I have not fallen off the radar. It’s been a few days but I’m back and will be gathering content for the next week. Life has taken some pretty sharp turns (all for the good) but I’ve fared relatively well. Ideally, I would love to post everyday but 2011 taught me that curating content is extremely difficult when you’re grappling with how to keep consistent quality! Being a huge fan of BrainPickings, Maria Popova has the right idea about attribution and. Talk about the master of content and information gathering on arts, culture, science, and technology, she’s definitely created an interesting resource with Curator’s Code. I learned about the Code on the heels of reading this short piece titled, How to Cite a Tweet in an Academic Paper. It will be interesting to see the Code evolve over time. In theory, it’s a phenomenal concept, especially with re-appropriation of images and content being more susceptible to plagiarism. The intricacies of content, data, and visual language run rampant in virtual space and, quite frankly, as an art writer and blogger, I really (truly) appreciate something that brings to the forefront a method that attempts to help organize the way we are informed. It will be challenging, being that clicking away from one interesting site to another simulates stream of consciousness and we all know how difficult it is to wrangle our own thoughts. Fortunately, the Curator’s Code will help harness and actually pay homage to the content that inspires and educates us.
By Dorothy R. Santos
Dorothy R. Santos (b. 1978) is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, race and technology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. Her work as been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society.
Her writing appears in art21, Rhizome, Hyperallergic, Ars Technica, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the program manager for the Processing Foundation.View Archive →