span style="mso-bookmark: b16;">16. </span><span style="mso-bookmark: b16;"></span></a><span style="mso-bookmark: b16;"></span><a href="http://www.immersence.com/immersence_home.htm">http://www.immersence.com/immersence_home.htm</a>.</div>
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<a href="https://www.blogger.com/null" name="b17"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b17-text"><span style="mso-bookmark: b17;">17. </span><span style="mso-bookmark: b17;"></span></a><span style="mso-bookmark: b17;"></span>Char Davies, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Interview with Carol
Gigliotti</span></em>; <a href="http://www.immersence.com/publications/npara-doxa-F.html">http://www.immersence.com/publications/npara-doxa-F.html</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b18"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b18-text"><span style="mso-bookmark: b18;">18. </span><span style="mso-bookmark: b18;"></span></a><span style="mso-bookmark: b18;"></span>Davies is currently in the process of porting <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Osmose</span></em> and <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Éphémère</span></em> from high-end Silcon
Graphics computers to the Playstation 2 platform.</div>
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<a href="https://www.blogger.com/null" name="b19"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b19-text"><span style="mso-bookmark: b19;">19. </span><span style="mso-bookmark: b19;"></span></a><span style="mso-bookmark: b19;"></span>Quoted in Tom Standage, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">The Victorian</span></em> (New York: Berkely
Books, 1998) p. 104.</div>
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<a href="https://www.blogger.com/null" name="b20"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b20-text"><span style="mso-bookmark: b20;">20. </span><span style="mso-bookmark: b20;"></span></a><span style="mso-bookmark: b20;"></span>Kit Galloway and Sherrie Rabinowitz, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Ecafé Manifesto;</span></em><a href="http://www.ecafe.com/">http://www.ecafe.com</a>.</div>
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<a href="https://www.blogger.com/null" name="b21"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b21-text"><span style="mso-bookmark: b21;">21. </span><span style="mso-bookmark: b21;"></span></a><span style="mso-bookmark: b21;"></span><a href="http://www.walkerart.org/gallery9/lifesharing/">http://www.walkerart.org/gallery9/lifesharing/</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b22"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b22-text"><span style="mso-bookmark: b22;">22. </span><span style="mso-bookmark: b22;"></span></a><span style="mso-bookmark: b22;"></span><a href="http://prixars.aec.at/history/net/1998/E98net_1.html">http://prixars.aec.at/history/net/1998/E98net_1.html</a>.</div>
<div class="MsoNormal">
<a href="https://www.blogger.com/null" name="b23"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b23-text"><span style="mso-bookmark: b23;">23. </span><span style="mso-bookmark: b23;"></span></a><span style="mso-bookmark: b23;"></span>See Georgia O'Keeffe Museum online symposium,
2001, <a href="http://www.okeeffemuseum.org/center/onlinesymposium.html">http://www.okeeffemuseum.org/center/onlinesymposium.html</a>.</div>
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<a href="https://www.blogger.com/null" name="b24"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b24-text"><span style="mso-bookmark: b24;">24. </span><span style="mso-bookmark: b24;"></span></a><span style="mso-bookmark: b24;"></span><a href="http://prixars.aec.at/history/net/1998/E98net_1.html">http://prixars.aec.at/history/net/1998/E98net_1.html</a>.</div>
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<a href="https://www.blogger.com/null" name="b25"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b25-text"><span style="mso-bookmark: b25;">25. </span><span style="mso-bookmark: b25;"></span></a><span style="mso-bookmark: b25;"></span>Jorge Luis Borges, "Of Exactitude in
Science," in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">A Universal History of Infamy</span></em>.</div>
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<a href="https://www.blogger.com/null" name="b26"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b26-text"><span style="mso-bookmark: b26;">26. </span><span style="mso-bookmark: b26;"></span></a><span style="mso-bookmark: b26;"></span>Andreas Broeckmann, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Topologies
in Networks</span></em>, Lecture for Recycling the Future: Kunstrado Wien <a href="http://thing.at/orfkunstrado/">http://thing.at/orfkunstrado/</a>, pp.
4-7, December 1997. <a href="http://www%2Ev@.nl/%7Eandreas/texts/1997/net-topology/net-topology.html">http://www.v@.nl/~andreas/texts/1997/net-topology/net-topology.html</a>.</div>
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<a href="https://www.blogger.com/null" name="b27"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b27-text"><span style="mso-bookmark: b27;">27. </span><span style="mso-bookmark: b27;"></span></a><span style="mso-bookmark: b27;"></span>Umberto Eco, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">The Poetics of the Open Work</span></em>
(1987) pp. 48-50.</div>
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<a href="https://www.blogger.com/null" name="b28"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/19945#b28-text"><span style="mso-bookmark: b28;">28. </span><span style="mso-bookmark: b28;"></span></a><span style="mso-bookmark: b28;"></span>Knowbotic Research, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Minds
of Concern: Break</span></em> <a href="http://www.netartcommons.net/article.pl?sidd=02/04/26/0311201">http://www.netartcommons.net/article.pl?sidd=02/04/26/0311201</a>
&mode=thread and <a href="http://united-hack.homeunix.net/minds3/">http://united-hack.homeunix.net/minds3/</a>.<strong><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"> [End Page 513] </span></strong></div>
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Copyright © 2002 Steve Dietz</div>
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<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine
Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Chicago
Style Citation</span></b></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Steve Dietz. "Ten Dreams of
Technology." <i>Leonardo</i> 35, no. 5 (2002): 509-513.
https://muse-jhu-edu.prxy4.ursus.maine.edu/ (accessed March 19, 2017). </span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com2tag:blogger.com,1999:blog-7964380476362744537.post-66060352244463678912017-05-10T16:23:00.000-07:002017-05-10T16:23:01.864-07:00 Transformations of Transforming Mirrors: An Interview with David Rokeby<div style="height: 400px; overflow: auto;">
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Labels
</span></b></div>
<div class="MsoNoSpacing">
<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Art and Science, Art and Technology, Conceptual
Art, Electronic Art, Interactivity, Systems Art, Video Art, Installation, David
Rokeby, Interview, </span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<a href="https://www.blogger.com/null" name="_Hlk482206425"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Transformations of Transforming Mirrors: An Interview with David
Rokeby</span></b></a></div>
<span style="mso-bookmark: _Hlk482206425;"></span>
<div class="MsoNoSpacing">
<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">By </span><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/results?searchtype=regular&filtered_content=author&search_term=%22Ulrik%20Ekman%22"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ulrik
Ekman</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>and </span><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/results?searchtype=regular&filtered_content=author&search_term=%22David%20Rokeby%22"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">David
Rokeby</span></a><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></div>
<h1>
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">1.
Introduction</span></h1>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">David Rokeby
began exploring questions of interactivity while studying at the Ontario
College of Art (OCA) in 1981. His earliest interactive pieces were constructed
with text or photography and specifically designed to be completed by the
audience in one manner or another. There were no technological interfaces
involved. At OCA, Rokeby discovered a small group of teachers and students in
the school’s tiny Photo-Electric Art Department, where it was possible in the
early ’80s to take courses like “Programming for Artists” and “Cybernetics for
Art” with remarkable teachers like Norman White and Doug Back. Although Rokeby
had had some experience programming computers in high school, he had not
seriously considered using them in his art. His encounter with the
Photo-Electric Art Department at OCA led him to bring together his interests
both in audience-involvement and in computer technology.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Most of his
time at OCA was occupied with the development of what was to become <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous
System</span></em>. Advancing from interactive sound systems involving single
light cells and analog electronics, this project evolved over a decade into a
sensitive interactive sound installation in which everything from the
audience’s small finger movements to large leaps drew out accompanying sounds
that interpreted these movements in some manner.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Alongside its
life as an artwork, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous System</span></em> served the practical study of
intense physical computer-human interaction. As a result of observing both
himself and thousands of others in this installation, Rokeby generated ideas
about the characteristics of the machine-human relationship. These ideas were
first expressed in his 1989 text “Transforming Mirrors: Subjectivity and
Control in Interactive Media.” In producing <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous System</span></em>, <a href="https://www.blogger.com/null" name="b21-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b21"><span style="mso-bookmark: b21-text;">Rokeby</span><span style="mso-bookmark: b21-text;"></span></a><span style="mso-bookmark: b21-text;"></span> not only designed and built his own
specialized computers, he also wrote some simple computer languages, and a lot
of other code. While he did this, he watched himself program and, as a result,
became interested in programming as a cultural practice, and in the role of
programmers as cultural producers.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">While <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous
System</span></em> focuses largely on the relationship between human bodies and
computers, his next major work, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em>, looks at the relationship between
human intelligence and machine intelligence. For this project, Rokeby spent
more than ten years working along the edges of artificial intelligence
research, developing software that attempted to replicate human perceptual and
cognitive abilities. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em> was an artificial subjective entity
that considered objects presented to it and responded with spoken sentences.
The aim of this pursuit was not so much to succeed at replicating human
behavior as to provide an inside view of the process of trying to do this, in
order to open the pursuit to some sort of questioning. The installation was
presented, in part, as a sort of public research space where anyone could
explore issues of (artificial) perception and intelligence in a practical and
playful but non-trivial way.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">At the time
he developed <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
Giver of Names</span></em>, <a href="https://www.blogger.com/null" name="b17-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b17"><span style="mso-bookmark: b17-text;">Rokeby</span><span style="mso-bookmark: b17-text;"></span></a><span style="mso-bookmark: b17-text;"></span> turned his attention to surveillance
systems. His surveillance installations of the late ’90s and early 2000s, such
as <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Watch</span></em>,
<em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Taken</span></em>,
and <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Sorting
Daemon</span></em>, brought the real-time interaction of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous
System</span></em> together with the more advanced perceptual and cognitive
processing of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
Giver of Names</span></em> to examine the social implications of the
proliferation of networks of sensors and attentive intelligences.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">David Rokeby
has received numerous awards, including the Prix Ars Electronica Golden Nica
for Interactive Art (2002), Canada’s Governor Generals Award in Visual and
Media Arts (2002), and the first BAFTA in interactive art from the British
Academy of Film and Television Arts in 2000. His major exhibitions include the
Venice Biennale (1986), the Venice Biennale of Architecture (2002), the
National Gallery of Canada (2002), and the Whitney Museum of American Art
(2007). He currently teaches at Ryerson University and is an adjunct professor
at OCAD University (formerly OCA), both in Toronto.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This
interview addresses the status and development of interactive media art in
network societies. Of specific interest are those societies in which
developments in networked or interactive arts occur in tandem with the
emergence of a third wave of computing (understood as coming after the
mainframe and the personal computer), a phenomenon usually referred to as
ubiquitous computing, pervasive computing, ambient intelligence, and the
Internet of Things. This is the third in a series of four interviews conducted
in February 2014. All four interviews took place via daily e-mail exchanges
over the course of several weeks, and each was followed by a set of revisions
undertaken by both the interviewee and the interviewer. These interviews had
their beginnings in a presentation given by Rokeby in 2011 at <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Invisibility
and Unawareness: Ethico-Political Implications of Embeddedness and the Culture
of Surveillance</span></em>, a conference in Copenhagen, Denmark held by “The
Culture of Ubiquitous Information,” the Nordic research network, and supported
by the NordForsk research organization. The three other interviews titled
“Complexity and Reduction,” “Context-Awareness and Meaning,” and “Politics and
Aesthetics of Interactive Media Art Today” constitute key parts of Rokeby’s
contribution to the final publication project in this series, the forthcoming
anthology titled <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ubiquitous
Computing, Complexity and Culture</span></em> (Routledge).</span><br />
<h1>
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">2.
Interview</span></h1>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ulrik Ekman</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In network
societies, which today have entered their second phase, an intensification of
network logics is underway. Interactive media art finds itself in a context
that includes the interactivity of the Internet, social media, and mobile
media. It also includes situations and events relating to the pursuit of the
goals of other technocultural developments in a so-called third wave of
computing. Parts of the major initiatives towards ubiquitous computing,
pervasive computing, ambient intelligence, and the Internet of Things are being
rolled out, and they are said to be human-oriented.<a href="https://www.blogger.com/null" name="f01-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f01"><span style="mso-bookmark: f01-text;"><sup>1</sup></span><span style="mso-bookmark: f01-text;"></span></a><span style="mso-bookmark: f01-text;"></span></span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The
multiplication of names for third wave computing makes clear both that its
history is still to be written, the history of the present, and that several
potential lines of development are at stake. If these names are not synonymous,
they nevertheless index an effort to realize the promise of out-of-the-box
computing, which involves billions of computational units. They all imply a
socio-cultural <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">and</span></em>
technical thrust to integrate and/or embed computing pervasively, to have
information processing thoroughly integrated with or embedded into everyday
objects and activities, including those pertaining to human bodies and their
bodily parts.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">We now find a
great many projects moving towards concretization of a heuristic idea of
computation qua environmentally embodied virtuality. The diagram today for this
is supposed to be an intelligently context-aware and more or less “calm”
computing. In an information-intensive environment this seems to map out in
practical concretizations of multitudes of wired and wireless computational
infrastructures with decentralized distributions of sometimes highly
specialized units, many demonstrating mobility and ad hoc networking.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I know you
regard this with skepticism, seeing here sources of beneficial and/or perilous
complexification of human and technical context-awareness and adaptation to
context, including the production and recognition of what makes sense for
humans and machines. You affirm a need to safeguard humanist concerns and you
insist on a certain critical distance from developments of a machinic
intelligence that may well be invisible. It would be interesting to hear your
position as compared with the remarks made earlier in your text on
interactivity, “Transforming Mirrors.”<a href="https://www.blogger.com/null" name="f02-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f02"><span style="mso-bookmark: f02-text;"><sup>2</sup></span><span style="mso-bookmark: f02-text;"></span></a><span style="mso-bookmark: f02-text;"></span></span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Do you think
that interactivity in cultures developing in company with ubiquitous computing
(ubicomp) will increasingly involve technical processes that mirror human
self-reference? Or is it more likely that most such ubicomp processes will
parenthesize mirrorings of human self-reference in favor of other technical
feedback loops and interruptions, as in invisible computational infrastructures
and networks populated by autonomous intelligent agents with their own modes of
operation and reference?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">David Rokeby</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It is hard to
predict long-term trends in this field. We are living with technologies that
were not visible on the horizon thirty years ago.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">But I think
that the answer rests as much in the realm of shifting cultural attitudes as in
that of technological breakthroughs. The shift on the iPhone from
skeuomorphism, where the familiar physical world was the reference for most
interface elements, to iOS7, which makes assumptions about the interface
literacy of its users, shows how the terms of engagement continue to change. It
is not clear what kinds of interfacing relationships we will feel comfortable
with in the future. Are piercing and body modification unconscious preparation
for the embedding of sensors and actuators in the body?</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It will
likely end up being a question of efficiency and convenience. The two
directions you pose are towards dialogue on one side and augmentation on the
other, and hinge on the degree to which the ambient algorithmic environment is
felt as an attribute of self, coherent other, or environment. The membrane
separating self and environment is fairly porous if the environment is
ubiquitous and homogenous, and so in most cases it is a question of whether we
sense the responsive environment to be part of us or not.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">When the
system becomes involuntarily internalized as a part of one’s own identity,
there is a question of where to turn when something goes wrong. “This pervasive
anxiety that I am feeling … should I see a therapist or the system administrator?”
I think that this is more serious than it might at first appear. The ubicomp
component of a workplace is an extension of its corporate culture; the cost of
not fitting in is tangible both socially and in terms of career advancement.
The natural response is to change oneself to fit the environment better, and
much of this happens involuntarily, especially if the source of the issue is
hard to put your finger on (i.e., ubiquitous and transparent).</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">An
algorithmic environment where the engagement is dialogic is easier to critique,
but distracting and inefficient.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Yes, perhaps
not least because this demands a more explicit recognition of another agency?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<a href="https://www.blogger.com/null" name="b24-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b24"><span style="mso-bookmark: b24-text;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Norbert Wiener</span></span><span style="mso-bookmark: b24-text;"></span></a><span style="mso-bookmark: b24-text;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> proposes that autonomy can be determined by whether the amount of
information transfer within a system is greater than the information transfer
across its boundaries. At some point in the discussion of sensor spaces and
ubicomp, I think this measure starts to become relevant. We can think of the
relative locality of parts of the system in terms of the intensity of the
connecting information flow. Is a camera observing you closer (in this
informational sense) to being part of you than a mouse or track pad that you
are actually touching? Or is there insufficient information flow in the
opposite direction to make this stick?</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">You interact
with <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Siri</span></em>,
the iPhone voice-activated assistant, in a simple dialogic manner and it is
clearly experienced as “other.” In theory this service could be delivered as a
technological extension of one’s own cognitive processes, and therefore
experienced as part of one’s self. Intent is an important part of this. If we
must consciously engage a behavior, and that behavior includes a delay, then it
is experienced very differently than if it were ubiquitous, always active, and
instant.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Is this set
of distinctions reflected in your works?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In 1995, I
created a video installation called <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Watch</span></em>, in which an artificial perception system parses
the video signal of a camera looking onto the street corner outside the
gallery, separating movement from stillness, “verbs” from “nouns.” In <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Watch</span></em>,
you effectively wear the installation as a set of real-time filters on your
perceptual field; you do not look “at” this work so much as look “through” it.
The processes that the computer is applying to the live video feel almost
internal.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">At the same
time, I was creating installations that intentionally played with different
rates of processing. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous System</span></em>, which responds to people’s
movements with a real-time sonic accompaniment, was as real-time as possible,
and <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Watch</span></em>
attempted the same thing. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em> pushed in the opposite direction.
In this work, a computer looks at objects that visitors have chosen and placed
on a pedestal. Through processes of visual analysis, association and
grammatical construction, the computer responds to the objects, constructing
sentences, which it speaks aloud. Here the processing loop was extended to
create the space for mental reflection inside the feedback loop, both because
it was doing more processing and because <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em> was intended to be experienced as a
self-contained entity. It was also a response to my observation that people
interacting with <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very
Nervous System</span></em> were often so enthralled with the intensity of the
interaction that they did not think more deeply about the experience and its
implications.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">But immediacy
and fluidity are certainly desirable in many situations. I was making art and
trying to tease out difficult questions. That is not the goal of most
interactive systems. For the broader practical applications of ubiquitous
intelligent sensing systems, my main concern would be our mental health.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">My immediate impression
here is that you answer by way of reinscribing versions of the undecidable. A
remarkable series of your works are not altogether foreign to this mode of
operation. One might be tempted to see here something of a more general import
to many of your installations. Your work bears witness to an insistence on the
differential repetition of an immanent critique of human and technical
decision.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Your
installations return human interactants to an undecidability interior to given
decisions or decisions that are taken for granted. They also include a
computational “perversion,” as you call it: algorithms turning back against and
into themselves to reinvoke undecidability, typically as a ghost of the
classical halting problem. I am thinking of the problem of deciding, given a
program and an input, whether that program will eventually halt when run with
that input, or will run forever. As you know, Alan Turing proved long ago that
a general algorithm to solve this does not and cannot exist.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The near
obsession in your work with mirroring feedback could be approached as the more
decidable side. Mirroring feedback happens when interactions take place through
solvable or semi-solvable decision problems. Your repeated use of the mirror
metaphor is a particularly apt gesture, since in computational complexity
theory these two types of problems concern a <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">recursive</span></em> set or a <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">recursively</span></em> enumerable set.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">However, your
“natural” drift towards undecidability as a dynamic space of potential for
complexification makes this a little less apt. Perhaps this is why you use the
phrase “transforming mirrors,” which points in the direction of heterogenesis
rather than autogenesis.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I suspect
that feedback is necessary for emergence. Can you think of an emergent
phenomenon that does not require feedback?</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Mirroring
feedback is only interesting to me when it is faulty or incomplete:
transformative, modulated, or otherwise opened out towards the world. I prefer
Echo’s transformed and delayed reflections to Narcissus’s servo-mechanical relationship
to his own image (<a href="https://www.blogger.com/null" name="b13-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b13"><span style="mso-bookmark: b13-text;">McLuhan 63</span><span style="mso-bookmark: b13-text;"></span></a><span style="mso-bookmark: b13-text;"></span>). Recursion is interesting when a
structurally or functionally coherent meta-phenomenon emerges that is open
enough to not be purely self-referential. I think it was Daisetsu Suzuki who
suggested that Heidegger, of all Western philosophers, had come closest to Zen,
but that he approached it backwards, through an infinite regression that never
achieves its goal.<a href="https://www.blogger.com/null" name="f03-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f03"><span style="mso-bookmark: f03-text;"><sup>3</sup></span><span style="mso-bookmark: f03-text;"></span></a><span style="mso-bookmark: f03-text;"></span></span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In this
adherence to the transformative potential residing with Echo, I also hear an
affirmation of a growing complexity. I have to admit my admiration for your
work on this. But I also find here two kinds of reduction leaving me uncertain
as to the reach of your work in relation to current ubicomp cultures. I think
they stem from your ethical responsibility toward the <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">anthropos</span></em>.
A certain safeguarding reduces the question concerning Echo to one of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">human</span></em>
complexification. Echo is heard as another technical irritation internal to the
human – and you grant priority to the human orchestration of technology. This
entails a reduction of technological agency,<a href="https://www.blogger.com/null" name="f04-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f04"><span style="mso-bookmark: f04-text;"><sup>4</sup></span><span style="mso-bookmark: f04-text;"></span></a><span style="mso-bookmark: f04-text;"></span> or a reduction
of the autonomy of a universal technical tendency.<a href="https://www.blogger.com/null" name="f05-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f05"><span style="mso-bookmark: f05-text;"><sup>5</sup></span><span style="mso-bookmark: f05-text;"></span></a><span style="mso-bookmark: f05-text;"></span></span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Yes, I
privilege the human and wish to safeguard it, but not in a purely reactionary
or conservative way. There are a lot of problems in the human realm. There are
a lot of ways that technological developments could lead to positive changes in
this situation. But I think there is a good chance that an emergent intelligence
would decide that humanity is not worth preserving. If an emergent,
silicon/binary/logic/network-based intelligence is incapable of appreciating
some of the factors that might bear on that decision, then perhaps this would
be a tragedy. It comes down to a question of values. What values should bear on
decisions that might emerge in an autonomous or semi-autonomous ubicomp
scenario? Or, less loaded: what parameters should such a scenario be responsive
to? As with all neural net, machine, etc. scenarios, much is determined by this
choice of inputs.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Secondly, we
cannot discount the value of the robustness of the natural world, and of
ourselves. Today’s life forms are the products of absolutely continuous,
unbroken lines of aliveness leading back to the origins of life. Millions of
years of continuous “beta testing” have generated an unimaginably valuable body
of information, partly held genetically, partly held in evolved and integrated
biological ecosystems. While the speed of twenty-first-Century computers allows
them to compress evolutionary processes by orders of magnitude, they still fail
the robustness test if they do not take all relevant opportunities and threats
into account.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">So my
argument for “safeguarding” is the following: We created the technology. It is
our responsibility. It is a reflection of our desires and aspirations. Before
deciding to allow it autonomy, we have a responsibility to put the maximum
effort into the task of preparing it for autonomy. I consider my process and
line of inquiry as part of this effort. As a father, I am engaged in a somewhat
analogous process with my daughter. I am consciously adopting a paternalistic
relationship to the technology. There is a danger that I might choose to quash
“objectively” positive behaviors that I find threatening. (And this comes full
circle to the question of whether humanity is “objectively” a net positive
presence on the planet.)</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Even if our
intention is to develop technological entities or systems that will endure past
our perhaps inevitable self-destruction, and we ignore human values, we still
need to make sure that we are adequately preparing our creations for long -term
adaptive existence— that we are not ignoring abilities that may be crucial to
long -term adaptation but are not easy to describe or program. Most of the
computed environment is produced in a rush to get products to market. And most
research is now channeled towards product development. Philosophical
speculation is not conducive to meeting product-shipping deadlines. This is a
bad way to design the future, or to set up the conditions for the future to
design itself.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It comes down
to this question: Do I trust emergent autonomous entities with my fate and that
of my culture? Similarly, do I trust emergent social entities like government
with my fate? Trust necessarily involves a leap of faith, even if that leap is
supported by promising statistics. I do not trust autonomous technologies to
have my best interests in “mind.” Since it is almost inevitable that it will
become increasingly present and common, I need to keep asking the best
questions I can, to call it (or at least those developing it) to account.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">One can
hardly avoid sensing the call for a balanced, coevolutionary attunement here.
Your deep investment in a complex and wide-ranging “harmonics of interactivity”
continuously makes itself heard (<a href="https://www.blogger.com/null" name="b19-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b19"><span style="mso-bookmark: b19-text;">Rokeby, “Harmonics”</span><span style="mso-bookmark: b19-text;"></span></a><span style="mso-bookmark: b19-text;"></span>).</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">If this
deserves the status of an ideal, maybe a utopian one, most of the time it
involves individuations qua temperings. Dynamically uncertain, these
individuations are disharmonic, asymmetrically inclined, always attunements to
someone and something other. Perhaps this explains the important place reserved
in your installations and texts for “transformative mirrors,” with emphasis on
the “transformative.”</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">You mentioned
earlier being fond of the Narcissus and Echo myth. You grant Echo the
privileged position as a patron deity of interactive art. In a sense, you have
always been at work on transformative mirrorings, which return to interactants
the same expressing itself in delayed and displaced ways as something or
someone other. I wonder how you see the asymmetries in mirrorings and assign
relative weights to self-reference, other-reference, and undecidability in
human and technical individuations?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">My interest
in mirroring must be understood in relation to my understanding of my role as
an artist, expressing myself to people who are, through no fault of their own, essentially
self-centered and attached to their personal world view and life experience. I
follow Varela and Maturana in thinking that we do not transmit messages into
the minds of others when we communicate; rather we perturb their surface and
cause a rearrangement of what is already inside.<a href="https://www.blogger.com/null" name="f06-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f06"><span style="mso-bookmark: f06-text;"><sup>6</sup></span><span style="mso-bookmark: f06-text;"></span></a><span style="mso-bookmark: f06-text;"></span></span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Transformed
mirrors become ways of using the intensity of other people’s self-awareness as
a “carrier” that can be used to enable communication, much as the FM radio
station’s frequency is used as a carrier that is modulated with the sonic
signal. In my installations that use transforming mirroring, your
image/action/sound is modulated by my system, and that distorting signal is
decoded by you as a difference between your inner sense of self and this
reflected self.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This is
therefore not as user-centric or mirror-obsessed as it might seem. It is a
strategy that seeks to sneak past our defenses against otherness.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I wonder
whether your creations of interactive installations and automata and their
interaction designs could be said to reserve for themselves a certain
second-order status.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">If both
technical and human becoming through interactivity are at stake, are the artist
and the automata rather to be called “transforming transforming mirrors” whose
activities may be self-generative, heterogenerative, or undecidable, if not
entropic?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I have often
explored second-order artistic expression. In most of my work, I have
de-emphasized the “surface content” of the work. All the interesting stuff I
have put in these works is at least second-order. People tend to overestimate
the empowerment that most interactivity provides. The artist/technologist has
given the user control over surface content, but is generally reserving for
him- or herself the control at one level of abstraction above. I have played
with this in the past – allowing, for instance, users to change the responsive
behavior of the program using a simple UI, gestures, etc. (thus giving them
some second-order control, and taking the third-order control for myself…). How
might we describe the role of a programmer programming a learning system that
recalibrates the responsive character to engender a certain overall system
behavior itself?</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">But a real
second-order transforming mirror would need two levels of selves being
mirrored. The first-order users experience a transformation of themselves. Does
the second-order user (the artist creating the transforming mirror) experience
a self-transformation reflected back by the authoring system and what is
created with it? Certainly some of the ideas I have been expressing in this
conversation are plausibly the result of such second-order transforming
mirroring. I have described the development of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em>
explicitly as a performance piece performed for myself, in which I dress up as
an artificial-intelligence researcher and feel myself affected by the process
of doing the research, watching the way my decisions are guided by the task and
the limits of the tools, etc.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">How do the
echoings of echo become, and what is the role of the technical and human
audience of interactants?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">This is a
good question. It was in order to open more of the second-order experience to
the users that I made the feedback loop in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em> so slow. You are allowed to be a
bit of a researcher yourself. That is not entirely satisfying the idea of
really passing on the second-order experience, however. It is perhaps why I
wrote articles like “Transforming Mirrors,” and this is perhaps even truer for
“Constructing Experience,”<a href="https://www.blogger.com/null" name="f07-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f07"><span style="mso-bookmark: f07-text;"><sup>7</sup></span><span style="mso-bookmark: f07-text;"></span></a><span style="mso-bookmark: f07-text;"></span> which is
really a kind of guidebook for people creating experiences in this second-order
manner. Writing and talking about my experiences is a way to shed a little
light on the second-order. But that is not really the point of your question
either. Can one imagine an interactive relationship where all participants are
operating on all imaginable levels of responsibility – having the base-level
experience, modulating it, modifying it in permanent ways and generating
mechanisms for continued automatic modification? This sounds like an
interaction between two conscious entities, capable of understanding that there
is always one more step up the chain of abstraction, and along the chain of
recursion, and ready to act on any of these levels, to grasp the concepts of
recursion and abstraction and see them shoot off into infinity, to abstract
recursion and abstraction themselves. As long as we have to open each of these
doors for our synthetic intelligences, we have to consider how to describe and
encode each surrounding context and we continue to have responsibility for
their resulting actions. Consciousness does not substantially increase our
ability to do harm. It does increase our ability to accept responsibility for
the harm we might do and to work to preempt it.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">As for the
question of entropy, second-order (and higher) agencies need to maintain a
careful balance between entropic and anti-entropic tendencies. This would
require a sort of entropy governor that prevents uncontrolled growth and allows
for renewal but keeps the system from dissolving. Is this a plausible minimal
definition of some sort of ethics for autonomous systems, or is this perhaps
built-in – in that systems with an excessive tendency towards entropy will
simply dwindle away? Perhaps the most important thing is to rein in excessively
anti-entropic systems because those are the ones that will persist.</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I was trying
to keep open a question of both technical and human interactants as an
audience, given your safeguarding of the human. This openness would concern all
orders of abstraction and recursion to see how far you go towards complexity or
rather introduce reductions. My focus was on second-order interactivity
(“transforming transforming mirrors”) and the becoming of “echoings of echo.”</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I tried to
indicate major potential directions for this second-order interactivity – the
self-generative, heterogenerative, undecidable, and the entropic – not only to
hear you on epistemological quandaries for interactivity (circularity, infinite
regress, undecidability), and on the quasi-ontological inclinations towards
energetic complexification and passing away in the play of the negative.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It was also,
perhaps primarily, to hear you on the tempering tilts in the practical reason
embodied in your installations. Do these installations tend towards inviting
the audience to engage ethical responsibility, goal-oriented political action,
and a presencing of interactive potentiality, or do they tend rather towards
the points and waves of energy in interactive practice that delimits live and
living systems (technical, biological, and human)?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In my text
“Predicting the Weather,” I end by asking: “How does one best function within a
situation one cannot hope to entirely understand???” I was explicitly talking
about accepting responsibility for your actions even when the results of those
actions are not predictable. I was struggling to find a model of responsibility
that could work in the contemporary world. In my early vision of interactive
utopia, I saw interactive installations as ways of developing and practicing
this kind of responsibility. The idea was to engineer an interactive space in
which one could simultaneously grasp that one had agency and that one did not
always see a clear causal line from one’s actions to their results. In such a
space, you could come to terms with influencing without controlling, and
perhaps imagine a way to live like that, perceptive and active at all times –
literally responsive, and perhaps by extension, responsible.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The dark
cloud that enveloped me through the ’90s was partly a result of my growing
understanding that people were excited to participate, but not so interested in
bearing any responsibility—that, indeed, interactive technologies were just as
good at creating a fake enfranchisement, a fake empowerment, as they were in
encouraging actual engagement. This is not surprising in retrospect, but it was
a surprise to my younger, utopian self.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">I still
present my interactive installations to the public as opportunities to play
directly with issues like surveillance in the hope that I will further the
dialogue, and in large part to increase interactive literacy incrementally. It
was the ease with which we can be fooled or too easily satisfied by
interactions that pushed me out of the interactive Eden, and so this
interactive literacy question is very important to me. This is a way to develop
ethical responsibility and goal-oriented political action. But I generally shy
away from strong political statements in my work because I am not interested in
preaching to the converted or simply polarizing debate. My role is to churn the
soil so that people can be surprised by their responses to something, perhaps
enough to get under their assumptions and actually change their mind. I do not
really have a firm “position” on most aspects of surveillance, ubicomp, etc.
But I have a feeling that we as a society are not engaging in a sufficient
discussion about the future we are inventing and allowing to settle into place.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">So if my
installations have a mission, it is to undermine assumptions, to destabilize
familiar experiences and habits of perception and mind. This is in direct
response and opposition to the fact that so much is underexamined – things
(technologies and ideas and attitudes) are left to cool and crystallize too
quickly, becoming hard yet brittle.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">As for points
and waves of energy in interaction: for me these are no less politically
charged. Understanding autonomy and feedback and permeability and transparency
and internalization of tech and externalization of self are all things we need
to become literate in if we are to make good decisions. This is particularly
problematic given the momentous shift in the locus of policy-making (especially
in the USA), where policy is now largely made through consumer choice and
corporate lobbying. The deep suspicion of intellectuals in the United States
means that informed top-down decision-making is regarded as elitist. So how do
we come to make smart decisions about the future?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">You trust in
the development of a smarter interactive literacy via invitations to the
audience to encounter interactivity of another order—Hence a certain trust of
yours in the responsiveness and responsibility of the audience. But you also
trust that the audience will just participate (staying on a first -order plane,
presumably for and with themselves), rather than being or becoming responsible
unto the other on another plane?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">It is
important to distinguish between what I hoped for in the early years, and what
I learned to fear later on. I had to revise my position of naive trust to one
that is a bit more tempered. I learned that I had to be a better and more
thoughtful artist in order to nurture a smarter interactive literacy.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">One of my
biggest concerns was that people interacting with my installations have often
not grasped that their interaction was clearly limited to the first order. I
did make some experiments allowing interactants to change the behavior of the
piece through a UI and some mouse gestures. This was interesting, but I did not
continue these initial explorations of second -order interactivity with the
audience because I was more interested in understanding better why people were
satisfied with the first order. I think our human grasp of interactive
relationships is often pretty limited. I think that we like the fact that we
have some responsibility but that it is clearly circumscribed. We do not want
to take it all on. This leaves the playing field pretty open for unguided
emergence of entities and “evil geniuses.”</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">UE</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">My question
concerning the audience was meant as a sincere and respectful bow in the
direction of these technical and human others. I am struck by a tension in your
remarks. You acknowledged early that the audience is the primary medium for an
interactive artist. One could see an affirmation here that your privileging of
mirroring, feedback loops, recursion, and responsibility implies a rather
humble recognition of the audience as the very condition of existence of your
installations. This recognition seems to coexist with but also be less
privileged than the creative act of the artist of interactive media art
installations. This remains a decisive act that opens the stage for interactive
exploration of structures of possibility of a certain complexity but also
always already delimits these in a reduction of complexity. This asymmetry is
clearly tempered by the inclusion in your installations of experiments with
co-responsible “audiences” (or “co-creators”). However, you seem to
parenthesize this, granting primacy to human reductions of the complexity of
interactivity to a first-order plane. This seems out of tune with your
harmonics of interactivity. Here I am left wondering whether one should hear a
kind of disenchantment?</span><br />
<div class="MsoNormal">
<strong><span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">DR</span></strong><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">:</span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Certainly
there is disenchantment. It was inevitable, considering the utopian place I
started from. On the other hand, if we take an enlarged view of what
interactive toolset robust enough for others to use. Sharing these tools is a
level of sharing and co-creation beyond what is normally possible in any kind
of installation. The reason is “time.” Substantive meta-creation takes time.
Simply creating the possibility of higher order engagement with the audience in
the code does not add up to much unless you can provide the proper conditions
for its use.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Artists who
have used my tools often comment that they appreciate the “character” of my
tools. They feel my thinking in them. I am excited to share the potentials that
these tools opened up for exploring interactivity.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">As for
creating interactive systems that emerge or evolve, let me note that this is
easier said than done in a practical and satisfying way. I am an artist and so
my motivations, while sometimes parallel to those of a researcher or academic,
are also often quite different. I am not sure how to characterize the
differences, but I could say that my audience is much broader. For my own
pleasure I may play with algorithms in my studio that will never be of interest
to my audience, but my aim is usually to find ways to share aspects of my
“research” with everyone (and those “everyones” are all human). This is one
great promise of interactivity, occasionally fulfilled: it allows one to make
accessible things that are normally hidden behind firewalls of
ultra-specialized language and slowly evolved, deeply invested mental
constructs.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In
“Transforming Mirrors” I talk about the experience I had in 1984 with the
earliest versions of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Body Language</span></em>, in which I handed as much control as I
could to the participant.<a href="https://www.blogger.com/null" name="f09-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f09"><span style="mso-bookmark: f09-text;"><sup>9</sup></span><span style="mso-bookmark: f09-text;"></span></a><span style="mso-bookmark: f09-text;"></span> I found that
the experience had too many dimensions of interaction, and so the sense of
interactivity was, for many users, completely lost. Reducing the dimensions of
interactivity produced a greater sense of interaction. This was another facet
of my loss of innocence – I was very disappointed by this apparent paradox. Of
course, time is one of the important issues here. With enough exposure, perhaps
people would come to have a more satisfying experience with the more complex
interaction. But I need to acknowledge the duration of interaction that I can
expect with my audience and work within its frame.</span><br />
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">These may
seem like bizarre limitations from a pure research perspective, but I am not a
pure researcher.</span><br />
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ulrik Ekman</span></div>
<div class="MsoNormal">
<a href="mailto:ekman@hum.ku.dk"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">ekman@hum.ku.dk</span></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />
University of Copenhagen </span></div>
<div class="MsoNormal">
<a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#front"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ulrik Ekman</span></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ulrik Ekman
is Associate Professor at the Department of Arts and Cultural Studies,
University of Copenhagen. Ekman’s main research interests are in cybernetics
and ICT, the network society, new media art, critical design and aesthetics, as
well as recent cultural theory. He is the head of the Nordic research network
“The Culture of Ubiquitous Information,” with more than 150 participating
researchers. Ekman is currently involved in the publication of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ubiquitous
Computing, Complexity and Culture</span></em> (Routledge, forthcoming 2015), a
comprehensive anthology treating the question whether and how the development
of network societies with a third wave of computing may have brought about the
emergence of a new kind of technocultural complexity. Ekman’s publications
include “Of the Untouchability of Embodiment I: Rafael Lozano-Hemmer's
Relational Architectures," in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">C-Theory</span></em> (2012); “Irreducible Vagueness: Augmented
Worldmaking in Diller & Scofidio’s <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Blur Building</span></em>,” in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Postmodern Culture</span></em> 19.2; and “Of Transductive Speed –
Stiegler,” in <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Parallax</span></em>
13.4. He is also the editor of <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Throughout: Art and Culture Emerging with Ubiquitous Computing</span></em>
(MIT Press, 2013).</span><br />
<h1>
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Footnotes</span></h1>
<a href="https://www.blogger.com/null" name="f01"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f01-text"><span style="mso-bookmark: f01;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">1.</span></span><span style="mso-bookmark: f01;"></span></a><span style="mso-bookmark: f01;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> For the first book-length engagement with the sociocultural,
aesthetic, and artistic implications of these developments, see <a href="https://www.blogger.com/null" name="b6-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b6"><span style="mso-bookmark: b6-text;">Ekman</span><span style="mso-bookmark: b6-text;"></span></a><span style="mso-bookmark: b6-text;"></span>, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Throughout</span></em>. At least three earlier monographs have
contributed to an understanding of these developments in the contexts of
interaction design, architecture, and the cultural ethics of ubiquitous
computing: <a href="https://www.blogger.com/null" name="b5-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b5"><span style="mso-bookmark: b5-text;">Dourish</span><span style="mso-bookmark: b5-text;"></span></a><span style="mso-bookmark: b5-text;"></span>; <a href="https://www.blogger.com/null" name="b12-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b12"><span style="mso-bookmark: b12-text;">McCullough</span><span style="mso-bookmark: b12-text;"></span></a><span style="mso-bookmark: b12-text;"></span>; <a href="https://www.blogger.com/null" name="b8-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b8"><span style="mso-bookmark: b8-text;">Greenfield</span><span style="mso-bookmark: b8-text;"></span></a><span style="mso-bookmark: b8-text;"></span>. Interesting and technically well-informed
introductions presented from the perspectives of different disciplines can be
found in: <a href="https://www.blogger.com/null" name="b1-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b1"><span style="mso-bookmark: b1-text;">Abowd and Mynatt</span><span style="mso-bookmark: b1-text;"></span></a><span style="mso-bookmark: b1-text;"></span>; <a href="https://www.blogger.com/null" name="b3-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b3"><span style="mso-bookmark: b3-text;">Beigl</span><span style="mso-bookmark: b3-text;"></span></a><span style="mso-bookmark: b3-text;"></span>; <a href="https://www.blogger.com/null" name="b4-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b4"><span style="mso-bookmark: b4-text;">Bell and Dourish</span><span style="mso-bookmark: b4-text;"></span></a><span style="mso-bookmark: b4-text;"></span>; <a href="https://www.blogger.com/null" name="b7-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b7"><span style="mso-bookmark: b7-text;">Galloway</span><span style="mso-bookmark: b7-text;"></span></a><span style="mso-bookmark: b7-text;"></span>; <a href="https://www.blogger.com/null" name="b14-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b14"><span style="mso-bookmark: b14-text;">Rogers</span><span style="mso-bookmark: b14-text;"></span></a><span style="mso-bookmark: b14-text;"></span>; <a href="https://www.blogger.com/null" name="b23-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b23"><span style="mso-bookmark: b23-text;">Symonds</span><span style="mso-bookmark: b23-text;"></span></a><span style="mso-bookmark: b23-text;"></span>.</span><br />
<a href="https://www.blogger.com/null" name="f02"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f02-text"><span style="mso-bookmark: f02;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">2.</span></span><span style="mso-bookmark: f02;"></span></a><span style="mso-bookmark: f02;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b20-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b20"><span style="mso-bookmark: b20-text;">Rokeby</span><span style="mso-bookmark: b20-text;"></span></a><span style="mso-bookmark: b20-text;"></span>, “Transforming Mirrors.”</span><br />
<a href="https://www.blogger.com/null" name="f03"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f03-text"><span style="mso-bookmark: f03;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">3.</span></span><span style="mso-bookmark: f03;"></span></a><span style="mso-bookmark: f03;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> Upon reading a book by D.T. Suzuki, Heidegger is reported to have
said, “If I understand this man correctly, this is what I have been trying to
say in all my writings” (<a href="https://www.blogger.com/null" name="b2-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b2"><span style="mso-bookmark: b2-text;">Barrett xi</span><span style="mso-bookmark: b2-text;"></span></a><span style="mso-bookmark: b2-text;"></span>).</span><br />
<a href="https://www.blogger.com/null" name="f04"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f04-text"><span style="mso-bookmark: f04;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">4.</span></span><span style="mso-bookmark: f04;"></span></a><span style="mso-bookmark: f04;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b9-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b9"><span style="mso-bookmark: b9-text;">Latour</span><span style="mso-bookmark: b9-text;"></span></a><span style="mso-bookmark: b9-text;"></span>.</span><br />
<a href="https://www.blogger.com/null" name="f05"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f05-text"><span style="mso-bookmark: f05;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">5.</span></span><span style="mso-bookmark: f05;"></span></a><span style="mso-bookmark: f05;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b10-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b10"><span style="mso-bookmark: b10-text;">Leroi-Gourhan</span><span style="mso-bookmark: b10-text;"></span></a><span style="mso-bookmark: b10-text;"></span>.</span><br />
<a href="https://www.blogger.com/null" name="f06"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f06-text"><span style="mso-bookmark: f06;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">6.</span></span><span style="mso-bookmark: f06;"></span></a><span style="mso-bookmark: f06;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b11-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b11"><span style="mso-bookmark: b11-text;">Maturana and Varela</span><span style="mso-bookmark: b11-text;"></span></a><span style="mso-bookmark: b11-text;"></span>.</span><br />
<a href="https://www.blogger.com/null" name="f07"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f07-text"><span style="mso-bookmark: f07;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">7.</span></span><span style="mso-bookmark: f07;"></span></a><span style="mso-bookmark: f07;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b16-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b16"><span style="mso-bookmark: b16-text;">Rokeby</span><span style="mso-bookmark: b16-text;"></span></a><span style="mso-bookmark: b16-text;"></span>, “The Construction of Experience.”</span><br />
<a href="https://www.blogger.com/null" name="f08"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f08-text"><span style="mso-bookmark: f08;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">8.</span></span><span style="mso-bookmark: f08;"></span></a><span style="mso-bookmark: f08;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> In n-cha(n)t, seven computers form a small community of entities
with significant cognitive and linguistic skills. They slowly fall into unison
chanting when left alone, sharing ideas amongst themselves until a consensus is
reached. The chant scatters into a jumble of independent voices when disrupted
by words spoken by gallery visitors, disrupting the coherence of the group.</span><br />
<a href="https://www.blogger.com/null" name="f09"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#f09-text"><span style="mso-bookmark: f09;"><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">9.</span></span><span style="mso-bookmark: f09;"></span></a><span style="mso-bookmark: f09;"></span><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> See <a href="https://www.blogger.com/null" name="b15-text"></a><a href="https://muse-jhu-edu.prxy4.ursus.maine.edu/article/580772#b15"><span style="mso-bookmark: b15-text;">Rokeby</span><span style="mso-bookmark: b15-text;"></span></a><span style="mso-bookmark: b15-text;"></span>, <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Body Language</span></em>.</span><br />
<h1>
<span style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Works
Cited</span></h1>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Abowd, Gregory D., and Elizabeth D.
Mynatt. “Charting Past, Present, and Future Research in Ubiquitous Computing.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">ACM Trans.
Comput.-Hum. Interact</span></em>. 7.1 (2000): 29-58. Web.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Barrett, William. “Zen for the West.”
Introduction. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Zen
Buddhism</span></em>. By D.T. Suzuki. Garden City: Doubleday, 1956. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Beigl, Michael. "Ubiquitous
Computing - Computation Embedded in the World." <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Disappearing
Architecture: From Real to Virtual to Quantum</span></em>. Eds. Michael Beigl
and Peter Weibel. Berlin: Birkhäuser, 2005. 52-61. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Bell, Genevieve, and Paul Dourish.
“Yesterday's Tomorrows: Notes on Ubiquitous Computing's Dominant Vision.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Personal and
Ubiquitous Computing</span></em> 11.2 (2007): 133-43. Web.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Dourish, Paul. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Where the
Action Is: The Foundations of Embodied Interaction</span></em>. Cambridge: MIT
P, 2001. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ekman, Ulrik, ed. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Throughout:
Art and Culture Emerging with Ubiquitous Computing</span></em>. Cambridge: MIT
P, 2013. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Galloway, Alexander. “Intimations of
Everyday Life - Ubiquitous Computing and the City.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Cultural Studies</span></em>
18.2-3 (2004): 384-408. Web.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Greenfield, Adam. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Everyware:
The Dawning Age of Ubiquitous Computing</span></em>. Berkeley: New Riders,
2006. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Latour, Bruno. “Where Are the Missing
Masses? The Sociology of a Few Mundane Artifacts.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Shaping Technology/Building
Society</span></em>. Ed. Wiebe E. Bijker and John Law. Cambridge: MIT P, 1992.
225-58. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Leroi-Gourhan, André. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Évolution et
techniques</span></em>. Paris: Albin Michel, 1943. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Maturana, Humberto R., and Francisco
J. Varela. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Autopoiesis
and Cognition: The Realization of the Living</span></em>. Boston: D. Reidel,
1980. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">McCullough, Malcolm. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Digital
Ground: Architecture, Pervasive Computing, and Environmental Knowing</span></em>.
Cambridge: MIT P, 2004. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">McLuhan, Marshall. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Understanding
Media: The Extensions of Man: Critical Edition</span></em>. Ed. W. Terrence
Gordon. Berkeley: Ginko Press, 2003. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Rogers, Yvonne. “The Changing Face of
Human-Computer Interaction in the Age of Ubiquitous Computing.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">HCI and
Usability for e-Inclusion</span></em>. Eds. Andreas Holzinger and Klaus
Miesenberger. Berlin: Springer, 2009. 1-19. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Rokeby, David. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Body Language</span></em>.
1984. Sound Installation. Justina M. Barnicke Gallery, Toronto. </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. “The Construction of Experience:
Interface as Content.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Digital Illusion: Entertaining the Future with High Technology</span></em>.
Ed. Clark Dodsworth, Jr. New York: ACM Press, 1998. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Giver of Names</span></em>.
1990. Multimedia Installation. Inter/Access, Toronto. </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. “Predicting the Weather.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Musicworks:
Starting All Observations from Scratch</span></em> 33 (1985). </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. “The Harmonics of Interaction.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Musicworks:
Sound and Movement</span></em> 46 (1990). </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. “Transforming Mirrors:
Subjectivity and Control in Interactive Media.” <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Critical Issues in Electronic
Media</span></em>. Ed. Simon Penny. Albany: State U of NY P, 1995. 133-58. </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Very Nervous System</span></em>.
1986. Multimedia Installation. Venice Biennale, Venice. </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">---. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Watch</span></em>. 1995. Video
Installation. Gwangju Biennale, Gwangju. </span><a href="http://davidrokeby.com/"><i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DavidRokeby.com</span></i></a><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. Web. 28 Feb. 2015.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Symonds, Judith. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Ubiquitous
and Pervasive Computing: Concepts, Methodologies, Tools, and Applications</span></em>.
3 vols. Hershey: Information Science Reference, 2010. Print.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Wiener, Norbert. <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Cybernetics:
or Control and Communication in the Animal and the Machine</span></em>.
Cambridge: MIT Press, 1961.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Copyright © 2015-1990 <em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Postmodern
Culture</span></em> & the Johns Hopkins University Press</span></div>
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<div class="MsoNoSpacing">
<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine
Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Chicago
Style Citation</span></b></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Ulrik Ekman and David Rokeby.
"Transformations of Transforming Mirrors: An Interview with David
Rokeby." <i>Postmodern Culture</i> 24, no. 2 (2014)
https://muse-jhu-edu.prxy4.ursus.maine.edu/ (accessed March 07, 2017).</span></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-56263644346633259432017-05-10T16:20:00.004-07:002017-05-10T16:20:51.155-07:00 Early Risers by Matt Price<div style="height: 400px; overflow: auto;">
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<span style="mso-bookmark: _Hlk482196854;"><a href="https://www.blogger.com/null" name="_Hlk482200663"></a><a href="https://www.blogger.com/null" name="_Hlk482201621"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;">Early Risers by Matt
Price</b></span></a></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">AUTHOR: </span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">Matt Price</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">EARLY RISERS</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">SOURCE: </span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">Flash Art (International Edition) 39 104-7 O 2006</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">COPYRIGHT: </span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">The magazine publisher is the copyright holder of
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"> IN RECENT YEARS LONDON has
consistently had a healthy flow of young commercial galleries and the current
crop is particularly vibrant. Fortescue Avenue/Jonathan Viner, Laura Bartlett,
Dick smith, Fred, Herald St, Holly Bush Gardens, Hotel, Museum 52, Riflemaker,
David Risley, Rokeby and Store are among those at the forefront, bringing
together professional acumen, entrepreneurial spirit and a real enthusiasm for
the artists they represent. A balance of young and mid-career artists brings a
sense of both excitement and maturity to many of these galleries, as does the
range of art they show, ranging from the reliably commercially viable to the
more outlandish. While these galleries are distinctive and individual, the
relationships between them are strong. "The scene is what it is partly
because of that," comments Hotel's Darren Flook. So, who's behind these
galleries?</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b><span style="font-size: 10.0pt;">BACKGROUNDS</span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"><br />
While many studied fine art, art history or art theory,
curatorial master's degrees such as those on offer at the Royal College of Art
and Goldsmiths were undertaken by several gallerists, including Fortescue
Avenue's Jonathan Viner, Hotel's Christabel Stewart, Store's Louise Hayward and
Hollybush Gardens' Malin Stahl. Such courses reflect the growing
professionalization of curating in the last fifteen years and the impact this
is having on the new generation of gallerists. Vincer also spent time working
as an artist's assistant for Mona Hatoum, and the success of the previous
generation of artists. especially the YBAs, has offered paid training for
several of today's other emerging gallerists, including Rokeby's Beth
Greenacre, who was assistant for Gavin Turk, and Museum 52's Matthew Dipple,
who was studio manager for Sam Taylor-Wood for three years. Several gallerists
spent time after graduating working for prominent commercial galleries -both
Jonathan Viner and Laura Bartlett, for example, worked at Gagosian. The
combination of postgraduate study along with time spent working for established
artists and galleries, has spawned a generation of young gallerists that are
highly educated and professionally experienced.</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b><span style="font-size: 10.0pt;">STARTING UP</span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"><br />
While some had been in touch with artists whom they
represent for a long time before opening, others set about putting together a
roster of artists from scratch. "Finding artists is the most challenging
part of the job," says Viner. Laura Bartlett spent time traveling to see
works, finding Harrell Fletcher at the Whitney Museum and Sachiko Abe at P.S.1
in New York, neither of whom had previously shown in London. Degree shows are
useful to some--several of Riflemaker's artists were found in this way, such as
Jamie Shovlin and Francesca Lowe, as were many of Rokeby's, such as Sam Dargan,
Graham Hudson and Michael Samuels. "Degree shows are important for
sourcing new talent," says Beth Greenacre. "They are also a way of
keeping an eye on what trends are developing at that level." Hollybush
Gardens, which opened in September 2005 and currently represents just five
artists, plans to increase the number of artists as the gallery establishes
itself. Museum 52, on the other hand, already has around twenty artists on its
books. "They come from everywhere, from student shows, other galleries,
via friends, assistants, studio visits," explains Matthew Dipple. Museum
52's partnerships with other galleries are particularly strong, showing Kysa
Johnson and Nick Waplington, for example, who are both represented by Roebling
Hall in New York. Word of mouth and social networks remain common ways in which
to source new artists too.<br />
Everyone has their own story about setting up. David
Risley studied in Manchester before moving to London where he worked for the
art bookshop Zwemmer. Use of an upstairs room soon resulted in shows for
Richard Woods (represented by Modern Art Inc. at the time) and The Approach's
Dan Combs. He then began a program of shows by artists who were as yet
unrepresented. He left Zwemmer and shared a space on laburnum Street with The
Drawing Room, doing alternate shows. Without financial backing, everything had
to pay for itself: "If the first show hadn't sold, the gallery would have
closed," says Risley. At the end of May 2005, he moved to Vyner street in
Bethnal Green, home to an impressive cluster of youngish galleries such as
Modern Art Inc., Fred, One in the Other and the now departed Mobile Home.<br />
With bastions such as Maureen Paley, Wilkinson and The
Approach (which has just opened a second space. The Reliance, near Hoxton
Square, also located above an eponymous pub), Bethanl Green is home to several
other interesting young galleries, including Herald St. Hollybush Gardens and
Hotel. Darren Flook and Christabel Stewart began Hotel by using their own home
as a gallery before securing the shop unit on the ground floor, the gallery's
name referring to the fact that when artists from outside London came to make
projects and shows, they would stay in the flat with them. While these
galleries are the first for most people, some are on their second or third.
Flook was previously with Entwistle, while Hollybush Gardens' Lisa Panting
co-founded Milch with Fred Mann in 1996. Following this, Mann teamed up with
Benjamin Rhodes to form Rhodes + Mann. before deciding to go it alone with Fred
in 2005. This goes some way towards explaining how such a young gallery has
such a strong stable of artists, with established artists such as
Abetz/Drescher, Cathy De Monchaux and Jörg Lozek alongside younger or currently
lesser-known artists.<br />
But whether experienced or newcomers, setting up a new
gallery is no mean feat, especially as everything from press releases to
bookkeeping is often done by just one or two people. "Making the decision
to open a gallery is one that will run your life, and basically you have to be
prepared to live art." comments Lisa Panting; it's a sentiment echoed by
Beth and Ed Greenacre: "six, sometimes seven days a week, twelve hours a
day is how we operate."</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b><span style="font-size: 10.0pt;">SUPPORT</span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"><br />
While some feel that they are increasingly in
competition with larger, more established galleries as they move to sign up
younger and younger artists, it is equally apparent that these more experienced
galleries are also very supportive, offering advice and even sponsoring
London's Zoo Art Fair (co-founded by David Risley and The Great Unsigned's
Soraya Rodriguez). Museum 52's Matthew Dipple comments. "Jay Jopling has
been very supportive, as I know he has to a few other young galleries."
Commercial gallery support in London is often matched by public funding.
"arts Council England offers a lot of encouragement and resources,"
says Laura Bartlett. "They recognize that young galleries are mostly
trying to do something interesting and aren't simply driven by quick commercial
success." In addition to the Arts Council, private trusts and foundations
seem equally keen to be involved with the emerging scene by funding particular
projects and publications. "Only in London could an artist be given fifty
square meters of open space next to a major public museum, as Graham Hudson has
been able to do with his Henry Moore Fellowship," asserts Ed Greenacre.</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b><span style="font-size: 10.0pt;">SALES, COLLECTORS AND FAIRS</span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"><br />
According to the gallerists, the markets are genuinely
buoyant across the spectrum of mediums. "Of course," says Hotel's
Darren Flook, "Paintings are easier to sell than huge sculptures made out
of butter and spit." But huge sculptures and installations are also
selling well in these galleries, evidenced by the recent sale by Rokeby to a
major. London collector of a large-scale installation by Raul Ortega Ayala.
Laura Bartlett notes that video sales are up at the moment, as are those for
drawing, a medium that is also well catered for by Museum 52, whose recent
exhibition devoted to it (featuring Peter Maconald, Kate Atkin, and Frank
Selby) sold out. Indeed, all of Museum 52's shows have sold out since February,
and the gallery is still selling works by Kay Harwood and Tom Gallant to a
waiting list of clients following their sell-out shows last autumn. Their
latest show of paintings by Ji Wenyu was on reserve two weeks before it opened
and sold a week before. At Hotel, there are waiting lists for works by David
Noorian, Steven Claydon, Carter, Carol Bove and Michael Bauer, following on
from successful shows in 2005 and 2006.<br />
One gets the impression that the sell-out show is
becoming commonplace. The first two exhibitions this year at Rokeby were
sell-outs, with Simon Keenleyside's landscapes of Essex selling to collectors
in London, Hong Kong and the States at prices ranging from £900 to £7,000:
Kathrine AErtebjerg's solo exhibition--her first outside Denmark--also solid
out at similar prices. At Riflemaker, the recent Jaime Gili show was a sell out
and led to a commission from the Architectural Association. At David Risley,
Boo Ritson's show sold out, and works by Jonathan Wateridge for his first solo
exhibition this October have also sold out. Particularly interesting is the
fact that they sold before even having been made.<br />
Who exactly buy works from these galleries? It's no
surprise that Charles Saatchi keeps an cyc on what's going on amongst them,
acquiring a number of Jamie Shovlin's works from Riflemaker as well as a Dwayne
Moser painting from Laura Bartlett. Moser's painting of the site of Paris
Hilton's car crash was bought by an anonymous buyer earlier this year. Some
suspect this might have been Paris Hilton herself. While London-based
collectors account for a significant proportion of sales, they come from
further afield too. Jonathan Viner's client base is largely American.
"Sometimes it's easier to get a collector from Manhattan to see the work
at your gallery than one from West London," he comments.<br />
Naturally, many collectors are somewhat wealthy. Museum
52 recently had a woman visit the gallery who was getting married and wanted to
reserve work for her wedding list. She liked the work but was disappointed
because she wanted her friends to spend more than what the paintings actually
cost. Apart from established collectors and the occasional celebrity, young
collectors are also playing their part. "It's exciting because you are
both in at the beginning of something," says Flook, "but age doesn't
matter. Collectors are usually experts in their fields and often have the best
stories." At Museum 52, 25to 35-year-old-collectors make up approximately
65% of their sales.<br />
But if collectors are increasingly happy to get out their
checkbooks at young commercial galleries, so too are the museums. "We
placed a fantastic work by Simon English in the Louisiana Museum [in Denmark]
last year and have created substantial holdings of works by Susanne Kühn at the
Frieder Burda Museum [in Germany]," says Fred mann. Hollybush Gardens has
recently seen Magical World by Johanna Billing enter both ARC's collection at
the Musée d'Art Moderne de la Ville de Paris and the Van Abbemuseum of
Eindhoven. "It's very satisfying to know that an artwork has gone
somewhere that will conserve and show it to the public," comments Lisa
Panting.<br />
One factor contributing to the success of the young
commercial galleries in London is the Frieze Art Fair. According to Fred mann,
it "has changed the way contemporary art collecting is looked at in the
UK." "Anyone who remembers what art fairs were like here before
Frieze came along will appreciate that what Matthew Slotover and Amanda Sharp
have achieved with Frieze is incredible," says Darren Flook, whose gallery
participated in Zoo the first year and since in Frieze. Zoo Art Fair is itself
playing an exceptionally useful role, with Laura Bartlett, Fred, Dicksmith, f a
projects and i-cabin among the twenty-eight UK-based young galleries and arts
organizations in last year's edition. Equally important on the international
stage for the London galleries are Liste and Volta. NADA. Artissima and
Artbrussels, among others. "They generate a significant amount of the
gallery's annual revenue," says Viner.</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b><span style="font-size: 10.0pt;">PROGRAM HIGHLIGHTS</span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;"><br />
Of the many shows taking place this autumn and winter,
highlights include Cyprien Gaillard at Laura Bartlett, a solo show by
Glasgow-based sculptor Mick Peter at Fortescue Avenue, and Mark Fairnington at
Fred (Fred will also be opening a branch of the gallery in Leipzig this
autumn). Also worth noting are solo exhibitions by Michael Samuels and Sam
Dargan at Rokeby, solo shows for Stephen Vitiello and Nick Waplington at Museum
52, Richard Kern at Hotel, Jonathan Wateridge at David Risley, and a group show
inspired by the '60s Indica Gallery at Riflemaker.<br />
ADDED MATERIAL<br />
Matt Price is an editor and writer based in London,
where he is publications manager or Serpentine Gallery.<br />
JAMIE SHOVLIN, Lustfaust poster, 2006. Ripped magazine on cardboard, 28 × 22
cm. Courtesy of Riflemaker<br />
MICK PETER, Nope, 2005. Cement, polystyrene and table tennis balls, 280 × 90 ×
76 cm. Courtesy Fortescue Avenue/Jonathan Viner.<br />
JONATHAN WATERIDGE, Mountain Landscape With Crashed Airliner, 2006. Oil on
layered perspex, 185 × 268 × 18 cm. Courtesy David Risley Gallery.<br />
KAY HARWOOD, Sweet Disorder, 2005. Oil on canvas, 214 × 275 cm. Courtesy Museum
52<br />
GRAHAM HUDSON, The Residence, 2006. Mixed media. Courtesy Rokeby<br />
CYPRIEN GAILLARD, Paysage aux Trois Tours, 2005. Etching, 17 × 23 cm. Courtesy
Laura Bartlett Gallery<br />
JOHANNA BILLING, Magical World, 2005, Video, 6 mins. Courtesy Hollybush Gardens<br />
BEDWRY WILLIAMS, Blaenau Vista Social Club, 2004. Mixed media. Courtesy STORE<br />
SUSANNE KÜHN, Baden (Swimming), 2004. Pigment, dispersion on canvas, 180 × 160
cm. Courtesy FRED [London] Ltd<br />
View of the exhibition "Writing in Strobe" (foreground: François
Curlet, Moonwalk, 2003) at Dicksmith Gallery Courtesy Andrew Hunt. Photo: Peter
White.</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="font-size: 12.0pt;">Source: Flash Art International, October 2006, Vol.
39, p104, 4p<br />
Item: 505178946</span></span></span></div>
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<div class="MsoNoSpacing">
<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
Price, Matt. "Early Risers." <i>Flash Art
International</i> 39, (October 2006): 104-107. <i>Art Full Text (H.W. Wilson)</i>,
EBSCO<i>host</i> (accessed March 07, 2017).<span style="font-size: 8.0pt;"></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-86537675415084921812017-05-10T16:18:00.001-07:002017-05-10T16:18:18.056-07:00Between Real and Ideal by Caitlin Jones and Lizzie Muller<div style="height: 400px; overflow: auto;">
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<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><a href="https://www.blogger.com/null" name="_Hlk482200663"></a><a href="https://www.blogger.com/null" name="_Hlk482201621"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;">Between Real and Ideal by
Caitlin Jones and Lizzie Muller</b></span></a></span></div>
<span style="mso-bookmark: _Hlk482201621;"></span>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">BETWEEN
REAL AND IDEAL: DOCUMENTING MEDIA ART</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Caitlin Jones, #3 223 St Marks Ave., Brooklyn,
New York. 11238. USA. E-mail: </span></span></span><a href="mailto:caitlin.jones@gmail.com"><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="color: windowtext; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; text-decoration: none; text-underline: none;"><caitlin.jones@g</span></span></span></a><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">m</span></span></span><a href="mailto:caitlin.jones@gmail.com"><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="color: windowtext; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; text-decoration: none; text-underline: none;">ail.com</span></span></span></a><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">>.</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Lizzie Muller, Creativity and Cognition
Studios, University of Technology, Sydney, PO Box 123, Broadway, NSW 2007,
Australia. E-mail:</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><a href="mailto:lizzie@lizziemuller.com"><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="color: windowtext; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; text-decoration: none; text-underline: none;"><lizzie@lizzi</span></span></span></a><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">e</span></span></span><a href="mailto:lizzie@lizziemuller.com"><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="color: windowtext; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; text-decoration: none; text-underline: none;">muller.com>.</span></span></span></a><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Abstract</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">This paper describes a new approach to
documenting media art which seeks to place in dialogue the artist’s intentions
and the audience’s experience. It explicitly highlights the productive tension
between the ideal, conceptual existence of the work, and its actual
manifestation through different iterations and exhibitions in the real world.
The paper describes how the approach was developed collaboratively during the
production of a documentary collection for the artwork <i style="mso-bidi-font-style: normal;">Giver of Names</i>, by David Rokeby. It outlines the key features of
the approach including artist’s interview, audience interviews and data
structure.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Introduction</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Art historians, conservators and curators all
look to documentation to support their research and their ability to preserve
artworks, maintain collections, and mount exhibitions.<span style="mso-spacerun: yes;"> </span>Media artworks rarely exist as static,
discrete and unique objects, but rather as collections of components, hardware
and software, which together create time and process based experiences. Such works
may change radically depending on the contextual conditions of their staging.
Even the material components of such works are subject to rapid change due to
technological obsolescence. Documentation is, therefore, increasingly important
in media art, as it provides a continuing source of knowledge as to how a
particular work manifests over<span style="letter-spacing: -.55pt;"> </span>time.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Traditional models of documentation are not
well adapted to such works. Recent attempts to develop new models for
documenting media art offer flexible paradigms which focus on the processes of
creation and exhibition, rather than on static objects [1, 2]. However, there
is still an important gap around the documentation of the audience’s experience
of the work, and ways to integrate experiential documentation with other
information [2]. In late 2007 we were awarded research residencies at the
Daniel Langlois Foundation Centre for Research & Documentation to explore
ways of documenting media art. The result was a case-study documentary
collection for the artwork <i style="mso-bidi-font-style: normal;">Giver of Names
</i>(19912004), by David Rokeby. Through the creation of this case-study we
have developed a promising new approach which draws together the artist’s
intentions for the work and the audience’s experience. The approach creates a
dialogue between the ideal, conceptual<span style="letter-spacing: -.35pt;"> </span>existence
of the work and its actual manifestation through different iterations and
exhibitions in the real<span style="letter-spacing: -.2pt;"> </span>world.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">David
Rokeby’s <i style="mso-bidi-font-style: normal;">Giver of Names </i></span></b></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">David
Rokeby is an artist who has written extensively about his work, particularly on
his iterative production methods and the importance of audience experience. He
is highly reflective and articulate about his process and intent. <i style="mso-bidi-font-style: normal;">Giver of Names </i>is an interactive piece
which requires considerable participation from the audience in order to be
activated. It has a long exhibition history and has evolved through many
iterations. Significantly, however, Rokeby suggests that the work has reached
its “sweet spot,” [3] where few changes are envisaged in the future. This
creates an<span style="letter-spacing: -.35pt;"> </span>excellent opportunity to
review the work’s history and create a record of its existence at this moment
in time. The documentary collection for <i style="mso-bidi-font-style: normal;">Giver
of Names</i>, which is the basis of this article, can be accessed on the
website of the Daniel Langlois Foundation<span style="letter-spacing: -.15pt;"> </span>[3].</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Between
Real and Ideal</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">At the beginning of this collaborative project
we reflected on the relationship between our two different research
perspectives. Jones’ approach, based on the tools of the Variable Media
Network, focused on the artist's intentions as a means to illuminate
conservation considerations. The key principle of this approach is to record
information about the essence (or “kernel”) of an artwork, independent of the
media in which it manifests. It privileges the relationship between the
conceptual aspects of the work (the ideas behind the artist’s intentions) and
technical aspects of the work (encompassing the decisions the artist has made
in regards to the physical components, software, installation and environmental
factors of the work). Muller’s approach focused on the experiential aspects of
the work, based on how the artwork "occurs" for audience members in
the real world. Her research emphasizes the argument that media artworks
(particularly interactive installations) exist primarily in human experience,
rather than as discrete objects. The strategy of this approach is to create a
lively portrait of the art work as it actually occurs through in-depth
interviews with real audience members. The background, rationales and
methodologies of these two approaches are detailed in [4] and [5].</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">As we began to gather documentation we were
faced with an apparent conflict between our perspectives; whilst Jones’
approach sought to identify an “ideal” form for the work through an exploration
of a work's medium-independent qualities, Muller’s approach emphasized the
“real” experiences, which were often very far from the expected or desired
description given by the artist. The gap between artist’s intentions and
audience experience is not a new realization in terms of art theory. The
poststructuralist critical revolution of the last century has established the
authorial position as only one privileged, but not definitive, perspective on
the interpretation of an artwork. However, this gap remains a problem for
documentary and preservation strategies in ephemeral art where, in the absence
of a clear, discrete and material art-object, the artist’s intentions have, in
many cases, provided the touchstone for how a work will be preserved, restaged
and described in the<span style="letter-spacing: -.25pt;"> </span>future. We
recognized a productive tension forming between our approaches and between the
“real” and “ideal” versions of the artwork that motivated them. Both approaches
challenge the authority of the other in a useful way, and each offers the other
complimentary information— creating a richer, deeper and more complex overall
picture. The Variable Media Network approach is designed to capture detailed
information about the artist’s intentions and the degree of variability of
technical components of the work. This notion of the ideal version of the work
usually grows from the artist’s experience through numerous installations or
‘versions’ of a work. By looking for consistencies and difference in these
versions, this approach gives conservators a clearer picture of what elements
of a work are important, in the eyes of the artist, to preserve over time. It
therefore constructs an idea of the work that may not have ever existed in an
exhibition context. The experiential approach, on the other hand, captures real
world experiences that provide a rich and detailed picture of the work as it
existed, but does not provide essential technical information about how and why
it was achieved.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">While our approaches were never mutually
exclusive of each other, explicitly recognizing the tension between real and ideal
provided us with a strategy to solve problems within our individual approaches
and develop what we believe to be a useful holistic approach to the
documentation of media artworks. In our combined approach we have sought to
draw together both ideal and real accounts of the work—without erasing or
smoothing over their differences. Rather, in this collection we have tried to
preserve and exploit the tension in several ways: first in our methods of
creating documentation, including our interview with the artist and our
interviews with the audience; second in our approach to structuring and
ordering data within the repository; and third in the creation of “access
points,” which link together information describing aspects of the ideal
version of the work with records of its actual<span style="letter-spacing: -.25pt;">
</span>manifestation.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Our
Process</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Artist<span style="letter-spacing: -.15pt;"> </span>Interview</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">We developed a combined method for conducting
an artist interview that drew together our two research perspectives. The
medium-independent questions of the Variable Media Questionnaire framed the
conceptual and technical aspects of the work. These were placed, by Muller,
within an experiential context using tools from human-centred interaction,
including “Personas and Scenarios,” a technique which involves telling the
“story” of an artwork from the perspective of an imaginary audience member [6].
This created a valuable dialogue between “real and ideal.” Framing the discussion
in experiential terms enhanced our understanding of why, in certain
circumstances, Rokeby had made particular decisions, and this frame allowed us
to create links between different versions of the work and to account for
changes that have occurred over time. Additionally, by interviewing Rokeby
during an installation period, we were able to probe his choices about the
technical aspects of the work at the precise moment when variable decisions
were being made. This timing further elicited rich and specific details about<span style="letter-spacing: -.25pt;"> </span>his experiential goals and assumptions.
Our hybrid method allowed us to generate an interview that has clear links to
both the audience interviews and the conceptual and technical background
information that we have gathered. As such, the artist’s interview can act as a
lynchpin for the collection without claiming to provide a definitive account of
the<span style="letter-spacing: -.25pt;"> </span>work.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Audience<span style="letter-spacing: -.2pt;"> </span>Interviews</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Using techniques adapted from humancentered
design, ethnography and oral history, Muller interviewed a total of 28 people,
including general visitors, invited participants and museum guards [3, 5]. Each
of the interviews presents a unique experience of the work, and together they
represent a cross section of ages, occupations and self-identified levels of
experience with art. The interviews were based on two methods: semistructured
interview and video-cued recall (in which the participant simultaneously
describes their experience of an artwork, whilst watching a video of their
encounter). Both methods aim to record rich descriptions of the way in which
each experience unfolds through time, as well as capturing information about
the participants’ motivation, thoughts and opinions about the work [5].</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Data<span style="letter-spacing: -.15pt;"> </span>Structure</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Traditional arrangement in archival studies
follows a principle of “respect des fonds” meaning that the original order in
which the records were kept is a key element in maintaining the integrity of a
collection of documents. In the case of a created collection, however, rules of
arrangement of documentation and standardization are less prescribed. Jones has
outlined a number of current data structures proposed in the field of media art
preservation and documentation [4]. The aim of our structure is not to create a
hierarchy of information, but to allow for a drilling down of information from
the general to the specific and back. This reflects traditional archival
arrangement and is in keeping with standards for media art documentation, such
as Richard Rinehart's Media Art Notation System [7] and V2's Capturing Unstable
Media Conceptual Model [1].</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Access<span style="letter-spacing: -.1pt;"> </span>Points</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">While it is not our intent to provide an
analysis of the material in the collection, we hope the arrangement and
description of the elements articulates the relationship between audience
experience, artists’ intentions, the conceptual and technical/installed aspects
of the work and other contextual factors. We have provided multiple access
points into the information through a series of access points that will help
users of the collection make connections between different forms of material
within the documentation.</span></span></span></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Conclusion
and Significance </span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Maintaining the tension between the ideal
notion and the real manifestation of <i style="mso-bidi-font-style: normal;">Giver
of Names </i>in the case study produced a productive way to reconcile the way
in which ephemeral artworks exist in the world and the way they are represented
in archival contexts. The result is a collection of documentation that provides
multiple perspectives of the work, as well as multiple layers of information,
held together with—but not superseded by—the idea of a unified ideal. Rather
than creating an authoritative collection of documentation, which establishes a
fixed identity for the work, our approach seeks to capture its mutability and
contingency through the dialogue between its experiential, conceptual and
technical aspects. This strategy, we believe, enables us to create a more, not
less, “complete” account of the work. By allowing future researchers to
understand more deeply the occurrence of the work in a particular place and
time, we believe that our approach offers them a field of possibilities
relating to the work, enabling them to act confidently, in their own time and
place, in respect to their own conservation work, research, restaging<span style="letter-spacing: -.35pt;"> </span>or exhibition<span style="letter-spacing: -.1pt;"> </span>projects.</span></span></span></div>
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<span style="mso-ignore: vglayout; position: relative; z-index: 251659264;"><span style="height: 115px; left: 824px; position: absolute; top: -493px; width: 52px;"><img height="115" src="file:///C:/Users/Seave/AppData/Local/Temp/msohtmlclip1/01/clip_image001.png" width="52" /></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"></span></span><span style="mso-ignore: vglayout; position: relative; z-index: 251660288;"><span style="height: 78px; left: 837px; position: absolute; top: -467px; width: 18px;"><img alt="Text Box: TransacTions" class="shape" height="78" src="file:///C:/Users/Seave/AppData/Local/Temp/msohtmlclip1/01/clip_image002.png" width="18" /></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">References and Notes</span></b></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">R. Fromme. and S. Faulconnier, “Capturing
Unstable Media Arts: A Formal Model for Describing and Preserving Aspects of
Electronic Art”, in<span style="letter-spacing: -.95pt;"> </span>U. Frohne, J.
Guiton, and M Schieren, eds. <i style="mso-bidi-font-style: normal;">Present
Continuous Past(s) : Media art : Strategies of Presentation, Mediation and
Dissemination. </i>(Heidelberg: Springer Verlag,<span style="letter-spacing: -.65pt;"> </span>2004).</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">A. Depocas, J. Ippolito and C. Jones, eds., <i style="mso-bidi-font-style: normal;">Permanence Through Change: the Variable
Media Approach </i>(Montreal: Daniel Langlois<span style="letter-spacing: -.85pt;">
</span>Foundation, New York: Solomon R. Guggenheim Museum, 2003).</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">C. Jones and L Muller, <i style="mso-bidi-font-style: normal;">Documentary<span style="letter-spacing: -.9pt;"> </span>Collection: Giver
of Names, by David Rokeby </i>(Montreal: Daniel Langlois Foundation,<span style="letter-spacing: -.65pt;"> </span>2008).</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">C. Jones, <i style="mso-bidi-font-style: normal;">State
of the Art of<span style="letter-spacing: -.8pt;"> </span>Documentation</i></span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(Montreal: Daniel Langlois Foundation, 2008).</span></span></span></div>
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<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">L. Muller <i style="mso-bidi-font-style: normal;">Towards
an Oral History of New<span style="letter-spacing: -.95pt;"> </span>Media Art </i>(Montreal:
Daniel Langlois Foundation, 2008).</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">S. Bodker, “Scenarios in User-Centred Design—
Setting the Stage for Reflection and Action,” Interacting With Computers <b style="mso-bidi-font-weight: normal;">13 </b>(2000) pp.<span style="letter-spacing: -.7pt;"> </span>61-75.</span></span></span></div>
<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">R. Rinehart “The Media Art Notation System:
Documenting and Preserving Digital/Media<span style="letter-spacing: -.85pt;"> </span>Art,”
Leonardo <b style="mso-bidi-font-weight: normal;">40</b>, No. 2, (2007) pp.<span style="letter-spacing: -.8pt;"> </span>181-187.</span></span></span></div>
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<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-font-width: 105%;">Copyright of Leonardo is
the<span style="mso-spacerun: yes;"> </span>property of<span style="mso-spacerun: yes;"> </span>MIT Press and its<span style="mso-spacerun: yes;"> </span>content may not<span style="mso-spacerun: yes;"> </span>be copied or<span style="mso-spacerun: yes;">
</span>emailed to multiple sites or posted to a listserv without the copyright
holder's express written permission. However. users may print. download.
or<span style="mso-spacerun: yes;"> </span>email articles for<span style="mso-spacerun: yes;"> </span>individual use.</span></span></span><span style="mso-bookmark: _Hlk482196854;"><span style="mso-bookmark: _Hlk482200663;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></span></div>
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<span style="mso-bookmark: _Hlk482200663;"></span><span style="mso-bookmark: _Hlk482196854;"></span>
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<div class="MsoNoSpacing">
<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
<div class="MsoNoSpacing">
Jones, Caitlin, and Lizzie Muller. "Between Real and
Ideal: Documenting Media Art." <i>Leonardo</i> 41, no. 4 (August 2008):
418-419. <i>Art Full Text (H.W. Wilson)</i>, EBSCO<i>host</i> (accessed March
07, 2017).<span style="font-size: 8.0pt;"></span></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-86666723626677358242017-05-10T16:17:00.001-07:002017-05-10T16:17:08.215-07:00Next Memory City from Border Crossings <div style="height: 400px; overflow: auto;">
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<div class="MsoNoSpacing">
<span style="mso-bookmark: _Hlk482196854;"><a href="https://www.blogger.com/null" name="_Hlk482200663"><b style="mso-bidi-font-weight: normal;">Next Memory City
from Border Crossings</b></a></span></div>
<span style="mso-bookmark: _Hlk482200663;"></span><span style="mso-bookmark: _Hlk482196854;"></span>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">TITLE:
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">NEXT MEMORY CITY</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">SOURCE:
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Border Crossings 21 no4 36-40 N
2002</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">The magazine publisher is the
copyright holder of this article and it is reproduced with permission. Further
reproduction of this article in violation of the copyright is prohibited.<br />
<br />
"Next Memory City" is a collaborative project
involving architect and curator MICHAEL AWAD, pianist and sound artist EVE
EGOYAN and multimedia artist DAVID ROKEBY. Their project was chosen to
represent Canada at the 2002 Venice Biennale in Architecture and was on exhibition
at the Canadian Pavilion from September 8 to November 3.<br />
The following forum is a collage of separate responses
by the artists to questions that have been removed. It is an exercise in
interstitial reduction.<br />
MICHAEL AWAD: The project was based not only on urban
space, but on the lack of architecture. Even though David and I had never met,
we were working on exactly the same projects, except that I was working in an
analog form and he was working in a digital form. My piece is specific to Toronto:
one image of Chinatown, four minutes of activity recorded in the heart of the
most densely populated part of the city. But it records without any
architecture in the background; it only registers things that happen or
change--people, automobiles and movement.<br />
DAVID ROKEBY: There's a fundamental link between what
Michael is after in his photographs and what I've been interested in since the
early '80s in tracking, monitoring and translating movement through my video
systems. I find the more I look at Chinatown, the richer it gets. What was
interesting in retrospect was trying to figure out how to balance a live,
moving image and a still image from the perspective of the viewer. And it has
something to do with time: Michael's piece requires time to view successfully.<br />
AWAD: What we really tried to create in our pavilion
was a pause. Amongst all these other pavilions with high-powered architecture
and an overwhelming focus on buildings, our space was a bit of a quiet, dark
oasis where people could actually stop for a while. On many levels we
counter-programmed by presenting an installation that focussed attention on
urban space devoid of buildings. But I can't imagine the installation without
the sound. As soon as the sound came up, it engaged the images so directly. It
became integral.<br />
EVE EGOYAN: The sound definitely seemed to draw the
images off the wall and into the space with the people. My work was on the
ground and on the ceiling. On the ground I placed the same stones that were
used on the Giardini walkways, and that made the floor both visual and
auditory. We wanted to create an atmosphere where people, when they were
looking at other people, would have a sense of themselves in the space. There
were also moments of silence where the images went back to the walls and
everyone was left just with themselves. We had eight channels along the ceiling
and we had sounds that were really intense--a vaporetto and a streetcar. There
were sounds from Venice and Toronto, and I had to work with the combination of
them as if they were orchestral. For me, it was a question of thinking about
the two cities and what their sounds represent. Toronto sounds are upbeat, they
have vivacity, largeness and multi-ethnicity. Venice is slow, quiet, extremely
transparent and really lovely to record. If there is such a word, it was
autogenic. Collecting sounds was almost like creating a palette, which we then
took to the pavilion to see if all the colours were appropriate.<br />
ROKEBY: Venice is an extraordinary city because there
is such a depth-of-field of sound that you're always hearing people around the
next corner. We really got into that and made a lot of recordings of a densely
populated space like San Marco, and then individual footsteps going down
isolated passageways, and everything in between. When we came back to Toronto,
it was frustrating because the depth-of-field that was so seductive was gone.
Mostly because of the fan noise from the office tower ventilators that are like
sound blankets.<br />
EGOYAN: In Venice people didn't have to raise their
voices above the general blur of sound, which is constant in Toronto. On our
streets you can have an intimate conversation and some degree of privacy
because there is so much sound around. In Venice, because you can hear everything,
you can't do that. It can be irritating. We were in an apartment and you could
hear everything the neighbours did. And where were the musicians? It would be
quite an adjustment to practise there. I couldn't imagine it. But the way the
sounds captured the two environments we were dealing with could be quite
beautiful. Both of us were using intuition in the editing process about what
sounds to use where. It was also a lot of fun because when you put the sound
into a computer, it became so malleable, so manoeuvrable.<br />
AWAD: The pavilion is quite quirky. It's the only
structure on the Biennale grounds that doesn't have a 90-degree angle and
dealing with it can be a love-hate thing. From what we heard, this may be the
first time that the space has been used in a highly sympathetic way.
Architecturally speaking, I kept referring to it as a half-doughnut. What we
did was fit all 120 feet of "Chinatown" on the outside wall of the
pavilion, and then we built two walls in a v-shape on the inside, on which
David could project the images he had gathered on San Marco. The sound piece,
which was called "Channel," brought the two images together. It
worked both spatially and metaphorically. The actual editing was a digital
technology that spatialized the sound and moved it back and forth across the
channel. We've been calling this place the Inter-city, primarily because it's
between both cities while it exists as neither one. At the same time, it
focusses attention on the interior of the city, which is something very
deliberate. "Interstitial" is a great word for it; something in
between that represents both but is neither.<br />
ROKEBY: When I was thinking about the flow through
public space, there was always, in my mind, the notion of water, hence
"Channel." And as Eve pointed out when we were standing in the
pavilion after the stones were laid down, you did imagine you were in a drained
canal. But the rawly expressed Inter-city was not as important to me as the
basic notion of public space. What makes public space unique but also universal
is that it's formed by people. It's still a socialized space and its very basic
human needs, desires, likes and dislikes define how the space works and what
happens there.<br />
AWAD: We're not trying to represent or recreate an urban
environment; we're actually showing you things that you couldn't see otherwise,
but they are things that are happening in front of you at every moment. It's as
if our eyes were programmed differently, or if we were able to remember things
differently. We were trying, in a very distilled way, to present qualities of
the city that may be allusive.<br />
EGOYAN: I'm not a composer. I'm more of an interpreter
but I think people associate me with being a composer because I play, almost
exclusively, the music of my time. And I improvise, too. So it's in the nature
of the things I do to find a way to invite people into hearing things without
any fear. I work with new music and a lot of people who are familiar with
classical music have real problems going to hear stuff they've never really
heard before. I try to open people up to the pure act of listening.<br />
ROKEBY: In my work and in Michael's--in different
ways--there is a perceptual displacement. This is a strategy that I've pursued
for a long time; looking at the way a banal, familiar or completely readable
image is radically renovated by putting it through some fairly straightforward
filters. In a lot of my work I'm trying to remove the familiarity of things.
This process of perceptual destabilization, especially in relation to very
familiar stuff, is connected to my notion of language. It's a very expanded
idea of language as any codification, where you stop dealing with raw
experience and start replacing it with concepts, ideas and words. We have a
tendency to get trapped in the terms and symbols we choose to apply to things.
My hope is that destabilization will shake off those symbols, momentarily, and
give us a way of re-reading and rejuvenating what is very conventional
experience.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">This page and facing page: Canadian
Pavilion, 8th International Architecture Exhibition of the Venice Biennale,
2002, presented by Alphabet City and InterAccess. Photographs countesy Alphabet
City and InterAccess.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Source: Border Crossings, November
2002, Vol. 21 Issue 4, p36, 5p<br />
Item: 505021941</span></div>
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<div class="MsoNoSpacing">
<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
<div class="MsoNoSpacing">
<a href="https://www.blogger.com/null" name="_Hlk482196886">2002. "Next Memory
City." <i>Border Crossings</i> 21, no. 4: 36-40. <i>Art Full Text (H.W.
Wilson)</i>, EBSCO<i>host</i> (accessed March 07, 2017).</a><span style="mso-bookmark: _Hlk482196886;"><span style="font-size: 8.0pt;"></span></span></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-75565249879101604002017-05-10T16:14:00.003-07:002017-05-10T16:15:33.788-07:00Techno Hectoring by Christopher Bradshaw <div style="height: 400px; overflow: auto;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
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<![endif]--><a href="https://www.blogger.com/null" name="_Hlk482196854"><b style="mso-bidi-font-weight: normal;">Techno Hectoring by Christopher Bradshaw</b></a>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Christopher Brayshaw</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Techno Hectoring</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Border Crossings 20 no2 135-6 My
2001</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The magazine publisher is the
copyright holder of this article and it is reproduced with permission. Further
reproduction of this article in violation of the copyright is prohibited.<br />
<br />
The first things you see, once your eyes adjust to the
dim light of David Rokeby's video installation, Watch, are two wall
projections, two slightly different views of the same downtown intersection:
cars waiting for the light and pedestrians clustered on the sidewalks. Wait a
moment; the walk signals flash; the pedestrians begin to cross, then abruptly
freeze in place, like still holograms through which the speeding cars aim.
Another moment, and the cars blur into long trails of light, the dark pavement
overlaid with the trace of successive vehicles' passing.<br />
These changes unfold so imperceptibly that neither
projection seems to change much; you can't point and say, here is where it
changed, as you can with a film cut, because the changes only occur in discreet
aspects of the otherwise static scenes. In this, Rokeby's work is closely
related to a number of other recent artworks that consciously blur the
boundaries between a still and a moving image. I'm thinking, for example, of
the Per Kirkby-designed "chapter headings" for Lars Von Trier's
Breaking the Waves, which look for all the world like mobile J.M.W. Turner
paintings, and, closer to home, the video loops and "projected
stills" Vancouver artist Mark Curry recently exhibited at the Western
Front.<br />
In Rokeby's case, the work does not remain physically
divorced from viewers because, at intervals, an image of the audience is
projected onto the wall in a space previously occupied by one of the
intersection images. In this way, Rokeby suggests that human consciousness is
shaped by technology, that our access to events we did not personally
experience is always mediated by imaging and surveillance technologies.
But--and this is a big but--the mind-numbing thematic literalness of this piece
renders it a deeply unsatisfying work of art.<br />
By including viewers "in the picture," Rokeby
implies that we are as effortlessly absorbed into his project's surveillance
routines as are the lines of cars and shoppers--just look, there we are! The
problem is, the shock of recognizing yourself "in the picture" in no
way equals wholehearted identification with Rokeby's thesis, but, rather,
provokes impatience with the artist's insinuation that this device might be
sufficiently convincing on its own.<br />
The day I visited the exhibition, a UBC fine arts
instructor was visiting Watch with a class of undergraduates. He doggedly
rehearsed the conceptual premises of Rokeby's work out loud, while his students
nodded and took notes. They--and I--couldn't disagree with any of the claims he
was making for the work. At the same time, it was obvious that they (and I)
were totally estranged from and unmoved by it. An art exhibition is not just an
illustration of a thesis; the formal choices an artist makes in constructing a
work must somehow amplify it, kindling a corona of unspecifiability around the
work's thematic core. Nothing like this was visible in this plodding, earnest
work. I felt embarrassed and vaguely resentful in Watch's presence, conscious that
the work was lecturing me with all the formal energy Rokeby could bring to
bear.<br />
If viewers really wish to explore the dangers inherent
in media representations and technological surveillance of the body, let them
look to works like Chris Burden's early performances, or The Larry Sanders
Show, or The Simpsons, works that turn media against itself with snap and
panache.<br />
Another Rokeby installation, The Giver of Names, was
far more successful. Discussing this work, Rokeby has written, "The Giver
of Names involves the replication of parts of the human mental system in
computer code. I do not approach this task with assumptions that it is possible
or impossible; I am in it for the process, and for the resulting artwork. The
process itself yields some precious results: it provides me with an
extraordinarily tangible sense of the remarkable complexity of the many human
(and even animal) systems that we take for granted."<br />
In its Presentation House incarnation, The Giver of
Names consisted of a low plinth surrounded by a variety of large, simply shaped
objects. Stuffed toys and moulded plastic utensils predominated, giving the
spot-lit room the appearance of a Pee Wee's Playhouse set. Visitors were
invited to pick up these objects one at a time and to place them on the plinth,
where they would be identified and described by a computer program whose output
scrolled continuously up a monitor located adjacent to the installation's
entrance. The conceptual slippage resulting from the computer program's misidentification
of the works on display was wonderful to behold, bearing more than passing
resemblance to the products of a Kootenay School of Writing poetry workshop.<br />
Whereas Watch's strict conceptual determinism rendered
it a deeply problematic work of art, The Giver of Names' conceptual schema was
far more open, admitting accidents and chance, and allowing viewers to interact
with and alter its parameters. Perhaps this is why I lingered longer in this
subtle, moving installation, absently stroking the ears of a floppy stuffed
dog. Christopher Brayshaw is an independent critic and
curator with a special interest in conceptual art and aesthetic theory. He
lives and works in Vancouver, British Columbia.<br />
David Rokeby's installations Watch and The Giver of
Names were on display at North Vancouver's Presentation House Gallery from
January 6 to February 18, 2001. David Rokeby, Watch. 1996, video still.
Photographs courresy Presentation House.</span></div>
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<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
<div class="MsoNoSpacing">
Brayshaw, Christopher. 2001. "Techno
hectoring." <i>Border Crossings</i> 20, no. 2: 135-136. <i>Art Full Text
(H.W. Wilson)</i>, EBSCO<i>host</i> (accessed March 07, 2017).<span style="font-size: 8.0pt;"></span></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-14228620997956119442017-05-10T16:12:00.005-07:002017-05-10T16:15:42.627-07:00Review of David Rokeby’s Installation, Taken at Williams College By Luke Jaeger<div style="height: 400px; overflow: auto;">
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<a href="https://www.blogger.com/null" name="_Hlk482196854"><b style="mso-bidi-font-weight: normal;">Review of David Rokeby’s Installation, <i style="mso-bidi-font-style: normal;">Taken</i> at Williams College By Luke Jaeger</b></a></div>
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Williams College
Museum of Art/Williamstown, MA www.wcma.org </div>
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DAVID ROKEBY:
TAKEN </div>
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The fertile territory at the
intersection of art and surveillance is hot real estate these days. David
Rokeby stakes his claim with Taken, an installation at Williams College. </div>
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Three screens occupy the
gallery's walls. The first, a ten-foot-by-ten-foot grid, alternates projections
of previous visitors' faces with close-up surveillance shots of current
visitors', each labeled with an adjective such as "resigned,"
"reassured," "unthreatened." Rokeby's miraculous custom
software picks out a visitor's face and follows it around the room-a white
square appears on the screen tracking its progress - and though one's rational
mind knows these adjectives are assigned at ran David Rokeby, Taken,
installation. Courtesy dom, a moment of panic ensues: If contemporary
surveillance technology can recognize your face, can it also tell how you feel?
</div>
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On a second screen, visitors'
images scroll continuously upward through a flux of shifting gray shapes.
Movement is detected by a camera and mapped into this stream. When standing
still, one's image disappears -a discovery that is at once liberating and
terrifying. Is a Unabomber-like retreat into isolation and nonexistence the
only alternative to having every movement monitored? </div>
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The third screen gives a hint of
an escape route. Here one can see one's own image overlaid, like a photographic
exposure, with those of everyone else who has walked through the gallery. Alone
in the space, the visitor shares the virtual space on the screen with the
specters of previous visitors who mill about in a dense, semitransparent jumble
of bodies. Your first instinct is to wave your arms or jump around in order to
pick your own image out of the crowd-but that's what all the previous visitors
did, too. </div>
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A roomful of ghosts waving their
arms, silently clamoring for recognition before the automated eye of the
surveillance apparatus: a metaphor of the artist's role in a paranoid and
security-obsessed society. </div>
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<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
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<a href="https://www.blogger.com/null" name="_Hlk482196886">Jaeger, Luke. 2005.
"Williams College Museum of Art/Williamstown, MA: David Rokeby:
Taken." <i>Art New England</i> 26, no. 6: 31. <i>Art Full Text (H.W.
Wilson)</i>, EBSCO<i>host</i> (accessed<span style="mso-spacerun: yes;">
</span>March 07, 2017).</a><span style="mso-bookmark: _Hlk482196886;"><span style="font-size: 8.0pt;"></span></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-80084182933477423592017-05-10T16:11:00.001-07:002017-05-10T16:15:54.677-07:00Anonymity in David Rokeby’s Electronic Creations: A Duchampian Model? By Ernestine Daubner<div style="height: 400px; overflow: auto;">
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<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;">Note: </b>Article
appears in both French and English. Only the English has been copied. </div>
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<br /></div>
<div class="MsoNoSpacing">
<a href="https://www.blogger.com/null" name="_Hlk482196854"><b style="mso-bidi-font-weight: normal;">Anonymity in David Rokeby’s Electronic Creations: A Duchampian Model?
By Ernestine Daubner</b></a></div>
<span style="mso-bookmark: _Hlk482196854;"></span>
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<div class="MsoNoSpacing" style="text-indent: .5in;">
Developing the software and
hardware for interactive installations and artificial perception systems for
two decades, Canadian Media Artist David Rokeby has had much occasion to
reflect upon the nature of subjectivity, control and disappearance in
electronic art. In his interactive works, he invites the viewer to actively
engage with the technologies. “Each participant is an interaction,” says
Rokeby, “receives the sensation of responsibility; each has the ability to
respond.” Such expressions generate a seemingly open-ended situation were
meaning is produced by and is contingent upon the participation of the visitor,
and were the interactors subjective experience becomes the focus of the
artwork. Not all of Rokeby’s works are interactive, however. Some, based on
surveillance and tracking systems, even appear to reinstate the traditional
viewing experience as they position the visitor in the role of the surveillant,
or as the person viewed. Whether engaging in Rokeby's interactive works or
subjected to his monitoring systems, one is prompted to pose important
questions about new technologies. Are these electronic creations neutral and
objective? Does the artist-programmer, like the anonymous writer scripter,
strive to relinquish authorial control? How do Rokeby's electronic works relate
to former conceptions of anonymity in art and culture?</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Several decades prior to the
advent of electronic media art, avant-garde artists like Marcel Duchamp, whom Rokeby
claims is "the first interactive artist,"2 adopted various strategies
of anonymity, renouncing the authorial role of the artist. Intentionally
elusive, Duchamp adopted various pseudonyms, the most famous being. that of his
female alter ego, Rose Selavy. As infamous iconoclast, he consistently
exhibited a blatant irreverence for the artist as a persona constructed by the
culture industry. Most importantly, in rejecting the role of omniscient,
authoritative author, Duchamp assumed the position of the anonymous or
impersonal writer. He described this as a mediumistic role. Wishing to re move
himself, as self-conscious subject, from the creative process s, he indicated
that art should follow the direction of the writer Stephane Mallarme. Similar
strategies of anonymity, with regard to the writing process, were theorized
later in the century by post-structuralists as the "death of author"
and the birth of the writer-scripter.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
As an anonymous or impersonal
writer, Duchamp produced a variety of works, words and gestures capable of being
read as a network of recurring and self-reflexive signs that interweave,
intersect and dialogue<span style="mso-spacerun: yes;"> </span>with each<span style="mso-spacerun: yes;"> </span>other.<span style="mso-spacerun: yes;">
</span>Duchamp's<span style="mso-spacerun: yes;"> </span>sign system spawns an
indeterminate and indefinable space that is neither presence nor absence, and
that posits neither a position nor a negation. This is a conceptual space in
which readings are both simultaneously either-or and neither-nor; and where a
myriad of inscriptions and erasures of signs trace a field without origin and
where there is a perpetual fluctuation between the creating or becoming of
meaning and the state of "forgetting." How is one to name such a sign
system: writing or scripture, a play of difference, simply, the "modem
allegory?" Perhaps Duchamp's own cryptic notes about an "allegory on
'forgetting'," about an "allegory of oblivion,"3 would best
characterize it. Like the modem allegory which defies the simple correlation
between one set of signs and a second order of meaning, in Duchamp's complex
network of signs, there is no shared code, no privileged signifier, no stable
signified, no fixed referential object, and no definitive totalizing and
unitary meaning. It reflects, to use Walter Benjamin's words, "an
appreciation of the transience of things" which, he noted, was "one
of the strongest impulses in allegory.''4 One can certainly call such an
open-ended allegory "interactive," as the production of meaning is
contingent upon the viewer's active engagement as reader of the cultural signs.
In Duchamp's own words: All in all, the creative act is not performed by the
artist alone; the spectator brings the work in contact with the external world
by deciphering and interpreting its inner qualifications and thus adds his
contribution to the creative act.5 In hindsight, one understands how Duchamp's
strategies of anonymity served to dismantle the illusion of totalizing meaning
and unitary truth statements, created by an originary or transcendent subject
whose name is "author." At the same time, his stance as anonymous
writer opened new avenues for the individual viewer-reader who, in effect, was
assigned a primary role in the "creation" of the art work. If such
strategies were emblematic of a shift in paradigm, it is quite apt to
reconsider the issue of anonymity in light of electronic art. By contrasting
David Rokeby's notions of interactivity, and especially the authorial role,
with the Duchampian model, one can recognize that, once again, a shift in
paradigm has occurred.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;">Interactive
Systems</b></div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
In such early interactive works
as Very <span style="mso-spacerun: yes;"> </span>Nervous System (1983-91), David
Rokeby provides the visitor with the opportunity to transform his/her body into
a musical instrument. Standing in front of a video camera, the visitor's bodily
movements are captured; an image processor feeds<span style="mso-spacerun: yes;"> </span>the<span style="mso-spacerun: yes;">
</span>message<span style="mso-spacerun: yes;"> </span>of this motion to a
computer, synthesizer and sound system. Integrated into this closed electronic
circuit, the visitor is able to have every gesture translated into repeatable
sounds. Rokeby explains that Very Nervous System is significant in that it
"transform[s} the interactor's<span style="mso-spacerun: yes;">
</span>awareness<span style="mso-spacerun: yes;"> </span>of his<span style="mso-spacerun: yes;"> </span>or her body."6 Indeed, as one produces
the musical sounds, one becomes conscious not only of one's bodily actions in
time and space, but also of the interconnections between our physical gestures,
the act of hearing, and the electronic sound. Most evidently, this kind of art
experience differs radically from that of the traditional observer of an object
of display who, even when intellectually or emotionally engaged in the artwork,
remains a decarnalized eye.<span style="mso-spacerun: yes;"> </span>Plugged into
the Electronic circuit of <i style="mso-bidi-font-style: normal;">Very Nervous
System</i>, one is not a neutral body where the senses and the mind are
relegated to distinct domains. As a veritable cyborg one no longer distinguish
between mind and body and technology.<span style="mso-spacerun: yes;"> </span>It
is evident that for each interactor, the self-conscious multi-sensorial
engagement with Very Nervous System is personal and unique. Hence, just as in
Duchamp's "allegory on forgetting," there is no meaning predetermined
by the artist. Nor does the interactor, as both choreographer and musician,
encounter the artist's subjective voice. Or is the artist's disappearance just
illusory? Though Very Nervous System becomes a vehicle by which the interactor
discovers one's "self' in time/space, as Rokeby explains, "[t]he set
of possibilities [is] very, constrained." In fact, "[t]he sounds/
music created by Very Nervous System carr[y] a very strong signature, despite
the interactivity.''7 Un1ike the (post)modern impersonal writer or medium,
Rokeby,<span style="mso-spacerun: yes;"> </span>as<span style="mso-spacerun: yes;"> </span>artist-programmer, decidedly re-establishes
authorial control: [I]n attempting to create a system in which I disappear more
effectively, l am not exactly trying to disappear. In fact, one could equally
convincingly declare that I am actually playing god, trying in a more abstract
way to be profoundly present and controlling, relinquishing control of the con
tent, but tightening my grip on the processing, delivery and contextualization
of this content. I propose that this sort of control can twist any content to
one's expressive will while appearing to be open and "objective." So
I am looking into this paradox of disappearance.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
The question of the artist's
disappearance is indeed paradoxical. Integrated into Very Nervous System, one
does not sense the artist's presence, let alone his control. Instead, his
computer-based system appears to operate like a neutral mirror, like a medium
for self-reflection. However, as Rokeby warns us, such electronic works are
neither neutral nor objective: I have never really felt that the computer is
objective. In fact one might say that the reason I have been pursuing this
angle in my work has been to find out, by creating systems that are as
objective as possible, how impossible it is to create a truly objective system,
By the end<span style="mso-spacerun: yes;"> </span>of my time working with Very
Nervous System, this process became very conscious.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
In subsequent works, Rokeby
openly ascribed subjectivity to his electronic creations. For example, Giver of
Names (1998) was actually "intended to be opinionated, biased,
subjective." To the gallery visitor, however, this subjectivity is not
immediately apparent. Rather, the computer-based installation assumes an aura
of objectivity and anonymity, except perhaps for an array of colorful objects
scattered on the floor, some of which are used children's toys. In the center
of this cheerful display, there is an empty pedestal. A video camera is
positioned in front of it. On the periphery of this scene, one notes a computer
and a monitor - presumably the "giver of names." One soon discovers
that this is, in fact, an intelligent system. Like a young<span style="mso-spacerun: yes;"> </span>child, the<span style="mso-spacerun: yes;">
</span>computer is able to formulate words and sentences upon receiving certain
visual stimuli. It is the visitor's task to provide this stimulation by placing
a colored object on the pedestal. Giver of Names then translates this visual
input into an array of words associated with the general shape and color of the
object, and displays them on the screen. It is able to organize the data
according to linguistic formulations and hierarchies such as synonyms,
homonyms, homophones, family resemblances between words, and so on. With these
words, the computer subsequently proceeds to formulate a flow of grammatically
correct sentences for us to read. How does the visitor, then, react to this
intelligent system?<span style="mso-spacerun: yes;"> </span>The<span style="mso-spacerun: yes;"> </span>grammatically<span style="mso-spacerun: yes;"> </span>correct sentences exhibited on the monitor
by Giver of Names can be deemed nonsensical, sometimes poetic, and, on
occasion, even shocking when, like a child, it<span style="mso-spacerun: yes;">
</span>inadvertently blurts out something rude or offensive. On the other hand,
reading a sentence (e.g., "Lemons, more eyeless than other beady sectors,
would par don no optical drops") may trigger associations in the mind of
the reader, which coincide with current thought patterns, personal frames of
reference, one's cultural baggage. In effect, Rokeby's intelligent Giver of
Names, like Duchamp's allegory, makes explicit what many artworks obscure: that
one always encounters an art object (any object for that matter) as a mediated
subject. There can, therefore, be no universal viewing experience; there can be
no recognition of an a priori meaning set up by an authorial voice; there is no
meaning that precedes one's interaction. Meaning lies within us, in one's
"creative act."</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
While one can reasonably argue
that production of meaning is contingent upon the interactor's act of
interpretation, there is a major difference between reading an array of
cultural signs in the Duchampian allegory, and words and sentences produced by
the knowledge base of a computer. No doubt, however, Duchamp would. Have
greatly admired such a word-making machine, as he was fascinated with the
inherent power of words to create meaning.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
In this regard, it is also
noteworthy to recognize how Rokeby designed<span style="mso-spacerun: yes;">
</span>the<span style="mso-spacerun: yes;"> </span>"intellect" of<span style="mso-spacerun: yes;"> </span>Giver of Names. Not wishing to have this
sophisticated database operate as "a self-portrait" of the artist, he
wanted to discover "what sort of subjectivity would emerge<span style="mso-spacerun: yes;"> </span>if the Internet<span style="mso-spacerun: yes;"> </span>was one's sole<span style="mso-spacerun: yes;"> </span>source<span style="mso-spacerun: yes;">
</span>of knowledge of the world." Such a neutral knowledge base, one<span style="mso-spacerun: yes;"> </span>might<span style="mso-spacerun: yes;">
</span>think,<span style="mso-spacerun: yes;"> </span>produces<span style="mso-spacerun: yes;"> </span>language that is totally objective, giving
free rein to the reader interpreter. Rokeby disagrees: Giver of Names is
extremely subjective, precisely because it has been forced out of the vacuum of
pure binary feedback that is digital processing. This is true of all my work
going back to Very Nervous System. The vacuum demands violation. By being
forced to operate on imperfectly perceived objects, and forced to express in
that perverse construction called (English) language, it falls out of digital
paradise.</div>
<div class="MsoNoSpacing">
As such, his electronic creations have the ability to
surprise the artist: I like to be surprised and engaged by my own work.
Particularly in the very self-referential world of programming, one feels a
kind of claustrophobia...one is living inside one's own models.... The medium
requires it because it actually offers such extreme levels of control that you
have to work extremely hard to invent satisfying ways of relinquishing enough
of it to find a balance (as an artist).</div>
<div class="MsoNoSpacing">
To the visitor, the language spoken by Giver of Names may
appear arbitrary, accidental, surprising and even solipsistic in its
unawareness of the interactor.<span style="mso-spacerun: yes;"> </span>For
Rokeby, such "framing" is not generally understood, however:</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Computers and software are
conventionally seen to be transparent channels through which content is
expressed and exchanged. But all of my experience with programming indicates
that programming acts shift the experience of the experience of the content. (I
know...a strange formulation.) Programmers define aspects of the user's
experience of being through their programming decisions and<span style="mso-spacerun: yes;"> </span>constructs.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
In his most recent work,
n-cha(n)t (2001), David Rokeby expands the capabilities of Giver of Names
further by anthropomorphizing the intelligent ma chine into a community of
seven computers linked by a network. When one enters the darkened space
inhabited by the society of computers, one hears them chanting together.
Absorbed in this communal act, they ignore the visitor who, in a sense,
intrudes into their cerebral space. The visitor can distinguish each computer
by the gender and age of a human ear displayed on its screen. When spoken to,
the computer will cup its ear and listen 10 the visitor's voice. While it
attempts to recognize<span style="mso-spacerun: yes;"> </span>(and
misrecognize)<span style="mso-spacerun: yes;"> </span>the<span style="mso-spacerun: yes;"> </span>words and sentences it hears, it will project
a finger pressed into the ear. Like Giver of Names, every computer, upon
receiving sensorial stimuli (this time aural), will respond by formulating word
associations from their respective databases. These computers, however, are
actually able to utter a flow of words with their individualized synthesized
voices.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Chatting with visitors results
in a partial or complete disruption of the collective chant. Even while
responding to the visitors, the computers silently relay their newly acquired
words to the others. "The network chatting," says Rokeby, "is
not heard, but floats as a subtext behind the speeches that each machine makes.
There is not really any kind of dialogue between machines. They are not
communicating so much as communing."</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Depending on how much a
particular computer is stimulated by the visitor's voice and the computer
chatting, it might become overwhelmed; it thus covers its ear with a hand,
indicating it wants no further input. As the verbal stimulation provided by the
visitors recedes, the seven computers gradually synchronize their
"individual internal 'states of mind'," until they share the same
stream of verbal association. Not scripted in any way, "one machine does
not tell the others what sentence to speak. The identical sentences arise when
all seven computers have gotten to a point where their internal knowledge bases
are identically stimulated, and they therefore say the same things." As
the consensus among the computers grows, they find, once again, a kind of
equilibrium in the form of a unified chant.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
As this electronic community
chats and chants, one can recognize to what extent it resembles us and, more
significantly, how much it differs. "I am not trying to do any deep
modelling of human social groups with this work," Rokeby admits: My
entities are far too crude to be useful simulacra of real people. They
represent nothing more than themselves...indentured slaves of this particular
programmer, granted a fraction of some freedom they are utterly incapable of
desiring.' Indeed, human social groups are beyond simulation. In his
observations of intelligent systems, Peter Weibel has argued that "[t]he
highest level of simulation lies in attaining immunity from simulation itself.
(A copy without original, a clone without body.)"9 One can recognize how
the fluidity and intricacies of even a single human identity ultimately render
it immune from simulation.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
This said, Rokeby's
"indentured slaves" reveal two significant points: To begin with,
their state of total oblivion renders them unconscious of their sensorial
qualities as perception systems, of their ability to chat, chant - and also of
their capacity to enchant, even the artist: The most beautiful moments are just
before the chant is achieved.... You hear in the community the consensus grow
as the semantic and syntactic gestures of each computer converge.... The sound
of the seven synthesized computer voices sound much more real as a group than
any individual computer sounds. The sound of the hushed chanting is very spooky
and somewhat primal.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Perhaps their primal chant is so
enchanting precisely because! it projects back to us an inversion of our own
human complexity. Another important element is also at play in this work.
Despite their primal state, these technologies do exert authority over us.
Rokeby cautions that "[e]xplicitly interactive pieces often obscure the
degree to which they constrain the viewer to a limited set of possibilities....
The interactive system subtly displaces some of the subjectivity of the viewer
into its own mechanism."</div>
<div class="MsoNoSpacing">
One might, well argue that one must always negotiate
certain parameters, whether walking through an architectural space, or speaking
through a given language and received ideas or concepts. Although these
constraints are real, Rokeby emphasizes that with technology there is a
difference "in speed and magnitude of suppleness, complexity and relative
invisibility." If interactive systems conceal their power to invade and
control human subjectivities remarkably well, then Rokeby's surveillance and
tracking systems make this phenomenon somewhat<span style="mso-spacerun: yes;">
</span>more visible.</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<b style="mso-bidi-font-weight: normal;">Surveillance and
Tracking Systems</b></div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
Watch (1995) provides the viewer
with a live processed video stream, which serves as a metaphorical picture of
the power of technology to subsume human subjectiviliies. In the installation
space, one can passively watch manipulated images of unwitting passersby,
situated in public sections of the gallery or in exterior pllblic areas.
Captured by surveillance cameras and altered by the perception system, the
manipulated images of people and place are projected on two screens, like
mirror projections. On the first, the only stable images one sees are of static
people and of the surrounding area. Though filmed in real time, these images
give the effect of longexposure photography. As people move across the screen,
their images become blurred. In the other mirror projection, this process is
inverted. People are clearly visible when in motion; and they are projected as
floating outlines on a black ground when they are still.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
While we, as gallery
surveillants, watch these apparently anodyne images, one is able to hear the
sounds of time: the ticking of a watch, a clock, a heartbeat, as well as light
breathing. Sometimes, we hear a camera shutter as the projections are
processed. Sound is not, however, the principal effect. Nor is an active
engagement on our part solicited. Indeed, as Rokeby states: I want the dominant
relationship between the public and this installation to be one of "watching,"
not acting. The artwork itself remains active, a live perceptual filter through
which the audience watches1. The system has embedded itself into the
feedback-loop of1perception, transforming the process of looking. What is most
interesting to me about this transformation oflookingis that it invariably also
involves a transformation of the apparent "meaning" of what is being
watched.10 What is this meaning? The surveillance cameras and monitoring
systems at work in Watch- as well as other related works like Watch and
Measured (2000) and Gu1ardian Angel (2001) - transform the visitor into
anonymous surveillants who, like voyeurs, are positioned to secretly watch.
Inevitably, surveillance works such as these readily prompt one to pose ethical
questions regarding invasion of privacy on the one hand and the necessity for
public security and law enforcement on the other. Moreover, in the context of
an art gallery, one is futher prompted to question our role as surveillants, or
as persons viewed.</div>
<div class="MsoNoSpacing" style="text-indent: .5in;">
So then, what exactly is one
watching? One sees how the "objective' camera and projection system
manipulate the original image of people and things. "Due to the nature of
the processing," says Rokeby, "these images already show an
interpretive -bias; the processing adds weight and apparent significance to the
initially banal live video source imagery."" The point is well made.
The monitoring system captures and<span style="mso-spacerun: yes;"> </span>distorts<span style="mso-spacerun: yes;"> </span>a surface image according to the design (here
of the artist-programmer), and furtively lures the surveillant, positioned as a
distanced viewer, to submit to this biased view.</div>
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Watching the projected images produced by the monitoring
systems, one might also draw parallels with interactive systems such as Very
Nervous System, Giver of Names and n-cha(n)t. Do they not also entail a kind of
tracking system, whether through the video camera or the microphone? Are these
perception systems not also capable of "capturing" us as in advertent
specimens, and "distorting" our words, gestures, body image, and by
extension, our motivations? Rokeby concurs. '<span style="mso-spacerun: yes;">
</span>Encountering Rokeby's interactive works and perception systems, one
recognizes that belief in the anonymity of the artist-programmer and in the
objectivity of his "indentured slaves" is a dangerous fiction.
"Anonymity in my work," he explains, "is actually an exploration
of the near impossibility of disappearing. [...] A computer, in my opinion,
takes things past the vanishing point. I am very interested in attempting to
disappear, but the struggle to dis appear is different from actually
disappearing." In contrast to earlier manifestations of anonymity which
signaled: the breakdown of monolithic truths pronounced by the universal
subject, media artist David Rokeby alerts us to a very different condition: the
relinquishment of authorial control is no longer a real possibility in the
electronic age, and one would greatly benefit by becoming aware of this fact.</div>
<div class="MsoNoSpacing">
<span style="mso-spacerun: yes;"> </span><span style="mso-tab-count: 1;"> </span>Ernestine Daubner teaches in the
Art History Department of Concordia University and is a postdoctoral fellow at
Universite du Quebec a Montreal. As a researcher in contemporary art and new
technologies, she collaborates with le Groupe de recherche en arts mediatiques
(GRAM) and le Centre interuniversitaire en arts mediatiques (CIAM).</div>
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<span style="font-size: 8.0pt;">Copied from <a href="https://www.blogger.com/null" name="_Hlk482198934">UMaine Folger Library Database on 03.07.17</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8.0pt;">Chicago Style Citation</span></b></div>
<div class="MsoNoSpacing">
<a href="https://www.blogger.com/null" name="_Hlk482196886"><span style="font-size: 8.0pt;">Daubner,
Ernestine, and Geneviève Letarte. "“Anonymity” in David Rokeby's
Electronic Creations: A Duchampian Model? / L'“Anonymat” dans les Oeuvres
Électroniques de David Rokeby: Une Modèle Duchampien?." <i>Parachute</i>
no. 109 (January 2003): 44-59. <i>Art Full Text (H.W. Wilson)</i>, EBSCO<i>host</i>
(accessed March 07, 2017).</span></a></div>
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Anonymoushttp://www.blogger.com/profile/10366267240416772127noreply@blogger.com0tag:blogger.com,1999:blog-7964380476362744537.post-11136231476066886862017-05-10T03:28:00.001-07:002017-05-10T03:28:11.538-07:00Danilo Maldonado Machado's testimony<div style="height: 400px; overflow: auto;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7sivLv_5c6O4ESULLRhGpH86cX-QvnB2kMOy-lC1xcSqnLO0F4lH88F82f437yclc7sTTqsghTnZup_3A3Pxj_AEe4ZPYdQAkTd99xthAM8IO_ajZn-BOiXYDfwwkq2N5gjd5yGIsCvhA/s1600/Danilo-Maldonado-Sexto-Senado-Unidos_CYMIMA20170216_0020_16.jpg" imageanchor="1"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7sivLv_5c6O4ESULLRhGpH86cX-QvnB2kMOy-lC1xcSqnLO0F4lH88F82f437yclc7sTTqsghTnZup_3A3Pxj_AEe4ZPYdQAkTd99xthAM8IO_ajZn-BOiXYDfwwkq2N5gjd5yGIsCvhA/s320/Danilo-Maldonado-Sexto-Senado-Unidos_CYMIMA20170216_0020_16.jpg" width="320" /></a><br />
Danilo Maldonado Machado
Testimony before the Senate Subcommittee on Western Hemisphere, Transnational
Crime, Civilian Security, Democracy, Human Rights and Global Women’s Issues
February 16, 2017<br />
Thank you for the opportunity to amplify my voice to denounce the situation of human
rights violations of where I come from, Cuba. I am 33 years old and have already served
4 sentences for the only reason that I have critized the Cuban dictatorship through my art.
In Cuba, freedom of speech by artists is prohibited by Article 39 of the Constitution.
According to this, “artistic creation is free provided that its contents is not contrary to
the Revolution.”
This means that the work of artists such as myself and my collegues Gorki Águila and
Tania Brugera, which is critical of the dictatory regime of the Castro brothers, is illegal in
Cuba.
For that reason I served 2 years when I was 18; 1 year when I was 24; 10 months at age
31 and most recently 2 months at the age of 33.
Now I’ll refer to the last two occassions in which I was in prison. On Christmas Day
2014, as part of a performance, I tried to release two little pigs on the streets of Havana,
both painted in green, one with the name of Raul and the other with the name of Fidel. I
called that performance “Animal Farm in memoriam”in honor of Gorge Orwell.
This cost me 10 months in prison. During that time I was tortured physically and
psycologically by the dictatorship to the point that I declared myself on hunger strike and
even considered the possibility of letting myself die in prison as a result.
After 10 months without previous warning, I was released and driven to my house from
prison. Until today I have not been served any notice of pending criminal charges nor
have I been summoned for any type of trial.
At that time I was released following my protests and my hunger strike in prison, and
constant protests by my mother, my sister, my grandmother, friends, and international
institutions such as the Human Rights Foundation, the Cuban American National
Foundation, Amnesty International, etc.
These same friends and others came together again this last time I was in prison. I was in
a maximum security prison in Havana for the simple crime of not having expressed any
“sadness” over the death of dictator Fidel Castro.
On the night of December 26, when his death was announced, I was awakened by calls
from friends and my sister.
I dressed quickly and when I left my house I could surely perceive fear as the streets
became emptier and more silent.
That day I began to think over how many atrocities and how many crimes against
humanity had been committed in more than 56 years by brothers Fidel and Raul Castro.
So I went out to the streets to shout "Take the streets, the murderer died, the mare died." I
walked about a mile, took transportation to the other side of the city, and walked for a
while celebrating until my video, that went viral on social media, was transmitted live as
the only celebratory event in the city of Havana, and on the island.
In the video, by assuming my itendity as a free person in a country controled by a
totalitarian dictatorship, I took the risky decision of graffiting the wall of the hotel where
Fidel Castro’s troops were quartered for the first time in Havana almost 60 years ago,
armed and a without democratic election.
I did that following the example of the great Vaclav Havel, the artist and former president
of the Czech Republic, who advised all those who, like him, had to live under communist
totalitarianism, to LIVE IN TRUTH. To stop pretending that the reality imposed by the
regime by force is genuine. Upon the death of Fidel Castro, this notion would have meant
that I should feel sad for the death of the dictator, as was pretended by thousands of
people for fear of repression on that day.
That day, after walking through the city, I returned home. I was tired and went to bed
when I was awakened by a noise that made me worry about my door. Then I saw a patrol
car with a policeman and two other men in plain clothing, when I saw the owner of the
house handing them the key to my door.
In the process I was able to call my fiancée, Alexandra Martinez, and I said, "Call
everyone, they are taking me prisoner." The two of them threw themselves at me without
even identifying themselves verbally and I received only insults and blows from these
characters, because according to them, I had disrespected Fidel Castro.
And so I was taken to the police unit of La Lisa as they continued to hit me even after I
got off, which did not stop my cries of "Murderers, yes the mare died, and good thing."
When in the unit I asked: Do you know me? Have I done soemthing to you? If I have not
committed any crime, why do you beat me for my way of thinking? To which they only
claimed "the laws support us."
This time the cost was 55 days in prison. At this time, I once again suffered physical and
psychological torture, preventing me from seeing my family and my fiancee. I was
transferred to 6 consecutive detention centers, including the high security prison
"Combinado del Este."
Also at this time I was deprived of the right to be represented by a lawyer since my
probono international attorney, Kimberly Motley, who had tried to visit me in Havana
was arrested and immediately deported from Cuba.
Combinado del Este is a horrendous high security prison where only the most dangerous
prisoners are sent. The roofs were rife with leaks, the 6x4 square meter cells were
overcrowded for 36 people and bunk beds for 3, arranged in order to avoid the leaks.
During the day the lights were off and although it was daytime the sunlight did not
penetrate the bars.
On several occassions my jailers tried to terrorize me my threatening that at any time they
could take me to the yard to execute me by firing squad.
I was very worried by this because I knew that could easily happen given the record of
the hundreds if not thousands of political prisoners executed by the dictatorship.
I had to undergo all this abuse and humiliation for not shedding tears and for grafitting
“He’s Gone” when an assasin died, one who with his brother, the current president of
Cuba, Raul Castro, never allowed a different party to the one he created at gun point.
The Castro brothers and their family own the 3 newspapers, radio, TV, the only telephone
company in Cuba which is the only one allowed to supply internet.
These gentlemen have remained in power during almost 60 years not only giving order to
masacre Cubans such as those aboard Tugboat 13 de Marzo but also various attempts
against Oswaldo Paya Sardiñas’ life and his eventual murder, as well as that of Laura
Pollán. The Castros not only divided all Cubans, but also made exiles of them, manyof
whom are in this country.
These characters contributed high numbers of mercenaries and arms, to the wars of
Angola, Ethiopia, under the command of the Russian Army, the FARC in Colombia, and
guerrillas in Venezuela in the 60s and in last two decades have support the dictatorial
Chavista regime, who today have plundged their people into hunger and oppression.
I want to close my presentation requesting two things to the people and the government
of the United States. First, we request solidarity for the cause of democracy in Cuba,
given that we have suffered a regime that does not allow democratic elections for almost
60 years. The world should give us solidarity and should ask Raul Castro for a plebiscite
and democratic elections in Cuba.
And secondly, I ask the people and the governmentof the United States, to pressure Raul
Castro’s regime to release the thousands of political prisoners existent in my country.
Due to the totalitarian system we Cubans live under, at least 85% of the present prison
population would be considered innocent in any democratic country and would have
never been sent to prison.
All Cubans are hostage of the Castro brothers’ regime and the life of all Cubans,
parriculalry artists, opponents, and dissidents, are under permanent danger at the hands of
the repressive dictatorship.
Once again we need the solidarity of the United States and the support of all people of the
world. <br />
</div>
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Anonymoushttp://www.blogger.com/profile/16081898481383875735noreply@blogger.com1tag:blogger.com,1999:blog-7964380476362744537.post-69479095890178207552017-05-10T03:27:00.004-07:002017-05-10T03:27:49.799-07:00How Duchamp’s Urinal Changed Art Forever<div style="height: 400px; overflow: auto;">
How Duchamp’s Urinal Changed Art Forever<br />
ARTSY EDITORIAL<br />
BY JON MANN<br />
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On April 9th, 1917, just over 100 years ago, Marcel Duchamp achieved what was perhaps the most brilliant and absurd art event of the 20th century.<br />
The story is legend. Duchamp, wanting to submit an artwork to the “unjuried” Society of Independent Artists’ salon in New York—which claimed that they would accept any work of art, so long as the artist paid the application fee—presented an upside-down urinal signed and dated with the appellation “R. Mutt, 1917,” and titled Fountain. <br />
The Society’s board, faced with what must have seemed like a practical joke from an anonymous artist, rejected Fountain on the grounds that it was not a true work of art. Duchamp, who was a member of that board himself, resigned in protest.<br />
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Is it really art?<br />
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Artists and intellectuals surfaced on both sides of the issue, with perhaps the clearest explanation of Fountain’s importance coming from an anonymous editorial believed to be written by the artist Beatrice Wood.<br />
It read: “Whether Mr Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view—created a new thought for that object.” Wood, who had followed Duchamp’s work closely, recognized the groundbreaking power of the work.<br />
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And Duchamp had for years championed the use of “readymades”—existing objects taken from real life and modified or re-contextualized to function as works of art. The idea at hand, of art primarily as a conceptrather than an object, is what would make Fountain arguably the most intellectually captivating and challenging art piece of the 20th century.<br />
What is a work of art? Who gets to decide, the artist or the critic? Can a work derive from an idea alone, or does it require the hand of a maker? These questions strike at the core of our understanding of art itself.<br />
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Over the past century, Duchamp’s Fountain has spawned myriad offspring and fueled numerous debates: How was the work conceived? What did the artist intend?<br />
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There are even theories about whether Duchamp came up with the work at all—one account has him attributing the work to a female friend who sent him the urinal under the male pseudonym “R. Mutt,” which he then signed on it. Similarly, his famous quip that the only works of art America had contributed to the world were “her plumbing and her bridges” has been tentatively restored to its true author: our erstwhile Duchamp defender Beatrice Wood.<br />
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But to try and establish the true authorship of the Fountain is exactly the kind of quixotic undertaking that would have had Duchamp in stitches. Let’s take a moment to recall that Monsieur Duchamp took a urinal, turned it upside down, signed it “R. Mutt,” and submitted it to a salon; the pursuit of truth was decidedly not his quest.<br />
Rather, the unanswered questions that Fountain provoked are precisely what contributed to its conceptual underpinnings and its enduring (and confounding) legacy.<br />
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Contemporary artists riff on Duchamp<br />
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Among the contemporary artists that have explored these questions by riffing on Duchamp’s work is Mike Bidlo, with his Fractured Fountain (Not Duchamp Fountain 1917) (2015). Made as an edition of eight works that directly reference Duchamp’s “original,” the work provides a perfect example of the way in which Duchamp exploded everything that came before.<br />
Bidlo’s version is a lovingly handcrafted porcelain copy that he then smashed, reconstituted, and cast in bronze.<br />
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Sherrie Levine
Fountain (After Marcel Duchamp), 1991
"MashUp: The Birth of Modern Culture" at Vancouver Art Gallery
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One recalls the cracks allowed in classic celadon pottery that were believed to enhance its aesthetic value, or the Roman practice of making marble copies of beautiful Greek bronzes that were slated to be melted down to make weaponry to further the Empire—but here, both function in reverse. Bidlo’s work follows Duchamp in depriving his object of both beauty and utility, furthering his challenges to artistic value.<br />
Sherrie Levine’s Fountain (Madonna) (1991), a bronze cast after Fountain, preserves more of the original while pushing its questions of authorship further: To what extent does it matter that a male artist “chose” the work in 1917? To what extent does it matter that a female artist chose to reproduce the work in bronze in 1991?<br />
What unites the artists that have riffed on Duchamp across the century is not only that they recognize the value of the questions it raises, but also that they move forward with the sort of ingenuity and wit that Duchamp’s legacy demands.<br />
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Where is Duchamp’s original?<br />
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That doesn’t mean we have to take it seriously. It also doesn’t mean that we can’t revel in the Unsolved Mysteries-like scenario of Fountain’s mysterious disappearance: To this day, no one knows what became of the “original.” We only have 17 copies that Duchamp created in the 1960s. Perhaps it was indeed one of his provocative female friends—the names Elsa von Freytag-Loringhoven and Louise Norton have been suggested—who came up with the whole urinal idea in the first place. The nebulous origins of the Fountain only add to its many layers and complexities.<br />
If the genesis and meaning of Fountain remain elusive, it has provided countless artists with something of a starting pistol for the idea of art-as-concept in the 20th century, underscoring the fact that the definition of art itself is up for grabs.<br />
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—Jon Mann<br />
the above copied from <a href="https://www.artsy.net/article/artsy-editorial-duchamps-urinal-changed-art-forever">https://www.artsy.net/article/artsy-editorial-duchamps-urinal-changed-art-forever</a><br />
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