Judy Malloy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0012
- Subject:
- Society and Culture, Technology and Society
Initiated by Carl Loeffler, Director of the San Francisco artspace La Mamelle/Art Com, who had been working on artists' telecommunications projects since the 1977 Send/Receive Project, Art Com ...
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Initiated by Carl Loeffler, Director of the San Francisco artspace La Mamelle/Art Com, who had been working on artists' telecommunications projects since the 1977 Send/Receive Project, Art Com Electronic Network (ACEN) was implemented on The WELL by artist Fred Truck in the Spring of 1986. Loeffler's vision was to create an online environment for contemporary art that included electronic publication of art journals; an art-centered conferencing system; and interactive publication of computer-mediated artworks and electronic literature. How Loeffler and Truck began a collaboration that resulted in an historic social media platform; how ACEN brought artists online; published text art and electronic literature, including John Cage‘s First Meeting of the Satie Society and Judy Malloy's Uncle Roger; and mounted a travelling exhibition of artists software, is detailed in this interview with Fred Truck -- with the participation of Anna Couey, who began editing Art Com Magazine online in 1990.Less
Initiated by Carl Loeffler, Director of the San Francisco artspace La Mamelle/Art Com, who had been working on artists' telecommunications projects since the 1977 Send/Receive Project, Art Com Electronic Network (ACEN) was implemented on The WELL by artist Fred Truck in the Spring of 1986. Loeffler's vision was to create an online environment for contemporary art that included electronic publication of art journals; an art-centered conferencing system; and interactive publication of computer-mediated artworks and electronic literature. How Loeffler and Truck began a collaboration that resulted in an historic social media platform; how ACEN brought artists online; published text art and electronic literature, including John Cage‘s First Meeting of the Satie Society and Judy Malloy's Uncle Roger; and mounted a travelling exhibition of artists software, is detailed in this interview with Fred Truck -- with the participation of Anna Couey, who began editing Art Com Magazine online in 1990.
Judy Malloy
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0023
- Subject:
- Society and Culture, Technology and Society
Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on ...
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Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).Less
Beginning in 1992, Arts Wire, a program of the New York Foundation for the Arts, was a social media platform and Internet presence provider, that provided access to news, information, and dialogue on the social, economic, philosophical, intellectual, and political conditions affecting the arts and artists. Initially led by Anne Focke and then by poet, Joe Matuzak, Arts Wire participants included individual artists, arts administrators, arts organizations and funders. This chapter focuses on Arts Wire's social media aspects, such as discussion and projects, including among others: AIDSwire, an online AIDS information resource; the online component of the Fourth National Black Writers Conference; the Native Arts Network Association; ProjectArtNet that brought children from immigrant neighborhoods online to create a community history; NewMusNet, a virtual place for experimental music; and Interactive, an online laboratory for interactive art. It also documents the history of the e-newsletter, Arts Wire Current (later NYFA Current).
Judy Malloy (ed.)
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.001.0001
- Subject:
- Society and Culture, Technology and Society
Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media ...
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Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. It invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors: Madeline Gonzalez Allen, James Blustein, Hank Bull, AnnickBureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. WoolleyLess
Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. It invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors: Madeline Gonzalez Allen, James Blustein, Hank Bull, AnnickBureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. Woolley
