|Arts Writers Grant Program Announces 2011 Grants
The Creative Capital | Warhol Foundation Arts Writers Grant Program is pleased to announce the recipients of its 2011 grant cycle. Designed to encourage and reward writing about contemporary art that is rigorous, passionate, eloquent and precise, as well as to create a broader audience for arts writing, the program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts. In its 2011 cycle, the Arts Writers Grant Program has awarded a total of $565,000 to twenty-three writers representing twenty projects. Ranging from $8,000 to $50,000 in four categories—articles, blogs, books, and short-form writing—these grants support projects addressing both general and specialized art audiences, from scholarly studies to self-published blogs.
Art Writing Workshop
A new widespread condition of sociability invites a questioning of the role of media art practice and new media histories in the context of wider cultural and technological developments, and Rewire aspires to do just that.
New Media Artist Peggy Nelson: Exploring the Parallax of Identity
Interviewed by Molly Hankwitz, Contributing editor, NewmediaFIX
Peggy Nelson is a Boston-based new media artist, writer, and filmmaker, who has been exploring Twitter as a medium for literary interaction with audiences, and using various high- and low-tech tools to explore urban history and psychogeographic casts upon places. Nelson’s work is part of trends in art and writing to more fully engage public spaces through use of new technologies to probe and intervene in the surface layers of human memory, thought and interaction.
MH: Twitter literature, what is it and how is it collaborative?
PN: Twitter literature is published via Twitter, 140 characters at a time. Some authors are posting their already-written novels, one tweet at a time. Some are re-posting diary entries from real people, often long-dead. I am creating a narrative within Twitter as I go, and leaving it open for responses by other people who might ask the main character questions. In a sense, every Twitter account is a character, a “performance,” even if that performance is “me” or “you.” So when I create an account for a character, the character is actually telling their story, and I am not just pasting in sentences from a prewritten novel. I don’t co-write or crowdsource. I still believe in individual creation, and Twitter as a propagation medium, or platform. However, during my recent project, In Search of Adele H [https://twitter.com/adelehugo], people didn’t interact as much as they might have or I thought they would. They realized it was art, and kept a respectful distance. I was not encouraging them to step back. It just happened.
MH: You create the work through a Twitter account and individuals receive the tweets and can weave their own stories with the fiction subconsciously or even start a thread. How do they get to the work, or you to them? Through Twitter?
PN: Yes. The first piece was inspired by The Story of Adele H, by Francois Truffaut (1975). My ‘Adele H’ happened within Twitter. ‘She’ was a public account. Thus Adele H gained followers just like any other Twitter account and she followed people back. I had a supplemental blog for the project, where I explained the piece, and periodic articles in various journals, including OtherZine [http://www.othercinema.com/otherzine/index.php?issueid=22&article_id=89]. I also invited interested people by asking them to follow and participate. However, what happened was that almost no one intervened with their own replies or tried to change the narrative. Even though all these tools allow interactivity, we don’t always avail ourselves of it. We still like to kick back and “listen.” I think there is great value in being an audience for each other.
I called Adele H a Twitter “film,” following along the lines of Yoko Ono’s Instruction Pieces. The movie occurs in your mind as you read the tweets. Ono’s paintings were supposed to occur in your mind as you read the Instructions. I started with an outline for a “normal” art film that I had written about Adele Hugo, Victor Hugo’s youngest daughter, as my narrative structure. I intended to take a similar approach to Ross McElwee’s in Sherman’s March (1986), where he sets out to do a documentary about Sherman’s March and ends up telling the story of his own relationships and girlfriends. I intended to tell Adele’s real history woven through with my own relationship stories; to tell tragedy as comedy. But once I got on Twitter, it occurred to me that it would be more interesting to bring “Adele” back to life as a cyber-entity, and to have her tweet, in the present, from both her own century and ours. This would give the feminism more depth.
Her own writing was obsessive fantasies created with quill pen and diary; these fantasies became her life. Today many people journal very publically through blogs and Twitter, and while it’s not always clear exactly where reality leaves off and fantasy takes over, when it goes public, numerous differences emerge which can be very intriguing. First of all, audiences can read what is written immediately, or at least this is possible and it’s increasingly more difficult to secrete away thoughts in some attic endlessly embroidering them. Online, writers need to be self-aware. It’s substantially different from a diary. Also, readers and authors are both “in” Twitter, in the same narrative space as the characters, so there can be some wonderful overlaps. Thirdly, we are using this technology to reinvent ourselves and our characters. A parallax is provided, therefore, to what we are doing in the present, by using an older character, one from another time, to mediate.
MH: Are you working on other social media projects?
PN: I have begun a Twitter novel, Shackleton [https://twitter.com/EShackleton], about another real person, Ernest Shackleton, and his Imperial Trans-Antarctic Expedition. Shackleton’s ship was crushed in the ice, and he spent two years trying to escape; they couldn’t get a message out because they had no radio system, and radios didn’t reach that far back then anyway. There were other mishaps while trying to survive and get the men back alive. Numerous films have been made and books published on this adventure; the 1999 exhibit at the American Museum of Natural History in New York rejuvenated Shackleton’s reputation and publicized the story. However, most of the books and films leave out significant events – there is too much to absorb.
Paradoxically, the micromoments of Twitter allow me to tell stories of substantial length, and to reveal all the close calls and death-defying escapes, without them all hitting at once, since you don’t have to stay with micromoments all the time. You don’t have to make a special interruption in your day, to enjoy them per se. They fit into minutes, bus rides, ordinary activities. You get the tweets and in your mind you can start aggregating the larger story. But fragmentation is fine. You don’t have to get the whole story. You can miss some and get the rest of it later, you’re never locked into a strict chronological narrative.
Best of all, the medium is truly democratic. Anyone can make one of these Twitter projects. Twitter accounts are free. I’m influenced by graffiti, and public art of this kind; the idea of many messages all over the city; small interventions into urban spaces. Tweeted characters (like Adele H) are interventions into cyber-spaces. I use computers and communications technologies constantly, in my job as a designer. I am always thinking of how I can repurpose them for art.
MH: Do you think personal blogs perceived to be written by males are read differently, as something more like gaming, identity, news?
PN: We still have a gender differentiation in the culture about how we receive written material and male authors still tend to be taken more seriously, more quickly, even if what they’re writing is a series of extemporaneous personal reflections; while women still have to prove themselves, often over and over. Men can also be very critical of and aggressive toward each other’s writing, sure, but the fact is that there is still a gender gap in perception. We have a lot of work to do as feminists in this area.
MH: In this work on Shackleton you play a male character. Do you think audiences may choose to interact more with this narrative character?
PN: Good question. They might. Not only is Shackleton a male character, but the narrative is an action-adventure story, whereas Adele H was about unrequited love that took place in a woman’s head. I don’t know if readers will react more aggressively to such an alpha-male story, and try to post or interact with “him” more because of that, or if they will again keep a respectful distance because they see it as art. I don’t have a preference for a certain reaction, I’m fine with the distance, but if there’s more interaction, I’ll see how it goes. I’m not hiding the fact that I am a woman and I am writing Shackleton’s life, but will they see the character as male, or have an issue with a woman writing it? I don’t know. I’m sure you have had the experience of having to identify with male characters in a story or film because that’s what was there. That feels familiar to many women. Men don’t tend to have the same problem.
MH: Talk about your outdoor public mobile projects, please.
PN: I am working on some distributed narratives in real space. The first one, The Audio Tour [http://theaudiotour.com], premiered at Burning Man in 2006. I recorded various sounds and impressions from blogging my travels both on and off the playa. These were downloadable to any mp3 player, and I also had mp3 players to take or borrow at my camp. I was inspired by the Situationist concept of the dérive, which encouraged not conforming to main avenues and official urban spaces; finding your own version of a city or place, when coming up with the tour. I tried to do a dérive of the space of Burning Man, if you will, and then let others hear it.
The Audio Tour drew from museum audio guides, the kind where you are told to “play No. 3″ and an art historian tells you about the art — but with a twist. My audio was randomized. You play the entries at random with no “listening stations” marked as such. Thus, the listener decides what a listening station might be. You wander around with the downloads and arrive at a listening station — simply by deciding you are at one! The recorded passages, juxtaposed with the place the listener is, tend to match up. We are pattern-making and pattern-seeking animals. Whenever we walk around, we are flowing along with our stream of consciousness. It might be about the place we are in, it might be about a conversation we need to have, it might be music, some ideas from a book, or concerns about public affairs. Our experience of a place is not only determined by the place but all that we bring to it, vertically, historically, and especially when traveling. I wanted that kind of “mash-up” to comprise the content of the tour. The basic idea is: stream of consciousness out in the world.
The second project was Web021 [http://www.web021.org/]. “021” is the beginning of the Boston zip code. Web021 was somewhat similar to The Audio Tour, but not as random. It was about real Boston history plus quotes and passages of fiction set in Boston. It used 2D barcodes (or QR codes) on stickers. You see them more often in magazines now, advertising various things, but you can make your own. I designed my own 2D barcodes on stickers and put them up all over Cambridge, MA, where I live; each one was linked to a unique URL that would give you one of these passages, from Hawthorne, or Santayana, or Samuel Adams, about Boston. It was location-specific in that the stickers were intentionally put at particular places and the text was centered around both real and fictional “Bostons.” Of course, the piece was in Boston. I was very influenced by graffiti and all the stickers we see drawn on with Sharpies. I guess it is locative art. I think of it like Smithson’s Spiral Jetty, as art in the environment, except not all in one spot; Web021 was distributed; deliberately made not to be seen all at once. Twitter is also a distributed medium, more in time than space. The audiences doesn’t need to read it all at once and the distributed fragments can add up to something much larger, deeper and more substantial.
MH: Your pieces differ on the grounds of their interactivity, and what’s interactive changes from contexts of the computer at home to an augmented reality context/QR code application. Do you feel a greater familiarity with Twitter and social media and, perhaps, continued exposure to these mobile literary art forms in your audience, will lead to their participation in your future works? Will you design for this?
PN: That’s a good question. I have not been as concerned with interactivity being a central component of my work up to this point. I have included it as a possibility in some of my pieces, especially the Twitter work, but it’s optional, and does not “break” the piece if it doesn’t happen. What I’d really love to see is other people becoming inspired to do their own locative art, either in real space or in cyberspace, so we can have many artistic and cultural interventions like these, similar to how we have lots of graffiti by different makers. In many urban environments graffiti is the norm, not the exception. I’d love to see narrative and sonic interventions achieve a graffiti-like saturation.
MH: Thank you.
Peggy Nelson, New Media and Film – artist’s website
CALL FOR SUBMISSIONS: The Open Hardware Scholarship!
- Do you have the next big Open Hardware idea, but just don?t have the funds
The Open Hardware Summit (OHS) is announcing its first Open Hardware
scholarship this year! The purpose of the OHS scholarship is to support
emerging artists/inventors and developers by providing funding for works
that are released as Open Source Hardware. Granting these funds is an
opportunity to draw attention to the Open Source Hardware movement, to give
back to the DIY community, and to give you the chance to join a growing
roster of gamechangers in Open Source Hardware history. If you have a
project that is in the spirit of the OHS and supports the OHSW definition,
we welcome your submissions.
Upwards of $2000 will be awarded. The scholarship is made available by the
generous individuals and sponsors who have made the Open Hardware Summit
The winner will be chosen by the public. All projects will be viewable
online and votes will be collected during the week of the summit. People
will be able to vote on their favorite project remotely or onsite. A check
will be presented to the winning artist/group at the conclusion of OHS on
September 15th at the New York Hall of Science
1. upload a 30 second (maximum) video clip to youtube that showcases the
concept of your project. The title of the video MUST be the title of the
2. include a short paragraph in the description of the video. Your
description must start with the following sentence, and go on to explain
your project in less than 500 characters.
?The following project is a submission to the Open Hardware Scholarship
awarded by the Open Hardware Summit 2011.
Project title: ?
3. email the following information to email@example.com :
name of artist/collaborative group
place of resident (city, state/province, country)
title of project
summary of project (500 characters max)
URL of video clip
URL of project site that includes your application of the OSHW Definition
For submissions is 12:01am, September 14th EST. NO EXCEPTIONS
Please feel free to email firstname.lastname@example.org if you have any questions.
Where does the money come from? We had $2,000 USD left over from our funds
last year and we thought the best way to use it is to give it back to the
Open Hardware Summit 2011
Call for Performances/presentations
WATERWHEEL will be launched on 22 August, in Brisbane (Australia) AND will take place live online on the TAP at 6.30pm – find your time here – Media release attached.
The TAP is an online, real-time venue and forum, workshop and stage for live networked performance and presentation. Here you can create and collaborate, rehearse and remix, present and exchange, participate and communicate—privately as a crew or publicly with an audience. The Tap provides tools for live networking and real-time media mixing.
This is a call for proposals for performances/presentations (of 5 minutes each maximum) for the launch of WATERWHEEL – with a deadline for proposals of 12 August 2011. The entire performance/presentation program will be no longer than 30-45min. Below some info on how to use WATERWHEEL. Do not hesitate in contacting us for more details or a guided tour of the TAP.
Australia Council for the Arts Fellow
http://suzonfuks.net – http://www.igneous.org.au
Please consider the environment before printing this e-mail
WHAT IS WATERWHEEL
A new online platform exploring ‘water’ as a topic and metaphor. Here is a short video presentation about it – check our vimeo account for a new video coming soon showing the TAP in its latest development! See also media release attached and info below.
All you need is a computer with internet access and a web browser with the latest version of Adobe Flash Player. To contribute and collaborate via the Tap, you might also need a webcam and headset depending on your performance/presentation.
* sign up, you will receive an email with a link
* Activate the link, you can create your TAP (please give it a title) and upload on the WHEEL (check also your junk/spam box, maybe email goes there)
For details, please download pdf document about upload requirements & how to use the TAP.
HOW TO UPLOAD
Video tutorial here.
You can upload: Image (JPG, PNG) | Video (MP4) | Animation/Slideshow (SWF) | Audio (MP3) | Document (RTF, PDF, DOC, XLS) : all media about ‘water’ as a topic or metaphor
HOW TO USE THE TAP
* once you signed up and activated the link received by email
* you can create your TAP (please give it a title) and upload on the WHEEL (check also your junk/spam box, maybe email goes there)
* If you want to invite someone on your TAP, add that user in your crew
* user will receive an invitation by email with a link
* link has to be activated
* user will log in
* then click on ‘My Taps’ & on the table, there will be ‘superD’ TAP or another titled TAP you’ve been invited to
* On the right side of the table, you have a link ‘ENTER’. Click on it.
* the TAP will load on your webpage (patience, it might take a few minutes – you might be asked to update your flash player to new version, that doesn’t take much time. Just follow the prompt. But you might need to re-log-in)
* You can go with or without webcam. You will need to go on the top menu and select a tab (webcam, visuals, audio) and within each tab, an icon that you will drag onto the stage below. If you want to type chat, go on the write side at the bottom, there is an entry for public and crew. And in the middle on the right, there is another entry for a crew private chat (not seen by audience).
* if you click on a media (once it is dragged on the white page), you will see a palette of tools – first row from top: keep your mouse down when you select one of the tools, second row: resetting tools, third row: just a click on the tool you need, volume icon: keep your mouse down and go down to diminish the volume.
This project is initiated by Suzon Fuks as part of a Fellowship assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; in collaboration with INKAHOOTS and IGNEOUS, supported by the Queensland Government through Arts Queensland, Brisbane City Council, the Judith Wright Centre for Contemporary Arts, Ausdance Queensland, Youth Arts Queensland & iMAL. Creative Sparks is a joint initiative of Brisbane City Council and the Queensland Government through Arts Queensland. People collaborating so far on the project are from NZ, Australia, Indonesia, India, Serbia, Germany, France, Belgium, the Netherlands, UK, Canada & USA.
facebook | blog | vimeo | flickr | twitter | WATERWHEEL site
LEA New Media Exhibition
Curator: Jeremy Hight
Senior Curators: Lanfranco Aceti and Christiane Paul
This exhibition presents key innovators in Locative Media, New Media and
Mapping in a show that works to display not only fields and works but more
of cross pollinations, progressions, the need to move beyond labels just
like the importance of reconsidering borders on maps, what space is and
what pragmatic tools and previous forms can do.
The selected artists are:
Kate Armstrong, Alan Bigelow, Louisa Bufardeci, Laura Beloff, J.R
Carpenter, Jonah Brucker Cohen, Vuk Cosic, Fallen Fruit, Luka Frelih,
Buckminster Fuller, Rolf Van Gelder, Natalie Jeremijenko, Carmin Kurasic,
Paula Levine, Mez, Lize Mogel, Jason Nelson, Christian Nold, Esther Polak,
Proboscis, Kate Pullinger, Carlo Ratti, Douglas Repetto, Teri Rueb,
Stanza, Jen Southern, Kai Syng Tan, Jeffrey Valance, Sarah Willams, Jeremy
Wood, Tim Wright.
We are in an age of cartographic awareness that is arguably unprecedented,
but is of a malleable map, of layered spaces, of maps in new contexts.
Boundaries are not the only things that are being reconsidered on maps:
mapping systems and our base sense of space. It is how we see and share
information, communicate, react and remember. The sea change is occurring
right now and it is being led by the ideas of works of these radical
thinkers and others who are making the static map and our sense of space
The range of works in this exhibit have not only shown in Biennials in
some cases or started whole fields of work in others, but more
importantly, show in them a connectivity of exploration and practice
between many people and works in differently named fields. Data is not
just cold measure; place is not static; function can be many fold and
startlingly so by intention. Space and location are not simply to be
marked or named. There are histories, tensions, conflicts, stories, many
types of data and ways of measure.
This show will exhibit 2 new important artists/practitioners each week
from several different fields.
We begin with locative pioneer, Teri Rueb, and cross platform provocateur,
Jonah Brucker Cohen. Both look at space, data and why we should be more
aware and inquisitive but in very different styles and aesthetics.
Week 1: Jonah Brucker Cohen, Teri Rueb
Week 2: Carlo Ratti, Sarah Willams
Week 3: Stanza, Lize Mogel
Week 4: Jeremy Wood, Mez
Week 5: Rolf Van Gelder, Carmin Kurasic, Kai Syng Tan
Week 6: Jason Nelson, Vuk Cosic
Week 7: Kate Pullinger, Tim Wright
Week 8: Douglas Repetto, Alan Bigelow
Week 9: Christian Nold, Esther Polak
Week 10: Laura Beloff, J.R Carpenter
Week 11: Proboscis, Kate Armstrong
Week 12: Jen Southern, Buckminster Fuller
Week 13: Jeffrey Valance, Natalie Jeremijenko
Week 14: Fallen Fruit, Louisa Bufardeci
Week 15: Luka Frelih, Paula Levine
Visit our new website & watch the new short film about
Furtherfield by Pete Gomes.
Our brand new media arts website provides new ways for you to visit
and get involved
We believe that through creative and critical engagement with
practices in art and technology people are inspired and enabled to
become active co-creators of their cultures and societies.
Furtherfield – a Short Film by Pete Gomes.
http://www.furtherfield.org/ (front page)
Film and video artist Pete Gomes has created a new film about the
artist-led online community Furtherfield. Featuring interviews with
Furtherfield co-directors Ruth Catlow and Marc Garret as well as
artists, techies, games theorists and users of Furtherfield platforms,
the short film captures a dynamic networking collective working across
technology, social change and art.
“The generation of artists who first encountered the internet
inevitably all came from other disciplines. The desire to explore this
new medium shifted them away from making products and the commercial
art markets towards looking at information and organisation,
influenced by an interest in systems thinking and cybernetic ideas.
This short shows Furtherfield has continued those early approaches and
begins a process of attempting to explain those ideas.” – Pete Gomes
You may also find Furtherfield on Facebook!
December 9 @ 7:00 pm, Theater, Mission Cultural Center, Mission St. SF CA
In conjunction with the annual LaborTech conference, MCCLA will hold a panel discussion on the strategic use of new media in building North-South labor solidarity.
Live and internet streamed panels will feature grassroots mediamakers and labor activists from Venezuela, Brazil, Honduras and Immokalee, Florida. The panel will be livestreamed in the MCCLA theater and over the internet, reaching from the Mission to Maracaibo. Spanish-English translation will be provided.