Thursday, July 17, 2008
Monday, June 30, 2008
motion media
just recieved notice that my paper has been accepted into the Media in Motion Symposium run by DOCAM. The symposium will be in Montreal from October 29 2008.
Abstract
Recontextualisation of technology in contemporary life from objects of fascination to everyday tools has likewise been reflected in current art practices. The past decade has seen memory institutions grapple with and overcome momentous shifts towards increasingly techno-centric modes of creative and intellectual production and output. In the library, archive and academic communities, the response has predominantly focussed on web archiving and digitisation practices for large-scale digital repositories with accompanying online delivery mechanisms. When faced with the overwhelming task of tackling complex born-digital objects – those that assume hybrid forms, employing multiple file formats, contain a combination of custom-designed and constructed software, hardware and wetware – with resultant installations, performances or wearables (interactive or otherwise), momentum rapidly decreases. Tendencies suggest the library community shies away while museums return to traditional documentation practices. Thus far, support for media art in general has largely been situated in the gallery and museum domain, positioned outside of the traditional library sphere. Contributions from both library and museum archival practices are essential for a holistic approach to preservation and sustained access, ensuring longevity of media artworks. When faced with developing systems for archiving a collection of weird and wonderful media artworks, what models and standards are available for managing both the artwork its associated metadata? Navigating through the seemingly endless list of acronyms that include MANS, METS, PREMIS and OAIS, what can be utilised to keep both the work and metadata alive?
Each collection brings along its own idiosyncrasies, so identifying potential assets and issues for preservation models is a necessity. With ‘the only constant is change’ as a basic premise, how do we handle existing materials while maintaining awareness of and the flexibility to manage emerging future forms? While no single specific solution is attainable, presented is a range of considerations intended to stimulate dialogue in this emerging field.
For more info see: www.docam.ca/en
Abstract
Recontextualisation of technology in contemporary life from objects of fascination to everyday tools has likewise been reflected in current art practices. The past decade has seen memory institutions grapple with and overcome momentous shifts towards increasingly techno-centric modes of creative and intellectual production and output. In the library, archive and academic communities, the response has predominantly focussed on web archiving and digitisation practices for large-scale digital repositories with accompanying online delivery mechanisms. When faced with the overwhelming task of tackling complex born-digital objects – those that assume hybrid forms, employing multiple file formats, contain a combination of custom-designed and constructed software, hardware and wetware – with resultant installations, performances or wearables (interactive or otherwise), momentum rapidly decreases. Tendencies suggest the library community shies away while museums return to traditional documentation practices. Thus far, support for media art in general has largely been situated in the gallery and museum domain, positioned outside of the traditional library sphere. Contributions from both library and museum archival practices are essential for a holistic approach to preservation and sustained access, ensuring longevity of media artworks. When faced with developing systems for archiving a collection of weird and wonderful media artworks, what models and standards are available for managing both the artwork its associated metadata? Navigating through the seemingly endless list of acronyms that include MANS, METS, PREMIS and OAIS, what can be utilised to keep both the work and metadata alive?
Each collection brings along its own idiosyncrasies, so identifying potential assets and issues for preservation models is a necessity. With ‘the only constant is change’ as a basic premise, how do we handle existing materials while maintaining awareness of and the flexibility to manage emerging future forms? While no single specific solution is attainable, presented is a range of considerations intended to stimulate dialogue in this emerging field.
For more info see: www.docam.ca/en
Thursday, June 26, 2008
Monday, June 23, 2008
tuning tha city
will be sound tech-ing for the Tuned City sound art field recordings festival which runs from the 1st 5th July in Berlin
Saturday, June 21, 2008
michel waisvisz
very sad news to hear michel waisvisz, who i only met last year, passed away.
he bought me breakfast and had one of the most soulful and encouraging conversations i've had on this past year of my journey. my heart really goes out to all inc his partner, daughter and the steim community.
more can be found at: http://www.steim.org/michel/
he bought me breakfast and had one of the most soulful and encouraging conversations i've had on this past year of my journey. my heart really goes out to all inc his partner, daughter and the steim community.
more can be found at: http://www.steim.org/michel/
sympathizing synthesisers
these guys are hilarious, 2 nz boys, who made me laugh so much i almost cried:
see their take on the consequences of inner city life
and okay, i finally agree that Jemaine from flight of the conchords does at times look like my cuz James in the ugly stick.
check tha similarities (+ hilarity) for yourselves....
see their take on the consequences of inner city life
and okay, i finally agree that Jemaine from flight of the conchords does at times look like my cuz James in the ugly stick.
check tha similarities (+ hilarity) for yourselves....
Tuesday, May 13, 2008
sonic australia
An interview with Michael Rüsenberg (along with other fellow australian sound artists) for the show Sonic Australia will go to air on WDR 3 (german national radio) on the Saturday 24th May at 11:05pm (GMT+1).
The live stream will be available from: http://www.wdr.de/radio/wdr3/hoeren.phtml
More information can be found at: www.realambient.de and short snippets of my interview at: www.realambient.de/sound-langley.html
The live stream will be available from: http://www.wdr.de/radio/wdr3/hoeren.phtml
More information can be found at: www.realambient.de and short snippets of my interview at: www.realambient.de/sound-langley.html
Sunday, May 11, 2008
stu-di-o
this is a first - my own studio that's not based in my bedroom or loungeroom
this space is for a residency with culturia in berlin to develop the project when you return home...
i'm sharing the studio with tim o'loghlin from dark network ...its amazing how paths cross again in the world...
this space is for a residency with culturia in berlin to develop the project when you return home...
i'm sharing the studio with tim o'loghlin from dark network ...its amazing how paths cross again in the world...
Saturday, May 10, 2008
futuresonic
recently attended the futuresonic 2008 festival in manchester... with the likes of richard stallman, luke vibert + mike paradinas, felix kubin, CRUMB, thompson + craighead to name but a few....
for photos of the event see: http://www.flickr.com/photos/somayalangley/sets/72157604954085696/
for photos of the event see: http://www.flickr.com/photos/somayalangley/sets/72157604954085696/
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