New media art, participation, social engagement and public funding

This article investigates the current condition of new media art in Britain, examining how cuts to arts funding have affected the art form's infrastructure and capacity for survival and growth. It considers media art in relation to other contemporary art practices, particularly in relation to its inherent capacity for enhanced and sustained user participation, and asks why it is that, though government agendas favour participatory art as ‘socially useful', media art appears to have been hit harder than other art forms. The article puts forward four reasons that could explain this paradox, and argues the importance of the survival of new media art, not as isolated practices invited to exist within mainstream contexts, but as a distinct art form

Exploring a curatorial turn in journalism

Curation has moved from the ‘rarefied’ atmosphere of museums and exhibitions into journalism where new discourses and practices are proliferating. The changes have attracted academic attention such that journalism is now facing its own curatorial turn akin to what Paul O’Neill identified in museum studies. This article draws on a meta-analysis of journal articles in the field to argue that the prevalent instrumentalist definitions of curation are necessary but not sufficient to capture what the shifts in discourse and practices mean for journalism. In order to derive a more nuanced conceptualization of curation that includes the instrumental and metaphorical, the article draws on literature beyond the field of journalism studies to trace the changing meanings of the term from curation from antiquity to the digital age. The conditions are propitious for the movement of new practices into newsrooms but where it fits in relation to existing professions is intellectually unclear because of a lack of conceptual clarity as to how curation overlaps and differs from other roles. The article offers a preliminary attempt to address this

Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance

Curatorial cultures : considering dynamic curatorial practice

The practice of curating is live and temporal. It has shifted dramatically from its anonymous backstage origin within dusty museums to a role at the forefront of modern art, and is responsible for conjuring both a synergy and a dynamic that operates across a multitude of levels. Curation is a rapidly growing practice and discourse that is fundamentally shifting the ways in which we view and receive art. Much of this shift has been influenced by the works being curated, and with a growing body of works being process-led as opposed to object-based; the practice of curation has had to evolve accordingly. This evolution also encompasses the use of alternative exhibition spaces, a movement away from white-walled galleries, and the historic agendas these imply. The increased integration of media-related artworks into mainstream art agendas has contributed to this development of the curatorial role, as it has for collectors, gallerists and archivists. Although it can be argued that performative and interactive works have been curated using traditional methods for a long time now, it is really media-practices that are demanding an alternative perspective. This paper will look at how responsive methods and approaches are called for when curating media-artworks, and how they shift the curatorial role to that of an active practitioner. It will consider curation as praxis; positioning it at a point between what is known and what will be revealed. It will refer to actual exhibition strategies employed by the author, and look to further discuss how dynamic curatorial approaches can be integrated into mainstream curatorial roles, and how these can subsequently evolve thinking on the presentation and display of contemporary art.</p

Framework for the implementation of urban big screens in the public space

In the last decade, big urban screens have appeared in town squares and on building facades across the UK. The use of these screens brings new potentials and challenges for city regulators, artists, architects, urban designers, producers, broadcasters and advertisers. Dynamic moving images form new architectural material, affecting our perception and the experience of the space around us. A new form of urban space is emerging that is fundamentally different from what we have known, and it seems that we are ill-equipped to deal with and analyse it. We are just beginning to understand the opportunities for public information, art and community engagement. Most of screens at present serve mainly commercial purposes, they do not broadcast information aimed at sharing community content nor do they support public social interactions. We need to see more negotiation between commercial, public and cultural interests. The SCREAM project addresses these new challenges by looking at the physical urban spaces and the potential spaces created by the new technologies

Understanding the Impact of the New Aesthetics and New Media Works on Future Curatorial Resource Responsibilities for Research Collections

The author examines the emerging impact of the works of the “New Aesthetic,” along with other works that have their genesis in the rapid technological changes of the last fifty-plus years. Consideration is given to the history of digital audio/visual works that will eventually be held by repositories of cultural heritage and how this history has, or has not, been documented. These creations have developed out of an environment of networked, shared, re-usable and re-purposed data. The article briefly examines how these works are utilized while looking at the future impact of the growing creation and use of complex, compound multimedia digital re- search and cultural collections as evidenced by augmented and virtual reality environments such as smartphone apps and Second Life.Ye

Curating E-Mails; A life-cycle approach to the management and preservation of e-mail messages

E-mail forms the backbone of communications in many modern institutions and organisations and is a valuable type of organisational, cultural, and historical record. Successful management and preservation of valuable e-mail messages and collections is therefore vital if organisational accountability is to be achieved and historical or cultural memory retained for the future. This requires attention by all stakeholders across the entire life-cycle of the e-mail records. This instalment of the Digital Curation Manual reports on the several issues involved in managing and curating e-mail messages for both current and future use. Although there is no 'one-size-fits-all' solution, this instalment outlines a generic framework for e-mail curation and preservation, provides a summary of current approaches, and addresses the technical, organisational and cultural challenges to successful e-mail management and longer-term curation.