Arts & Technology

Youtube Symphony Orchestra

picture-7Back in December, Brad posted an article about the call for entries for the Youtube Symphony Orchestra I'd like to post an update.

Google held an open call for musicians from around the world where users were asked to upload video auditions to be judged by a jury of professional musicians from the London Symphony and the Berlin Philharmonic.  This short list of musicians was then opened up for Youtube viewers to vote on to decide the winners.

Well, the votes are in, and on April 15th over 90 musicians from 30 different countries will be flown to New York City to perform at Carnegie Hall for the first ever crowd sourced symphony orchestra, that will be conducted by Michael Tilson Thomas, music director of the San Francisco Symphony.

The Youtube Symphony Orchestra will be playing “Internet Symphony No. 1, Eroica,” by composer Tan Dun (of Crouching Tiger, Hidden Dragon and Hero fame). Tan Dun has been providing continuing online video master classes to help prepare the musicians for their upcoming performance, including video of him silently conducting each section of the orchestra and staring directly into the camera.

The project has drawn an amazing amount of interest from participants.  After being announced on December 1st nearly 3,000 auditions had been uploaded from 71 countries by February.  This seems like a really interesting way to get younger people involved and interested in classical music, as well as pointing out what can be accomplished as technology continues to shrink the size of the globe.

Blogging on the Shoulders of Giants

Creative Commons licenses provide the ability to modify the terms of the copyright on your intellectual property.

Some times Copyright can be too restrictive when you would like to share your work with the world.

For those of you who are unfamiliar with Creative Commons licensing, this video helps to explain some of the ways in which it allows someone to publish their work somewhere in between All rights reserved and No rights reserved. This method of copyright allows the creator of the work to decide how it can be used by others, if it can be used commercially, sampled, remixed, or built upon.  By using a Creative Commons License creators are able to maintain some rights while allowing others greater access to the work than the regular Copyright would allow.

FairShare is a free online application that allows you to track the usage of your creative commons licensed intellectual property, making it possible for people all around the world to reuse content while still attributing it back to the original creator.  Currently FairShare works for any text based content that is available to the public via RSS feeds.  This means any blog posts, essays, cookbooks, and anything as long as it is text and available as via RSS.  According to Plagiarism Today's Jonathan Bailey, FairShare Developer Attributor is also gauging interest in a FairShare for photos and videos as a possibility for a future service that would allow users to track the use of images and other media beyond just text content.

FairShare begins by asking you to choose from a list of available Creative Commons Licenses.

  • Attribution
  • Attribution Non-Commercial
  • Attribution No Derivatives
  • Attribution Share Alike
  • Attribution Non-Commercial No Derivatives
  • Attribution Non-Commercial Share Alike

Once you've registered your blog or other RSS feed, FairShare searches to find instances of your content on other sites, and then displays the different pages that have reused your work and how that reuse of your content compares to your license conditions.  The sites using your content are displayed in your FairShare feed that can then be accessed through a feed reader such as Google Reader, or any number of other RSS readers.

This is an amazing new tool that will allow anyone who is concerned about how their intellectual property is being used to track and influence how that content is being shared.

As we go into the weekend, I leave you with this awesome Video Mashup, "The Mother of all Funk Chords"  that was created entirely from clips available on Youtube.

Democratizing Independent Film distribution

From Here to Awesome I know that this festival has been around for a little over a year, but I still find myself visiting their homepage.

From Here to Awesome is presenting a new method of movie distribution that relies upon online viewer votes to decide which movies will be distributed.  The festival has no submission fees, the filmmakers retain all rights to their film and filmmakers make money directly.  This film festival is bypassing a lot of the industry gatekeepers to help distribute films that audiences want to see by using a simple online social platform.

I think that it is a really amazing way for independent filmmakers to get instant feedback from their audiences as well as to talk about some of the advances in the field that are creating higher production levels on lower budgets.

Filmmaker Fritz Donnelly, creator of the movie "To the Hills 2," describes the current state of the film making industry and points out many of the problems inherent in the system on From Here to Awesome's Festival Blog.  The Q&A session focuses on the possible technological utopia of film making and distribution of the future, and the hope that it brings.

This festival seems to have been a great success, considering that by July 26th, the festival's 22 selected showcase films will be available online on Amazon, Vudu, Netflix, IndieFlix.com, Hereticfilms.com, Hulu, Joost, Cacchi, and Vuze.  Recent theatrical screenings have also taken place in San Francisco, Boston, and London, as well as over 25 guerrilla drive-in screening events.

I can see that the future of independent and documentary film distribution will have the tendancy to become more democratized as festivals like From Here to Awesome create more of an online marketplace, and the costs of quality production start to come down.  The prices of cameras and editing software are reaching a point where they are accessable to more and more people with a story to tell.

Social Media as Alternative Exhibiton Space

Elis Wooten by Matt Held Myspace has long been a mecca for musicians who are looking to get the word out and start a following,  but until recently visual artists have not capitalized on the aspects social networking with the same fervor.

This is beginning to change as visual artists are now using this new medium as a way around established gatekeepers, creating open alternative arts spaces online. Ever since discovering Miranda July's Learning to Love You More in undergrad I've been interested in crowd sourced art projects, and with new social mediums like Facebook and Twitter, artists are now able to easily create a community that is interested and involved in their artwork.

Matt Held, a Brooklyn based painter, started a Facebook group in order to create a pool of images to paint from by utilizing his friends' profile pictures.  His Facebook group, "I'll have my Facebook portrait painted by Matt Held" has sense grown exponentially.

Matt explained, "I have always painted from photos and was having a complete painters block. I needed an exercise in skin tone and did one of my wife from her profile. We put the group up and I thought maybe if 50 people joined, I would be able to work through the block. People liked it and as I said, this quick communication has proved true, there are nearly 3,400 people in the group now. It's been a really great tool, really great!"

Matt has recently completed his 37th portrait in the four months since beginning this project, and is looking forward to exhibiting all 200.  Social media is quickly creating a rich creative playground for visual artists to explore, and Matt is realizing how large the demand is for creative projects online.

"It's a perfect vehicle to combine mediums with technology and connect with other artists, gallery owners, curators, critics, editors, etc. very quickly. Facebook is set up so perfectly for that and now as other sites like Twitter broaden their user base, this level of instant communication with people around the world - not via the news, but from the mouths of people - it's just an inexhaustible resource."

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Outside of the standard Facebook/Myspace/Twitter sites, artists are creating their own networks.   Myartspace and the Brooklyn Arts Project are both new social networks for creative artists that capitalize on the accessability of the internet, and the networking opportunities that can be created for artists.

These sites both have an ongoing blog of current events, as well as user submitted blogs.  Curators are invited to post calls for artists, and on the Brooklyn Arts Project site there is an online store where you can purchase framed art prints of featured artwork. These cites are creating a depth of relevant content as well as a definitive sense of community that is important to any group of artists.

Some galleries are also using their websites as interesting alternative exhibition spaces.  20X200 is a small gallery space on Manhattan's Lower East Side that releases limited edition art prints at incredibly low prices.  Jen Bekman has made a name for herself by making art available to everyone.

(limited editions × low prices) + the internet = art for everyone

The site introduces two new artworks every week, one photograph and one work on paper.  They are available in three sizes that vary in price from $20 for a small print, to $200 for the largest size.

In the days/weeks/years to come, visual artists will continue to find new ways of utilizing the web to create interactive and crowd sourced projects as well as to venture beyond the pristine white walls of the gallery and create new avenues for audience engagement.

I agree with Matt Held when he said "One of the things I have noticed in the past few weeks are more and more artists doing different things. One artist updated her status every 60 seconds for 16 hours as a means of opening dialogue about self exposure, narcissism, social controls, etc. Another is trying to put together a large group, 500 people, to do a massive tweet at the same time with super secret instructions. I am quite certain that we are just seeing the beginnings of the exploration on the creative use of social networks as an artistic platform."

Going Facebook Crazy

modern-times If you haven’t noticed, Facebook has changed its homepage layout, and a lot of the features available to user profiles are now also available for Pages.

I've spent the better part of this week fooling around with the new layout and features that Facebook has made available on their Pages, and trying to make heads or tails out of what is being communicated to our "fans," when it is being communicated, and how. The biggest change to Pages has been the new Wall and Stream tabs as well as the ability to send Status Updates from your page.

So, Yay for all the new toys…now what do we do with them?

The Wall allows users to post comments, just like on a profile, and ends up being the home for a large portion of user generated content for your Page.  The Stream tab similarly aggregates any changes that you've made to the page such as adding blog postings, links, events, etc..  Fans of your page are then notified when you update or change anything on the profile automatically.  There in lies a problem.  It's not THE problem, but it's one of them.  I understand that it is good to update fans when changes are made to the Page, it has the potential to create a lot more active discussion and real-time interaction, but it also has the ability to overwhelmingly spam users about our Page.  Will users really want to know about every single time we upload a new picture, or post an interesting link?

Some of the same issues arise when it comes to the Status Update feature.  In a lot of ways the Status Update is similar to a Twitter feed, so how do we keep the communication relevant and engaging without being perceived as a pest?  Since updates are being shared real-time with users, it is becoming more and more important to keep the communication on a level that creates interest without turning fans off with too much information.

The new tabbed layout also presents some interesting questions.  The tabs generally consist of the wall, an info tab, a discussion tab, and a Boxes tab, but the Boxes tab seems to be a catch all for applications that don't seem to fit anywhere else, it could very easily be called "other" or "stuff."  Even in Facebook's example page of their product guide, the Boxes tab doesn't seem to be fleshed out.  So this leaves me wondering how to best use available applications to relate to our users, or if this tab will end up being the neglected big box of stuff that nobody cares about tab.

Because these changes are new, it is still uncertain how either organizations or fans will react and start to use these new tools to communicate.  It seems that no matter what, facebook will continue to occupy way too much of my time online.  And now I need to hunt down a decent podcast application for facebook to fill up that Boxes tab.

All the news that's fit to Tweet

It seems that over the past week Twitter has made it into the headlines for both being an amazing new communication tool, and how ridiculously it is being used.  This past Monday on the Daily Show John Stewart pointed out some of the effects that Twitter has on our perception of both the news media and congress.  While many members of Congress were Twittering through Obama’s most recent speech, the inane messages seemed to detract from the gravity of the event. As John Stewart said, “..these messages don’t enlighten or inform, it’s a gimmick that actually lessens the credibility of institutions in desperate need of authority." Regardless of the method of communication, why should we care unless you have something meaningful to say. Both the London Times and The Washington Post have tried to address the question as to why we twitter, only to come to the conclusion that we have a terribly underdeveloped sense of self and need to be reassured that we exist. From the London Times...

The clinical psychologist Oliver James has his reservations. "Twittering stems from a lack of identity. It's a constant update of who you are, what you are, where you are. Nobody would Twitter if they had a strong sense of identity."

"We are the most narcissistic age ever," agrees Dr David Lewis, a cognitive neuropsychologist and director of research based at the University of Sussex. "Using Twitter suggests a level of insecurity whereby, unless people recognise you, you cease to exist. It may stave off insecurity in the short term, but it won't cure it."

This is generally why I can't stand most Twitter feeds.  Yes it is a new and powerful means of communication, but it seems to me that right now it is primarily being used as a posturing mechanism to help aging organizations appear youthful and with it.  The majority of the Twitter feeds out there are either devoid of content, incredibly trivial or mundane.  They only communicate that someone exists and not much more.

That being said, there are some really amazing ways that Twitter is being used.  Organizations that understand the importance of real time communication with their audiences are pushing the boundaries with Twitter and capitalizing on the unique ways that they can receive audience feedback.

The Twitter Art feed at the Brooklyn Museum is part their new 1stfans program, and allows members access to tweets by contemporary artists every month, and has featured works by artists such as Mary Temple and An Xiao that utilize the social feedback aspect of Twitter.   An Xiao's piece was about Morse code and the history of instant communication in which 1st fans were asked to feed to tweet using Morse code, while Mary Temple's piece Currency provides a daily link to a drawing made from current news articles about important world leaders in the media.

Conferences are also beginning to utilize Twitter Back Channels to allow their audiences to discuss the content of a presentation in real time without disrupting the event.  This is in essence what we tend to get scolded for in school, passing notes, making fun of a presenter's overuse of the word "nascent," and whispering to a neighbor about the content of the presentation.  More often than not, these conversations are being spurred on by the speaker, and Twitter is creating a real-time avenue for discussion that is centered around the speaker's presentation.  This is creating a non-invasive avenue for audience participation and places the focus of these events back on the community of people attending instead of just sitting at the feet of the keynote speaker.

These organizations are utilizing Twitter feeds for audience engagement and a way for inducing a flattened level of communication.   The Brooklyn Museum also seems to be using the Twitter feed as an interesting source of revenue, as 1stfans membership costs $20 a year.

I can't help to think that it might be useful way to get instant feedback on the progress of projects and tasks at work, especially if certain employees are telecommuting or out of the office.  And the fact that updates can be sent by phone, allows updates to happen when access to a computer is limited.

Share what you think about Twitter, and some of the possible real world applications of using Twitter for audience (or employee) engagement in the comments below.

No Comment - Bloggers Should Let Their Readers Respond

The other day, a colleague shared with me a link to a post on Lee Rosenbaum's CultureGrrl blog speaking out against the recent the call for a U.S. "culture czar."  While I see where she is coming from, I wanted to share with her and my fellow readers some thoughts regarding the issue.  Imagine my surprise when I discovered that there is no place to post a comment.  The only option is to engage Ms. Rosenbaum in private discourse via e-mail.  Here is an entire blog post devoted to providing a counterpoint to other online voices, and yet the author provides no opportunity for her readers to engage her and her readers in a public discussion. As my fellow texters might scribe, "WTF?" Okay, I'm gonna get up on my soapbox here for minute.  We've all heard about Web 2.0 and the cuture of sharing, etc.  We drank the Kool-Aid and started blogging, podcasting, social networking, posting social media, creating wikis - experimenting with a variety of forms for sharing content with each other.  For many of us, there is an understanding that this online sharing is of a reciprocal nature.  If you throw your content out into the universe, then you cannot truly engage with anyone until you allow them to respond.  And for the record, a private e-mail doesn't cut it.

What if someone doesn't agree with you? That's okay. We frequently encounter people who do not agree with us, but that doesn't stop us from engaging in conversation. In fact, disagreement is not necessarily a negative thing. When approached from an inquisitive stance, disagreement may lead to clarification, exploration, and possible consensus.

And if someone out there on the Web responds to you in an insulting or derisive manner, you have three options: 1. Respond to them. 2. Take the "high road," and let your readers respond to them. 3. Delete the comment.

Now, I am not saying that Ms. Rosenbaum deliberately does not want her readers to engage her and each other in public discussion of her ideas. Maybe she never considered the implications of not allowing comments to her blog.

Ironically, there is a "Share This" icon at the bottom of the posting - so that you can share the author's thoughts with all of your friends and colleagues. Wouldn't it be nice if she returned the favor?

2009 MUSE Awards Call for Entries

The AAM Media and Technology Committee announces the 20th annual MUSE awards competition. Presented to institutions or independent producers which use digital media to enhance the museum experience and engage new audiences, the MUSE awards celebrate scholarship, innovation, creativity and inclusivity. Projects must be produced by or for a museum, including websites, podcasts, multimedia installations, interactive kiosks in the museum, cell phone audio tours in a garden, etc. Winning projects for each category are chosen by an international group of museum media professionals and the awards will be presented at the AAM annual conference in Philadelphia, PA from April 30-May 4, 2009. museawardslogo

Online applications must be submitted January 31, 2009.  If you have any questions please contact Sarah Marcotte, MUSE Awards Chair.

Call for Session Proposals - 2009 Technology in the Arts: Canada

Proposals for sessions and workshops are currently being accepted for the 2009 Technology in the Arts: Canada Conference to be held in Waterloo & Stratford, Ontario from May 10-12, 2009. This year's conference is being held in conjunction with the Canada 3.0: Defining Canada's Digital Future Conference. The deadline for submitting your proposal is Monday, January 19, 2009.

The conference has two primary types of programming - Hands-On Training Workshops and Breakout Sessions.

  • Hands-On Training Workshops: Sunday, May 10th: Held in a computer lab environment on the University of Waterloo campus, Waterloo, Ontario, these workshops will provide "nuts & bolts" instruction to guide participants through technical processes toward concrete solutions to work-place challenges. Each hands-on workshop will last 2 hours and 30 minutes. Workshop leaders should anticipate using 25% of the time for informational lecture and the remaining 75% of the time for hands-on instruction.
  • Breakout Sessions: Monday, May 11th & Tuesday, May 12th: Held in breakout rooms at the Stratford Rotary Complex, Stratford, Ontario, conference sessions may use a number of possible formats to cover relevant issues relating to the use (or potential use) of technology in arts, heritage or cultural management and/or production. Breakout sessions will last 1 hour and 15 minutes.
  • Proposal Criteria: A panel of arts and technology practitioners will review all submitted proposals to select the final program in late January.  Sessions will be selected based on the following criteria:

  • Exploration of new or compelling ideas, technologies or practices
  • Speakers' expertise and/or experience with the topic
  • Session's relevance to the conference
  • In addition to the above criteria, the panel will be charged with selecting workshops and sessions with an eye toward providing a well-rounded program of topics and ideas for conference attendees that will include managers, staff and artistic/curatorial personnel from the arts, heritage and cultural sector, as well as individual artists.

    SUBMIT YOUR SESSION PROPOSAL ONLINE HERE

    Benefits for Presenters: Presenters will receive complimentary access to the conference for the day on which they present, and discounted registration for other days they wish to attend.  All session participants will be responsible for their own travel and hotel expenses.

    Proposal Components: To be considered, proposals must include the following information:

  • Session title
  • Session type - Hands-On Training Workshop or Breakout Session
  • Session format - For Breakout Session proposals only
  • Description of proposed session
  • Explanation of relevance to the conference
  • Contact information for session leader
  • Other potential presenters and what expertise they would add to the session
  • Not an expert? You don't have to be!  Here are some tips for putting together a session.

    Questions? Contact us.

    The 2009 Technology in the Arts: Canada Conference is a partnership between the Centre for Cultural Management at the University of Waterloo and the Center for Arts Management and Technology at Carnegie Mellon University.

    Want to Play at Carnegie Hall?

    How do you get to Carnegie Hall? Practice... or win a YouTube contest! (Insert rimshot here.) In what might be described as American Idol for the classical music crowd, YouTube yesterday announced YouTube Symphony Orchestra, a collaboration with several classical music organizations.

    The London Symphony Orchestra plays the Internet Symphony No. 1 "Eroica" - for YouTube, conducted by Tan Dun.

    Through January 28, 2009, musicians of any skill level can submit a video performance of a work by composer Tan Dun (Crouching Tiger, Hidden Dragon). The performances will be rated by judges and YouTube users, and the finalists will be invited to participate in April's YouTube Symphony Orchestra summit and perform at Carnegie Hall with conductor Michael Tilson Thomas.

    YouTube Symphony Orchestra also offers a collection of online tools for learning and rehearsing the new Dun piece.

    Rosin your bow, head on over to YouTube Symphony Orchestra and start practicing.