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Westminsterresearch WestminsterResearch http://www.westminster.ac.uk/research/westminsterresearch Expanding community art practice: an analysis of new forms of productive site within community art practice Kevin Carter School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2013. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] Expanding Community Art Practice: An analysis of new forms of productive site within community art practice. Kevin Carter A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy June 2013 1 Abstract This practice-based research is a reflection upon a community art practice mediated via the social use of digital technologies such as social media, Free Libre Open Source Software (FLOSS) and open data. In combining existing community art methods and methodologies, with those taken from the social use of digital technologies, an attempt has been made to expand community art to include these social sites productively within its practice. Over the past 40 years, community-focused art practice has produced a significant and mature body of critique derived from a range of issues such as community, identity, co-option by external agendas as well as the artists role and identity; all of which have sought to question the currency of its practice. Is it possible then that methods and methodologies, suggested by the social use of digital technologies, may in part ameliorate some of these critiques and in the process expand the productive sites offered to community art? As part of this practice based research a community-focused artwork, Landscape- Portrait, was created. This work featured an explicit engagement with these new sites of social interaction. As an exemplar of an expanded community art practice, Landscape-Portrait combined methods and methodologies borrowed from the social use of digital technologies alongside those of critical community art practice, incorporating a network of virtual and non-virtual sites in both its production and dissemination. 2 In accordance with my research methodology the artworks production and its outcomes were recorded and reflected on. The material generated informed my research outcomes. As a result, this research advocates caution in the championing of the sites made use of by Landscape-Portrait. It argues instead that these sites need to be considered against a set of critical questions regarding their operational culture, terminology, privacy, accessibility, ownership, agency and autonomy; all of which problematise their easy inclusion as productive sites within an expanded community art practice. In response this research proposes an understanding of site as derived from a complex network of virtual and non-virtual constituents. From this understanding a set of speculations, qualifications and methods have been produced that attempt to map the means by which an expanded community artwork, one that employs particular methods and methodologies taken from the social use of digital technology and critical community art practice, might be used to interrogate the constitutional structure of a site, as part of its consideration as a productive site within an expanded community focused art work. 3 Table of Contents. Chapter One. Introduction.........................................................................................10 Chapter Two. From the Public to the Social ...............................................................23 Public Art History 24 Aesthetic Practices & Post-Media 52 New Media Art 60 Social Media (From Web 1.0 to 2.0) 68 Chapter Three. Community Models & Practice ..........................................................88 Constitutions & Representation 89 Free Libre Open Source Software (FLOSS) 97 Open Data. 117 Open Data Methods For An Expanded Art Community Practice 128 Chapter Four. Landscape-Portrait .............................................................................139 Overview 139 Production & Commissioning History 141 Conceptual, Methodological & Functional Design 143 Models of Group Working 164 LOD Development 172 Project Outcomes 173 Project Reflections 174 Chapter Five. Reflections upon an Expansion of Community Art Practice.................191 Funding dictates the agency developed by expanded community artworks before they have begun. 196 Failure is a useful method of resistance in developing an expanded community art practice. 200 Network subjectivity does not imply the exclusion of subjects, rather it is an inclusive term that recognises difference. 201 Productive site should be considered in terms of its operational culture, as well as its constitutional and legislative form. 203 4 The methodology of an expanded community art practice needs to include methods that regularly reflects upon the operation of an artwork 205 Whilst licences and culture conform a sites constitution, an expanded community art practice can validate those claims. 207 An expanded community art practice must include strategies that resist instrumentalism. 210 An expanded community art practice offers the possibility to reconnect the relations between the ‘community’ of public art and the ‘publics’ of community art. 212 The terms of an expanded community art practice are dependent upon use and reuse to improve their efficacy. 215 The expansion of community art requires a set of properties that equate to a projects particular constitutional and practical form. 220 Appendices .............................................................................................................226 Glossary ..................................................................................................................274 Bibliography............................................................................................................282 5 List of Figures. Figure 1 FB Bureau (2006) - © Tobias Leingruber. _____________________________________________84 Figure 2 Detail from Portrait of Saul Albert. Heath Bunting, 2007. ©Heath Bunting (2012)____________85 Figure 3 Image: FLOSS development. © (CC-BY-SA license) Kevin Carter (2012)___________________100 Figure 4 Image of OKFN audience from the Berlin OKFN conference 2011. © OKFN (2012)_________122 Figure 5 Landscape-Portrait 2010. Detail: Flash based interview panel. Image © Kevin Carter (2012) __148 Figure 6 Landscape-Portrait 2010. Interface Detail featuring Google maps integration._______________149 Figure 7 Landscape-Portrait 2010. Detail showing different social media and sharing services and tools ______________________________________________________________________________________151 Figure 8 Landscape-Portrait 2010 Detail featuring Tony White’s prose ____________________________152 Figure 9 Landscape-Portrait 2010 Flyer for Landscape-Portrait. Produced and designed by Kevin Carter. ______________________________________________________________________________________162 Figure 10 Landscape-Portrait 2010 West Howe Community Centre. Collaborative group. ____________166 Figure 11 Landscape-Portrait 2010 Installation view, Castlepoint Shopping ________________________168 Figure 12 Landscape-Portrait 2010 The Media Bus. Fun Day, Townsend Community Center, Bournemouth. Image © Diane Humphries (2010).____________________________________________168 Figure 13 Landscape-Portrait 2010 Castlepoint Shopping Center, ________________________________170 Figure 14 Landscape-Portrait 2010 Installation view, Castlepoint Shopping ________________________177 Figure 15 Landscape-Portrait 2010 Interview, Media Bus interior,________________________________178 Figure 16 Landscape-Portrait 2010 Installation view, Castlepoint shopping center, Bournemouth. _____182 Figure 17 Landscape-Portrait 2010 Fieldwork interview at Kinson Community Center featuring _______183 6 List Of Accompanying Material. All documentation of the practice element of this research can be viewed at: http://dpap.wikispaces.com/Landscape-Portrait.+Documentation+2012 7 Acknowledgements A word of thanks to all the research staff at the University of Westminster, Aarhus University and beyond who helped me through this project: Tom Corby Geoff Cox Margherita Spiro Joram Ten Brink And my PHD peer group for the advice and warm beer: Jonathan Kemp Jelena Stojkovic Howard Boland Zahed Tajeddin The other artists, engineers, programmers and curators who collaborated or assisted in this project: Diane Humphries Tony White Heath Bunting Moddr Tobias Leingruber Media19 Karin Coetzee Steve Lewis Paul Steele at D.Lab Helen Sloan (SCAN) David Metcalfe (Forma) Craig Gilbert Richard Jeffery Richard Light And those unwitting participatory members
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