[-empyre-] freshly utopian moments: shedding [+/or] revisiting

JWL + all
yes, these 3 txts + their developers have [been/are] [in/trans]formative to criticalartware:

>MR = Martha Rosler, Video: Shedding the Utopian Moment
RBF = R. Buckminster Fuller with Jerome Agel and Quentin Fiore, I Seem To Be A Verb
>MM = Marshall McLuhan & Quentin Fiore, The Medium is the Message

in reply to your invocation of Martha Rosler's Video: Shedding the Utopian Moment, here are sum related excerpts/quotes from Video Journey Through Utopia by Paul Ryan.

"The founder of the Raindance video collective, artist Frank Gillette, distinguishes between the Fluxus current in video history and the utopian current."


"One "sociological" way of describing this "victory" of the European Fluxus current over the indigenous American utopian current is to say that the institutionalization of video as art came at a price. The anonymous collectives (once the Videofreex collective refused to given out any name to an interviewer, except the name of the house cat) gave way to "name" artists. To become validated as "art" the collective desire to radically change society with video, triggered by the Civil Rights Movement and the Vietnam War, had to mutate into celebrity status for selected individuals willing and able to structure their ego's in compliance with the star system for solo artists."


"...this presentation reports on my own effort to start a video utopian community between 1971 and 1976, after having participated in the Raindance video collective from 1969 to 1971. Through this report, I want to suggest that the utopian current in video history can be reinterpreted as a fecund virtuality"


"The idea was to configure an intentional community of thirty-six videomakers. Each videomaker was to be part of three different triads. The first triad was to care for its members, the second to take care of the business of supporting a community, and the third to produce video interpretations of ecological systems. My intuition was that if self-correcting teams of three people could be stabilized, a leaderless, thriving community could be stabilized. Of course, my own attempt to start a leaderless community involved a personal contradiction that I became keenly aware of over the next few years."

in this txt, Paul Ryan describes the formation of the group described above, Earthscore, + the way in which Earthscore functioned (through support from NYSCA [New York State Council on the Arts] + as a nonhierarchical platform). Ryan describes the eventual dormancy of the Earthscore Foundation + the way in which this could be [positioned/understood] as a failure of a utopian project. Ryan continues, repositioning this potential failure as a success in that Earthscore was then translated into an application, an instruction set + a system by which other [works/projects] could be realized.

as Ryan concludes the txt, he states:

"I submit that these iterations demonstrate that Earthscore as a notational system can cultivate differences that make differences. I think that the notational system itself is a kind of virtual code for organizing differences that can help actualize a rich and healthy pluralism of differences in society. I consider this notational system more valuable than any videotapes I've produced. I doubt, however, if the notational system itself could have been generated without a video journey through utopia."

Video Journey Through Utopia - Paul Ryan
as hosted [in/on] Davidson Gigliotti's The Early Video Project

this text wonderfully [articulates/repositions] a [chronological/code-based] transition [+/or] transformation [+/or] transcode from Video Art to artware.

criticalartware hopes to function as an [application/platform] for personalized writings + hystorical documents of this kind in order to facilitate developing discourses + as Paul Ryan suggests, revisit + converse with early moments + those that formed them.
---> criticalartware coreDeveloper

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