Ryan Trecartin’s latest big project is riverthe.net, an online website in which anonymous users can upload 10 second video clips and are asked to provide them with a maximum of three descriptive tags. The videos are then incorporated into the site’s larger stream of moving images, whose narrative “flow” is dictated solely by these tags. Trecartin collaborated with Tumblr founder David Karp on this project, which will be exhibited as part of the New Museum’s upcoming exhibition Free opening this Wednesday in New York. Trecartin debuted the project on Art Fag City earlier this month, and in conjunction with that Paddy Johnson conducted a lengthy and really fascinating interview with Trecartin about riverthe.net and his recent work in general. Go there for an in-depth take on the project and how it very well could change the (internet) world. (No, seriously, it could).
I feel compelled to note, however, that I’ve been trying to watch riverthe.net without much success over the past few days. For me, the experience can only be described as an exercise in frustration and seriously, seriously delayed gratification minus the gratification. The “flow” of this river is mega-choppy, I get maybe two seconds of video and 10-15 seconds of freeze-frame, and so on throughout the entire experience. From reading Trecartin’s interview with Johnson, I have to assume that a chopped-up subversion of narrative pleasure is not at all what Trecartin and Karp are going for. But that’s been my experience of the project so far, and though I am a numbskull when it comes to tech stuff I know I have a pretty good computer (latest type of iMac with the big screen, and our house has WiFi). So, you know, my setup, which I’m very lucky to have, is not good enough to view this project. Is it because the project itself needs fixin’ on the back end, or because I need even better equipment than that of the average user to view it the way it was intended? Um, if that’s the case – that’s not cool, for all the obvious reasons.
However, if we give the project the benefit of the doubt and assume that the choppiness is just par for the internet course, or better yet, something fixable that will soon be addressed, there’s a lot of interesting food for thought in what Karp and Trecartin are experimenting with here. I’m particularly interested in the idea of riverthe.net as a type of crowd-sourced movie that does away with interface and textual prompts in favor of ideas expressed “without using words,” as Trecartin explained during his conversation with Johnson. And it does so partly by doing away with curation altogether–anyone can upload video material, and that material doesn’t need to be voted up or down or “liked” or “favorited” or any of that type of crowd-sourced curation, in order to gain access or greater visibility within the overall stream. I like that.
Beyond these comments, I’m reserving judgment to see how riverthe.net takes off as greater numbers of people learn about it and start uploading more content to the site. I’m doing my little part by blogging about it here. Go check out the site for yourself and maybe upload something too–this is a project that definitely needs the contributions of the crowd in order to reach its true potential.
I don’t Tweet, and no one can convince me that Wikipedia is a fundamentally reliable source of knowledge, but I’m definitely intrigued by gallerist and 20 x 200 impresario Jen Bekman’s experiment in “crowd-sourced curation.” Bekman asked fellow Twitterers to recommend artists they’d like to see participate in 20 x 200, and received a deluge of suggestions in response. Get the full story here.
Did any of you New York readers see Bekman’s talk “Overcrowded – How crowd sourcing is ruining everything” at Ignite NYC III last week? If you did, can you give us the lowdown in the comments? Bekman’s take on the issue is of interest, as she’s one of only a few dealers to develop a successful model for marketing affordable contemporary art to the masses. Makes me wonder if or how phenomena like micro-blogging and crowd-sourcing will affect the future of art criticism as well as institutional curation. I’m sure there’s a number of art critics already twittering out there (are there any who now use Twitter exclusively?), and you know some enterprising curator will find a way to Tweet out an art show, it’s only a matter of time.