straup + museums-and-the-network   164

Glitch in the Afterlife - Boing Boing
"That measure of freedom is important to us because when you come down to it, as a species, culture is all we’ve got. The more of it we make, the better. The freer the materials the easier it is for people to make new things. Glitch was not a significant cultural milestone in its own right, but we hope that it has an outsize impact in its ability to foster the creation of more art and the expression of more creativity."
aa:post=objects  aa:ima=link  aa:year=2014  glitch  archive  play  museums-and-the-network  ohyeahthat  butterfield 
december 2013 by straup
The overexposed museum by Eric Gibson - The New Criterion
Old men yelling at the sky are a kind of selfie. So fucking stupid. Bookmarking for future mockery...
museums  museums-and-the-network  ohyeahthat  selfies  photography  stfu 
december 2013 by straup
'Oh, you wanted us to preserve that?!' Statements of Preservation Intent for the National Library of Australia's Digital Collections #fc9fa5ea454eba41a27f054d2df2ecff
That's not quite the same as saying 'we don't know what we are doing'. We are looking for practical approaches that appear most likely to work, while recognising we are unlikely to foresee and forestall every problem. We are experienced experimenters familiar with operating speculatively.
motive  designfiction  archive  museums-and-the-network  ohyeahthat  highlights  from:instapaper  dt:year=2013  dt:month=12  dt:day=04  url:194d935322bdb945a936d9826ce5c529 
december 2013 by straup
How to Be an Alien - #5c472941254c3a26e9a59ae58bc1c8b5
If Nagel calls for an “objective phenomenology” that avoids the anthropomorphizing and mediating tendencies of figurative language, the alien phenomenology Bogost describes deliriously embraces it. “In a literal sense,” says Bogost, “the only way to perform alien phenomenology is by analogy.” Likeness and other forms of representing the inner lives of things via degrees of distortion or mis-representation are the best chance we have of understanding or being able to communicate something about those inner lives. As Coetzee’s Elizabeth Costello puts it, “If I can think my way into the existence of a being who has never existed, then I can think my way into the existence of a bat or a chimpanzee or an oyster.” There’s something about fiction, about analogy, about metaphor, that allows for a kind of thinking that might not otherwise be available.
museums-and-the-network  ohyeahthat  bogost  highlights  from:instapaper  dt:year=2013  dt:month=11  dt:day=20  url:2ebd630fbba8766656aa704022bc37c4 
november 2013 by straup
Art Criticism in the Age of Yelp #5dd9aa094207924c951a27e977bab231
"For me, writing criticism is not about producing critical discourse. It's more about thinking through what is wrong with the art world as it is," explains writer Brian Droitcour, who is currently working through some of these problems by writing reviews on Yelp, the website that hosts user-generated reviews of storefront businesses. Unlike other sites that prominently feature reviews, Yelp does not sell objects or facilitate services—it simply organizes and facilitates the creation of user-generated content. For nearly two years, Droitcour has been writing reviews of art galleries and museums on Yelp. Not that this qualifier is necessary, but Droitcour has written for several art magazines, and in the past wrote reviews for Artforum.com, as well as articles for Rhizome. His embrace of Yelp started as a kind of joke: "I was talking to someone at an opening about the Ai Weiwei show at Mary Boone Gallery, and we were trying to figure out if it was still open. When I Googled it, one of the top results was a Yelp review and I was like, 'Oh my god, I really want to review galleries on Yelp.'" Part of the attraction was the ability to adopt a more direct style of critical writing. (Case in point: "There are dozens of places in Chelsea to see decent art in favorable installation conditions. Don't waste your time here." [From a review of Family Business, April 2013.]) Droitcour says the more he wrote on Yelp, the more these reviews morphed into a process of questioning the role of the critic and the nature of criticism, and a way to get outside of the process of value-creation that most writing about art participates in. "As an art writer, when you write a review at times you feel like it's just giving the gallery something to publicize, another page in the binder, another line on the CV for the artist. I was just super frustrated with reviews," Droitcour explains. Yelp reviews, generally speaking, are not included in such binders.
yelp  museums-and-the-network  ohyeahthat  artisyourfriend  highlights  from:instapaper  dt:year=2013  dt:month=11  dt:day=13  url:0fbf9c5d08528a0fe21559078c142aaa 
november 2013 by straup
Open Objects: Impressions from Mona #656fa905772a168a2056fac3269f505a
Intellectual concerns emerged in some of the interpretation, but there wasn't an overall narrative, and I didn't miss that one little bit. Mona probably showed me that I love stories at an individual level but can feel a bit lectured-at by whole-gallery narratives.
highlights  from:instapaper  dt:year=2013  dt:month=10  dt:day=29  url:960086847b21b49cbaf9898135186d30  artisyourfriend  museums  mona  mia  museums-and-the-network  ohyeahthat 
october 2013 by straup
The Tony Blair 'selfie' Photo Op will have a place in history | Art and design | The Guardian
"Such is the reputation of the former prime minister and winner of three general elections that it somehow needs saying that he did not actually pose for a selfie in front of a blazing oilfield in Iraq."
aa:post=objects  aa:ima=link  aa:year=2014  iraq  selfie  artisyourfriend  blair  museums-and-the-network  ohyeahthat 
october 2013 by straup
Designing for Archives, FOWD 2013 – Allen Tan is…writing
Now, I think we’ve been riding on this white horse of simplicity for a while now and we tend to bias automatic = good! and user input = too much effort = bad! But, remember Flickr? Flickr was the master of getting users to explicitly provide information. It was one of the sites that made the concept of tags famous, but they gave users many other tools to organize their photos. They gave users sets – sets are you think of as a regular photo album, they hold a group of photos. They gave users collections—collections group sets and other collections together. They gave users galleries—and the only rule with galleries is that you can only have 18 photos in a gallery, and the photos have to be from other users, they couldn’t be your own photos. Because the idea was for you to go curate and distill Flickr, this great mass of photos, into something that shows a specific perspective or framing.

Did users use these? They did! They didn’t mind the effort, they created them and shared them around and commented on them. These tools acted as handles for people’s photos. Flickr let you share any of those units publicly or privately. This was so flexible and powerful. So I could keep my photo stream completely private, and just for myself, and then I could create a set of photos of museums and the High Line that I took while visiting New York and I could share that set with my art class, and then I could create a collection that contained the High Line photos and maybe add some photos of the Cooper archive and share that to my design friends. It encouraged users to revisit their existing body of work over and over again, to think about it, and derive new meaning from it by letting them manipulate it.
archive  flickr  museums-and-the-network  ohyeahthat  handles  tealtan 
october 2013 by straup
russell davies: activities not audiences
"""
It's doubly unfortunate because that mindset is often conflated with 'doing digital'. Digital/social/web was often integrated into large organisations as a subset of comms - so it comes loaded with that marketing approach. This was understandable when it seemed like the web was just another media channel for your business, now, when it's obvious that the web should be the entire platform for your business, it's less forgivable.

...

An 'audience' is an organisational convenience from a broadcast age. It's a reasonable way of segmenting the world so you can buy media but as a way of actually talking to people it doesn't work. Most good advertising gets round it the same way good art does - by using the specific to illuminate the general, but most advertising isn't good. So you end up with crude panderings like appealing to women by making all men seem like feckless idiots. Or by saying everyone born in a particular decade has a particular way of looking at the world.
"""
russelldavies  gds  museums-and-the-network  ohyeahthat 
october 2013 by straup
If This Toaster Could Talk - Alexis Lloyd - The Atlantic
"While the previous examples and frameworks have all dealt with actual objects, there is a growing practice of designing and writing about speculative objects as mechanisms for peering into the near future. In the emerging field of design fiction, these notional objects are created in order to embody stories about the the social, cultural and ethical implications of emerging technologies. These objects are like fragments of a hologram: They contain the residue of a whole world frozen from one perspective. They don’t (quite) exist yet, rather they are artifacts extracted from potential futures that allow us to think through the emergent behaviors and unexpected repercussions of our current trajectories."
iot  roboteyes  museums-and-the-network  must  week4  designfiction 
september 2013 by straup
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