Apologies to everyone who has had difficulty viewing our sites today. We've determined that the problem lies not with our server but with Time Warner. Apparently, sites are viewable through different ISPs but Time Warner/Roadrunner appears to be undergoing some sort of maintenance that prevents them from resolving our URLs. We thought this might just be a New York problem but recently got a message from someone in North Carolina that they're experiencing the same thing. If you're reading this now it probably means you are unaffected.
A paranoid thought did occur to me: is this momentary glitch a preview of a post net neutrality world in which less privileged, non-premium sites like ours get the shaft?
Hopefully this will all pass soon.
Update: it seems to have passed.
net-native stories are already here: so are the vultures 01.23.2007, 9:33 AM
A split is under way in the culture industry at present, between ever more high-budget centrally-created and released products designed to net the 'live experience' ticket or product-buying punter, and new forms of distributed, Net-mediated creativity. This is evidenced throughout the culture industry; but while ARGs (alternate reality games) are a strong candidate for being understood as the 'literary' output of this new culture, there is little discussion of increasing attempts to transform this emerging genre straight into a vehicle for advertising. In the light of my own rather old-fashioned literary idealism, I want first to situate ARGs in the context of this split between culture-as-industry and culture-as-community, to argue the case for ARGs as participatory literature, and finally to ponder the appropriateness of leaving them to the mercies of the PR industry.
the culture industry and the new collaboration
Anti-pirating adverts have been common since video came into wide use. But the other day I saw one at the cinema that got me thinking. Rather than taking the line that copying media is a crime, it showed scenes from Apocalypto, while pointing out that such a spectacular film is much better enjoyed on a huge cinema screen. It struck me as a shrewd take: rather than making ominous noises about crime, the advert aimed to drive cinema attendance by foregrounding the format-specific benefits (darkened room, audience, popcorn, huge screen) of the cinema experience .
It reminded me of a conversation I had with musician-turned-intellectual Pat Kane. Since the advent of iTunes and the like, he said, gigging is often a musician's main source of income. I had a look at live performance prices, and discovered that whereas in 2001 high-end tickets cost $60, in 2006 Paul McCartney (amongst others) charged $250 per ticket. The premium is for the format-specific features of the experience: the atmosphere, the 'authenticity', the transient moment. Everything else is downloadable.
But the catch is that you have to sell material that suits the 'live' immersive experience. That means all-singing, all-dancing extravaganza gigs (Madonna crucified on a mirrored cross in Rome, anyone?) and super-colossal epic 'excitement' films, full of special effects, chases, explosions and the like. Consider the top ten grossing films 2000-06: three Harry Potters, three Lord of the Ringses, three X-Men films, three Star Warses, three Matrix films, Spider-man, two Batmans, The Chronicles of Narnia, Day After Tomorrow, Jurassic Park 3, Terminator 3 and War of the Worlds. Alongside that there were typically at least two high-budget CGI films in the top ten each year Exciting fantasy epics are on the up, because if you produce anything else the punters are more likely to skip the cinema experience and just download it.
So the networked replicability of content drives a trend for high-budget, high-concept cultural content for which you can justifiably charge at the door. But other forms are on the up. The NYT just ran a story about M dot Strange, who brought a huge YouTube audience to his Sundance premiere. And December's Wired called the LonelyGirl15 phenomenon on YouTube 'The future of TV'. It's not as if general cinema release is the only way to make your name. Sandi Thom's rise to fame through a series of webcasts tells the same story.
Here, we see artists who reverse the paradigm: rather than seeking to thrill a passive audience, they intrigue an active one. Rather than seeking to retain control, they farm parts of the story out. As Lonelygirl15's story grows, each characer will get a vlog: rather than produce the whole thing themselves, the originators will work out a basic storyline and then pair writers and directors with actors and let them loose.
I don't wish to argue here that this second paradigm of community-based participative creation is necessarily 'better', or that it will supplant existing cultural forms. But it is emerging rapidly as a major cultural force, and merits examination both in its own right and for clues to the operation of Net-native forms of literature.
fact or fiction? who cares?
A frequent characteristic of these kinds of networked co-creation is debate about the 'reality' of its products. LonelyGirl15 whipped up a storm on ARG Network while people tried to work out if she was an ARG trailhead, an advertising campaign, or a real teenager. Similarly, many have suspected Sandi Thom's webcast story of including a layer of fiction. But this has not hurt Sandi's career any more than it killed interest in LonelyGirl15. Built into these discussions is a sense that this (like much ambiguity) is not a bug but a feature, and is actually intrinsic to the operation of the net. After all, the promise underpinning Second Life, MUDs, messageboards and much of the Net's traffic is radical self-reinvention beyond the bounds of one's life and physical body. Fiction is part of Net reality.
Literary theorists have held fiction in special regard for thousands of years; if fiction is intrinsic to the 'reality' of the Net, what happens to storytellers? Is there a kind of literature native to the Net?
ARGs: net-native literature
Though it's a relatively young phenomenon, and I have no doubt that other forms will emerge, the strongest candidates at present for consideration as such are ARGs (alternate reality games). Unlike PVP online games, they are at least partially written (textual), and rely heavily on participants' collaboration through messageboards. If you're trying to catch up, you essentially read the 'story' as it is 'written' by its participants in fora dedicated to solving them. They have a clear story, but are dependent for their unfolding on community participation - and may be changed by this participation: in 2001, Lockjaw ended prematurely when participants brought a class-action lawsuit against the fictional genetic engineering company at the heart of the story. Or perhaps it didnt - I've seen one reference to this event, but other attempts simply lead me deeper into a story that may or may not still be active.
Thus, like LonelyGirl15 and her ilk, ARGs also bridge fact and fiction. This is part of their pleasure, and it is pervasive: I had a Skype conversation yesterday with Ansuman Biswas, an artist who has been sucked into the now-unfolding MEIGEIST game when its creators referenced his work in the course of casting story clues. Ansuman delightedly sent me the link to the initial thread on the game at unfiction, where participants have been debating whether Ansuman exists or not. Even though I was talking to him at the time I almost found myself wondering, too.
Where ARGs as a creative form diverge from print literature (at least, from modern print literature) is in their use of pastiche, patchwork and mash-up. One of the delights of storytelling is the sense of an organising intelligence at work in a chaos of otherwise random events. ARGs provide this, but in a way appropriate to the Babel of content available on the Net. Participants know that someone is orchestrating a storyline, but that it will not unfold without the active contribution of the decoders, web-surfers, inveterate Googlers and avid readers tracking leads, clues, possible hints and unfolding events through the chaos of the Web. Rather than striving for that uber-modernist concept, 'originality', an ARG is predicated on the pre-existence of the rest of the Net, and works like a DJ with the content already present. In this, it has more in common with the magpie techniques of Montaigne (1533-92), or the copious 'authoritative' quotations of Chaucer than contemporary notions of the author-as-originator.
the PR money-shot
The downside of some ARG activity is the rapid incursions of the marketing machine into the format, and a corresponding tendency towards high-budget games with a PR money-shot. For example, I Love Bees turned out to be a trailer for Halo 2. This spills over into offline publication: Cathy's Book, itself an interactive multimedia concept co-written by Sean Stewart, one of the puppetmasters of the 2001 ARG 'The Beast, made headlines last year when it included product placements from Clinique. So where YouTube, myspace, webcasts and the like appear to be working in some ways to open up and democratise creative activity as a community activity, it is as yet unclear whether the same is true of ARGs. Is it acceptable for immersive fiction to be so seamlessly integrated with the needs of the advertising world? Is the idealism of Aristotle and Sidney still worth keeping? Or is such purism obsolete?
where are the artists?
Either way, this new genre represents, I believe, the first stirrings of a Net-native form of storytelling. ARGs have all the characteristics of networked cultural production: they unfold through the collaboration of a networked problem-solving community; they use multiple media, mixtures of fact and fiction, and a distributed reader/participant base. Their operation, and their susceptibility to co-opting by the marketing industry poses many questions; but the very nature of the form suggests that the way to address these is through engagement, not criticism. So, ultimately, this is a call for writers and artists interested in what the form is and could become: to situate Net writing in the context of why writers have always written, to explore its potential, and to ensure that it remains a form that belongs to us, rather than being sold back to us in darkened theatres with a bagful of memorabilia.
the ambiguity of net neutrality 01.03.2007, 12:14 PM
Meanwhile in a recent Wired column, Larry Lessig, also strongly in favor of net neutrality but at the same time hesitant about the robust government regulation it entails, does a bit of soul-searching about the landmark antitrust suit brought against Microsoft almost ten years ago. Then too he came down on the side of the regulators, but reflecting on it now he says might have counseled differently had he known about the potential of open source (i.e. Linux) to rival the corporate goliath. He worries that a decade from now he may arrive at similar regrets when alternative network strategies like community or municipal broadband may by then have emerged as credible competition to the telecoms and telcos. Still, seeing at present no "Linus Torvalds of broadband," he decides to stick with regulation.
Network neutrality shouldn't be trumpeted uncritically, and it's healthy and right for leading advocates like Lessig to air their concerns. But I think he goes too far in saying he was flat-out wrong about Microsoft in the late 90s. Even with the remarkable success of Linux, Microsoft's hegemony across personal and office desktops seems more or less unshaken a decade after the DOJ intervened.
Allow me to add another wrinkle. What probably poses a far greater threat to Microsoft than Linux is the prospect of a web-based operating system of the kind that Google is becoming, a development that can only be hastened by the preservation of net neutrality since it lets Google continue to claim an outsized portion of last-mile bandwidth at a bargain rate, allowing them to grow and prosper all the more rapidly. What seems like an obvious good to most reasonable people might end up opening the door wider for the next Microsoft. This is not an argument against net neutrality, simply a consideration of the complexity of getting what we wish and fight for. Even if we win, there will be other fights ahead. United States vs. Google?
book trailers, but no network 08.29.2006, 9:30 AM
We often conceive of the network as a way to share culture without going through the traditional corporate media entities. The topology of the network is created out of the endpoints; that is where the value lies. This story in the NY Times prompted me to wonder: how long will it take media companies to see the value of the network?
The article describes a new marketing tool that publishers are putting into their marketing arsenal: the trailer. As in a movie trailer, or sometimes an informercial, or a DVD commentary track.
"The video formats vary as widely as the books being pitched. For well-known authors, the videos can be as wordy as they are visual. Bantam Dell, a unit of Random House, recently ran a series in which Dean Koontz told funny stories about the writing and editing process. And Scholastic has a video in the works for "Mommy?," a pop-up book illustrated by Maurice Sendak that is set to reach stores in October. The video will feature Mr. Sendak against a background of the book's pop-ups, discussing how he came up with his ideas for the book."
Who can fault them for taking advantage of the Internet's distribution capability? It's cheap, and it reaches a vast audience, many of whom would never pick up the Book Review. In this day and age, it is one of the most cost effective methods of marketing to a wide audience. By changing the format of the ad from a straight marketing message to a more interesting video experience, the media companies hope to excite more attention for their new releases. "You won't get young people to buy books by boring them to death with conventional ads,'' said Jerome Kramer, editor in chief of The Book Standard."
But I can't help but notice that they are only working within the broadcast paradigm, where advertising, not interactivity, is still king. All of these forms (trailer, music video, infomercial) were designed for use with television; their appearance in the context of the Internet further reinforces the big media view of the 'net as a one-way broadcast medium. A book is a naturally more interactive experience than watching a movie. Unconventional ads may bring more people to a product, but this approach ignores one of the primary values of reading. What if they took advantage of the network's unique virtues? I don't have the answers for this, but only an inkling that publishing companies would identify successes sooner and mitigate flops earlier, that the feedback from the public would benefit the bottom line, and that readers will be more engaged with the publishing industry. But the first step is recognizing that the network is more than a less expensive form of television.
congress passes telecom bill, breaks internet 06.09.2006, 2:29 AM
The benighted and corrupt U.S. House of Representatives, well greased by millions of lobbying dollars, has passed (321-101) the new telecommunications bill, the biggest and most far-reaching since 1996, "largely ratifying the policy agenda of the nation's largest telephone companies" (NYT). A net neutrality amendment put forth by a small band of democrats was readily defeated, bringing Verizon, Bell South, AT&T and the rest of them one step closer to remaking America's internet in their own stupid image.
save the internet! protest today at verizon world hq 05.24.2006, 8:05 AM
For New Yorkers today (some of us will be there):
National Day of Out(R)age - New York City Protest
Location: Verizon World Headquarters
140 West Street at Vesey Street
Date/Time: Wednesday, May 24th 12:30-1:30 (arrive 12:15)
ACE-23 trains to Chambers St.
Organized by the saveaccess.org Coalition with Fairness and Accuracy In Reporting (FAIR), NYC Grassroots Media Coalition, Paper Tiger TV and more!.
machinima agitprop elucidates net neutrality 05.08.2006, 4:18 PM
This Spartan Life, our favorite talk show in Halo space, just posted a hilarious video blog entry making the case for network neutrality. In some ways, this is the perfect medium for illustrating a threat to virtual spaces, conveying more in a couple of minutes than several weeks worth of op-eds. Enjoy it now before the party's over.
(In case you missed it, here's TSL's interview with Bob.)
on appropriation 04.27.2006, 3:50 PM
The Tate Triennial 2006, showcasing new British Art, brings together thirty-six artists who explore the reuse and reshaping of cultural material. Curated by Beatrix Ruf, director of the Kunsthalle in Zurich, the exhibition includes artists from different generations who explore reprocessing and repetition through painting, drawing, sculpture, photography, film, installations and live work.
Historically, the appropriation of images and other cultural matter has been practiced by societies as the reiteration, reshuffling, and eventual transformation of artistic and intellectual human manifestations. It covers a vast range from tribute to pastiche. When visual codes are combined, the end product is either a cohesive whole where influences connect into new and very personal languages, or disparate combinations where influences compete and clash. In today's art, the different guises of repetition, from collage and montage to file sharing and digital reproduction highlight the existing codes or reveal the artificiality of the object. Today's combination of codes alludes to a collective sense of memory in a moment when memories have become literally photographic.
One comes out of this exhibition thinking about Duchamp's "readymades," Rauschenberg's "combines," and other forms of conceptual "gluing," (the literal meaning of the word "collage,") as precursors and/or manifestations of the postmodern condition. This show is a perfect representation of our moment. As Beatrix Ruf says in the catalogue: "Artists today are forging new ways of making sense of reality, reworking ideas of authenticity, directness and social relevance, looking again into art practices that emerged in the previous century."
We have artists like Michael Fullerton, who paints contemporary figures in the style of Gainsborough, or Luke Fowler's use of archive material to explore the history of Cornelius Cardew's Scratch Orchestra. Repetition goes beyond inter-referentiality in the work of Marc Camille Chaimowicz, who combines works he made in the 70s with projected images of himself as a young man and as an adult, within a space where a vase of flowers set on a Marcel Breuer' table and a pendulum swinging back and forth position the images of the past solidly in the present. In "Twelve Angry Women," Jonathan Monk affixes to the wall twelve found drawings by an unknown artist from the 20s, using different colored pins that work as earrings. Mark Leckey uses Jeff Koons' silver bunny as a mirror into his studio in the way 17th century masters painted theirs. Liam Gillick creates sculptures of hanging texts made out of factory signage.
Art itself is cumulative. Different generations build upon previous ones in a game of action and reaction. One interesting development in art today is the collective. Groups of artists coming together in couples, teams, or cyberspace communities, sometimes under the identity of a single person, sometimes a single person assuming a multiple identity. Collectives seem to be a new phenomenon, but their roots go back to the concept of workshops in antiquity where artistic collaboration and copying from casts of sculptural masterpieces was the norm. The notion of the individual artist producing radically new and original art belongs to modernity. The return to collectives in the second part of the 20th century, and again now, has a lot to do with the nature of representation, with the desire to go beyond the limits of artistic mimesis or individual interpretation.
On the other hand, appropriation as a form of artistic expression is a postmodern phenomenon. Appropriation is the language of today. Never before the advent of the Internet had people appropriated knowledge, spaces, concepts, and images as we do today. To cite, to copy, to remix, to modify are part of our everyday communication. The difference between appropriation in the 70s and 80s and today resides in the historical moment. As Jean Verwoert says in the Triennial 2006 catalogue:
The standstill of history at the height of the Cold War had, in a sense, collapsed the temporal axis and narrowed the historical horizon to the timeless presence of material culture, a presence that was exacerbated by the imminent prospect that the bomb could wipe everything out at any time. To appropriate the fetishes of material culture, then, is like looting empty shops at the eve of destruction. It is the final party before doomsday. Today, on the contrary, the temporal axis has sprung up again, but this time a whole series of temporal axes cross global space at irregular intervals. Historical time is again of the essence, but this historical time is not the linear or unified timeline of steady progress imagined by modernity: it is a multitude of competing and overlapping temporalities born from the local conflicts that the unresolved predicaments of the modern regimes still produce.
Today, the challenge is to rethink the meaning of appropriation in a moment when capitalist commodity culture has become the determinant of our daily lives. The Internet is perhaps our potential Utopia (though "dystopian" seems to be the adjective of choice now.) But, can it be called upon to fulfill the unfulfilled promises of 20th century's utopias? To appropriate is to resist the notion of ownership, to appropriate the products of today's culture is to expose the unresolved questions of a world shaped by the information era. The disparities between those who are entering the technology era and those forced to stay in the times of early industrialization are more pronounced than ever. As opposed to the Cold War, where history was at a standstill, we live in a time of extreme historicity. Permanence is constantly challenged, how to grasp it all continues to be the elusive task.
Posted by sol gaitan at 3:50 PM
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tags: Beatrix_Ruf , Chaimowicz , Gillick , Jonathan_Monk , Remix , appropriation , art , collaboration , collage , collective , duchamp , internet , museum , p2p , peer_to_peer , rauschenberg , tate , utopia