Virtual futures originally happened in 1995 and was a forum for pre milleniu fear of cybernetics and domestical digitisation. I like its approach in re-adressing future predictions through revisiting panels and guest speakers. take a look http://virtualfutures.co.uk
Whereas the mid-90s events were about emergence and understanding of the symbiotic relationship between man and machine, this year’s theme, “Digital Natives: Fear of the Flesh?” is about acceptance. Children born today are being born into an increasingly synthetic worlds of virtual interaction, virtual products (MP3s etc.) and virtual transactions. A reality that would be fitting of a William Gibson novel in which ‘consensual hallucination’ has overtaken and where we would happily purchase small representations of physical objects (such as albums) – a concept only aided by a shared social acceptance. The revival aims to help attendees see beyond the abstraction after all, when you are ‘surfing’ the net – lets not forget that you are actually slamming a couple of keys which sends machine code through wires.
GPS tracking powered by InstaMapper.com
REMOTE PERFORMANCE NETWORK //
artists create a live / performance piece that can be video broadcasted.
All broadcasts are streamed into a theatre where there is a live audience. Live audience watch each performance like a ‘scene’ in a film. Live score provides improvised soundtrack to performances that proceed each other. Performances are navigated by a nominated director who instructs editors like a live tv studio set up. Director does not direct performances – they are entirely made by you – but simply chooses which artist to display next.
Think video conference call with artists doing live performances to an audience and a musical score all co – ordinated in a way to give the illusion of live digital cinema.
I’m interested in what a digital live art space looks like and how it could be curated as a live event. I like the idea of decentralized performances being brought together and the attempt of forming a narrative between them as a curatorial act. Im also intrigued by working with an hour of time as materiality as we dip in and out of real time performances.
on the 24th November 2012 I will be 24 years old. To mark this i am creating a durational performance event where i will re-encounter each year of my life, every hour.
Starting at 00:00am I will begin to revisit places i lived and memories from that age in my life.
The performance will end with my current friends at a pub in brixton to see in the 24th year.
The performance will be documented through gps tracking device (instamapper.com)
and an interactive google map will host notes, memories, images, sound and video that i produce throughout the journey.
I will begin making the website where (on 24th november) audiences can follow my journey in real time. The domain will either be (mylifeinaday.co.uk or Howdidigethere?.co.uk )
The problem with the howdidigethere domain is that it looks like im saying how did i get there? not HERE.
With the Catlin show done and dusted I picked up my comments and below are some of my faves.
Great Idea Art and History Combined
interesting what next?
whoever did bananas on a shirt and in a bowl (think this is ment for Gabrielle)
yours were so much better than the others AMAZEBALLS
THIS IS IT
this is mostly out of friendship
post media art. Some think what moving into history of art
loved the colours
a powerful understatement
Max Dovey had more to offer
In my humble opinion the most insightful and stylist piece in the exhibition. It made the present a precious thing for the future.
Adeline de Monseignat Max Dovey
The only piece that makes you really think
Max Dovey loves TV (so do i…)
This world is a much better place with a break from TV.
Really liked the concept especially using vhs
Because i remember the testcards well.
The most conceptual piece of work here
Await the day
A suitable symbol of the passing of an age and the entry into a new one. We stand together facing the future, filled with fear but resolute.
4 the joke
Good idea – needed doing
We don’t know what we have lost.
HUO: The artist Paul Chan says that in art, and in general, we should just stop quoting. Would you agree?
AC: Yes, he’s absolutely right, because my working theory is that we live in a managerial age, which doesn’t want to look to the future. It just wants to manage the present. A lot of art has become a way of looking back at the last sixty years of the modernist project, which we feel has failed. It’s almost like a lost world, and we are cataloging it, quoting it, reconfiguring it, filing it away into sliding drawers as though we were bureaucrats with no idea what any of it means. They’ve got nothing to say about it except that they know it didn’t work. It’s not moving onwards—we’re just like academic archaeologists. It’s terribly, terribly conservative and static, but maybe that’s not a bad thing. Maybe in a reactionary, conservative age, that’s what art finds itself doing. The problem is that it pretends to be experimental and forward-looking. But to be honest, in some ways I’m just as guilty. What I do is not so different—using all sorts of fragments from the past to examine the present. Maybe this is simply the iron cage of our time—we’re like archaeologists going back into the recent past, continually refiguring it, surrounding it with quotations. It’s a terrible, terrible prison, but we don’t know how to break out of it.
Taken from HAns Ulrich Obrist in conversation with Adam Curtais.