ࡱ> kmj` Rcbjbj*t[(***8bv,%)&(((((((($K*h,(g"g"g"(('''g"`('g"('' (H( &V*&8(h(<(0%)@(E-'E-H(E-H( tL'd((' %)g"g"g"g"D The 2nd Asian Culture Symposium "City + Culture + Human" Session 3. The Value and the Effect of the Public Culture Complex Article of the ZKM | Center for Art and Media The Digital Bauhaus: ZKM as laboratory for The New Life Style of the Creative User Speaker: Christiane Riedel, General Manager of the ZKM Karlsruhe is a medium-size big city of 275,000 inhabitants in the south-western corner of Germany, on the borders to France and Switzerland and so, as it were, on the rim of the German Republic. Located in Karlsruhe is the ZKM / Center for Art and Media. The ZKM is known world-wide as a unique cultural institution for the production and presentation of contemporary art in relation to new media. It responds to the rapid development of information technologies and the changes in social structures which this brings about. In its work, the ZKM unites production and research, exhibitions and events, collection and documentation. International cooperation, a broadly conceived program of guest artists, scientists and scholars from all over the world, major thematic travelling exhibitions and extensive publications with the MIT Press, have made the ZKM world famous. What is such an international institution doing in a city like Karlsruhe? Karlsruhe: example of a culture-city and a public culture complex Karlsruhe sees itself as a culture-city and re-invigorated this profile in the 2004 competition for the title of European cultural capital. Although Karlsruhes bid was not successful, for reasons of domestic politics, a committee of experts attested it to be a perfect application. Karlruhes understanding of itself as a culture-city is derived not only from its outstanding artistic institutions. The concept of culture here rests on four pillars which support the citys cultural image: its legal culture, as the site of Germanys highest court; its scientific and scholarly culture, as the site of noted universities and research centers; its technological culture, as the site of IT enterprises and Artes Mechanicae; its traditional art culture, as the site of museums, art galleries, theatres, concert halls, etc. As the artistic-scientific culmination of these four pillars, the city of Karlsruhe decided in 1989 to establish the ZKM / Center for Art and Media. Culture of Law Since 1950, Germanys Supreme Court has been located in Karlsruhe. The Court guards the observance of constitutional law and the assertion of basic and human rights. As the residence of the law, Karlsruhe is almost daily in the TV news and is the center of legal culture in Germany. With the creation of the Square of Basic Rights (Platz der Grundrechte) by Jochen Gerz (2005), Karlsruhe has also stood up for its significance in this respect. Culture of Science Karlsruhe has a remarkably high density of noted universities and research institutes. In addition to the computer sciences, the natural sciences, especially nano-technology, as well as engineering together with architecture and environmental technology, electronics and robotics, play a particular role. Equally important are the art schools: the State Academy of the Fine Arts, the University of Music, and the State University of Art and Design which, along with the ZKM, specializes in art and design related to new media and media theory. Culture of Technology Thanks to foresight and engagement, the technological region of Karlsruhe has developed into one of the four leading IT regions of Europe. The basic condition for this development was the establishment of the first computer science faculty in Germany at the University of Karlsruhe in 1972. In 1968, the Karlsruhe Professor Karl Steinbruch had already coined the concept of informatics in his book The Informed Society (Die informierte Gesellschaft). It was also at the University that, in 1984, the first German internet connection was set up and the first German e-mail sent. Thus Karlsruhe became the outrider of technological culture in Germany, an event that had considerable effect on the economic development of the region. Karlsruhe is the home to, among others, Germanys biggest internet provider, the world-market leader in web-hosting, and by far the most web shops in the country, which make up 90% of the total turnover for web shops in Germany. Culture of Art Naturally there are also numerous institutions in Karlsruhe that are devoted to traditional art culture. In addition to the art schools, there are well-known museums, theaters, concert halls, art galleries and, most recently, an art fair which covers the spectrum from ancient to contemporary art. ZKM a center for art and technology as stimulus for city development and site for business With the founding of the ZKM, the four pillars of Karlsruhe culture were to be synergistically united and at the same serve as a stimulus for the development of the city. In the mid-eighties, the municipality of Karlsruhe first wanted to re-integrate the site directly behind the main train station into its city planning. Along with the ZKM and the School of Design, it was planned to construct here a prominent approach to the city where the autobahn and train connections between Hamburg and Italy, Paris and Budapest met, a junction of the most important lines of traffic in central Europe. The building of an architectural and cultural attraction was intended to present Karlsruhes innovative potential in art and IT development to an international public. The realization of this large-scale project was ensured by the financial support of the city quality program of the State of Baden-Wrttemberg. With this program, Baden-Wrttemberg aimed at also promoting large cultural projects in cities besides the state capital Stuttgart, in accordance with Germanys federal structure. In order to translate the unusual, indeed unique, idea of the ZKM into reality, a design by the avant garde architect Rem Koolhaas was found to provide the adequate architectural setting. Then, during the planning stage, it already transpired that the costs would be too high and the available space too cramped. The founders of the ZKM therefore decided to realize their grand project instead in the monumental industrial ruin of the IWKA (Industrial Works Karlsruhe-Augsburg). With its concrete skeleton, the Halls A (as it is known), built as a munitions factory in 1915-1918, was one of the most modern industrial buildings of its time in Germany. After being shut down in the 1970s, it was therefore listed as an historical building and the adequate use of the complex became a topic of long discussion by the municipality. With the impressive dimensions of 52 m wide by 312 m long, the Halls furnish the ZKM will nearly double the area of Koolhaass design. Their usable area extends over 17,000 square meters. Today, after the ZKM has been in operation for eight years, it may certainly be said that the decision in favour of the Halls was absolutely the right one. ZKM and Brauer Boulevard stimulus for city development The grounds of the IWKA, into which the ZKM moved in 1997, had lain unused like a prohibited zone on the farthest rim of central Karlsruhe for several years an impression that was reinforced by its former use as a munitions factory. Through its new use as the house for the ZKM, the Halls A became the core of an extensive re-urbanization of the entire quarter and bordering districts. In place of the remaining old buildings, new structures were erected for the Employment Office, the Federal Prosecutors Office, a multiplex movie theater, businesses and housing. Thus the city of Karlsruhe was given a new center which can be used at all times of the day and night. New public parks, restaurants and cafs provide the best opportunities for recreation within the city. The Brauerstrae, formerly an unattractive and permanently jammed through street, was enlarged to become Brauer Boulevard and a new approach to the city. The stimulus that the ZKM communicated to the entire city area may be read in the architectural ambition of the surrounding quarters, in the new businesses and in the development of the rents. It is also symbolized by a technical detail: the photovoltaic power plant on the roof of the ZKM feeds electricity directly into the streetcar net and thus sets the citizens and guests of the city into motion in the most real sense. In the first eight years of its existence, the ZKM has already greeted over two million visitors. Thanks to its multi-facetted offering, it and the entire Halls complex have been welcomed by both the people of Karlsruhe and an international public. Because of its architectural attractiveness, Halls A is also a sought-after location for many extra-mural events (for firm outings, parties, fashion shots, international conferences, etc.) and has established itself as a well-known showcase of the city. ZKM a location factor for business The economic factor also played an important role in this project for the future. From the establishment of the ZKM, the city of Karlsruhe promised itself additional advantages of location whose attractiveness will draw not only further research and development institutes but also innovative businesses. And in fact business has acknowledged the ZKM as an important location factor and source of inspiration, for here possible applications are studied under the aspect of their technical feasibility and not that of economic constraint. The ZKM was therefore conceived not only to serve as the booster for city development but also to work as a stimulus on economic development. In retrospect, that seems quite visionary and courageous, for 20 years ago, when the ideas for the ZKM were first broached, PCs for everyone, virtual reality, multi-media and the internet were still not widely known even as concepts, much less present in everyday life, nor were they particularly interesting as objects of venture capital and start-ups for business. Despite scepticism about technology, despite the traditional understanding of art and critical voices raised against a project for which there were no parallels, the Karlsruhe muncipal council decided in 1988 in favor of undertaking the 60 million Euro project. Since then the city of Karlsruhe and the State of Baden-Wrttemberg have shared the basic financing to the sum of approximately 12 million Euro. As the regional and international resonance to the ZKM and the highly successful development of many IT businesses in Karlsruhe shows, the far-sightedness of the city was not only courageous but also wise. In the meantime, one Karlsruhe business (web.de) has become Germanys biggest internet provider and another (1 & 1) the world-market leader in web-hosting, and they, along with many smaller IT services, have moved into the business buildings around the ZKM. Through the combination of business and art, the new media have prospered in the technology region of Karlsruhe, which is one of the four leading IT regions of Europe. The ZKM has formed the cultural framework for economic development while business has formed the economic basis for culture. The international charisma of the ZKM has contributed considerably to the cultural and economic attractiveness and influence of Karlsruhe. In addition to the guests of the noted universities and research institutes, many visitors are drawn to the city by the uniqueness of the ZKM. ZKM: Mecca of Media Art and Museum as Multiverse The combination of art and technological innovation has its roots in the 1920s and 60s. The model for the ZKM was the often-quoted dictum of Bauhaus founder Walter Gropius about the unity of art and technology, a unity which he looked upon as fundamental for the cultural developments that would shape the future. In the first part of the 20th century, the famous Bauhaus in Weimar (1919 - 1925, and later in Dessau 1925 - 1932) brought the fine and applied arts together with the challenges and conditions of production of the industrial age. The ZKM continues this multi-disciplinary model into the post-industrial, information and media-based age, and has developed, since its founding in 1989, into the mecca of media art and a musuem as multiverse. In addition to the Bauhaus, the founders of the ZKM oriented themselves to the models of MIT (Massachusetts Institute of Technology in Boston, founded 1865) and the Centre Pompidou (opened in Paris 1977). In these internationally important institutions, the various genres of modern art were collected, developed and presented in an exemplary manner and under the conditions of a modern society. A further inspiration was the founding of E.A.T. (Experiments in Art and Technology) by Robert Rauschenberg and Billy Klver in New York in 1966, with goal of promoting the use of technology for non-industrial purposes in the collaboration between artists and engineers. At first, media art found a forum only at festivals and in avant garde art galleries. Only at the end of the 1970s and the beginning of the 1980s were the first institutes for the electronic arts founded, such as the STEIM Institute for Electronic Music (Amsterdam, 1970), the CCRMA (Stanford, 1975) and the IRCAM (Paris, 1977). These music institutes formed the real model for artistic research in the area of electronics. Visual artists of the new technology found institutional forums only at the end of the 1980s and the beginning of the 1990s. The ZKM, which went into operation in 1990, was the first institution that was primarily devoted to the new media in the visual and acoustical area. Many others followed it: from ICC Tokyo and the Ars Electronica Center in Linz to Kiasma in Helsinki. What distinguishes the ZKM, however, from all the other mentioned institutions is not only the scale and great variety of functions, but especially its maintaining the connection to the other arts like painting, sculpture, photography, film and architecture, and its combination of research and production, theory and artistic practice. As a dynamic institution with the demand to probe the applications of technical innovations in the arts, the ZKM is continually adjusting itself to developments in the field of new media. In the meantime, two musuems and five institutes for research and development are working under one roof: Media Museum, with the emphasis on media art and interactive computer and software-based art; Museum for Contemporary Art, with the emphasis on all genres of art from the 1960s to the present in the holdings of large private collections in the German-speaking parts of Europe; Institute for Visual Media, with the emphasis on the development of 3D software, virtual reality and human interfaces, and the newest techniques of recording and projection; Institute for Music and Acoustics, with the emphasis on electronic and computer-generated music; Institute for Basic Research, with the emphasis on performative science; Institute for Media and Business, with the emphasis on educational communication using new media; and finally Film Institute, with the emphasis on the production of artistic film projects and film editions. The Mediathek consists of a public library and large collections of video art, digital art and electronic music, which are here made available to the public. The Publications Program mainly looks after publications on the major exhibitions, which are less exhibition catalogues than encyclopaedic standard works on the themes of the exhibitions. This department also looks after the scientific publications developed in cooperation with other research institutions and with major publishing houses. In addition, there are of course further departments like Museum Communication, the Events Department and the Public Relations Department, whose task is to make known the extensive program of exhibitions, concerts, performances, symposia, etc., to an international public. The Digital Bauhaus: ZKM as laboratory for The New Life Style of the Creative User With the foundation of the ZKM, the areas of contemporary art, media and IT development were brought together. The ZKM is, so to say, the culmination of the whole cultural strategy of the city of Karlsruhe. The ZKM, however, does not take an uncritical stance towards the developments in new media and IT. Similar to the Bauhaus, as whose successor in the sense of a Digital Bauhaus the ZKM sees itself, the ZKM considers technical developments under the aspect of their effect on society. In its scientific and scholarly program and in its major exhibitions, the ZKM therefore treats not only the positive potential but also the risks of media art and of a medialised society. Presently, the special interest of the ZKM is directed to the emancipated user. The internet has created the basis for him. With the aid of weblogs, video-journalism, podcasting, intenet TV and the limitless and nearly free-of-charge communication that goes along with these, people can articulate their concerns independently of the traditional institutions. Every user potentially becomes his own radio and TV producer who puts together his own audio-visual program and so establishes the new life style of the creative user. From being a passive consumer the "creative user" becomes a mobile actor with the possibility of addressing himself and his own consumer generated content to a broad public. The ZKM takes up these developments both in its artistic work and in its communication with and inclusion of its public. As a museum, the ZKM is called upon to respond to these innovations and to support the transformation of visitors into users. Owing to its experience with the interactive participation of the viewer with art works and as a laboratory for new media forms, the ZKM is excellently positioned to come to grips with this transformation. The "visitor" becomes the star of the exhibition; as an "emancipated and creative user", he actively takes part in exhibitions which thus alters from a presentation into a performance. The Digital Heritage: ZKM as laboratory for Migration of Media The production and conservation of the art works of the new media, interactive art and digital art sets the cultural institutions of the world before new challenges. How sculptures, paintings, books, textiles and architecture are be conserved is well-known and has been successfully practiced for centuries. The question, however, of how the art and culture of our media age is to be conserved so as to be handed on to future generations has still not been answered. The art and culture of the new media and the digital age is based on hardware and software which are governed by a rapid innovative dynamics. For this reason the relevant art works must be continually converted into new software, configured for new hardware and migrated onto new storage media. Mankind stands on the threshold of a material revolution. New materials (that is, ever new media) present us new storage media of a paradoxical character. On the one hand, they can store vast amounts of data and gigantic libraries on a minimum of space, no bigger than a fingernail. At the same time, however, their durability is limited because the storage medium changes every few years. Thus in only 50 years of computer-history we can already look back on several generations of core memory, paper tape, magnetic tape, floppy disks, ZIP disks, hard disks, laser disks, CDs, DVDs, USB-sticks, HVDs, etc. A book has room for at most a hundred thousand characters; its volume is limited and not enlargeable, but as a storage medium it lasts for centuries. A DVD can store 100, 000 book pages, but after only a few years the DVD can no longer be played. A memory stick (USB stick) has room for millions of characters; ones whole life could be preserved on it, but it is usable for only a short space of time. Thus storage space is exploding into infinity, while storage time, by comparison, is imploding to nearly zero. Whereas storage capacity expands, storage time becomes more limited. Together with this comes the problem of access to the stored data, which can change with every new development in hardware, software and the related distribution of data. Only an access that is secure on a long-term basis allows us to share in stored knowledge and our cultural heritage. An essential task of musuems in future, therefore, consists in securing both the digital heritage of new media and our access to it a task that requires swift innovation and considerable investments in the coming years. In order to meet this challenge, the ZKM has set up a Laboratory for antiquated Video Systems for the documentation of video art. Unique in Europe, this facility possesses a constantly growing machine park of currently about 120 machines from the 1960s to the 1980s, with which over 30 obsolete video formats can be made playable. The goal is the authentic playback of videos as was possible under optimum conditions at the time of their creation. At various intervals, digital master-copies will be made of original tapes threatened by decay, from which conversion into any number of existing or future compressed formats will be possible. For great amounts of data on non-compressed master copies, the ZKM has developed a storage architecture that automatically secures long-term documentation on LTO format tapes with a media conversion buffer system. The audio and video collection of the ZKM, which has already been digitally archived in what is known as the jukebox, will be re-digitalized in the coming years. In 1997, when the jukebox was installed, financial reasons made it impossible to store such vast amounts of data in non-compressed form. Now, with the expanding range of storage possibilities, all video and audio works have to be re-digitalized so that the collections remain available in future decades. These strategies of conservation, which the ZKM has tested for new media, are just as relevant to the previously mentioned "emancipated user". If the "user" is integrated into the process of production, design and communication, he is also faced by the problem of securing his data, information and artefacts. The storage architectures that we develop in future will therefore be of central importance for contemporary culture. They are the sources of a new and open style of life. In the depths of the storage space, all consumer wishes can be rescued for the creation of the users own programs. The "emancipated user" is then no longer dpeendent on television, movies, radio or museums. The challenge for the politics and culture of the near future will be come to grips with the new, active appearance of the "emancipated and creative user" and to integrate him into their policies. Asian Cultural Exchange Korea enjoys the best conditions for the economic and also the cultural use of the newest strategies and technologies of communication. The country began its entry into industrialization in the age of modern technology and thus had the advantage, over the Western industrial states, of not having to convert an already out-of-date technical infrastructure and being in a position to offer its citizens the most recent technological possibilities. If these new developments are also made useable for culture and integrated into it, then Korea has the chance of establishing itself as one of the leading modern societies in the world.     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