Blog

Singapore.
The post-lunch session on this third day of ISEA 2008 starts with Anke Jakob, whose interest is in the synthesis of digital image and physical space - one hot area for this at the moment is the visualisation of data in tangible objects, for example. Such approaches are hybrid, ambiguous, inconsistent, and equivocal; that is where the interest lies.

Anke now notes a number of examples for this - including the Galleria department store in Korea, whose entire facade acts as a large video screen; the facade of Moorfields Eye Hospital in London with its multicoloured lighting on myriads of aluminium louvres; and the facade of BIX at the Kunsthaus Graz, resembling something like a giant illuminated zeppelin. Further, clothes which act as wearable video displays fall into this category as well.

Singapore.
Day three at ISEA 2008 starts with a paper by Nedine Kachornnamsong, who has developed an art installation for Copenhagen airport. She begins by reflecting on the purpose of such an installation - most travellers are likely just to move quickly and painlessly through the airport space, rather than linger and appreciate the art. What is the sense of place that exists in an airport?

Copenhagen is a hub for Scandinavian air travel, and acts as a transit airport for transfers into the nordic countries. It incorporates a great deal of Scandinavian design (including significant use of wood in interior spaces); for an airport, it's a very pretty space, but this may remain secondary to many travellers for whom the airport remains simply a transitional space. What is remembered, mostly, are the bad experiences travellers may have - delays, lost luggage, unfriendly staff.

Singapore.
The keynote lecture this afternoon at ISEA 2008 is by Creative Commons co-founder Lawrence Lessig, speaking on the proper place of copyright. He begins in 1906, when John Philip Sousa went to Congress to rail against the recently invented record player. The new technology, he suggested, would undermine cultural participation (a kind of read-write participation) - record players were 'infernal machines' which would promote the development of a 'read-only' culture, driven by commercial agendas. (Sousa was taunted in response with the suggestion that copyright already prevented participation in a read-write culture, however - a suggestion he strongly rejected.)

Singapore.
My afternoon session at ISEA 2008 is on copyright and the Creative Commons in Asia. In the first place, this begins with the official launch of the Creative Commons licencing suite for Singaporean copyright law - the 47th such translation into a national legislative framework.

CC co-founder Lawrence Lessig is here to do the honours, and he outlines some of the basic tenets of the Creative Commons philosophy now: in particular, the need to allow for a suite of licences which could offer a more sophisticated model for licencing content beyond the 'all rights reserved' model of copyright itself. This model, of course, has been forcefully exported from the U.S. to the rest of the world - and CC offers a different approach: not a disrespect for copyright, but a different understanding of copyright licencing.

Singapore.
The morning session on this second day at ISEA 2008 continues with Caroline McCaw and Rachel Gillies, with a project related to Dunedin in New Zealand. Overall, there is a series of 20 place-responsive public artworks across New Zealand by national and international artists; the Dunedin component involves three artists (Douglas Bagnall, Adam Hyde, and Zoe Walker and Neil Bromwich) in separate locations around the world collaborating over the Internet - one of these locations was Edinburgh, after which Dunedin is partially named.

Singapore.
The next day at ISEA 2008 has started. The first presentation this morning, by Susan Kerrigan, is about a creative research PhD project related to Fort Scratchley in Newcastle, New South Wales (which went through a number of names before the current name stuck). The fort guarded the harbour entrance for some time before being shut down and becoming a public space; it was recently restored.

The story to be told about it is both a military and a broader story, then. The approach to this work, then, is a rational, not a romantic approach to creativity, rejecting the auteur model and instead adopting a confluence model that brings together the individual, the field, and the surrounding culture. Susan came out of ABC TV, bringing those individual skills; cultural aspects included the body of knowledge already existing in the context of her project (not least also the local history relating to the fort); and the field within which she operated included the cultural intermediaries acting as gatekeepers, stakeholders, and collaborators. She also had to work with various institutional stakeholders, of course - from Newcastle City Council to various other bodies with a connection to the site and its history.

Singapore.
The ISEA 2008 keynote this evening is by Sam Furukawa, a former president and CEO of Microsoft Japan who is now at Keio University in the Graduate School of Media Design. He's reflecting today on Singapore's high-profile Artist-in-Residence (AIR) programme: how is artistic work connected to corporate and societal expectations?

Sam was editor-in-chief of ASCII Computer Magazine in 1977; in 1979 he developed its software engineering department and moved on to Microsoft in 1981. However, he also released the Japanese edition of BSD Unix in 1984, and returned as the first president of Microsoft Japan and became its chairman in 1991. He retired from Microsoft in 2005 and started at Keio University the following year. Additionally, he's also the chairman of the Japanese Association of Model Railroading and has published several books on railroads - an impressive resume...

Singapore.
Next up here at ISEA 2008 is Daniela Alina Plewe. Her interest is in the connection of art and business - and she asks about the potential for doing art around business. Interactive media themselves are often used in an economic context, of course, where interactions are also financial transactions. There is a good potential for developing interactive/transactive media works, then; art mash-ups could resemble online businesses.

This could build on the tradition of art about business, of business around art, of art as investment. But what is important here is the dimension of interaction and transaction. In interaction, there is an exchange of meaning, in transaction, there is an exchange of value; and this may take place in the artwork itself, or around it.