Slides for a short lecture presentation I gave on selling internet art (both commercial and alternative economies). Salon 1 "The Art of Success" with co-presenters Jeff Stark and Zach Blas, Abandon Normal Devices Festival in Manchester, UK on August 30, 2012.
Since late 2012, Sandra Fauconnier and Annet Dekker have been working on the CD-ROM Cabinet, an initiative to safeguard artistic CD-ROMs from the 1990s. Here’s a presentation of the first activities in this project.
Since late 2012, Sandra Fauconnier and Annet Dekker have been working on the CD-ROM Cabinet, an initiative to safeguard artistic CD-ROMs from the 1990s. Here’s a presentation of the first activities in this project.
Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.
How do Instagram and Twitter influence the visit experience of London museums? This research uses data collection and analysis to get a better understanding of visitors' behaviour and suggests which strategies are more successful in creating an community that lasts beyond the visit.
Strategies against architecture: building a 'museum of the future' / Remix Sy...Seb Chan
Keynote presentation delivered at Remix Sydney, June 2015.
Title is derived from an article in The Atlantic, Jan 2015 - http://theatln.tc/1K0zXQs
Lustig/Fast Company quotes are from - http://bit.ly/1FoS8ZR
Longer background technical paper at http://bit.ly/1LhwSNX
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Removing The Barriers Of Gallery One: ARTLENS Gallery, A New Approach to Inte...Phillip Tiongson
New ARTLENS Gallery Presentation at Museums and the Web April 29 2017 by Jane Alexander, CIO, Cleveland Museum of Art and Phillip Tiongson, Principal, Potion
The Europeana Music Collections presented at EVA/MINERVA 2015 http://www.digital-heritage.org.il/program2015.html on 2015-11-09
These slides supported a presentation of the Europeana Music Collections, built on the Europeana platform, as part of a session on making audio-visual collections from libraries, archives and museums more available online.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Writer and commentator Adam Gopnik has described the mindful museum as a place that is primarily about the objects it contains while also recognizing that it should not seek to explain what cannot be explained. “And that means simply that wall labels and explanatory text of all kinds should be as modest and invisible as conceivable,” he said in the first annual Eva Holtby Lecture on Contemporary Culture at Toronto’s Royal Ontario Museum just months before the ROM opened its Michael Lee-Chin Crystal addition in June 2007. How should museums interpret Gopnik’s view in today’s world of flat screens and wireless networks and one where most museum and gallery visitors can receive instant information via their cell phones, Blackberrys and iPods. And where does that leave the ROM as it grapples with technology solutions for providing context and interpretation in its powerful new gallery spaces? Created by Brian Porter for the 2008 Technology in the Arts: Canada Conference.
How do Instagram and Twitter influence the visit experience of London museums? This research uses data collection and analysis to get a better understanding of visitors' behaviour and suggests which strategies are more successful in creating an community that lasts beyond the visit.
Strategies against architecture: building a 'museum of the future' / Remix Sy...Seb Chan
Keynote presentation delivered at Remix Sydney, June 2015.
Title is derived from an article in The Atlantic, Jan 2015 - http://theatln.tc/1K0zXQs
Lustig/Fast Company quotes are from - http://bit.ly/1FoS8ZR
Longer background technical paper at http://bit.ly/1LhwSNX
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
Removing The Barriers Of Gallery One: ARTLENS Gallery, A New Approach to Inte...Phillip Tiongson
New ARTLENS Gallery Presentation at Museums and the Web April 29 2017 by Jane Alexander, CIO, Cleveland Museum of Art and Phillip Tiongson, Principal, Potion
The Europeana Music Collections presented at EVA/MINERVA 2015 http://www.digital-heritage.org.il/program2015.html on 2015-11-09
These slides supported a presentation of the Europeana Music Collections, built on the Europeana platform, as part of a session on making audio-visual collections from libraries, archives and museums more available online.
Exploiting Artificial Intelligence for Empowering Researchers and Faculty, In...Dr. Vinod Kumar Kanvaria
Exploiting Artificial Intelligence for Empowering Researchers and Faculty,
International FDP on Fundamentals of Research in Social Sciences
at Integral University, Lucknow, 06.06.2024
By Dr. Vinod Kumar Kanvaria
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
1. From Browser to
Gallery
(and Back):
The
Commodification
of Internet Art
2. Some ideas…
Do as you would in the old days
1. Spatialization
2. Commissions
3. Commercialization
Monetize online
1. Just make the work
about money: Create
“alternative economies”
for work to exist in
2. Adapt to online shopping/virtual museum…etc.
10. Success in net art Success in
Contemporary Art
• Winning a webbie • Winning Turner Prize
award!
• Interviews and good
• Lots of traffic, Likes, reviews
Reblogs and sitehits? • Museum/festival
• Mentioned on distribution
Rhizome, Furtherfield • Gallery representation
or VVork
• Commissions. Art Fairs.
• Klout score of over 50
• Nice documentary on
•Museum distribution your life’s work
•Going viral • Your name in textbooks
•Nice documentation
•Net-famous but poor
12. Let’s talk about AURA
• Linkrot and URLs on a unique domain name
• Documentation of the internet exhibits
some “aura of the digital”, or “looks like it
exhibited somewhere”
• Versions
13. Rafael Rozendaal 2011
www.artwebsitesalescontract.com
/
Specifies sale by:
- a disc with website, files and online
content
- five successive collectors
-Rights to resell domain as long work
is kept as a whole
- transfer of domain name to
collector
15. John F. Simon, Every Icon (1997)
http://www.numeral.com/eicon.html
Given:
An icon described by a 32 X 32 grid.
Allowed:
Any element of the grid to be colored
black or white.
Shown:
Every icon.
17. Various platforms made just
for selling the artz
• Art.sy (domain name change pending?)
• VIP Artfair (just for collectors/dealers)
• Art Micro Patronage (buy credit/membership
and pay for art)
• S-editions by Rafael Rozendaal
• Kickstarter
• Deviantart.com
• Artobjectculture.net (previously artobj-cult.biz)
19. “Our “art object tax” is a
logistical term for making
something more expensive
because its art…We are
playful with the idea of
money and buying.
Art commerce is a culture in
itself.”
Artobjectculture.net 2012
20. “I prefer to use technology when it is mainstream, when everyone has it,
because I want to reach a large audience. If you work with brand new tech
your audience is limited.” Rafael Rozendaal
http://www.youtube.com/watch?v=f2nKns9_fM8
21. Kim Asendorf & Ole Fach
Gif Market 2011
http://www.gifmarket.net
22. Jonas Lund, thepaintshop.biz/,
2012
“The Paintshop Rank™ is calculating the price by analyzing a set of
criteria, such as Artfacts ranking and Google Ranking of the author,
the quality ranking in relation to the amount of views, the amount of
Facebook likes and Tweets. The underlying assumption is that two
general things matter for the price, the reputation of the artist and the
popularity of the painting itself.”
Jonas Lund, 2012
24. Conclusion
• Emerging artists more willing to adapt work to
sell/exhibit in offline spaces
• Nothing wrong with selling work. It’s time net
artists got some $$$ for free labor
• Models that adhere to traditional art sales
processes are probably more problematic in
an online environment
• I thought commodity critique was cool.
• Sell stuff as long as you get to keep making it
the way you wanted it to be
25. “Hyperbranding”
-Brad Troemel 2012
Everything you post can be seen as a
performance contributing to a persona-
as-brand on the internet!
So carefully curate your Facebook posts…
i.e. Man Bartlett, Petra Cortright, Ryder Ripps,
Parker Ito, Netochka Nezvanova…etc.
26. Thanks for listening!
• You can find the first manuscript of this article
on:
www.jennifer-chan.com
Pool Postinternet Critical http://pooool.info/
• Ofluxo.net volume 1
• jennifer7chan@gmail.com
Editor's Notes
. Alexander Bassin, the buyer at Municipal Museum of Ljubljana, purchased the work for 85,000 SIT, or approximately $500 USD
Commissioned by Ars Electronica in 1999 Kac had written a synthetic gene that would translate a sentence from the Bible into Morse code, and then DNA base pairings. A computer that was connected to the internet broadcasted the development on the project and allowed remote viewers to comment on the growth of the bacteria. The installation first showed at the O.K. Center for Contemporary Art in Linz. Eventually priced at $150,000 by his gallerist in Chicago; meanwhile engraved sculptural objects which were parts of the installation ( Encryption Stones (2001)) sold for $13,000 per piece. Carly Berwick, “Net Gains: As interactive, computer-based artworks are collected and commissioned, are they losing their edge or gaining an audience?” ArteNews , December 2002. http://www.artnews.com/2002/12/01/net-gains/