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<span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">Sorry for the slow entry into -empyre-. I want to start by thanking Tim Murray and Renate Ferro for inviting me to participate in this month's dialogue and to also thank everyone who has
been involved in the realization of "The Experimental Television Center: A History, Etc..." There was an incredible energy in the gallery Thursday evening and a multi-generational coming together of artists like nothing I have witnessed before. </span></p>
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<span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">On my first day away for the gallery, I have spent the morning navigating my way through the wonderful and thought provoking conversations that have been unfolding over the past few weeks.
Re-reading some of the early posts by Sherry Miller Hocking and Kathy High and catching up with some of the more recent posts. There are so many things I want to respond to, expand on, and inquire about! I'll start with the machines. </span> </p>
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<span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">Maureen Turim in a post from earlier this week states "The process unfold that artists were not just using tools, but working to engage technologies that had their own creative and deconstructive
potentials. In other word the machines needed to be read..." </span> </p>
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<span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">I find the poetic and conceptual possibilities of the machines and the artist's role in reading them endlessly interesting as it relates both to the early analog machines with their innate
physicality and as well as to less tactical contemporary tools. I think the ETC was at the forefront of this engagement throughout its long tenure, offering up a tremendous challenge and freedom to the artists who worked in residency there. The ETC cultivated
an open space of experimentation--void of the hyper-criticality that can infect institutions of higher learning--providing artists the opportunity to live with the machines, to get to know one another. So many of artists who have contributed to empyre this
month as well as those included in the exhibition have remarked on the unique and powerful experience afforded by eating and sleeping with the machines.</span></p>
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<span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">I think it is accurate to say as a society we now often find ourselves eating and sleeping with our machines, they become extensions of ourselves. The challenge for artists to read the machine
is still as important as ever--to engage with their technologies and to co-opt them away from their destructive potentials.<span style="mso-spacerun:yes">
</span>What can artists learn from the ETC’s approach to this? Beyond the interaction with the machine, what else goes into owning our technology?<span style="mso-spacerun:yes">
</span>I think as Peer Bode brought up it is to “find your communities and take care of each other.” While the ETC continued to build and push the boundaries of tool making, they also fostered a real physical community of people, they stressed doing and making
and a human touch.<span style="mso-spacerun:yes"> </span>All of these impulses can be found today in the rise of maker-spaces; the interest in building micro communities; the renewed interest in the handmade, the analogue, in craft, and so on.</span></p>
<p class="MsoNormal"><span style="font-family:Helvetica;mso-bidi-font-family:
Helvetica">I think Lynne Sachs summed it up in her -empyre- post from last week "We are all Kinoks, grappling with the shot and the edit, building our manifesto, trying to articulate
our own particular understanding of the relationship between our bodies as organisms and the machine."</span><span style="font-family:Helvetica"><o:p></o:p></span></p>
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<div>On Sep 26, 2015, at 12:11 PM, Timothy Conway Murray wrote:</div>
<br class="Apple-interchange-newline">
<blockquote type="cite">
<div>----------empyre- soft-skinned space----------------------Hi, again, everyone,<br>
<br>
Thanks so much to Maureen Turim, Jason Bernagozzi, and Benton Bainbridge<br>
for sharing their thoughts in-between the ETC opening and the Jewish<br>
holidays over the past week.<br>
<br>
We are rounding out September's discussion of "Video: Behind and Beyond"<br>
with contributions from one of the pionneers of the medium, Peer Bode, and<br>
two curators who have been so successful in bringing together different<br>
generations of international artists to exhibit and contemplate the<br>
lasting legacy of video and its digital interfaces, Sarah Watson of the<br>
Hunter College Galleries and Anca Rujoiu of the Centre for Contemporary<br>
Art of Nanyang Technological University in Singapore. I have enjoyed<br>
working closely with Sarah on the Hunter exhibition, and celebrate her<br>
exciting and judicious installation of the show, and I also so admire the<br>
curatorial interventions of Anca with whom I've had the pleasure of<br>
working in Singapore.<br>
<br>
We welcome all three of you to the final days of our discussion and look<br>
forward to hearing your thoughts.<br>
<br>
Peer Bode (US) is Professor of Video Arts at the School of Art and Design<br>
and Co-Founder and Co-Director of the Institute for Electronic Arts (IEA),<br>
NYSCC at Alfred University in Alfred, NY. In 1976 Peer became the ETC<br>
program¹s coordinator and artist in residence. It was during this period<br>
that Peer made an impressive body of seminal early works. These were<br>
exhibited broadly in New York, including exhibits at the Anthology Film<br>
Archives, the Kitchen and the New York Avant Garde Film Festival. In<br>
collaborations with David Jones at ETC, Peer assisted in the construction<br>
of the Jones Frame Buffer, an instrument which has become a signature<br>
processor within Peer's oeuvre. Peer has the distinction of creating some<br>
of the earliest digital prints and digital video artworks. Other<br>
collaborations from this period include video and dance works with<br>
choreographers Bill T. Jones, Arnie Zane and Lois Welk together with Meryl<br>
Blackman and Cara Brownell. As the ETC Program Coordinator, Peer assisted<br>
numerous artists in realizing major works, including Shigeko Kubota,<br>
Walter Wright, Doris Chase, Jud Yalcut, Gary Hill and Richard Kostelanetz.<br>
In 1987 Peer became head of the Video Arts Program at the School of Art<br>
and Design, NYSCC at Alfred University. He has exhibited works in<br>
international festivals and exhibitions, including the European Media Art<br>
Festival (Osnabrück, Germany), Impakt Film and Video Art Festival (the<br>
Netherlands), Viper Festival (Lucern, Switzerland), Image Farm (Hiroshima,<br>
Japan), and across China.<br>
<br>
Anca Rujoiu (SG), is a Romanian curator currently based in Singapore. She<br>
is a curator for exhibitions at NTU Centre for Contemporary Art Singapore<br>
and curator<br>
at FormContent, a curatorial initiative in London. Previously, she<br>
coordinated the public programme of the School of Fine Art at the Royal<br>
College of Art (UK).<br>
With FormContent she explored various curatorial models and challenged the<br>
relationship between artist/curator often overlapping their roles in the<br>
process. Her<br>
recent project with FormContent, It's Moving from I to It unfolded as a<br>
performative script within a nomadic structure testing formats of<br>
production and distribution. She has been a visiting lecturer at various<br>
universities including Goldsmiths College, Central Saint Martins<br>
University and Newcastle and television productions, artists' publications.<br>
<br>
Sarah Watson (US)is the Chief Curator of the Hunter College Art Galleries<br>
and co-organized, designed, and mounted the current ETC exhibition at<br>
Hunter College Art Galliers. Since joining the galleries in 2012, she has<br>
co-organized numerous exhibitions and their accompanying public<br>
programming, including: Robert Barry: All the things I know . . . 1962 to<br>
the present; Robert Motherwell and the New York School at Hunter; Gego and<br>
Gerd Leufert: a dialogue; Héctor Fuenmayor: Citrus 6906; Open Work in<br>
Latin America, New York & Beyond: Conceptualism Reconsidered; William<br>
Anastasi: Sound Works 1963 to 2013; and Conceptual Abstraction.<br>
Watson has served as a juror for Independent Curators International<br>
Curatorial Intensive Program and sits on the Foundation To-Life, Inc.,<br>
Arthur and Carol<br>
Kaufman Goldberg Visiting Curator Committee at Hunter College. Prior to<br>
her arrival at Hunter College, She worked as the assistant curator for an<br>
international private art collection. Watson holds an MA in Art History<br>
from Hunter College and a BFA in Art Photography from Syracuse University.<br>
<br>
<br>
<br>
<br>
We look forward to hearing your thoughts, Peer, Sarah, and Anca.<br>
<br>
<br>
Tim and Renate<br>
<br>
<br>
Timothy Murray<br>
Professor of Comparative Literature and English<br>
Taylor Family Director, Society for the Humanities<br>
<a href="http://www.arts.cornell.edu/sochum/">http://www.arts.cornell.edu/sochum/</a><br>
Curator, Rose Goldsen Archive of New Media Art<br>
http://goldsen.library.cornell.edu<br>
A D White House<br>
Cornell University,<br>
Ithaca, New York 14853<br>
<br>
<br>
<br>
<br>
<br>
<span><default.xml></span><span><default[1].xml></span><span><default[2].xml></span>_______________________________________________<br>
empyre forum<br>
empyre@lists.artdesign.unsw.edu.au<br>
http://empyre.library.cornell.edu</div>
</blockquote>
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