[-empyre-] [empyre] hart ware & share ware
Johannes.Birringer at brunel.ac.uk
Tue Feb 18 07:24:35 EST 2014
thanks Roger Malina for pointing out these ventures you are involved in, and i like the way you began you posting:
"It is hard to imagine today how professionals in thirty years will be documenting and performing their work""
What you argue about "new forms of knowledge curation" (radio station, podcasts) does make sense to an extent, yes, and I would like to explore these more, as possible modes of shared and collective curating - this ,
and of course much of the discussion here - and I wish to thank all of you for your postings -- has been very helpful.
And to some extent I also began to wonder myself how rehearsal processes, studio experiments
and workshops, like the seminars or publishing projects Roger mentions, can become a physical/digital/networked hybrid-practice that can sustain itself over time (duration) of a process, i.e. can itself become or at least
contribute to process and inter-action, as you would need interaction in a design or choreographic process (that lasts for weeks or months).
If anyone is interested, there has been an effort, driven by Marlon Barrios Solano (at dance-tech.net) to rally some of us together and develop online (and part site /part networked) prototypes for performance workshops,
which along with seminars and new writings would form our projected "Meta-academy" (quite outside academia, naturally).
A pilot of such a dance workshop took place last summer at the Bates Dance Festival; it was centered on the work of Nancy Stark Smith and her "Underscore." The first pilot was successful and was a very good start; other ones are planned, with other artists and other topoi. I am hoping to do one on inaudibility and necromancy.
You can see materials created for the activity and by the participants during the lab in this dance-tech.net group:
We recently met at the Motion Bank event in Frankfurt, where many practitioners and software programmers & coders got together for the LIVE & ONLINE event (http://motionbank.org/), and we discussed the "Meta-academy" further, and now we need to delve more into the pragmatic sides also of who pays for what and how, or can we do it with minimal budgets, donations, student enrollments, and so on and forth...
the way that professionals document and perform their work has steadily evolved, adapted, innovated over the past centuries. It is hard to imagine today how professionals in thirty years will be documenting and performing their work.
In my own field of physics and astrophysics, the standard from in the nineteenth century was letters and performative lectures to ones colleagues with experiments
here at the university of texas at dallas we are about to start a radio station for professionals to do podcasts about their publications and artistic works- this foregrounds techniques of rhetoric that many are not trained to do
we have an initiative which i call Experimental Publishing and Knowledge Curating- we have initiated a series of ebooks with podcasts at mit press
there are i think separate issues of the form and format of documenting our work as professionals but also new forms of knowledge curation - the citizen science and other movements give us inkling of collective curation activities that go way beyond the concept of peer review- but that somehow the good stuff rises to the top and the less interesting stuff at a given time sinks into peripheral vision- this foregrounds curation as a technology of attention
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