the art of the internet
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Slides from a workshop session with RCA Curatorial Studies Students on the uses and abuses of online technologies in arts and culturesTRANSCRIPT
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
CORE TEAM
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
Simona Maschi, IT Vinay Venkatraman, IN Alie Rose, UK David Gauthier, CA
Eilidh Dickson, UK Elena Gianni, IT Nina Christoffersen, DK
Kirsti Andersen, DK Marcin Ignac, PL Mike Akopyan, RU/USA Priya Mani, IN
Ishac Bertran, SP Jamie Allen, CA
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
Marcin Ignac, PL
Jamie Allen, CA
To design beautiful experiences, which are people-centred and business-focused.
To be a place for new thinking in design, creativity, technology, and prototyping.
To create value through education, research, and consultancy capacities.
OUR VISION
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
LOCATION & FACILITIES
The CIID space hosts our integrated structure of Education, Consultancy and Research.
Spread across multiple floors are student studios, lecture spaces, consulting offices and facilities such as a workshop, photo studio and electronics Lab.
A cafe-like ground floor of the building is used for OPEN lectures, exhibitions and other public facing events.
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY
Internet “Culture”?
“The new literacies of the Internet... influence all areas of our personal and professional lives.”
Theorizing Digital Cultural Heritage, 2007
Dynamic Social
Realtime Collaborative
Self-AwareCreative
Internet “Culture”?
Owen McBride Platt, 2011
Dynamic
Web 2.0 buzzwords: Dynamic Web, Rich Internet, Ajax
Social
Web 2.0 buzzwords: Folksonomy, Social software/networking
Realtime audio/video
allʻstaticʼpages
ʻfeedsʼ
Web 2.0 buzzwords: microblogging, citizen journalism
RealtimeI had Twhirl, my Twitter client of choice, on my desktop, and immediately typed, “Did anyone else in Beijing just feel that earthquake?” The client refreshed “tweets” from others, and there were at least half a dozen comments before mine about the quake. Amazingly, I saw that there were people from Shanghai who’d felt it too.
My first instinct after that was to look at the U.S. Geological Survey website to see whether it had been reported yet. Clicking on “Outside of the U.S.” I saw a big red square on a map of Asia in what I could see was Sichuan Province, and it hadn’t been written up yet...
Collaborative
Web 2.0 buzzwords: microblogging, citizen journalism
Collaborative
Self-Aware
Web 2.0 buzzwords: cewebrity, flogs
Busted. Nailed. Snagged. As many of you have figured out (maybe our speech was a little too funky fresh???), Peter isn't a real hip-hop maven and this site was actually developed by Sony. Guess we were trying to be just a little too clever. From this point forward, we will just stick to making cool products, and use this site to give you nothing but the facts on the PSP.
- Sony Computer Entertainment America
Creative
buzzwords: netart, surf-clubs
Mapping the landscape
• Content What is being discussed/shared/shown/explored?
• Interaction How does the user engage? What do they do?
• Network How do users link to one another?
• Social benefit How much value does one user get from the participation of other users?
• Collective action How much do people work together?
Nina Simon, Museum 2.0
Fruitful online encounters often combine:
“a successful fusion of a plausible promise, an effective tool and an acceptable bargain with the users.”
Clay Shirky, Here Comes Everybody
Case Studies
Indianapolis Museum of Art
Teens Programme Walker Art Centre
Case Studies
PowerhouseMuseumSydney
Folksonomy Classification/
Taxonomy
Case Studies
World Beach project, V&A with artist Sue Lawty
Case Studies
Case StudiesMy life as an object
Case StudiesHistory Tag
Case StudiesWikipedian in residence @ British Museum
Case StudiesDecoding Art tourManchester Art Gallery
Case StudiesGhostbustourNY, 2007
Case StudiesVirtual Public Art Project
Rachel Ehrgood, Neon Diamonds Down Drift
Case StudiesUS Holocaust Memorial MuseumPreventing Genocidelearn more and take action
whitney artport
Case Studies
Case Studies
[...] participation environments must be designed and managed as dynamic systems, not as fixed structures
A. Russo, Museums and the Web 2009
Online Technologies
A few applications and what they do
FacebookInformational Newsfeed / Text basedGroups / Profiles (fans / friends)Transaction basedPublic / PrivateProjects a singular voiceAmbient awareness
What kind of relationshipsare formed?
FlickrImage sharingPrivacy LevelsCopyright OptionsWeb ServicesInterest GroupsCommentsTags
What kind of relationshipsare formed?
YouTube/VimeoVideo ContentUser contributedRating systemsCategory/Channel/GroupRecommendationsCopyright?
What kind of relationshipsare formed?
Purposeful (encyclopedia project)Collaborative authorshipExtremely publicEditing hierarchyArchive of changesAccountability?
What kind of relationshipsare formed?
Soundcloud
Purposeful (encyclopedia project)Collaborative authorshipExtremely publicEditing hierarchyArchive of changesAccountability?
What kind of relationshipsare formed?
Wikipedia
Google Maps/EarthGeolocationMultimedia linksPrivate/PublicAestheticsWhat can be mapped?
What kind of relationshipsare formed?
NINGSocial Network generatorSubject-based dialogueWalled gardenInterest Groups
What kind of relationshipsare formed?
MyspaceMusic & arts basisYouth-centeredFriend numbers “Thanks for the add”Everything at once
What kind of relationshipsare formed?
twitterInstant MessagingMicro-bloggingSpontaneous / On the goNon-committal FrequentSnapshot (Community)Multi-viewpointNo privacy - All or nothing
What kind of relationshipsare formed?
Why go online?Promise / Tool / Bargain
OpennessPermeabilityDialogue
Not only open standards and content but...organizational transparency?financial transparency? open attitude?
accepting external ideas? accepting external resources?Can trust relationships develop between the public and institution/organization? Trust -> Loyalty?
Sustained relationships between organizations and the publicValuable feedback and experience metricsBuy-in and support from an expanded community
TrustSustainability InformationHelp
BackgroundIdentitiesNet ArtCrowds
Networked “Space”DIY / Learning
Arts & CulturalPhenomena Online
networks of art
but what does the MEDIUM
of the network
DO to us?
how has the creation and reception of
creative workschanged?
what has the Internet done to “art”?
good? bad?
where is the work?
when is the work?
what is the context of the work?
what is the context of reception?
what new voice does the art/artist have?
what are the appropriate
kinds of media to put online?
formats
what “formats”for experience
does the internet support?ignore?
STATSuk arts and cultural activities online
http://www.artscouncil.org.uk/media/uploads/doc/Digital_audiences_final.pdf
http://www.artscouncil.org.uk/media/uploads/doc/Digital_audiences_final.pdf
http://www.artscouncil.org.uk/media/uploads/doc/Digital_audiences_final.pdf
http://www.artscouncil.org.uk/media/uploads/doc/Digital_audiences_final.pdf
http://www.artscouncil.org.uk/media/uploads/doc/Digital_audiences_final.pdf
IDENTITIESpersonal / artistic / institutional
meonline
“real”world me
born:windsor,ontario
etc.
1956
performedartifacts
“on the presentation of self in everyday life”
1956erving goffman
dramaturgical perspective
symbolic interactionism
“self” is a sense of who one is, a dramatic effect emerging from the immediate scene
being presented
people act toward things based on the meaning those things have for them; and these meanings are derived from social
interaction and modified through interpretation.
identityconvergence
“virtual reality”vs. ambient technology
“virtual reality”vs. ambient technology
what areaspects of
your “virtual”identity
what areaspects ofyour “real”
identity
is therea difference?
which of these is the “real” you!?
should you care?
As any millennial can attest, the idea that there is an in-person
‘real’ version of you that comprises your full identity and an online
personage that bears no impact on your ‘real’ self, isn’t an accurate description of contemporary life.
http://www.artfagcity.com/2010/09/09/img-mgmt-what-relational-aesthetics-can-learn-from-4chan/
rhetorical hype? more of the same?
identity 2.0... identity 3.0...
ART 2.0?new net practices / new net medias
NET ARTnew net practices / new net medias
what aboutart that exists
BECAUSE OF / ONLYonline?
worksthat exist online to reformulate
other media/art
OnKawara
1 Year Performance
TEHCHING HSIEH
1 Year Video Performance
MTAA
SyntheticPerformances
TheGates
christo and jc
TheSomervilleGates
works that are -intrinsically-
about or referencing online culture?
internet folklorereflexions of online culture
killing lena
TheDumpster
Golan Levin
works that use the network to deliver
content / media
device specificity
problems with managing delivery platforms!
FROM HERE ON OUT
works that employ interaction
aesthetics (real-time)
vaiavanti.com
Rafael Rosendal
from the dark past
Rafael Rosendal
works that require or initiate
physicalaction-at-a-distance
(network as coordination)
Kings CrossPhone In
heath bunting
FlashMobs
friendsasfonts.com
Thru-You
Kutiman
FriendsterSuicide
Friendster Suicide
worksthat use the “materiality”
of the Internet
constant dull art
net acoustics
bernhard garnicnig& jamie allen
works commenting on or re-appropriating
other web forms
trina mould
Dot2Dot Porn
worksthat are...
uh...not works?
conserving &collecting
CROWDScrowd sourcing / wisdom of the crowd
user generated content
99Designs and GeniusRocket - Crowd Creativity
CrowdEngineering - Distributed Knowledge
Innocentive -Open Innovation
Lionbridge, 10EQS & Amazon Mechanical Turk - Cloud Labor
RocketHub - Crowdfunding
SmartSheet, CrowdControl, Spigit and Brightidea - (Crowdsourcing) Tools
DIY / Learningpara-academic and institutional practices
http://theartoftheinternet.tumblr.com/
CREATIVE STRATEGIES FOR PEOPLE AND TECHNOLOGY