There are so many exciting things happening with the Leonardo Electronic
Almanac including the possibility of transferring exhibitions from the
virtual to the real.
For this reason we have developed a collaboration with Kasa Gallery in
Istanbul where some of these shows will take place and where we will have
research symposia and seminars on the current state of contemporary art.
An explanation - LEA has two curators and two senior curators.
The curators are:
Vince Dziekan - Digital Media Curator (with whom we have developed and
worked with to bend the awkward structure of social media to art exhibition
and sharing)
Jeremy Hight - New Media Curator (who has a specific focus on the medium
itself as a mode of production)
The Senior Curators: Lanfranco Aceti and Christiane Paul
Vince Dziekan has already had a run of several exhibitions the last of which
he has curated is 'The Southern Ocean Studies' by Baily, Corby & Mackenzie.
Jeremy Hight has launched his exhibition Re-Drawing Boundaries with a series
of artists:
General exhibition announcement:
http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition/
Teri Rueb:
http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition_interview_with_teri_rueb/
Jonah Brucker-Cohen
http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition1/
To set up the framework in order to think about archival issues, modalities
of preservation of presence online, dissemination as well as keeping in mind
research outputs has been complex and difficult. To set up this show
Re-Drawing boundaries it has taken us several months of work and thanks have
to go to Jeremy Hight and Patrick Tresset who is working at Goldsmiths and
has been implementing all of the technical issues in the back end of the
site itself.
As you can see although there are differences in the methodological
frameworks used by Vince Dziekan and Jeremy Hight, the exhibitions talk to
each other and develop thematic issues that are cross boundaries,
transdisciplinary and question modalities of display and engagement with the
contemporary arts as well as the materiality/immateriality of the medium.
The decision I made in in developing these framework is to provide a
diverse system that is looking at art as a complex set of data and a complex
set of recontextualizations across time, space and cultural identifiers.
LEA will continue this strategy moving as well between the boundaries of
physical spaces and screens - analyzing and discussing both the complexity
of data but also the boundaries of artistic activities that can no longer be
restricted within national borders.
These are shows that we are displaying online with the clear intent of
housing them in physical galleries here in Istanbul and across the world.
I just wanted to take this change to offer a bit of an insight and also to
thank those that for the past 6 months have been working behind the
curtains: Ozden Sahin, LEA Editorial Manager and Curator and Deniz Cem
Onduygu, LEA Art Director.
On Mon, May 2, 2011 at 11:49 AM, roger malina <rmalina@alum.mit.edu> wrote:
> yasminers
>
> thanks jeremy for getting the discussion going
>
> one of the factors that is transforming mapping in general
> is the big data revolution with lage new databases
> of all kinds becoming available via on line sytems
>
> one example of art projects is in the LEA gallery you
> have curated is
>
> 'The Southern Ocean Studıes' by Baıly, Corby & Mackenzıe.
>
> http://www.flickr.com/photos/lea_gallery/
>
> Collage produced from multiple data outputs from Envisat radar
> imagery showing the distribution and extent of sea ice in the Southern
> Ocean
> The first three images are composites derived from Envisat satellite
> data tracking
> ice and ozone...
>
> an artist who has been exploring the transformation of data
> for decades is Thorbjorn Lausten
>
> http://on1.zkm.de/zkm/stories/storyReader$6136
>
> He had a large exhibit at ZKM in 2008:
>
> http://on1.zkm.de/zkm/stories/storyReader$6136
>
> he notes that making art from sensory data and from scientific
> instruments has deep differences:
>
> At the same time, there is a very real difference between whether
> images are based on
> sense data or instrumentally produced data because our sense organs
> function rather
> differently than instruments do, even if one cannot immediately see
> the difference. It is
> really a question of two essentially different modes of functioning
> and it is in this interaction
> – this interface – that one can say we are dealing with what has been
> called instrumental
> cognition, an understanding of which
> will bring a great deal of new knowledge but which, just as with any
> other knowledge, is
> - and becomes -representation.
>
> He cites thje work of Krzystof Pomian on " indirect cognition" and
> "instrumental cognition"
>
> "In the essay Vision and Cognition, Kryzstof Pomian gives a quick
> overview of the philosophical problems connected with perception and
> knowledge and thinks that 'indirect cognition' and 'instrumental
> cognition' are unavoidable concepts in the contemporary context. In
> Picturing Science: Producing Art, ed. Caroline A. Jones & Peter
> Galison (Routledge: New York/London, 1998)."
>
> two issues that then i think are crucial in this discussion of
> re-drawing boundaries are a) the
> recent new access to big data sources on our environnement, and b) the
> development of indirect or
> instrumental cognition over the past couple of centuries
>
> roger
>
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