<div dir="ltr"><div class="gmail_extra"><div class="gmail_signature"><div dir="ltr"><div class="gmail_signature"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div><div>It certainly could be a very valid and interesting pretext for exploring documentary that is operational - code enables operationality in many modes e.g. user-based interaction, non-linear, generative, algorithmic (all those terms that you can think of where the media physically or actually varies), so the scope to explore that is potentially quite vast. </div><div><br></div><div>There was quite a lot of buzz a number of years ago about trans-media narratives and I attended a symposium about it within the context of museumography, there are some very interesting examples there with what is effectively documentary/historic made operational in very interesting ways (pulling in ideas from new media, game theory and so forth). It always struck me as a little odd that documentary in film/video form never really explored this to any extent - even after it had been used in mass/popular media to support mainstream film/video.</div><div><br></div><div><br></div><div><br></div><div>On Mon, Apr 16, 2018 at 4:12 PM, Dale Hudson <<a href="mailto:dmh2018@nyu.edu">dmh2018@nyu.edu</a>> wrote:</div><div>----------empyre- soft-skinned space----------------------</div><div>Excellent point, Garrett. </div><div><br></div><div>I’m interested in this shift from analogue to digital when document no longer become as significant as code. I’m wondering whether it help move discussion on documentary away from representation towards operation. </div><div><br></div><div> </div><div>-- </div><div>regards</div><div>Garrett</div><div>_________________</div><div><a href="mailto:Garrett@asquare.org">Garrett@asquare.org</a></div><div><a href="http://www.asquare.org/">http://www.asquare.org/</a></div><div><br></div><div>Current events and soon:</div><div><br></div><div>Real Virtuality The Networked Art of Garrett Lynch:</div><div><a href="http://realvirtuality.peripheralforms.com/">http://realvirtuality.peripheralforms.com/</a></div><div><br></div><div>A network of people who attended an exhibition and contributed to the creation of this work</div><div><a href="http://asquare.org/work/peoplenetwork/">http://asquare.org/work/peoplenetwork/</a></div><div><br></div><div>Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany)</div><div><br></div><div>Best of Luck with the Wall (variant) @ European Media Art Festival, Report - notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018</div><div><a href="https://www.emaf.de/en/index.html">https://www.emaf.de/en/index.html</a></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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