Contd electronic magazine, Nr. 1-2 (1997) [German, English, French]

Electronic magazine edited by luxus cont. (Micz Flor and Martin Conrads).

Sound System / System Sound
Issue 2, September 1997
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Sections:
Themenpark with contributions by Ulrich Gutmair, Stupid Octave Cat, Martin Conrads, Paolo Bianchi, Diedrich Diederichsen, Drew Hemment, Tim Read, Raul Minsburg.
Panoramabus with contributions by Ralf Boent, Carl-Johan Vallgren om Arnolt Bronnen, Benjamin Beck.
LuxusLiner with contributions by Martin Conrads, Josephine Berry.

Contemporary Cartographies
Issue 1, February 1997
Within Hybrid Workspace event at Documenta X, Kassel.
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Sections:
Themenpark with contributions by Josephine Berry, Christophe Charles, Martin Conrads, Renée Green, Christophe Gougeon, Raphaële Jeune, jodi.org, Frédéric de Lachèze, Yannick Liron, Geert Lovink, Christophe Marchand-Kiss, Jean-Charles Masséra, Sam Rose, Pit Schultz, McKenzie Wark, Ruth Watson.
Panoramabus with contributions by Ulrich Gutmair, Kathrin Röggla.
LuxusLiner with contributions by Josephine Berry, Ulrich Gutmair, Martin Conrads.

Magazine

Joasia Krysa (ed.): Curating Immateriality: The Work of the Curator in the Age of Network Systems (2006)

“The site of curatorial production has been expanded to include the space of the Internet and the focus of curatorial attention has been extended from the object to processes to dynamic network systems. As a result, curatorial work has become more widely distributed between multiple agents, including technological networks and software. This upgraded ‘operating system’ of art presents new possibilities of online curating that is collective and distributed — even to the extreme of a self-organising system that curates itself. The curator is part of this entire system but not central to it.

The subtitle of the book makes reference to the essay ‘The Work of Culture in the Age of Cybernetic Systems’ (1988), in which Bill Nichols considered how cybernetics transformed cultural production. He emphasised the shift from mechanical reproduction (symbolised by the camera) to that of cybernetic systems (symbolised by the computer) in relation to the political economy, and pointed to contradictory tendencies inherent in these systems: ‘the negative, currently dominant, tendency toward control, and the positive, more latent potential toward collectivity’. The book continues this general line of inquiry in relation to curating, and extends it by considering how power relations and control are expressed in the context of network systems and immateriality.

In relation to network systems, the emphasis remains on the democratic potential of technological change but also the emergence of what appears as more intensive forms of control. Can the same be said of curating in the context of distributed forms? If so, what does this imply for software curating beyond the rhetoric of free software and open systems?”

Contributors: 0100101110101101.ORG & [epidemiC] | Josephine Berry Slater | Geoff Cox | Alexander R. Galloway & Eugene Thacker | Olga Goriunova & Alexei Shulgin | Beryl Graham | Eva Grubinger | Piotr Krajewski | Jacob Lillemose | low-fi | Franziska Nori | Matteo Pasquinelli | Christiane Paul | Trebor Scholz | Grzesiek Sedek | Tiziana Terranova | Marina Vishmidt

Publisher Autonomedia/I-DAT, 2006
Creative Commons License
DATA browser series, 3
ISBN 1570271739
288 pages

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Depocas, Ippolito, Jones (eds.): Permanence Through Change: The Variable Media Approach (2003) [English/French]

“Since its founding, the Daniel Langlois Foundation for Art, Science, and Technology has considered the preservation of electronic and digital artworks a pressing matter. But it took some years before we received any project demonstrating a truly innovative approach to this issue.

When the Solomon R. Guggenheim Museum submitted the Variable Media Network project based on the paradigm proposed by Jon Ippolito, the museum’s Associate Curator of Media Arts, we recognized the project’s potential as a model for approaching the issue of preserving nontraditional media artworks. The project was particularly valuable because it enabled research that was greatly needed in the field of art preservation.

To the Guggenheim’s original proposal, we added a component: an actual emulation test case to preserve a digital work. We felt that while there have been many theories and discussions on preserving digital and dynamic artworks, there was a need for practical, emulation experiments from which much knowledge could be gained.

We are proud to be forging this research partnership with the Guggenheim Museum and to be enriching and helping disseminate our knowledge. This publication, accompanied by a Web site and an online database, is integral to our goal of sharing information and directly involving the communities and institutions concerned with preservation.” (Jean Gagnon, Preface)

Permanence Through Change: The Variable Media Approach / L’approche des médias variables : la permanence par le changement
Edited by Alain Depocas, Jon Ippolito, and Caitlin Jones
Preface by Jean Gagnon
Published by the Solomon R. Guggenheim Museum, in New York, and the Daniel Langlois Foundation, in Montreal, 2003
ISBN: 0-9684693-2-9
138 pages

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