[-empyre-] Ludion, Taxonomedia and more
claudiakozak at yahoo.com.ar
Sat Sep 18 14:39:09 EST 2010
I totally agree with Vanina concerning the necessity of documentation in
order to have some point of departure -now and in the future- not only for
further exhibition but for the possibility of a critique. I also agree with
the idea that if one has not the means to get involved in a big
documentation project, there are other ways to collect information or to
fill some gaps. When I talked about Ludion as a "weak archive" (maybe a
"soft archive" would be another way of saying it), I was thinking on these
kind of projects which can contribute from other points of view to the
"documenting/conserving/archiving" issue. In Ludion's case, while the main
goal is to produce a space of critical reflection, we also want to
contribute to gather information or to make visible some type of texts -like
art manifestos- which we consider important to understand how different
perspectives on the art/technology scenery have been developing during the
last hundred years. We also intend to make visible the history of this
scenery in our countries.
Concerning Timothy's accurate commentary on how the blog/website has ended
up playing a more crucial role in both Taxonomedia and Ludion practices, I
can say that at least in our case, as we only put Ludion on line last
December, we are in fact beginning to be aware -in a way may be we couldn't
really imagine before- of how the website itself make us to reconsider many
things not only in practical terms but even theoretically.
De: empyre-bounces at lists.cofa.unsw.edu.au
[mailto:empyre-bounces at lists.cofa.unsw.edu.au] En nombre de Vanina Hofman
Enviado el: jueves, 16 de septiembre de 2010 09:17 a.m.
Para: empyre at gamera.cofa.unsw.edu.au
Asunto: [-empyre-] Ludion, Taxonomedia and more
Timothy, Claudia and all,
I will try to be shorter this time!
Documentation plays an essential role in analysing and contextualising
an artwork, enabling a better conservation. In the case of electronic
and digital-based arts, documentation can be considered a particularly
significant process, considering that correct documentation makes
feasible to maintain those artworks alive. Consequently, this allows
their future exhibition, once the artists are not holding the piece
anymore or they are not available to maintain it.
Documentation in this sense is used as the instrument that enables the
preservation, conservation and archiving of a physical object, which
includes the source code of electronic artworks.
However, the documentation has many others potential uses. Undeniably,
it cannot replace the experience of an artwork but it can be the only
way to spread the ideas that carries. Most of us have studied art from
projects that we have never seen. Nevertheless, they constitute the
pillars of our thoughts and knowledge. The interactive character that
most of media arts express could make us think that its situation is
far different. But, it is just a case of artworks that have to be
treated in a way that accounts for their specific characteristics and
For whom is important the artwork itself and for whom its
documentation (a memory, a platform, a departing point for research)?
For Taxonomedia the documentation was always a challenging aspect of
the media arts conservation that one has to confront. We were aware
that the high budgets required in conservation projects were rendering
their implementation feasibility impossible and thus out of our scope.
On the other hand the extensive production of interesting artworks
based on technological means in countries like ours deserve a wider
visibility. Information archiving can fill the gap between artwork
production and the possibilities of artwork exhibition. Moreover,
these online spaces are significant because when considering the non
linear way that technology becomes obsolete it is unlikely that these
artworks can be uncovered in the future. Thus, the multiple archives
conceived with different criteria may provide some kind of
rediscovering of artworks at some moment.
This is closely connected with Claudia?s phrase:
Because in the context of globalization (or "glocalization" if
you prefer), Latin American critique of "techno-poetics-politics" is still
To construct this critique, we need to have access to our productions.
The case of the art is not unique, but it is paradigmatic in this
sense. The blog became important for us as an instrument to deal with
one aspect of the media arts heritage: the information.
My best regards!
empyre at lists.cofa.unsw.edu.au
Se certificó que el correo entrante no contiene virus.
Comprobada por AVG - www.avg.es
Versión: 9.0.851 / Base de datos de virus: 271.1.1/3139 - Fecha de la
versión: 09/16/10 15:34:00
More information about the empyre