Jon Ippolito
Jon Ippolito's articles have been published in these Meshes:
Jon Ippolito coordinates these Meshes:
This submesh collects essays and online projects by staff and affiliates of Still Water, a research arm of the University of Maine's New Media department dedicated to studying and building creative networks.
CRASSH (University of Cambridge)
This Mesh was founded by the Centre for Research in the Arts, Social Sciences, and Humanities at the University of Cambridge.
The Forging the Future Mesh is a collection of essays and resources related to variable media preservation. The Mesh is organized by Forging the Future, a consortium of museums and cultural heritage organizations dedicated to exploring, developing, and sharing new vocabularies and tools for cultural preservation.
This talk contrasts three paradigms for cultural institutions aiming to open their doors to public participation. It was originally delivered at the Walker Art Center in Minneapolis in the inaugural event of its Open Field program on 3 June 2010.Analysis of the collaborative online environment The Pool suggests that inequalities in some creative networks may level out over time due to the long-term effects of user ratings.This is version 1.1; a synopsis of this paper (version 1.0) was <continued>
This text is from the publication Permanence Through Change: The Variable Media Approach, published in 2003 by the Solomon R. Guggenheim Museum and the Daniel Langlois Foundation for Art, Science, and Technology.This text introduces the <continued>
This essay was the first examination of the variable media paradigm to appear in print.Originally published in Jon Ippolito's Cross Talk column, Artbyte (New York) 1, no. 2 (June-July 1998), pp. 18-19.This essay looks at the "synthetic ethics" raised by human behavior toward avatars and other virtual creatures. Since it was published, there have been a number of court cases on the topic of pornography involving simulated children.Originally <continued>Author's note from 2009: This essay was originally published in the 1991 catalogue for Deep Storage, Haus der Kunst, Munich, Ingrid Schaffner and Matthias Winzen, curators. Many of the projects and links are now dead, reflecting ironically on the <continued>Originally published in Jon Ippolito's Cross Talk column, Artbyte (New York) 2, no. 2 (Summer 1999), pp. 26-27(Post-script from 2009: Convergence fever seems to have died down, probably due to the fact that the computer seems to have beaten <continued>This essay examines the case for censoring participatory or algorithmic works of software art.Originally published in Jon Ippolito's Cross Talk, Artbyte (New York) 2, no. 5 (January-February 2000), pp. 28-29.Art historian Clive Bell famously described the contrast between virtuosic and communal art production as "cold peaks" versus "snug foothills of warm humanity." High culture's anxiety about distributed culture has reached new levels thanks to the <continued>"New Criteria for New Media"Version 2.2, January 2007 Published in Leonardo (Cambridge) 42, no. 1 (spring 2009). Free download.Authors: Joline Blais, Jon Ippolito, and Owen Smith in collaboration with Steve Evans and Nate Stormer. ABSTRACT: An <continued>This text is from the publication Permanence Through Change: The Variable Media Approach, published in 2003 by the Solomon R. Guggenheim Museum and the Daniel Langlois Foundation for Art, Science, and Technology.The following conversation merges <continued>A talk based on the book At the Edge of Art by Joline Blais and Jon Ippolito as part of ARCO Madrid 2009.This essay is an expanded version of a presentation at the 2007 DOCAM Summit, Daniel P. Langlois Foundation for Art, Science, and Technology, Montreal, 26 September 2007.Still Water co-director Jon Ippolito takes a look at emblematic cases of the transition from subversion through conversion to development in connections between art and industry in the last fifty years. This talk was first presented at the <continued>This essay tries to categorize different ways that artists have used technical processes and gadgets, concluding that the most creative way to work with technology is to misuse it. The essay was originally published on CD-ROM and Web in an <continued>This essay makes the case for abandoning the claim that art is property--material or intellectual--and suggests alternatives that may be more useful for artists and their heirs. "Why Art Should Be Free" was originally published in August 2002 on <continued>Digital performance is a genre whose ephemerality makes it extremely vulnerable to obsolescence and oblivion. Yet in this essay Jon Ippolito argues that the process-oriented character of digital performance makes it a better model for the long-term <continued>The innocuous-looking wall label--featuring a single artist, title, date, medium, dimension, and collection--represents a cultural paradigm based on singularity and stasis and rather than multiplicity and movement. The most dynamic art of the past <continued>
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