Saturday, November 30, 2013

Section 02: Present Methods and Disruptions of Past Structures

          During the 2013 Print Festival Scotland, the publishing methods used with the GENERATORprinthouse’s Internet based limited edition e-paper’s will be taken into account with the disruptions of past structures within art writing and its current roles with digital technology. 
Art In America Magazine’s article, Arts Writing: The New Models, examines the current shifts in art criticism and art journalism with interviews from professionals in the field. The point that drew my interest to this article and the GENERATORprinthouse’s project was Sasha Anawalt’s interview. Anawalt describes how she and her colleagues made concerted efforts to redefine the Arts Journalism program at University of Southern California, Annenberg School of Communication and Journalism (Los Angeles).[1] 
The shift of the structure of the program was from lecture base to projects base. This formed alumni fellowships and collaborations with professionals in a wide sense of the field, such as web designers, programmers, and advertisers. In this transition of the program, Anawalt reflected on how there was an effort to move away from making each student feel that they had to be highly proficient in all forms of media. Anawalt continues with describing this past philosophy as preparing people to be a “one-person band,” which deprives and disbands the collaborative experience behind the newsroom.[2]
 Similarities between one specific project from the Arts Journalism program and the GENERATORprinthouse’s project communicate John David Ebert ‘s title for the Internet, “nomadological technology.” I will refer to Ebert’s title to how digital technology has modified the idea of a newsroom, while recognizing transient components.  In the section 01 blog post, I outlined the structure of the short-term press facilities at Generator Projects. The Arts Journalism program’s project was a pop-up newsroom at Humana Festival of New American Plays.[3]
An obvious transient component for both projects is the temporary newsroom. The other transient component is the characteristics of the events. Besides the short-term time frame of the event, the festivals and conference attendees are temporary guests. While Ebert’s Internet title references the disappearance of choices in media sources and the structure of hierarchical knowledge[4], this temporary newsroom style corresponds with the type of short-term event. 
The Arts Journalism program’s pop-up newsroom challenges Ebert’s arguments of information-based websites having low budgets to pay quality writers and causing an enormous cultural deficiency.[5] The Arts Journalism project received funding to invite critics to write about the event in the six-day time period. The collaboration with the Arts Journalism program created a website, Engine 31, that pertains to a cultural event.   
One aspect of the two projects that demonstrates the evolution between print media and digital media is the opportunity to offer individuals 24 hour access and an incentive to contribute additional information. At the end of her interview, Anawalt refers to this component in journalism as the ripple effect, which goes beyond writing and engages a community in a conversation about art.[6] The original intentions for the GENERATORprinthouse were for it to be passed along to the Dundee art community, since their local newspaper has an absence in an art critic. The project from the Print Festival Scotland can be used as a model to ask where the City of Dundee will proceed with their conversation about art and which media source they will choose. 


[1] Rebecca Dimling Cochran, “Arts Writing: The New Models,” Art in America, November 2013, 41
[2] Ibid 41
[3] Ibid 41
[4] John David Ebert, The New Media Invasion (Jefferson, McFarland & Company, 2011) 11 - 12
[5] Ibid 11 - 12
[6] Rebecca Dimling Cochran, “Arts Writing: The New Models,” Art in America, November 2013, 41 - 42

Friday, November 22, 2013

Section 01: Time and Experiencing Print to Digital Media

 
Time is depicted in describing both (print and digital) media’s emergence within society, along with GENERATORprinthouse’s approach with digital publishing during the IMPACT printimaking conference and the City of Dundee.
I read the section, The Internet vs. the Printing Press, from a paperback printed version of John David Ebert ‘s book, The New Media Invasion. This method of reading Ebert’s theories follows suit with his concern of the vanishing forms of media. His descriptions of these fading versions are aimed toward the idea of being nostalgic events where types of media were obtained in specific physical spaces. These former places included copy centers, such as Kinko’s, Tower Records music stores, and the questioning of the still existing bookstore.[1]
My duration on the planet has given me the experience to be able to say I have made photocopies at a 24 hour accessible Kinko’s, hung out with friends and purchase cassettes at Tower Records (and probably bought my first music CD’s there) and I still visit book stores (small used and corporate retail names). With the recent opportunity of being a presenter at IMPACT International Printmaking Conference, I was able to attend events at the Print Festival Scotland that corresponded with the conference’s mission. An artist-supported organization’s specific project was organized to examine the visual arts role in analog and digital media.
The space of GENERATOR Projects was transformed into an in-house press facility entitled GENERATORprinthouse. GENERATOR Projects is a space for artists to carry out the production of experimental ideas rather than the singular idea of an exhibition space. The concept for the press facility drew a link to the roles of the printing press and its introduction of mass communication and digital media’s influence on globalize communication. During the time period of the print festival, writers and artists were invited to contribute to the content for an Internet based irregular e-paper.[2]
The section, The Internet vs. the Printing Press, made me consider the beginning concepts of the GENERATORprinthouse. Ebert’s main argument is to dissuade the reader from the continuous analogies that relate to the social impact of the printing press and the Internet.[3] Ebert’s research that regards the aspect of time to the two forms of media refers to Elizabeth Eisenstein 1970’s argument. Eisenstein’s research with the printing press and the effects on society from the time period of 1400 to 1600 is an involvement that took a century and a half.[4] Ebert continues with the details of the historical linear consistency of the transformation of “print” within society. He does not offer any comparisons of print and digital, but is direct in pointing out what has emerged from the Internet is discontinuity. Ebert’s has declared the Internet’s alteration to the perception of media is catastrophic and estimates that it has occurred in fifteen years.[5]
To define discontinuity toward the Internet’s effects on society are its disruptions with the structures of the diversity of media and this will be focused on in section two’s blog post. As for the time period of the GENERATORprinthouse what has been published on the Internet are the downloadable PDF versions of the e-papers during the Print Festival Scotland. Accompanying the established website was a blog site that offered the IMPACT conference attendees opportunities to contribute their perspective toward the examination of the visual arts role with conference or the print festival events.[6] 
These PDF versions of a limited edition of e-paper’s do have the capability to be printed as well as archived as an event that occurred during the 2013 print festival. The GENERATORprinthouse established a short-term paperless content press facility. In addition and referring back to Ebert ‘s concept of specific physical spaces becoming nostalgic this can be applied to the press facility or newsroom idea. The physical space of a press facility is becoming more and more mobile by using Internet capabilities of production and distribution of information, while writers or contributors are spending less time in just one space. This is demonstrated by the GENERATORprinthouse daily rotation of the visiting press team.[7]
One element that is absent from Ebert’s research with time between the two medias is the idea of travel within the two specified time periods. I am not referring to how information is traveling, which has been defined earlier in this post by print and the digital cultures. I am considering the contemporary transportation of people. People have the capability in the 21st Century to travel quicker to places or spaces than the 1400’s to 1600’s. People are producing and distributing the information. They are carrying a different style of material culture to transmit information, which are mobile digital devices instead of printing presses. Ebert ends the section, The Internet vs. the Printing Press, by titling the Internet “nomadological technology.”[8] 
For the printhouse project, digital media presents a convenience of open access for the traveling conference attendees to return and review the Internet site. The future intentions of the printhouse project were for the Dundee art community to utilize the established website for a continuous dialog concerning art related activities. With my recent readings and visiting the short-term press facilities at Generator Projects, I am curious for who or when the project will be revived. The Generator Projects performs in a manner of postmodern ideals of many voices to conceive the operation of their organization. Similar to the GENERATORprinthouse rotating press staff, Generator Projects ensures their continuation with a rolling collective of committee and volunteers who dedicate two years of time facilitating the organization.[9] For the 2013 Print Festival Scotland, GENERATORprinthouse contributed to the inquiry of publishing with digital media. 



[1] John David Ebert, The New Media Invasion (Jefferson, McFarland & Company, 2011) 6 - 8
[3] Ibid 10
[4] Ibid 10 -11
[5] Ibid 10 - 11
[8] John David Ebert, The New Media Invasion (Jefferson, McFarland & Company, 2011) 12 - 13
[9] http://generatorprojects.co.uk/about/ [Accessed: July 24, 2013].

Intro: Recent Readings and Related Print/ Social Media Experience

 A couple of recent readings had me reflect back on a Print Festival Scotland event that I had experienced in the City of Dundee.  The book The New Media Invasion by John David Ebert began my interest in writing this blog post. His perspective reflects the “shadow side” of digital technologies and the disappearing world we have known. An article with the topic of art writing and criticism in the Art in America magazine’s November 2013 edition is the second reading. Both of these readings related to the GENERATORprinthouse project exploring the evolution of print media to digital media, while having future intentions of being a digital platform for critical discourse of art after the Print Festival Scotland.  

I have divided my initial writing up into two sections for the next two accompanying blog posts.
Section 01 – Time and Experiencing Print to Digital Media
Section 02 – Present Methods and Disruptions of Past Structures
I have chosen to do this, because it keeps the focus on exploring the GENERATORprinthouse project with the element of time and the disruptions of society/ cultural structures with the diversity of media.

Wednesday, November 6, 2013

Blog Suggestion

The INK Blog's recent post
The Digital Revolution and Creative Miscellany (Ephemera and Knickknacks): Part 1 
reviews art exhibits that pertain to the role of print ephemera and other objects in the ephemera category. A section of the INK blog's post is dedicated to exhibitions that examine newspapers or print media culture with a historical context, along with how artists use the newspaper as form or as a found object to create an art object.

Follow the INK Blog to read Part 2 of The Digital Revolution and Creative Miscellany that will be posted in December.