YouTube Playlists for (www) Digital Music Video

Finding more and more stuff on YouTube so can show the intention of the talk at Phoenix Exeter on Feb 13th.

Previously a version of the whole content though for copyright reasons the earlier work will not be shown. Actually updated since but this post has a bitly link - bit.ly/dmv-play so please stick with this.



Also an updated selection similar to "A New Canvas" see previous post for list from Animated Exeter showing.



Previous blog post now a playlist. Ruairi Fullan at TechAdventures in Bristol with the video versions of what was shown. Ruairi will also be at the Imaginary Lounge during Animated Exeter.



I am also finding other video on YouTube by Steve Jolliffe and Paul Gillard, showing a direction for music video. (Some of Paul Gillard's earlier work has no sound, but I think it is better suited to music)

Lillian Schwartz - A BEAUTIFIUL VIRUS INSIDE THE MACHINE:

Films shown in 2002 also curated by Greg Kurcewitz , source Lumen

http://www.lumen.org.uk/evo/evolution2002/programme/day1.html

Films:
NEWTONIAN I, 1978, 4 mins, 16mm, colour
NEWTONIAN II, 1978, 5 mins 30 secs, 16mm, colour
MUTATIONS, 1974, 7 mins 30 secs, 16mm, colour
PIXILLATION, 1970, 4 mins, 16mm, colour
GOOGLEPLEX, 1972, 5 mins 30 secs, 16mm, colour & b/w
RITUEL, 1979, 30 mins, 16mm, colour
UFO’S, 1971, 3 mins, 16mm, colour
METAMORPHOSIS, 1974, 8 mins 15 secs, 16mm, colour & b/w
PICTURES FROM A GALLERY, 1976, 7 mins, 16mm, colour
THE ARTIST AND THE COMPUTER, 1976, 10 mins, 16mm, colour
L’OISEAU, 1977, 4 mins, 16mm, colour
ALAE, 1975, 5 mins, 16mm, colour
APOTHEOSIS, 1973, 4 mins 30 secs, 16mm, colour
PAPILLIONS, 1974, 4 mins, 16mm, colour
INNOCENCE, 1973, 2 mins 30 secs, 16mm, colour
ENIGMA, 1972, 4 mins 20 secs, 16mm, colour & b/w

New Canvas - what was shown previously

Copied from previous webpage that I can no longer find online.

I think this was 2005

Programme

1.Poemfield # 2 Stan Vanderbeek and Kenneth Knowlton 1966 USA 6 min

A text based computer film produced with Kenneth Knowlton at Bell laboratories

Born in 1927—died in 1984.VanDerBeek studied art and architecture first at Cooper Union College in New York and then at Black Mountain College in North Carolina, where he met architect Buckminster Fuller, composer John Cage, and choreographer Merce Cunningham. VanDerBeek began his career in the 1950s making independent art film while learning animation techniques and working painting scenary and set designs for the American TV show, "Winky Dink and You." . His desire for the utopian led him to work with Ken Knowlton in a co-operation at the Bell Telephone Company laboratories, where dozens of computer animated films and holographic experiments were created by the end of the 1960's. At the same time, He taught at many universities, researching new methods of representation, from the steam projections at the Guggenheim Museum to the interactive television transmissions of his "Violence Sonata2 broadcast on several channels in 1970.



2.Cibernetik 5.3 John Stehura 1965-69 USA 16mm Colour 8 min

A personal , self - propelled and mainly self funded project, Cibernetik 5.3 was a personal mission for John Stehura..

"John"s [Stehura's] spectacular film Cibernetik 5.3 combines computer graphics with organic live-action photography to create a new reality, a Third World Reality, that is both haunting and extraordinarily beautiful. Cybernetik makes use of realist imagery for its nonobjective qualities and thus impinges directly upon the emotions more successfully than any computer film discussed in this book. However, John considers the film only an "incidental test" in an ongoing experiment with computer graphics that has occupied most of his time for the last nine years. John is interested in addressing the computer directly through graphic images rather than using mathematics to achieve graphic images and thus becoming enmeshed in a "number game." Cybernetik is unique also in that it was constructed from semi-random image-generation techniques. Whereas most of the computer films discussed so far are characterized by mathematical precision, Cybernetik exudes a strong feeling for the uncontrolled, the uncontrollable, the unconceivable."

- Gene Youngblood, Expanded Cinema, 1969

3.Hummingbird Charles Csuri 1967 USA B/W 10 min

"We completed a ten minute computer animated film entitled Hummingbird. The subject was a line drawing of a hummingbird for which a sequence of movements appropriate to the bird were outlined. Over 30,000 images comprising some 25 motion sequences were generated by the computer. For these, selected sequences were used for the film. A micro-film plotter recorded the images directly to film. To facilitate control over the motion of some sequences, the programs were written to read all the controlling parameters from cards, one card for each frame. Curve fit or other date generating programs were used to punch the parameter decks. We also built a windowing option into our plot subroutine. "

- Charles Csuri


Courtesy of The Huntington and Csuri Archives
College of the Arts The Ohio State University



4. The Flexipede Tony Pritchett 1968 UK 2 min

Courtesy of Tony Pritchett and Cache AHRB at Birkbeck

Tony Pritchett, (born England 1938) known for Flexipede, one of the first examples of digital film created in 1967. It took several months to make during 1966 and 1967, using the London University Atlas computer (a supercomputer in those days, with 128K of online memory), programmed in Fortran on punched cards with a 2-hour turn-around time, and output on the first microfilmrecorder in the UK. The microfilm recorder was only capable of drawing black lines on to a square area of the film frame,which accounts for its rather restricted graphic style. Flexipede was shown publicly for the first time at the Cybernetic Serendipity exhibition at the Institute of Contemporary Arts in London in 1968.



5.Permutations John Whitney 1966 USA 8 min

Music by Balachandra. In this film, Whitney developed the musical concept of consonance/dissonance (extension, tension) with a visual art by means of the computer.

Whitney points out that the effects created by the graphic figures are similar with some of the effects of tension produced by the music. :

"In PERMUTATIONS, each point moves at a different speed and moves in a direction independent according to natural laws' quite as valid as those of Pythagoras, while moving in their circular field. Their action produces a phenomenon more or less equivalent to the musical harmonies. When the points reach certain relationships (harmonic) numerical to other parameters of the equation, they form elementary figures."- John Whitney

Permutations features beautiful computer generated visuals made from strips of film as part of an IBM research program on computer graphics. Whitney's images were made by selecting numerical variables that determine particular graphic patterns. Whitney described Permutations as "the first step toward developing a compositional language by which the art of graphics in motion might be structured in time."



6.Olympiad Lillian Schwartz 1971 USA 2:35 min
Music: Max Mathews
Courtesy of Lillian Schwartz and Lumen

A study in motion based on Muybridge's photographs of man running. "Figures of computer stylized athletes are seen in brilliant hues chasing each other across the screen. Images are then reversed and run across the screen in the other direction”

link to A beautiful virus inside the machine

7.Two Space Larry Cuba 1979 USA 8 min

Two dimensional patterns, like the tile patterns of Islamic temples, are generated by performing a set of symmetry operations (translations, rotations, and reflections) upon a basic figure or tile. Two Space consists of twelve such patterns produced using each of nine different animating figures (12 x 9 = 108 total). Rendered in stark black and white, the patterns produce optical illusions of figure-ground reversal and afterimages of color. Gamelan music from the classical tradition of Java adds to the mesmerizing effect.

Curated by Greg Kurcewicz for Animated Exeter

Harvard Party Links to Whitney,Bute,Fischinger

Looking around for links to my WonderfulWorldof Digital Music Video

Found a site for a demoparty near Harvard coming up next June. There is a section

Related material

A Silent KeyJason Scott describes interviewing an oldskool ham who had an archive of telegraph art.
Oskar Fischinger (Wikipedia)
Mary Ellen Bute (Wikipedia)
John Whitney (Wikipedia)
"Analog Demo Scene: Get Real" (a humorous short film)


Please feel free to suggest additional resources

So Whitney and others could be seen as part of the demoscene. Sounds ok to me but there areother wordsthat are used. More later.

Route

Route
Originally uploaded by hannis_jo

test

Digital Music Video - Youtube version

In Feb 2010 I will introduce a selection of video at the Phoenix as part of Animated Exeter. This will start with early computer animation, then the demoscene, then music video. There is only space for fifteen seats and the time allowed is now two hours, about twice what I expected. So there should be plenty of scope for discussion.

The event is free and there is no budget so probably there will not be actual video from the early days. Some free download extracts are available online and permission will be asked for. Alternatively there will probably also be discussion of the computer techniques used by John Whitney and comparison with techniques known on the demoscene.

Meanwhile there is much content on YouTube so an idea of the intention comes across from this playlist-



about ten minutes short of an hour at the moment so suggestions are welcome. Also any new stuff from the demoscene or music video. Not sure how much will be shown in Feb but weblinks always possible.

The description being used is "digital music video" as being very general. Also not sure about the rights on other terms such as "visual music", "expanded cinema", "new canvas", others. Need to find a way to describe "early computer animation". demoscene is clear enough. "music video" crops up on YouTube. Generally the early content is not well known as far as I can tell compared with the demoscene. Based on people I meet. So issues around how stuff is distributed will be part of the discussion.

There may be time to look at games. But music video seems to me to be the most interesting direction.

Water Art becoming more abstract

The Artists in Devon site continues to get much interest from bloggers and the income from Google ads is encouraging more work. not at the level of the first interest from Indian blogs but still in the same area as selling a watercolour a month. So something to consider as a model for artists. Previously this blog and other efforts have attempted to promote things but it turns out this site has worked by some sort of chance. The format needs to be intended for online before it can reach much of a scale.

Joanne Poore has used the same approach on her own site with seashells that seem more abstract than the earlier examples. Meanwhile Paul Gillard has added some that are definitely abstract to the Artists in Devon site.

there is something about making a splash in water that appeals. Moving the mouse around is enough. I also recently saw a video of the game flOw that has some of the same appeal. I have not tried the actual game but it seems to involve an avatar in water where the scene changes depending on the moves. I found a trailer on YouTube.



Hope to find out more about this later.

OK YouTube

There will be a chance to develop links to the demoscene during animated Exeter next February. Last year I started to use "visual music" as well as "new canvas" to describe the early computer animation shown previously. This year I am using the term "digital music video" to describe this and some of the demoscene and those music videos that relate. this is partly because I use Youtube to find examples and most of the people represented in "A new Canvas" now have at least one extract available online. On YouTube "music video" seems to crop up often as a description so "digital music video" is a way to distinguish what interests me. Eventually i would like to do a screening of roughly equal parts of early computer animation, demoscene and music video. Unfortunately the costs of distributing the early work make this difficult. some stills will be used to show what is available. So the Youtube version of the event will make a significant contribution.

This seems appropriate for computer generated content. Distribution through film happened at a time before broadband. The demoscene is intended to be shown as runtime from an original computer. Classic equipment is not always available so emulation is accepted at some parties. I think DVD is ok for a wider audience. My interest is mostly as a viewer.

I think YouTube could be used more for promotion of video. At Spacex till 26th November there is an exhibition by Shaun Gladwell consisting mostly of video. After the curator's tour I asked Tania Doropoulos about policy around putting video online. As I understand it Shaun gladwell intends his video to be seen as controlled in a gallery but accepts that others can make video of each installation and make it available online. There are several clips already on YouTube for example.



From the Spacex exhibition I would like there to be a detail showing the motorcycle in water. This might be compared with the Water Art from Paul Gillard on the artists in Devon website. This has photographs each including water that ripples as the mouse is moved over it. Following interest from bloggers, mostly in India, there has been enough attention ( and clicks on the Google ads) for the pages to be expanded with more examples. I think it is a welcome development for artists to be working on content designed for online. Galleries still have a role though as far as I know the Water Art is still online only. The Shaun Gladwell video is completeely different in a gallery so the YouTube versions are only for people who are not near a current exhibition. They are a way to reach a wider audience, not an alternative to a gallery.

On the 24th October at Spacex "Take Place" will explore issues "surrounding the reclaiming of public space through artist intervention". YouTube is public space. Artist intervention is a choice.

More Wet Art from Paul Gillard

I like this one from a digital source but the latest Twitter news is about under water.

There is still a lot of interest in India but I cannot find many Devon blogs linking in as yet.

Frogs exemplify art promo from Devon

Paul Gillard has uploaded some more wet art, frogs this time. Apparently the other pages in this series are getting unusual attention following blog links from India. About a million visits in August and 25,000 one day in September as claimed on the site so this is unusual for Artists in Devon or anyone I know. So far I have assumed that Youtube would be the best way of promoting art. But maybe online examples are better, easier to access.

I phoned Paul recently about Animated Exeter. More about this later. Hard to get his attention on video with all the interest in wet art. He claims these pages are now more popular than the Mona Lisa. The logic seems to be based on the rate they can both be viewed. The queue at the Louvre can only go so fast while the web pages can be served up any number of times. I do not see the point of going too far with this. The galleries will want to speed up the queues. But the point is that this form of art is intended to be viewed online.

The Google ads are at least paying the server costs as well. If the level of a few hundreds of pounds continues over more than one month this could work for other pages as well. And the site will get more attention for Devon artists. Paul is now in Cornwall by the way but is still more or less local. Here in Exeter, most people are on the way to somewhere else such as St Ives.

New Exeter Radio Show - image rights continued

I have done a video edit of my own bit on this week's show. More to come on other sections but I want to continue the story on image rights and copyright. A bit obscure so this tends to be interrupted by some other issue on the radio, or some music. I did a report on the Classic Synth event, linked to Analog to Digital. Digital music is the strongets base for relaxed copyright attitudes. I also mention the videos at Spacex and the Sundown demoscene party. This year Sundown are suggesting Creative Commons as something to consider for all the releases. Previously things have been more informal but there have been problems as when tunes reappear on a commercial mix. Creative Commons terms are specific about allowed forms of reuse.

Not sure about a video record of the evening at Spacex next Thursday. Maybe more later. I cannot follow the German but the YouTube video from Frankfurt shows the art video in a window so street interviews are possible. Any translation welcome.

Back to memory

The New Exeter Radio show turns out to be a good development for me. It is a real chat show so it has a focus. So far no problem with video permissions, including when the music is playing. Copyright issues will return around animation before too long.

Current topics are around car boot sales. I was surprised not to be allowed to video the Art Car Boot Fair at the Castle but the policy seems to work out. Two stories in the Express and Echo including a photo from the organisers. So the close control of images can be effective and is clearly one policy option. But this Saturday there is a carboot for Vintage Guitars and Classic Synths. the analogue to Digital event was open to photos and there was an agreed tag - A2D09 - so my stuff on YouTube can be found. Includes performance from the evening.

Search on "new exeter radio show image rights" to find recent views from me. Lighting dreadful but the sound is ok.

Meanwhile things do change and I have been able to record some aspects of Spacex events, including a talk at the cathedral by Simon Pope and an interview with Nick Durnan at Spacex. Simon Pope curated the show based on memories of stone carving that Nick Durnan will recreate. So the four clips below may be a basis for memories or future interviews and comments. The street views done recently. comments welcome on this blog or as video on YouTube.





should link to other ones

Image Rights continued

Not sure what is happening with the Art Car Boot Sale. the report in the Express and Echo has a photo by Oliver Sanders. there is an Express and Echo reference - EE90809_0S03_03. Wendy brooking is quoted so I doubt that she wrote the story. so i must have got the wrong impression from what I heard on Sunday. Maybe things change as they go along. I don't think there is any other report in print. Perhaps bloggers and photos/video for Flickr and Youtube will be more welcome on the next occasion.

I still wonder if the Express and Echo really benefit from exclusives or if this is something that they seek. The Ice Rink for example. Wider coverage online might have been helpful. They do have stuff on YouTube but it is not as well known as it might be.

I may return to the New Exeter Radio Show this Thursday. Video from last week is on their Ning site and YouTube. Including this about image rights-



The problem is quite a general one, not just about the Art Car Boot Sale. I may try to include Laura Kikauka in the discussion. I could not get permission to video the launch of her show at Spacex. Maybe another context could help. Ask her to do a set design for a disco perhaps. Video would be more easily accepted.

I still think that music and visual images are at different stages of adjustment to Web consequences. Video of live sound performance is often ok. When I get this wrong please let me know. But any form of photo with an art visual image in the shot is taking things back a few years.

Coming up soon another Car Boot Sale, this time for Vintage Guitars and Classic Synths. Previously it was ok to video at the analog to Digital event. Hope lots of people take photos and/or blog. Tags yet to emerge as far as I know.

As it is difficult to get permission to video art I will do more of my own stuff to try things out with. An imagined set of cables joining the buildings around the castle. More photos to come and this stock item on Vimeo. It can be downloaded from there. Also in sections on Flickr where there is a clear Creative commons licence. Variations welcome. I may do a copyrighted version myself later.

Plagiarism, awaiting a swift reply

Oh dear, a bad review for Plagiarismo. Perhaps it is too polished now or something. Worked ok at the Phoenix a while ago.

My takeaway was that most art is a response to something else. So plagiarism is ok. Following a recent conversation I am thinking about doing some photos collage in the style of David Hockney. Not even my idea in the first place. Obviously if there was a budget we would get David Hockney to do it. I have written to Richard to ask if there is any alternative.

Car Boot Sale no easier to access than a gallery..

This seems the right blog as visual art is close enough to animation. Thrown out of the Art Carbootfair today. Letter on facebook group was truncated. I am in rave mood I suppose.

So copy below=

Hello Wendy

I am still thinking about ways to work on photography and video around visual images. More on this later. Meanwhile here are the facts as I see them about earlier today.

I had spoken to you on the phone last night about wanting to video for YouTube and stills for Flickr on the Art Carboot Fair in Exeter. You said that you did not want this to happen as you had your own plans. However I did not think i had explained myself very well so wanted to talk to you in person. Today I paid a pound to get in, asked to speak to you but you were not then available. I spoke to a couple of people with exhibits, then was able to speak to you. I pointed out that I intended to blog in text, reporting what I observed and thought. You asked me to leave as you did not want to encourage such activity. I asked what you would do if the Express and Echo or BBC wished to report the event. You stated that you were yourself the effective reporter for the Express and Echo as you would be writing their story. You then refunded me my pound admission but refused to sign a reciept as proof that I had entered the event with reasonable grounds for the conversations with people also attending. I then left.

If there are nay of the facts above you think are untrue, please let me know as soon as possible.

I am trying to explore ways in which online media can be used to promote local events. I have done video on other occasions at the Castle and other places. I don't do interviews or photograph images unless the people involved give permission.

But I think there are some policy issues that are worth looking at. Many music performers now accept that Youtube video appears of their performances. Visual artists are less relaxed about this. I am not sure whether the artists have the same approach as the management from galleries. The "carbootsale" suggests some informality but my guess is that few galleries would have an image rights policy as controlled as yours. May be wrong about this, photography is quite rare.

I am also quite concerned about the Express and Echo. A few years ago they had exclusive image rights on the Ice Rink in the castle. They did not give permission for others to do video. Some video did appear on YouTube but very casually. As local news adjusts to online technology there may be subsidy for local newspapers that also start to do video. My own view is that this should welcome links between news organisations and other contributions, including YouTube and bloggers. When the Express and Echo makes arrangements for exclusive image rights it may not be moving in a sensible direction. Online, some brands benefit from a more open approach.

Hope you will reconsider your policy on a future occasion.

Will

Visual Music a topic for Beer At The Castle

Next weekend there will be a sort of chat show during Beer At The Castle. Not sure how this will work but there should be space for animation. I am still thinking about a future show from DVD with a combination of computer animation from the 70s or similar, some from the demoscene, and music video. "Visual Music" is the best way to describe this.

Sundown will happen again at Budleigh Salterton later in the year. Several people involved went to Breakpoint so there could be more connections. I have found some music from Breakpoint on YouTube.



Also one from John Whitney that was not there the last time I looked


One aim for the week will be to try to interest people in watching both of these. So far mostly people go for one or the other.

Previously, post linking several parts of an intro to the demoscene.

draft story on Korean Film Week in Exeter

This will be a story for OhmyNews later in the week. Any suggestions welcome.

Korean Film Week launched in Exeter, UK
Sound base for future possibilities

The first Korean Film Week in Exeter was held from 11th to 16th May and featured five movies at the University Cinema Society. the openning reception was attended by the Deputy Lord Mayor, Councillor Kevin Mitchell, and the free food continued throughout the week. The event was supported by the Korean Students Society and the Korean congregation at the Mint Methodist Church in central Exeter. The Korean Cultural Service in London made a grant of £500 and the Korea National Tourism Organisation supplied books and DVDs. Councillor Mitchell welcomed the awareness of Korean culture that the event made possible and the contribution of the Korean community to local culture.

The university campus is on the edge of Exeter, where I live. Often people in the city centre do not know what is happening there and miss out on specialist film. This event was better publicised than most Cinema Society events though future events may reach a wider audience still. The cinema seemed not to be completely full on the two visits I made, though this is probably a basis to organise another one.

Films included Marathon, A Tale of Two Sisters, and Sympathy for Lady Vengeance. The two I saw were Strokes of Fire, an art movie, and The Host about a monster in Seoul.

more about them

also others if

The Host has a convincing monster and is also very funny. i could not follow all the politics or references but some idea of the technology background is evident. The children are trapped where the monster stores other victims, some dead, but they wait for decent mobile device to turn up. You would think that the local authorities would learn from such an experience but apparently the sequel will be set sometime earlier.

Asian Cultural Centre

possibly China and Japan films

http://www.youtube.com/watch?v=LC0Urhfucos

5th Tailo festival


Exeter is the location for a major UK animation festival - Animated Exeter usually in February each year. This has a solid base in classic forms of animation such as stop frame but there has also been discussion of digital technology and CGI in feature films. The Host is an example of how animation can be central to special effects. The sequel is expected to feature several new monsters and may be release in time for news to be available before Animated Exeter in 2010.

The Korean Cultural Centre in London organised an animation event in 2009 so some of these titles may also reach Exeter.

http://london.korean-culture.org/navigator.do?siteCode=null&langCode=null&menuCode=200903170055&promImg=1198673534460.jpg&menuType=BG&subImg=1198673979402.gif&action=VIEW&seq=18990

The printed material available included a guide to Korean Film Festivals. The Jeonju International Film Festival includes a Digital Project that looks interesting as it could connect with the computer activity on the edges of animation.

Since I started writing for OhmyNews I have attended one International Forum but most of the time I only find out about Korea online. The Korean Film Week has taught me that there is
more hapopening locally than I realised. I hope more will come from blending the local and stories from OhmyNews.

http://www.jiff.or.kr/

Celebration of Failure Last Week

Still not many photos from Spacex except the official ones. I do think there is some continuity of direction from the everyday object to a new boundary for galleries, probably somewhere online.

Found this from another time and place.

By the way, i think the failure being celebrated is other people's failure, not the artist's. OK so the public have laughable taste. The artist is protected from visual comment by the gallery. Is this reasonable? Will it encourage public support for art?

Video from virtual worlds, story so far

Another sad consequence of the closure of LifeBytes is that I am unable to visit Twinity or Second Life at the moment. My computer at home needs a complete reinstall I think. Trying to get Twinity to work is hopeless. Also I miss the video editing support. Sometime in the future this will sort out.

So I will not enter the Third Wave experiment today.

However here is a selection and update on some video from previously. I had tried to work out a script for a journey from the Phoenix to Trinity in Bristol. Based around the dance from Pipsi and the island of Prados Azules

The Scratch Second Live material has started to appear on YouTube. Sensible move as Second Life is a bit of a closed world.

Viral Duets by Niki McCretton: a Phoenix Scratch commission




more or less from Bristol

LUKE VIBERT LIVE DROID BRISTOL SECOND LIFE !



tigerkissen77 was the winner of the Spirit competition. Quite right too. TIP NUMBER ONE - don't use the Twinity converter from Ogg for your AVI files. QUESTION, HOW TO EDIT IN OGG? By the way he only mentioned this after the competition had closed, I think us film makers should stick together and share any info. What to think? continues in Black Box.....


Twinity "Spirit" Dawn Patrol

tigerkissen77



I have at least discovered something since my last effort. TIP NUMBER TWO Press F2 to turn off the menu graphics cluttering up the screen. You can also switch to a games device instead of a mouse but this just makes for more wobble in my case.

Humboldt in Twinity



script idea is to start in the Sony Centre with a technology vision and then visit Humboldt for some academic critique. Some sort of project around devices would continue to the nearest coffee space. Someone else would try it, please send a link.

Only kidding tigerkissen. Really thanks for your help.

Maiden and Death tryouts

After a talk at Spacex I am still wondering about image rights and how art is promoted. They are thinking about a blog or other means for more connection with their website but I think the general approach to avoiding mashups and casual photos is a bit of a problem. On the music front there is more acceptance of phone cameras, sampling etc. the net effect seems to help promotion. I am not sure if the artists actually require these limitations. It may be a general gallery policy.

this seems especially relevant for the Laura Kikauka. There is an invitation "to play" and the layout is unusual for a gallery, but the boundaries remain for photography or mixing images with other sources and then making them public. I would like to explore this some more so have done some photos of Fore Street or Bridge Street, not sure which and a couple of combinations.

Background

As long as the art object was conceived as a monument to itself, women shrank before attempting it. Women who modify their environment every hour of every day, whether they are shaping their child's damp hair, or twitching a blind, or choosing wallpaper, or dressing themselves with wit and ingenuity, are unexcited by the self-contained, self-regarding work of art. They are not inspired. The adrenaline doesn't flow. But when art escaped from the frame and descended into the real world, women artists were suddenly in their element. As long as the work was open-ended, as long as life flowed through it, from its conception to its realisation, women could make it as well as anyone. There's hardly any point now in asking if women have to be naked to make it into the Metropolitan Museum (as the Guerrilla Girls did), because the museum is not where it's at

.

Germaine Greer, Guardian 30.3.2009

But getting out of the frame is only a start. Getting out of the gallery and onto the Web could be different again.

Marina Abramovic praguebiennale 3



My pix on Flickr , Creative Commons, reuse as you like or take better photos of street level Exeter.