In April, I gave a talk at Tate Britain as part of an Arts Council sponsored symposium on British New Media, and it is now online. Cliff Notes version:
"British" is not a particularly interesting category for thinking about new media.
New media is a contested category worth, in my opinion, contesting
More contestation in general is needed, particularly between as well as within communities.
The first question afterwards was from Adam Hyde questioning whether I really thought there was a lack of debate in, say, Europe, as opposed to Britain or the U.S. Yes, ok, I could have phrased my point a bit more clearly. It's not there there aren't good discussion; there are - which I say - but somehow all the great internal debates do not seem to be crossing over - and out- - so to speak. Is that important?
Originally scheduled for the morning, Prof. Zielinski's keynote was delayed because the digital overhead projector would not work, which itself was the occasion for an impromptu applause-generating stand-up routine about "mono media"--when the requirements of fitting into a digital network underperform the crude but effective multimeda of the AV era.
In fact, Zielinski's talk was very much back to the future, presenting remarkable visual evidence that much of "new media" has been conceptualized and even implemented since the earliest days of the Age of Enlightenment. From telematic haptics to 17th century "radio" to generative music Zielinski gave an impassioned account of his love affair with history in thinking about the future. He closed with a call for a "generous, global laboratory"--a network of resources not driven by the market and dedicated to support of artistic and scientific collaboration. Sign me up.
[Video of Zielinski's talk "Deep Time of the Media" as given at De Balie here. Pictures from his Beijing lecture below.]
I am writing from the Seoul airport, en route from Beijing, and while not wanting to be melodramatic, I can't help but wonder wheter I am heading toward greater or less tolerance at "home."
Updates:
I'm sure you've heard about the subpoena and indictment of CAE members and collaborators Steve Kurtz, Steve Barnes, Beatriz da Costa and Paul Vanouse, apparently under the "authorization" of the Patriot Act.
"According to the subpoenas, the FBI is seeking charges under Section
175 of the US Biological Weapons Anti-Terrorism Act of 1989, which has
been expanded by the USA PATRIOT Act. As expanded, this law prohibits
the possession of "any biological agent, toxin, or delivery system"
without the justification of "prophylactic, protective, bona fide
research, or other peaceful purpose." (See
http://www4.law.cornell.edu/uscode/18/175.html for the 1989 law and
http://www.ehrs.upenn.edu/protocols/patriot/sec817.html for its USA
PATRIOT Act expansion.)" [CAE Legal Defense Fund, June 2, 2004]
I am personally in awe of Critical Art Ensemble's groundbreaking work over the years, and have included it in open_source_art_hack, as well as separate work by Beatriz and Paul. Regardless of what you think personally of CAE's work, however, this is not an issue of whether tactical media is your cup of tea. CAE's work is certainly for a peaceful purpose. CAE has been a pioneering catalyst for tactical media and critical thinking about media, recognized for their work throughout the world. Steve Kurtz has been a mainstay of the collective as well as an inspiration to many thousands of students and practitioners directly and indirectly. This subpoena is a dangerous over-reaching by an Administration who sees only enemies if one does not profess allegiance, and who would rather stamp out what it does not know or understand than defend the right for such efforts. The subpoena also undermines the fundamental notion that art can be a valid form of research in its own right - something that many of you have been arguing in your institutions for years. Don't let John Ashcroft trump these legitimate efforts with fear mongering and blacklisting.
I urge you to find out more about the case and make up your minds about whether it is worth it to join me and others in the support of CAE, either financially or by writing a letter of support on institutional letterhead - always a difficult thing to swing when it doesn't involve fundraising - and passing along the word to your own set of contacts.
Thanks.
steve
--
Steve Dietz
Director, ISEA2006 Symposium | ZeroOne San Jose International Festival
Curatorial Fellow Walter Phillips Gallery, The Banff Centre
stevedietz [at] yproductions.com http://www.yproductions.com/WebWalkAbout/
One of the highlights of the recent