wwp@yahoogroups.com:
Re: Globorama
AYRTON 2008-Jun-27 00:06:00
Hey PeterYou know what ...
I don't care about this sad history
You're affraid of loosing your job.
I'm sure you make a year, in salary etc, much MORE than me in two or three
years working hard.
All this blah, blah, blah, is just a excuse for something that has NO excuse
:
ZKM did NOT contact us BEFORE using it, asking for use, or buying etc ...
You and your co-workerss just went ahead to this "open net" dream and they
had steal all our (my) panoramic images, that had a copyright info.
Also note that on ALL my images, in the nadir area, there is :
MY logo,
and my NAME,
and my TELEFPHONE
in case a humam being wants to call me !!!
That's it.
Sincerely
AYRTON
On Thu, Jun 26, 2008 at 3:38 PM, berndlintermann <#removed#>
wrote:
> Dear Mr. Levy, dear Participants of the World Wide Panorama,
>
> in this discussion on the events related to "Globorama", I would now like
> to state my
> opinion as an artist, curator, and director of a public museum. The debate
> that arose from
> the presentation of works from the World Wide Panorama (WWP), both saddens
> and appalls
> me extraordinarily. My whole life, I have fought together with many artists
> for the freedom
> of art while encountering hostility and suffering privations. The
> developments brought
> about by the Internet meant to us that our dream of "open access" was
> becoming true. I
> trusted that all of us together are continuing the project of
> enlightenment, i.e. the
> greatest possible access to knowledge and data, which the ZKM and many
> artists have
> committed themselves to with absolute conviction.
>
> As early as 1995, when I was the director of the Ars Electronica in Linz, I
> was among the
> first to initiate a comprehensive event dealing with the issue of net
> culture. The event was
> entitled "Welcome to the Wired World." From the title you can see that I
> welcomed net
> culture as a portal for the acquisition of knowledge by everybody and as a
> platform for the
> creativity of everybody. In 1999, my first exhibition as chairman of the
> ZKM was also a
> net-related exhibition that was entitled "Net_Condition". MIT Press
> published an
> accompanying catalogue, which was co-edited by Timothy Druckery. This book
> especially
> stresses the democratic and sociopolitical aspects of the Net from the
> perspective of
> enlightenment, of education. I see the Net as a grass-roots democracy
> that?under the
> keyword "access" (see also the respective publication by Jeremy Rifkin,
> 2000)?promised
> open, free access to those interested in art and those eager to learn
> without the usual
> restrictions that we know from elitists systems. In that sense I have
> always tried at the
> ZKM to make known to our audience the egalitarian options of the Net in the
> context of a
> museum. An example for that is our current exhibition "YOU_ser: The Century
> of the
> Consumer". Here we have established a citizens' gallery that honors the
> democratic
> promise of photography. In a photo booth, everybody can take four passport
> photos of
> him/herself, which, as digital images, are simultaneously displayed on five
> computer
> monitors. The photo booth and the monitors are set up in the publicly
> accessible lobby of
> the ZKM. Upon entering the museum, the visitors see their own portraits and
> those of
> other visitors as a large-scale projection. Everybody can take a photo of
> him/herself,
> everybody can see him/herself honored by a portrait in the museum. So there
> are not only
> portraits of celebrities or portraits by famous artists of anonymous
> people, but every
> citizen immediately obtains his/her right, i.e. his/her picture.
>
> Following the concept of the exhibition "YOU_ser", the installation
> "Globorama" was set up
> in ZKM's Media Theater, which is part of ZKM's lobby and therefore?free of
> charge?
> accessible to everybody. Years of research in the field of panoramic
> projection technology
> and a research grant of the Federal State of Baden-Wuerttemberg enabled the
> ZKM to
> conduct a public test: the test examined to what extend it is possible to
> provide the public
> with access to the certain contents of the Net and databases in an exciting
> and
> emancipatory way by means of net-based installations. A series of panorama
> projections
> was realized in cooperation with artists such as Jean Michel Bruyère or the
> Wooster Group.
> "Globorama" deals with panorama works on the Net. Panorama images were
> chosen, since
> on one's monitor at home, these can only be displayed in 2D. The idea was
> to point out to
> the public that there is this wonderful present of panoramic works on the
> Net. Our artists
> and developers saw it as their task to familiarize the citizens with the
> Net and its contents
> by means of an artistic interface. It is the general mission of the ZKM to
> convey knowledge
> at the frontline of research and to acquaint the general public with
> current artistic
> practices of social importance. In doing so, the ZKM continuously provides
> a platform to
> artists to present their works to the public. The ZKM considers it as its
> mission not only to
> present well-known masterpieces by artists ranging from Pablo Picasso up to
> Mark
> Rothko, but also to continuously draw attention to less well-known artists
> and to provide
> them with a forum to present their work to the public?and this in a way
> that facilitates
> the public's access to these works within a non-profit environment without
> causing the
> artists any costs. This is how the idea emerged to present panoramic works
> in an
> adequate, three-dimensional way as panoramic projections. By pointing to
> the individual
> net artists, who publish panoramic images on the net, the artists and
> developers of the
> ZKM intended to offer an optimum form of presentation. For that purpose,
> also a laser
> pointer was developed that enables interactive access to the works of the
> panorama
> artists. It was intended to make the WWP project visible in a prominent
> way. To achieve
> this, technological innovations were used and the most current technologies
> can be
> utilized. We also conducted an empiric survey among the visitors in order
> to?if the need
> and the wish to do so should arise?to undertake improvements in the future.
> This is why
> "Globorama" was tested for 10 days with pupils and young people in the
> context of an
> event in Stuttgart, which aimed at sparking young people's interest in and
> enthusiasm for
> technology, since young people do have higher expectations regarding
> digital
> presentations than adults. This was by far more successful than expected.
> Is the ZKM now
> to be punished for that?
>
> All these efforts were undertaken as part of research activities carried
> out for the benefit of
> net culture. Our aim would also have been to present this project at the
> Biennial of Seville,
> which opens in October 2008, in order to acquaint a wide audience with the
> existence of a
> database with panoramic works and their diversity. It now saddens me that
> already in the
> development phase of the project "Globorama", the reactions of the WWP
> participants are
> that intense?in a phase in which the technical basis is only just being
> created and can
> only just be tested with the aim to provide artists with a platform of a
> quality as high as
> possible. As the curator in charge, I can't inflict this dispute?and
> neither a dispute about
> high fees?upon the organizers of the Biennial only just because I would
> like to integrate
> net-based installations into the Biennial. I originally intended to also
> provide a platform
> for artistic net-based projects in Seville, but now, I will refrain from
> that.
>
> Following the current general discussions about the Net, I have to
> acknowledge that also
> the Internet is mainly a big supermarket dominated by strong commercial
> interests. But
> especially the artistic community has considered it its prime goal to
> counter this and to
> defend the Net as an arena of open access and to not let the Net become a
> supermarket,
> but to support the concept of the Net as an initiative of
> educational-political and artistic
> matters. What it comes down to is not to leave the hegemony to the
> providers, but to
> emancipate the user. User generated content is my aesthetic and
> museological goal.
>
> This understanding of net culture as outlined above, i.e. that museums
> serve the aim of
> spreading net culture and to communicate modern net culture to the general
> public
> without making any material profit whatsoever in doing so and only for the
> benefit of art,
> has met with great approval worldwide. The ZKM ranks among the few museums
> that also
> possess comprehensive technological expertise for the discussion of net
> culture and for
> the communication of the goals of the Net community.
> If it should now turn out that other views should prevail over this
> perspective, I'd consider
> this a severe setback?especially in view of the approval I have met so far.
> I thought that
> the concepts of freedom, of scientific and artistic research were also
> especially rooted in
> the Net. If this should not be the case, and if the educational work of a
> museum is to be
> judged on a technical legal basis and not based on aspects of educational
> policies, then,
> as consequence, I would have to drastically reduce my commitment to net
> culture. I would
> have to give up ten years of hope, in which I have seen the Net as the
> "promised land" and
> which have met with the approval of so many. In the future, I could then
> only consider
> net-based projects in an extremely reduced way and resort to the safe
> mainstream, to
> which everybody has already resorted.
>
> The ZKM also considers it its mission to serve the protection of the
> artists. Off the beaten
> tracks of the global mainstream exhibitions that present again and again
> only a few very
> well known artists, that are placed well at the market, the ZKM set it as
> its target to also
> present less known and also forgotten and marginalized artists. This
> concerns, on the one
> hand, historic artists, such as Ruth Vollmer and Gego (Gertrud
> Goldschmidt), two Jewish
> artists who emigrated from Germany and who had to continue their work in
> the USA and
> Venezuela. The exhibitions and catalogues on these two artists led to the
> fact that they
> were also rediscovered and honored elsewhere, as, for example, in the
> context of the last
> Documenta. At present, we are presenting almost forgotten Italian material
> painting, the
> experiments of which were seminal for the development of Robert
> Rauschenberg and of
> the post-war art in the USA. But ZKM's aim also includes current artists
> and current forms
> of art, for which the ZKM has very often been able to initiate the start of
> an international
> career. So, Olafur Eliasson had his first comprehensive exhibition at the
> ZKM (with an
> accompanying publication by MIT Press). And the ZKM is, indeed, not only a
> museum of all
> genres and media of art, a museum of the time-based arts, but also a place
> for research
> and development, where many artists-in-residence can realize and present
> works. In this
> context, the ZKM again and again ventures into uncharted territory and thus
> into
> unforeseeable situations.
>
> As a last point, I would like to mention some thoughts on the field of
> aesthetics. So far,
> the artistic option to draw on elements of other creations in one's own
> creation was
> considered the essential achievement of the 20th century. The essence of
> the collage from
> Cubism up to Dada was to bring together content from other sources by
> making it part of
> a new art work. Also the Surrealists, as, for example, Max Ernst, used
> images and writings
> from popular culture in order to produce new works. What Pop Art?from
> Rauschenberg
> up to Warhol?did was to make use of the images of mass culture by means of
> the screen
> printing technique. At the end of the 20th century, this method, as you
> know, led to
> Appropriation Art, from artists such as Richard Prince up to Cindy Sherman,
> and Sherrie
> Levine. It is in no case my intention to characterize "Globorama" as
> Appropriation Art, but
> only to point out with this example that, with a strict application of
> copyrights, important
> developments in 20th century art would not have been possible and that
> these art forms
> would not exist. But, surprisingly, there this issue was never raised,
> since it obviously
> concerned the elitist media of painting and graphics. Therefore, it would
> be rather
> unfortunate, if in the democratic mechanic arts, which are already despised
> by the elitist
> media, the artists would restrict each other all of a sudden in their
> developments. This
> would be a big favor for the traditional arts. With utmost regret, I
> anticipate that this will
> have a lasting impact on the arts and that the big gateway to freedom will
> now be
> slammed shut again, a gateway of which I hoped it would be opened for the
> arts by net
> culture.
>
> Hence, I appeal to everybody not to block the artistic and scientific
> development of net
> culture for the sake of short-term individual profit?the ZKM does also not
> make any
> profit?, but, on the contrary, to respect the spirit of artistic freedom
> and of scientific
> freedom. Because, as Montesquieu had already written in 1748 in "De
> l'esprit des lois": It
> is, above all, the spirit of the laws that counts. Hence, it would be of
> benefit to everybody,
> if, in this spirit, a productive collaboration between the participants of
> the WWP and the
> ZKM could be established in the future in order to jointly advance and
> defend net culture
> as a democratic and free medium.
>
> Yours sincerely,
> Peter Weibel
>
>
>
>
>
>
> ------------------------------------
>
> ------
> The World-Wide Panorama
>
> For more information:
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>
>
>
>
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