by Eric Kluitenberg, Philip Auslander and Mushon Zer-Aviv
Participants: Philip Auslander (us), Eric Kluitenberg (nl), Mushon Zer Aviv (il)
Moderation: Drew Hemment (uk)
The desire to transcend distance and separation has accompanied the history of media technology for many centuries. One manifestation of this desire to transcend the limitations of living experience is the longing for immediate contact with people and audiences across any distance or divide. Today internet-based techniques of tele-connection, live streams, and various forms of real-time interfaces and networks seem to create a ubiquitous presence, replacing the actual physical co-presence of here and now. At the same time this 'presence in absence' creates an invisible audience that becomes the curcial definer for the success and failures of our mediated social life.
With this interface keynote between CTM (club transmediale) and transmediale festival we want to bridge our two festival topics based on evolved qualities of liveness and presence. The internationally known researchers and collaborative practicioners explore the new social and performative qualities of internet-based realtime media and networks and how they re-define our understanding of presence, encounter and sociability.
Could playful interfaces, allowing audiences to interact across different localities have helped to create this sense of co-presence?
What are the new rules of communication facing an invisible audience?
How can we understand the fundamental shifts in human sociability presented by new mediated publics?
Is the idea of a replacement of physical encounters by mediated encounters an illusion?
Could a new form of public assembly emerge from the new distributed space-time configurations?
Jordan Crandall gives a performative lecture of his essay GATHERINGS 1: EVENT, AGENCY, AND PROGRAM, which is nominated for this year's Vilém Flusser Theory Award.
In recent years, the free culture movement has been very much focused on the development of alternative rights and licensing systems. The development of appropriate economic benchmarks outside traditional business models are only now starting to gain traction: crowdsourcing, micro-funding and shared economy – these are the new watchwords of a society that no longer wants to rely solely on capitalist principles. In this context, however, there are many questions – how to convert ‘free’ cultural services into an economic currency, for example, or how a long-term culture of worth that is based on free access rather than supply and demand can be achieved.
by Dieter Daniels
A Historical Survey of Aesthetic Controversies and Artistic Appropriations of Liveness in Mass Media
The decision of Hans Flesch to transmit recorded vinyl instead of live music on the radio sparked heated discussion among many of his famous contemporaries in 1930’s (including Theodor Adorno). At this time Walter Benjamin focused on the concept of the decay of ‘aura’ and reflected on related issues. In the 1950s, ‘liveness’ was discovered by the mass-media as an artistic material for an aesthetic of ‘Indetermancy’. John Cage used the radio as a ‘live’ musical instrument in his compositions. In the 1960s, both Nam June Paik and Umberto Eco were devoted to the ‘liveness’ of television. “Today media-based live performances or online services (such as Second Life) mix ‘liveness’ with pre-generated and real-time elements. This gives the question ‘What is Live?’ a new relevance.”
by Mushon Zer-Aviv and Galia Offri
While we celebrate the explosion of open source software and collaborative projects like Wikipedia, visual art has not enjoyed similar levels of passionate and generous online contribution. Open culture has developed inspiring text-based collaborative models, but has yet to develop successful models for open collaboration on visual culture. Wikipedia Illustrated seeks to develop such models. Through a book featuring 26 illustrated articles, a blog that follows the production and a set of workshops we hope to develop a methodology for contributing creative-commons licensed illustrations to Wikipedia.
The creative workshop at transmediale.11 will address the questions at the heart of this project. Is the visual aspect of Wikipedia so lacking and dated because it could only use freely licensed images? Or is it that images have to become "historical" to become removed, objective, factual, and therefore applicable to the Wikipedia guidelines? Is the Wikipedia project really inviting visual artists to contribute their work to the commons? Or is visual work inherently less collaborative? As the project evolves it exposes the myths and biases behind these questions and reveals the surprising and complicated dynamics of open culture. The last hour of the session will be an extensive discussion.
1st–6th February 2011