This Video Does Not Exist (2013) vvvr; video 01m:28s, colour, no sound.
When a link to an uploaded video on YouTube is unable to find its destination it shows this message on a static noise background. In fact creating a substitution for the video. Is it some sort of a hybrid created by the human programmer and all the systems at work, or is it a ‘real’ video placed automatically if the link doesn’t work? Who knows? Because of the static background and the text “This video does not exist.” I assume it is a video. Where would the static otherwise come from? I mean there is no TV involved. If you have any answers let me know!
I do like the ambivalence of the word ‘this’. ‘This’ is supposed to refer to the video you were expecting to find, but it does not exist. Who says it does not exist anyway? It clearly did exist, but not anymore? Or it does exist, but not in the YouTube universe. But this one does, because that one doesn’t. …This is not a pipe either. So in the end, I made it a video.
Scan, read, reformat and disperse. Peter Purgathofer: “This is an art project reflecting the relation of book scanning, copyright, and digital rights management. This is not intended to be understood as an instruction or invitation, but rather as a provocative thought experiment.” Maybe not intended but it invites me to do more than think about it. As someone says in the comments on the vid why not do this digitally? I would add why not do this digitally as well as in a DIY homemade way with all the visual tactile stuff that comes with it to draw you in? Why not move ahead and reclaim the stuff that is ‘locked’ by one multinational or the other? This is a perfect symbiotic strategy to insert your DIY apparatus between the kindle screen/private eye and all other screens/our eyes.
DIY kindle scanner from peter purgathofer on Vimeo.
Joe Walsh from Own-it writes:
Copyright protects original literary works such as databases (that is a collection of independent works, data or other materials which are arranged in a systematic or methodical way). In theory, playlists may fall within the definition of a database and thus qualify for copyright protection so long as they are original. A database “is original if, and only if, by reason of the selection or arrangement of the contents of the database the database constitutes the author’s own intellectual creation”.
However, Recital 19 of the Database Directive appears to rule out the possibility of playlists qualifying for copyright protection. It states that:
‘…as a rule, the compilation of several recordings of musical performances on a CD does not come within the scope of this Directive, both because, as a compilation, it does not meet the conditions for copyright protection and because it does not represent a substantial enough investment to be eligible under the [database] right’.
The use of the phrase ‘as a rule’ means that in general a compilation of music tracks will not qualify. That doesn’t mean to say that the selection and arrangement of a playlist will never be considered original enough to qualify for copyright protection, just that a very great creative contribution from the author is necessary. Potentially this would rule out an assemblance of all the number one hits in a given year, for example, from being protected as there will not be that many to choose from. But in contrast, this may leave the door open for a compilation of tracks based on a specific genre to be protected assuming that the author has exerted a sufficient level of creativity in choosing the tracks. Source: Ministry of Sound Sues Spotify – Own-it.
The Institute of Network Cultures launched a new research project Toolkit Digital Publishing with the aim to “realise a platform with tools and methods that are based on open source- standards and tools, with which publishers in art- and the cultural sector can publish e-publications that are suitable for several (mobile) devices”
The Out Of Ink website shows also other projects in progress. An interesting tool is the “People’s e-book” (who came up with this god awful name? I want to throw up) which claims to allow experimentation. I’ll have a go.
Digital Publishing Toolkit @ INC
Michael Schwab Editor of JAR journal for artistic research asks this important question.
While initially the Research Catalogue, the software framework that supports JAR, was simply meant to host uploaded media files and to allow for the designing and publication of practice as research, it has – by demand of those communities – quickly turned into what is known as ‘social media’ [...]
One may be inclined to say that we have put social media to good use were there not a line of reasoning that links social media with a ‘further erosion of art’s distinctiveness’ (Griffin 2012: 144) and thus with an argument also used in relation to art as research, which by some is accused of doing the same. So it is time to address the stance we take in relation to (such) technologies. To do so, I will focus on Tim Griffin’s recent article ‘Notes on an art domain’ (2012), which reports from the ‘Bloomberg Philanthropies Arts Advancement Initiative’ conference held in 2011 in New York and discusses e-flux’s recent bid for the .art domain.
A no brainer really. Specially if the BBC is hell bound on playing politics with their so-called independence. Now it is the wicked BBC who loves her so much that they decided to play the song I’m In Love With Margaret Thatcher for the full length. What am I saying. This dinosaur of an institution is going the same way as the witch? This is giving witches a bad reputation. Lets just sideline that what stands in the way and do it ourselves.
Web 2.0 Suicide Machine – Meet your Real Neighbours again! – Sign out forever!.
In the past artists like Baldessari would burn all their art to start a new page. Now it seems a service like this one can assist me to stop my online habit of dispersing my stuff at nauseum. That is one thing I discovered: disperse your art and you inevitably become dispersed in public yourself.
So, burn not only the art but the artist as well. Now I can stop being a public person, and regain my privacy again… If I would like to do that sort of thing…
Wednesday I am going to the conference ‘New Art of Making Books’. See website http://www.book-lab.org/programme.html Should be good after my book making stint. The book has not changed that much, but the way it is made and used has. The e-book on the other hand has changed substantially. It only became popular after the ipad introduced the page swipe, which copies the behaviour of paper and our use of the book.
(See also the Transmediale)
So what is a book in today’s culture and how have the Web and digital technologies transformed and expanded the book? The becoming digital of the book is not as straightforward as a linear change, but a complex intertwining of technological, aesthetic and cultural habits and tendencies. The book does not just become digital, but the digital becomes book-like with the growth of such platforms that remediate the book such as Kindle, and yet, the book is on some levels disappearing as a physical object.
The title of this event references Ulises Carrión’s provocative series of aphorisms on his definition of a book from the 70’s. But how have new technologies shaped a very different perspective for the book since this time? How have these changes crafted an alternative reading experience? This conference will explore the current transformation of the artist book and examine the connections that exist between the physical and the digital.
The main thematic areas covered are the printed and electronic books. Themes and research questions would include: the convergence of traditional craft skills with digital technologies in the making of books; how has the book transformed across space and time; how have artists used new forms of communication to create a different reading experience; and how do we archive and collect in the digital world? Disciplines discussed within this include: typography, printing processes, electronic publishing, text-image relationships, illustration and narrative, motion graphics, sequence and performance, design and navigation for screen, e-book interface design and visual ergonomics. Buy Tickets now!
VVVR is at the Winchester Gallery on Tuesday from 10:00 till 17:00.
The plan is to record a life reading, a performance if you like…
Just so you know, You’re invited.
More info and images will appear on my website www.symbiotext.net
Reading at the Winchester Gallery.
TITLE(date) at the Winchester Gallery
Photograph and design: 2013 Jane Birkin
The Winchester Gallery: Exhibition of practice-based research by Postgraduate Research students at Winchester School of Art. Jane Birkin, Rima Chahrour, Jason Kass, Pancheva-Kirkova, Walter van Rijn. 13-20 February 2013
I am delighted to invite you to the not so private view on Wednesday 13 February (after the conference) at 5 pm.
For more information and downloads about the 2013 Postgraduate Research Conference (13th February) and exhibition go to: 2013 Postgrad Conference.
via Art | Walter van Rÿn |symbiotext.net.