Immediated Autodocumentary Infographic: How to Participate in the Future of Art

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Distributed Collaborative Storytelling

This infographic shows how our project opens up and implodes the traditional documentary making process into a fluid, iterative cycle. And that’s where you come in.

Rather than building a customized participatory website for this project, we’ve opted to distribute our efforts across the social media that we imagine you are already using. We’re curious to see if anything that you put forward sparks our imagination and demands to be included in the final edit.


– blogged live from the HKW

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Introducing the Future of Art Project, an Immediated Autodocumentary

We’re making an immediated autodocumentary at Transmediale 2011.
Participate by sharing your thoughts and media with us:

Tweet using the #futureofart hashtag. Share your photos from the festival or images you think will be interesting to include in the video in our Flickr group ( Share field recordings or music tracks with us on SoundCloud (​ks12). Answer or ask questions about the future of art on Quora (​future-of-art). Join our Vimeo group and add your contributions for the video (​groups/​futureofart).

The premiere of the Future of Art video will be 6 February 2011 in the Open Zone. We hope to see you there!

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Interview: Zeesy Powers

Skype interview number two! Zeesy Powers is an artist working with digital projection-based performances, painting, confrontational relational experiments, and online question forms, amongst other projects. She took part in the Palomar5 innovation camp and is a member of the team behind the visionary Buy This Satellite project. She gave us her thoughts on the following questions for the Future of Art project:

  • What indicators are there of a digital renaissance?
  • Could the Internet become the ultimate archive for digital art?
  • Why does it say “Zeesy Powers, Experiencing Time” on your website?
  • What new media will artists be using in the future?

How do you feel about these topics? Are you experiencing time as well? We’d love to hear from you!

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Interview: Aaron Koblin

We are very excited to be releasing the first of our Skype interviews! Aaron Koblin took a break from his preparations on a special interface he’s working on for the premiere of Life in a Day at the Sundance Film Festival and gave us some impressions on the following questions:

  • Are there networked aesthetics which can be visually identified?
  • How will moving images change in the next 20–30 years?
  • What do you think about this word “user-generated content”?
  • Do you identify with the current artistic trend to shift away from product towards process?
  • What indicators are there of a digital renaissance?

Have you got something to contribute? What’s your take on Aaron’s perspective? We’re looking forward to your feedback!

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Eating Our Own Dog Food

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Eating your own dog food is when a company uses the products that it makes. Given our recent reflections on the success of the Future of Money project, we realize we need a fundraising goal for the Future of Art project too. We hope by declaring a concrete goal we’ll give a focus to our fundraising process by helping each supporter determine the relative value of their donation.

In light of our desire to pay a percentage of our fundraising forward to another artist in the form of a Micro-Grant, we’d are setting a goal of €3000. We are encouraged and delighted to have received Micro-Grant applications already, and as artists ourselves, we feel that €300 (10%) is a reasonable minimum amount to award to another artist as micro-patronage of their creative practice.

For some artists in Berlin, that amount will cover rent for a month. For other artists it will cover the cost of supplies for half a year, or the cost of upgrading creative software to the latest version. We hope to leave a legacy behind this project for another artist that makes a difference, and we’re excited to involve you in the process of choosing the final recipient in February! Artists: remember the application deadline for the Micro-Grant is 6 February.

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Future of Art Videoblog: Episode 2

Reflections on the interview process. Intentions for this year’s festival. Meeting the other Open Zone participants.

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Confirmed Interviewee: Caleb Larsen

Caleb Larsen

Caleb Larsen was born in 1979 in a small cabin without a toilet in a remote northern region of Michigan, USA. He has swam in the Arctic Ocean, played Wiffle Ball with Paul Auster, hitch-hiked through the Yukon, assembled bowling pins, worked as an email marketer, made over ten thousand cups of coffee, built vintage racing mopeds, and lived on the Caribbean. Larsen received his MFA from the Rhode Island School of Design in 2009. In 2002 he attended the Yale Norfolk summer residency program and in 2003 received his BFA in Painting from Western Michigan University. In 2010 Larsen mounted a solo show, EVERYTHING ALL THE TIME RIGHT NOW, at Lawrimore Project in Seattle, participated in the 6th Electrohype biennial in Sweden and in Suspending Disbelief in Brighton, England. In 2008-2009 he exhibited in Patch Dynamics at Lawrimore Project in Seattle, mounted a solo show at Philadelphia’s Esther M Klein gallery, exhibited in Recoded in Aberdeen Scotland, and received the Award of Excellence from the Rhode Island School of Design. In addition Larsen appeared on NPR’s On the Media, in The New York Times Magazine, the Harper’s Index, and Wired Magazine. Larsen’s work has also been exhibited at Aqua Art fair in Miami, Ars Combinatoria in Orlando, the Los Angeles Center for Digital Art, Detroit International Video Festival, Flux Factory in New York, 911 Media Arts Center in Seattle, and Tjaden Gallery at Cornell University. The artist currently lives and works in Michigan, USA.

Artist’s Statement

The world is a ridiculous place. I am interested in the moments where things don’t quite line up. My practice is idea based. The core focus of my work is to raise questions, revel in the inconsistencies, and interrogate the obvious through a series of gestures. With a magpie-like tendency, I collect images and ideas from science, technology, and life around me. In the studio these are synthesized into diverse forms ranging from installations to prints, drawings, sculpture, and computer programs. I favor idiosyncratic and asynchronous forms of communication in my work, and I embrace the tangent as a way to explore interconnections between ideas. My practice is protean, and my methodology is discursive. My current work strives to offer impish, optimistic,and absurd strategies for making art and living in these uncertain times.

A Tool to Deceive and Slaughter (2009)

Donor Plaque (2009)

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Confirmed Interviewee: Michelle Thorne

Michelle Thorne

Michelle Thorne (@thornet) is the International Project Manager for Creative Commons. She organized the Free Culture Research Conference, and co-chaired Mozilla’s Drumbeat Festival on Learning, Freedom, and the Web, to forge the future of education. She co-founded the Awesome Foundation Berlin, a lightweight association to fund small projects. As a believer in making and doing things, she helped “chaordinate” the DMY Maker Lab and other DIY projects in Berlin and around the world.

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Confirmed Interviewee: Mez Breeze

Mez Breeze

Mez Breeze writes unique “mezangelle” code poetry that has been equated with the work of Shakespeare, James Joyce, Emily Dickinson, and Larry Wall. She has exhibited extensively since the early 90’s (e.g. Wollongong World Women Online 1995, ISEA Chicago + ARS Electronica 1997, The Metropolitan Museum Tokyo 1999, SIGGRAPH 1999 & 2000, _Under_Score_ @The Brooklyn Academy of Music 2001, p0es1s Berlin 2004, Dissention Convention @Postmaster Gallery New York 2004, Arte Nuevo InteractivA Mexico 2005, Radical Software Italy 2006, New Media Scotland 2008, the Laguna Art Museum California 2009 and Arnolfini Gallery Bristol 2010). Her awards include the 2001 JavaMuseum Artist Of The Year, the 2002 Newcastle New Media Prize, and winner of the 2006 Site Specific Index Page Competition. Mez is also a Synthetic Ecology Strategist and Game Theorist who practices _Poetic Game Interventions_ (the creative manipulation of MMO parameters in order to disrupt or comment on various aspects of augmented states). She is the executive editor of the blog _Augmentology 1[L]0[L]1_, a working manual discussing the formation and evolution of synthetic environments. She is a Vilém Flusser Theory Award 2011 nominee at this year’s Transmediale for her work on Social Tesseracting.

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If You Love Something, Set it Free: Future of Art Videoblog: Episode 1

Update: We’ve decided to make our videoblog public. Limiting access was keeping us from expressing ourselves and it just didn’t feel right.

Introducing Clare Molloy, our resident adjective specialist. In this episode we discuss the motivations for the topic of this project, the multiple roles we’ll be playing as we go along, as well as the interplay of analog and digital processes in the creation of artworks.

Quora questions discussed in this episode:

How is an art gallery like a record label?

How is the word curator being used or abused to describe the aggregation of content in social networks?

What do you think about these issues?

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