Dear All,
I would like to introduce in the discussion the work of
French artist David Guez.
http://www.guez.org/oeuvres/
(there is an English version, click on the relevant flag on
the top right of the page)
He is a new media artist and works with computer. But he has
also developped this whole body of works as precisely
storage, preservation, etc. of new media art and more
largely of our digital society. In other words, his work,
his creation is about preservation.
For instance the "Humanpedia" which is splitting the
encyclopedic knowledge among people's memory, each of us,
each of the participant responsible for memorizing and
passing along one chapter or page of knowledge.
Or the BINARY STELE ALUMINIUM – STONE – MOSAIC
binary steles are backups of digital documents on various
sustainable materials such as stone, aluminum or in the form
of mosaic murals. Several achievements have been produced.
and much more. Have a look at his website. One important
thing for him is that all those projects are not just
poetic, but that they function, they work.
Annick
Le 07/07/14 02:29, roger malina a écrit :
> From Rick
>
> From: Richard Rinehart <rjr023@bucknell.edu>
> Date: July 6, 2014 7:34:19 PM EDT
> To: YASMIN DISCUSSIONS <yasmin_discussions@estia.media.uoa.gr>
> Subject: Re: [Yasmin_discussions] ART, NEW MEDIA, AND SOCIAL MEMORY
>
>
> Annick, Everyone,
>
> I could not agree more; that's why Jon and I (in the book,
> 'Re-Collection: Art, New Media, & Social Memory' just to dot all my
> i's :) wanted to frame new media art preservation in the larger
> context of social memory. That way we can bring in a host of
> approaches and potential solutions that are part of the practice of
> social memory, but that don't necessarily come up in narrower
> discussions around new media art preservation.
>
> Simple human memory (as you mention, Annick) and crowdsourcing memory
> are definitely functions of social memory, but ones that rarely come
> up in discussions around how to keep our new art alive. In a chapter
> on 'Social Memory' I propose that there are two broad types of social
> memory; the formal/canonical memory stewarded by institutions and the
> individual/informal 'folk' memory stewarded by smaller groups of
> individuals who are (oddly) either more site-based (local communities
> and bioregional knowledge) or more distributed (see online fans.) Jon
> talks about crowdsourcing in the chapter 'Unreliable Archivists' (as
> Roger cites) and I talk about integrating memories of different scales
> (individual memories such as your memory of Moorman) with
> institutional memories (via, of all things; metadata, in a chapter on
> 'Metadata and the historic record.')
>
> Formal and informal social memory have functioned alongside each other
> since societies began to organize into civilizations, and I (and Jon)
> propose that those connections could be refreshed and made to work in
> new ways generally in our digital era, and more specifically toward
> the goal of preserving new and non-traditional media art.
>
>
> Richard Rinehart
> Director
> ------------------------
> Samek Art Gallery
> Downtown Art Gallery
> Museum Collection & Study Room
> ------------------------
> Bucknell University
> Lewisburg, PA, 17837
> (570) 577-3213
> http://galleries.blogs.bucknell.edu
>
>
>
>
> On Jul 1, 2014, at 5:53 AM, Annick2 wrote:
>
> Dear Friends,
>
> Douglas Kahn just posted an announcement for this coming book about
> Charlotte Moorman.
> Totally in line with our discussion.
> It seems it takes about 20 years (a generation?) before history is being built.
> I had the priviledge to witness a performance she did with Paik at
> CAVS during Art Transition in 1990. My memory of it is absolutely
> vivid, or should I say, the memory of the emotion she and Paik
> triggered, provoked in me that day.
> Re-collection, social memory: we do not necessarily need objects, or
> even "documents", building legend and passing it along is part of the
> preservation too. And it is creating another work, or re-processing
> the original work, as it is to create a story that will make its way
> through the years, that is both a good literature work + a good story
> teller quality. It may need other qualities than being a good scholar
> with good scientific methodology ;-)
> I am really looking forward to that book.
>
> Best
> Annick
>
>
> Topless Cellist
> The Improbable Life of Charlotte Moorman
> By Joan Rothfuss
> Foreword by Yoko Ono
> http://mitpress.mit.edu/books/topless-cellist
>
> Overview
>
> The Juilliard-trained cellist Charlotte Moorman sat nude behind a
> cello of carved ice, performed while dangling from helium-filled
> balloons, and deployed an array of instruments on The Mike Douglas
> Show that included her cello, a whistle, a cap gun, a gong, and a
> belch. She did a striptease while playing Bach in Nam June Paik's
> Sonata for Adults Only. In the 1960s, Moorman (1933–1991) became
> famous for her madcap (and often unclothed) performance antics; less
> famous but more significant is Moorman's transformative influence on
> contemporary performance practice--and her dedication to the idea that
> avant-garde art should reach the widest possible audience. In Topless
> Cellist, the first book to explore Moorman's life and work, Joan
> Rothfuss rediscovers, and recovers, the legacy of an extraordinary
> American artist.
>
> Moorman's arrest in 1967 for performing topless made her a
> water-cooler conversation-starter, but before her tabloid fame she was
> a star of the avant-garde performance circuit, with a repertoire of
> pieces by, among others, Yoko Ono, Joseph Beuys, John Cage, and Paik,
> her main artistic partner. Moorman invented a new mode of performance
> that combined classical rigor, jazz improvisation, and avant-garde
> experiment—informed by intuition, daring, and love of spectacle.
> Moorman's annual festival of the avant-garde offered the public a
> lively sampler of contemporary art in performance, music, dance,
> poetry, film, and other media.
>
> Rothfuss chronicles Moorman's life from her youth in Little Rock,
> Arkansas (where she was "Miss City Beautiful" of 1952) through her
> career in New York's avant-garde to her death from breast cancer in
> 1991. (Typically, she approached her treatment as if it were a
> performance.) Deeply researched and profusely illustrated, Topless
> Cellist offers a fascinating, sometimes heartbreaking, often hilarious
> story of an artist whose importance was more than the sum of her
> performances.
>
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