Art and Social Media

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Information about Art and Social Media

Published on March 12, 2009

Author: trebor


Social Media week7 Art and Social Media last update: Mach 21, 2009 Trebor Scholz | LCST 2031 A | Spring 2009

What You Need To Know About This Course week 1 Histories of the Internet week 2 Histories of the Internet and World Wide Web week 3 Social Media, Cyber Clustering, and Social Isolation week 4 Participation: Benefits, Numbers, and Quality week 5 Quality. The Wisdom or Ineptitude of the Crowd The Web 2.0 Ideology week 7 week 6 Art and Social Media Spring Break week 8 Political Net Activism week 9 What Does It Take To Participate? Why Participate? week 10 Got Ethics? Labor, Work, What? week 11 week 14 The Power of Users week 13 Net Neutrality week 12 Near Future Scenarios week 15 Presentations Trebor Scholz | The New School University | Eugene Lang | LCST 2031 A | Spring 2009

Art and Social Media week 7 March 9, 11 Required Reading (the instructor will hand this out) : From Art on Networks to Art on Platforms (Casestudies:, and Olga Goriunova, Alexei Shulgin Trebor Scholz | LCST 2031 A | Spring 2009


Marcel Duchamp: 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 condemnation. 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).


Kit Galloway and Sherrie Rabinowitz, Electronic Café» devised for the 1984 for Olympic Games in Los Angeles

(1985) Les Immateriaux, J. Lytoard, Chapot

The Role of the Artist

The model of the well-informed expert advances to that of the cultural editor who Artist as Curator Artist as Educator channels the perspectives of other cultural producers. Artist as Writer Today, artists can generate platforms such as Artist as Facilitator 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.

Art on Platforms

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. (self-identified counter-cultural writing) 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

Art on platforms •fostering creativity, detecting, discovering, defining, shaping the field, contributing to its development, contributing to the materialization of a particular artistic trend •offline meetings in bars or at cultural events (micromusic: “microeventz”) •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. • changed language and created a new literature genre (literature for men) 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

ca se stu dy 13.000 registered users

ca se stu dy 50.000 visitors a day, 700.000 pages

ca se stu dy is a software art repository, launched in January 2003. It is an open, moderated database to which people are welcome to submit projects they consider to be interesting examples of software art. Software art is an intersection of two almost non-overlapping realms: software and art.

Art & the Participatory Turn tool maker producer context provider participant user/customizer consumer 1980s 1990s 2004 2006

Net Art 1994-1999


Website Impersonations: The Ten Most Visited Youtube | Myspace Website Impersonations: The Ten Most Visited is a live performance series, which utilizes Web code as choreography. In this performance - #4 - I am taking on the quot;characterquot; of the Website quot; - with its logo and color scheme - and perform its html code, which is fed in from the Web quot;on the flyquot;. During each of the performances the source code of the website is immediately translated into an ongoing scrolling of images, which each representing an html tag. Every image shows a movement sequence. Images derive from the html-movement- library, an online database of user-submitted movement suggestions. The audience on location is also invited to participate in the html dance. The series is presented in a multiple-media approach of live performance, real-time web-feed, and installation set-up.

Art as Service

Cultural Context Providers 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.

ca se stu dy

ca se stu dy

ca se stu Less enlightened museums curators frame new media art in modernist terms that are dy based on familiar rules for institutional inclusion or exclusion. On which aesthetic criteria should institutions base their decisions in the face of constantly changing forms of new media art works? 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 museum collections. Now, her practice includes facilitating events, screenings, temporary discursive situations, writing/publishing, symposia, conferences, talks, research, the creation of open archives, and mailing lists. Curators become meta-artists. They set up contexts for artists who provide contexts. The model of the curated website has become a useful recognition mechanism. In media art many cultural context providers function in various registers including that of the curator. Are the contributors exploited? is an online database project that creates a comparison between the amounts of local independently owned cafes and Starbucks retail stores within a specific zip code. By comparison of numeric quantity and site-specific detail, the user will see evidence of unchecked aggression and power that corporate businesses have in our communities. The site is also a free online space for independent cafe goers and owners to promote their cafes by uploading local cafe information to the database. The creation of other delocated database-driven web sites is encouraged. On the Delocator web site, users are able to download the code necessary to establish a new database, prompting more sites and databases that may focus on other specific retail stores. was launched with the intention of becoming a web-meme, sprouting many future de-located corporate stores. This project is a collaboration between the collective Finishing School and programmer Vasna Sdoeung.

Conceptual Art and the Social Web

ca se stu dy hquot;p:// notions of truth on Wikipedia Deletion Review

Wafaa Bilal's Shooting an Iraqi

Burak Airkan's Meta Markets Online stock market for trading socially networked creative products. Trade shares of social web assets from online bookmarking, social networking, photo and video sharing services. IPO your own social web work. The Mechanical Olympics is a YouTube video competition of Olympic performances made by the elastic workforce on’s Mechanical Turk website. Every viewer gets a chance to vote on the gold medalists. Winners receive a bonus payment. Three videos were commissioned for each event and event polls change daily on this interactive alternative to the Olympic Games. The rules are simple: workers have to wear the Mechanical Olympic signage, perform for the country and event described in the HIT (Human Intelligence Task) they accept, and create a 30 - 60 second video of their performance. Any abstraction on the idea of the event is encouraged. They post the URL to their video, and in return, they are paid from $1 - $3 usd. This project aims to offer the human intelligence task (HIT) workers a creative and physical alternative to their typical HITs. The videos posted on the blog create an Olympic event for the masses, where every viewer has the opportunity to vote on the medalists. Participants and viewers are reminded that the amateur can often be just as engaging and entertaining as the professional. Each day for a year, starting on September 1, 2007, Superfund365 visited one toxic site in the Superfund program run by the U.S. Environmental Protection Agency (EPA). We began the journey in the New York City area and worked our way across the country, ending the year in Hawaii. Today the archive consists of 365 visualizations of some of the worst toxic sites in the U.S., roughly a quarter of the total number on the Superfund's National Priorities List (NPL). Along the way, we wrote an email update with highlights and conducted video interviews.

The best online resource to learn about Mexican border dentistry practice. Get a directory of dentists on the border, listen and download the hot new corrido - 'Corrido al Dentista' and most importantly gather tips on how to be a savvy medical tourist in Mexico. DENTIMUNDO seeks to help make your next Mexican vacation fruitful, leasurely and enlightening!

Rafael Lozano Hemmer's Vectorial Elevation A net artwork allows people to see and transform the Historic Center in Mexico City using 18 robotic searchlights.

Distributed Creativity, Purposeless Creative Activity, Networked Folk Art?

ca se stu dy User-Generated Fiction on Kevin Killian: 1525 reviews (as of January 7th, 2006) He reviews everything from sweet potato baby food, Pasternak's film Doctor Zhivago, Michael Kors khaki shorts, and The Black & Decker Crossfire Auto Level Laser, 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 as a platform for his writing practice- a place with an immediate broad readership.

Killian's review of a 14K ruby necklace quot;As an American boy growing up in France, I became mesmerized by an enchanting painting of an ancestor that hung never very far from the hearth. The painting, smudged by smoke and damaged by Vichy occupation of the chateau, showed a very thin and angular woman, her face like something reflected in the bowl of a spoon, festooned in bright stones that gleamed out still bright after the passage of many decades. quot;Who is this woman,quot; I used to wonder out loud, until one evening, as my grandmother passed through the room looking for our vanished cat, quot;Gateau,quot; I noticed that she wore the same diamond and ruby necklace as the ancestor in the old damaged painting. I persuaded my grandmother to sit down and forget about her eternal hunt for a cat who had died long before I was born, when she was still a young woman not even married to my grandpapa yet, and to tell me about the necklace she wore. She took my little hands in hers and, in a low, breathy whisper, told me how she had stumbled across these precious stones in a valise once. Amazon's 14K Ruby and Diamond quot;Dynastyquot; necklace looks like a lot like my family jewels; the resemblance is shocking enough to have made me drop my cocoa while leafing through the jewel pages this morning in an attempt to bring back, madeleine-style, the vanished days of yesteryear.quot;

Trebor Scholz Twitter: trebors Blog: Delicious: Flickr: LibraryThing:

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