Wednesday, September 17, 2008

Jon Phillips: Electromediascope Friday at Nelson-Atkins Museum in Kansas City

I have the honor of being the featured presenter at one of the longest (if not the longest running) curated experimental media events in the world, Electromediascope, put on by my mentor, Patrick Clancy and his wife Gwen Widmer. I studied with Pat as an undergrad newbie at Kansas City Art Institute in his radical Photo/New Media department which allowed me to break out of walls of my previous involvements in commercial media production, and escape the hell of film/video production I had started on at UT-Austin. Well, not that these things are about schools whatsoever, making art at Kansas City Art Institute helped to form my early ideas. Pat is the original person who nudged me towards getting involved in Open Source and I remember the first time we tried to figure out how to install FreeBSD — I spent way too long on trying to get X windows to work!

We worked on so many other things together like the Cybersite new media research project which was to be part of the Wizard of Oz theme park that never took off and then countless other things like Pat’s Writing Machine project. Pat and Gwen continually show me how good friends and artists live. And, Pat, is really great teacher and really cares for his students own paths in life.

Here is a synopsis of what I will be talking about this friday, Sept. 19 at 7 PM at the Nelson-Atkins museum in Kansas City:

September 19: Visiting artist Jon Phillips will analyze the state of remix culture and mashups and questions whether they are sustainable cultural software that has the potential to run continuously and further expand into the mainstream of contemporary art.

I just found this which is what I originally wrote to explain what I am talking about Friday if it helps make things more vague ;)

“The myth of sole authorship is perpetuated throughout contemporary culture. With the mass popularization of remix culture through You Tube videos, inexpensive media production software, and cheap broadband, anyone can chop audio samples, blend multiple sources of video, globally broadcast mixes, and more easily access and create works collaboratively. But what is so broad about the band, and who or what is in the band? And, if no content in these broad pipes is new, is there some proximity of originality between works to that some may be considered more original than others? How does this play out in the global and art economies? While not rehashing obvious connections to the previous art histories of collage, appropriation and new remix, this program will actively analyze the state of the remix culture and mashups and question whether they are sustainable cultural software that has the potential to run continuously, evolve, and further expand into the mainstream of contemporary art. Videos will be shown from the vast Internet archive collection, You Tube, and other sources from around the world. Also, the implications of copyright law and piracy on the state of art as commodity and a critical look at future sustainable models of intellectual property that are being rapidly constructed around content industries will be explored, including my”

NOTE, it sounds like you must get tickets even though the event is FREE. I bet you can still walk in, but anyway: Reserve your tickets for September 19

Here is another excerpt from another press outlet:

KANSAS CITY.- Electromediascope, the popular experimental film, video and new-media series at The Nelson-Atkins Museum of Art, focuses on the Internet for its fall series Opening Networks. The effects of Internet technologies and usage on artistic expression, art economics and art authorship will be examined. Three programs in September will feature two visiting artists and several film presentations.

Artists Mark Daggett and Jon Phillips will introduce their own work and address other digital media projects. Daggett works with software design and social software. His presentation will show how networks and social software are reshaping attributes of community. Phillips works with the open source code movement and Creative Commons, a nonprofit organization devoted to creating an alternative to existing copyright laws by providing free tools that let authors, scientists, artists and educators easily mark their creative work with the freedoms of use they want it to carry.

Films and works of art streamed from the Internet will be featured on the final program.

Here is some links posted from Nelson-Atkins press:

And, here is a google search for electromediacope if you are curious about this program.

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