Blueskying a Social Media Platform for the Arts
Facebook and Google Groups
Tom Klinkowstein was already communicating with email, when he began creating Telecommunications Performance via Facsimile, a 1981 networked performance with Robert Adrian that linked the Mazzo Club in Amsterdam and the Blitz Bar in Vienna. Klinkowstein's telematic projects have also included Levittown at the 't Hoogt Cultural Center in Utrecht; the Fast-Food installation, Breda, 1983; and More Service for More People, San Francisco State University and Ars Electronica, 1982. He is currently President of Media A, a design and consulting group, as well as a Full Professor with tenure at Hofstra University on Long Island, NY, and an Adjunct Professor with part-time tenure at Pratt Institute in New York City. Tom Klinkowstein's work has been shown in art centers, museums and galleries throughout the world, including the Centre Pompidou in Paris and the Venice Biennale in Venice, Italy. His work for TapIt – a free water bottle refilling network in New York City and Washington, won a Communicator award in the Green-Eco category. His 10-meter long digital artwork, A Networked Designer's Critical Path: 1990-2090, was shown at the Fifth Avenue (New York City) Gallery of the American Institute of Graphic Design. A city-block sized version of the follow-up project in the same series about design and the future, A Day in The Life of a Networked Designer's Smart Things or A Day in A Designer's Networked Smart Things, 2030, was shown at DesignCenter Winkelhaak in Antwerp. Belgium, and at the Proteus Gowanus Gallery in Brooklyn, New York. It was also featured in Data Flow: Visualising Information in Graphic Design, published by Die Gestalten Verlag. The Museum of Modern Art in New York recently acquired a poster, designed by Klinkowstein for the artist Laurie Anderson, as a part of its permanent collection and of the Designing Modern Women exhibition. His latest work, The Universe Emerges from Information: 10-43 Seconds in the State of Awareness of an Exo-Designer, 2055, was shown this past year at Columbia University's Studio-X in Istanbul and at the Museum of the Fashion Institute of Technology in New York City. For more information about his work, visit the Media A website at http://mediaa.com
comments, prompts, questions
See below, comments, prompts, questions regarding contemporary social media for the arts.
Please respond to one or more with short (less than 50 words) argument-based responses or speculative additional questions. Be specific and site references.
1) In Martin Buber’s 1923 essay, ’Ich und Du’ (I and Thou), he portrays the holiness of a dialogic, deeply respectful relationship. How might social media facilitate artists being dialogical beyond likes and comments?
2) Lygometry is the measurement of what we know that we do not know. What is it we don’t know about social media that artists might begin to probe?
3) Someone’s dystopia may be another’s utopia. Describe a dystopic feature of social media and speculate on how it might be bent in the direction of the utopic.
4) Regarding social media and art:
The first generation (70’s-2000’s) is full of righteous fervor.
The second (2010-present) are administrators
The third (2016-present) asks, ‘What are we doing?”
The fourth (your generation into the next few decades) asks/does what?
5) The majority of images now created are made by machines for other machines and are not really images (paraphrasing Benjamin Bratton in ‘The Stack’). For example, security systems that employ algorithms that trigger automated responses without human intervention. Can social media art be social without the direct intervention of humans?
Transcript of Tom Klinkowstein's Facebook conversation
Wendel A. White
Overviews, Ideas, Histories, and Observations
from Policy Makers and Advocates
Dal Yong Jin
from Curators and Critics
SAIC ATS Class in Social Media Narrative
SAIC ATS Part-time Faculty: Judy Malloy