[-empyre-] living traces of past practices

[Barbara Lattanzi <threads@wildernesspuppets.net>]

> Date: Sat, 01 May 2004 20:01:33 -0700
> From: Christina McPhee <christina112@earthlink.net>
>
>
>  How is the live memory trace of early experimental video practice
> important?  Might  the cybernetic 'play' of "liken" a feedback revival of
> seventies visions of art as a transforming social practice?

Hello all.

I was wondering if the criticalartware team could address the idea of 
experimental archives.  While visiting the fluid landscape of Liken, some 
associations came to mind that suggested the fantastical rather than the 
encyclopedic (or the encyclopedic as fantastical).  For example, Gulliver's 
giant body and the Lilliputan architecture necessary to contain him or Don 
Quixote attacking those giant windmills.  Could the Liken project be read 
in terms of its fabulous (fable-like) aspiration?  In other words, to what 
extent is Liken a performance (i.e., creating an archivable present) and to 
what extent is it a mapped archive of the past?

FYI, for the majority of those who will not be familiar with my work, I am 
a media artist involved in creation of experimental software for 
interactive video that, in a couple of instances, explicitly references 
specific cinematic works of the 1970s.  My most recent work-in-progress 
involves collaborative annotation of online streaming video (The 
Interrupting Annotator), and the problematics of my project raises similar 
questions for me as those I am posing for the criticalartware team.

Barbara

------------------------------------------
Barbara Lattanzi
www.wildernesspuppets.net
www.wildernesspuppets.net/annotator/