Zefrank at TED talks
Pre-history of the artist as context provider
a work is made entirely by those who
look at it or read it and who make it
survive by their accolades or even their
Marcel Duchamp in a letter of 1956 to Jean Mayoux
(published in his book La Liberté une et divisible:
Textes critiques et politiques, Ussel, 1979).
The model of the cultural context provider:
Currently, there is much advocacy for cultural
practices that demand a particular involvement on
the part of the audience, creating situations in
which art projects are co-produced.
People interact with networked computer systems
and artifacts evolve out of experimental
relationships between several people.
We (Jackie and Natalie) are the initiators and
coordinators rather than the absolute authors. User
participation and contributions make up the
fundamental core of the work that needs to be done.
The model of the well-
Artist as Curator Artist as Educator
informed expert advances to
that of the cultural editor
Artist as Theorist
who channels the
Artist as Facilitator
perspectives of other cultural
Today, artists can generate platforms such as mailing lists,
and websites. They can independently organize exhibitions
to circulate their ideas and set up platforms from which
they can interact with an audience.
The media art curator is not exclusively the ‘middle person’
between artists and museums or galleries anymore. Curators
do not merely organize exhibitions and edit, filter and arrange
Now, her practice includes facilitating
events, screenings, temporary discursive
situations, writing/publishing, symposia,
conferences, talks, research, the creation of
open archives, and mailing lists. In media
art many cultural context providers
function in various registers including that
of the curator.
Art on Platforms
The 1990s were dominated by art on networks and
celebration of communication via internet, 2000-s
are marked by the development of platform-based
art trends and cultural currents.
“From Art on Networks to Art on Platforms”
by Olga Goriunova, Alexei Shulgin:
From Art on Networks to Art on Platforms
by Olga Goriunova, Alexei Shulgin
What is a platform?
[S]omething in between a content management system, online web site,
library, and a club ... A platform is a website organized in a special way: as
a relatively simple database with artefacts, or a more complex portal built
around the database.
-Udaff.com (self-identified counter-cultural writing)
fos t ering crea t ivi t y, de t ec t ing, discovering, defining,
shaping t he field, con t ribu t ing t o i t s developmen t ,
con t ribu t ing t o t he ma t erializa t ion of a par t icular
udaff.com changed language and crea t ed a new
literature genre (literature for men)
often no grants as quick responses to artistic trends are
needed and grants cycles are slow. Usually platforms
are driven by enthusiasts who work for free.
Call it a winter sale. Jim and Mary Walker are
selling snow on eBay. Starting bids were holding
steady Friday at 99 cents for samples from quot;Blizzard
I and Blizzard II.quot;
Public/Net/Media artists can become context
providers, assisting communities, collecting their
stories, soliciting their opinions on politics and
social justice, and building the online archives and
interfaces that will make this data available across
social, cultural and economic boundaries.
Kevin Killian: 1525 reviews
(as of January 7th, 2006)
He reviews everything from sweet potato baby food to Giorgio
Agamben's book State of Emergency.
These are the reviews of Kevin Killian who is a San Francisco-
based poet, novelist, critic, and playwright. His texts are not really
reviews. They are autobiographical pieces of fiction.
Killian uses Amazon.com as a platform for his writing practice- a
place with an immediate broad readership.
Meta-Markets is an online stock market for trading shares of socially
networked creative products such as YouTube videos, Delicious
bookmarks, blogs, or social network profiles. In NYSE or NASDAQ
people trade shares of companies. In Meta-Markets people trade shares
of bookmarks, profiles, videos, or blogs. Just like companies,
socially networked products have ever growing values. When product
owners issue their shares in Meta-Markets, they raise capital – today
play capital, but tomorrow real capital. With Meta-Markets we aim to
help people to retain the value of their immaterial labor in social
web services. I am cutting short here, please get more information on
the web site.
Why do artists wear many hats?
Can everybody contribute to culture, get
creative, and express themselves?
Who gets the credit for the work of
contributors? What is the quality of the
Is creativity dead online in today’s platform
context, in which people hardly play around
with code themselves?
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