The views published in
/seconds are are not necessarily those of the individual writers and
artists who contribute, nor of the publishers, editors, editorial and
advisory board members or funders.
----- Original Message -----
From: "marc" <[EMAIL PROTECTED]>
To: "NetBehaviour for networked distributed creativity"
<[email protected]>
Sent: Tuesday, February 13, 2007 1:17 AM
Subject: [NetBehaviour] Handbook for Disobedience: Multitude - /seconds:Call
for contributors
> Call for contributors: /seconds issue 5: Handbook for Disobedience:
> Multitude
>
> /seconds: Call for contributors:
>
> an open invitation to respond to the topics of network, art and multitude-
> issue 5:
>
> Handbook for Disobedience: Multitude
>
> All media formats accepted
> Material to be considered should be sent to
> [EMAIL PROTECTED]
>
> References, notes and background material can be accessed at
> www.reduxart.org.uk
>
> 'Art aside, Art Basel Miami is all about seeing and being seen, spending
> time with old friends and new friends and networking like crazy...'
> From 'Notes from Miami Beach, Basel Art Fair 2006', Steven Psyllos
>
> 'Even as we seek to have a sense of orientation which will allow us to
> protect ourselves, we also perceive, often in retrospect, various forms
> of danger.'
> Paolo Virno MULTITUDE
>
> 'We can say that this destiny of marginality has now come to an end. The
> Multitude, rather than constituting a 'natural' ante-fact, presents
> itself as a historical result, a mature arrival point of the
> transformations that have taken place within the productive process and
> the forms of life. The 'Many' are erupting onto the scene, and they
> stand there as absolute protagonists while the crisis of the society of
> Work is being played out. Post-Fordist social cooperation, in
> eliminating the frontier between production time and personal time, not
> to mention the distinction between professional qualities and political
> aptitudes, creates a new species, which makes the old dichotomies of
> 'public/private' and 'collective/individual' sound farcical. Neither
> 'producers' nor 'citizens', the modern virtuosi attain at last the rank
> of Multitude.' From 'Virtuosity and Revolution', Paolo Virno'
>
> '...Hardt and Negri [on 'Multitude'] are often uncritical and credulous
> in the face of orthodox propaganda about globalization and immateriality
> ... They assert that 'immaterial labour' - service work, basically - now
> prevails over the old-fashioned material kind, but they don't cite any
> statistics: you'd never expect that far more Americans are truck-drivers
> than are computer professionals. Nor would you have much of an inkling
> that three billion of us, half the earth's population, live in the rural
> Third World, where the major occupation remains tilling the soil.'
> [Henwood, D. (2003) After the New Economy. New York: New Press,
> pp.184-5] From an essay by Steve Wright, in Metamute.com
>
> Reality check: Are We Living In An Immaterial World? M30:: 14.12.05 'The
> protocols of representative legitimisation attempt to render continuous
> what is not, to give disparate sequences a unique name, such as the
> ‘great proletarian leader’ or the ‘great founder of artistic modernity’,
> names that are actually borrowed from fictional objectivities.' Alain Badiou
>
> A question is posed in the contradictions of an antagonism between
> 'belonging', and 'conforming': to the mechanics of conformity that
> uphold the opposition friend/enemy, to ambivalence in solutions
> inscribed in the attempted tactic to move through the threshold of an
> opposition: resistant 'refusal'[dread] to accommodating
> 'acceptance'[refuge]. The once 'marginal' China Art Objects Galleries in
> Chinatown, Los Angeles, predicated 'refuge' by winning the Basel Art
> Fair's prestigious award [Best Booth] whilst, as Chris Kraus has also
> written [in eulogistic prose for the work of the late Giovanni Intra,
> its founder], at the same time raising the real estate value of a poor
> area through the sign of 'regeneration' and failing subjective and
> objective intentions. Intra's precocious, intellectually and
> artistically ambitious practice would bring a 'new' nexus of concerns
> and strategies into play: L.A subculture, as exemplified by its
> appropriation of unhealthy forms of surrealism, situationism and punk,
> injected a dose of disorder into the local art world's protocols of
> representative legitimisation. All good things come to an end. Any real
> exit from the art traffic in desire [for autonomy] is better read in an
> indifference to the double-edged 'belonging' [being safe] imposed by the
> 'dread / refuge' coupling. As the work/leisure dynamic plays out the
> possibility of a new generic form of angst is being hi-jacked,
> formalised and reconstituted as the new legitimate [global] aesthetic
> model. ['disobedient' art fairs, off the map biennales, 'political'
> symposia, social interventions etcetera ] Or, in other words, everything
> that is 'permitted' inside [except,in the uncanny sense, what is true]
> is only by an injunction to art's non-antagonistic contradictions; what
> is, or not, made and done, is accorded to visibility. Art's pluralities,
> aesthetic transformations, technological bifurcations and virtual
> simulations might apply a radical in-difference, or an uncanny
> separation from within the system, infinitely reproducible in singular
> moments. As a new aesthetic possibility it is 'at home' in
> discontinuity, a user of the subversive capability of networks, a screen
> for a hidden and anonymous netwar within capital. The governmental and
> aesthetic 'home' of the Multitude is two-fold, the same: 'everywhere',
> in specific, discontinuous, bio-political acts of revolt, and at the
> same time, invisible, emerging uncannily 'elsewhere' as art, not in
> contradiction, negation but as separation. In the rupture of obedience
> to and disobedience from the market's mechanisms, [from which unity of
> opposition the art world accumulates value, projected and authorised
> through the public/private, collective/individual sphere] is Multitude
> to be aroused from slumber in a 'call to arms'? Is it not that the call
> to arms has 'always-already' arrived in the discomfiting of all
> affective pedagogy?
>
> In the phantom 'Handbook for Disobedience'? 'My name is Nobody...' Homer
> /seconds. is an online publishing project initiated and edited by Derek
> Horton and Peter Lewis, designed by Graham Hibbert and supported by an
> international editorial and advisory board of academics, artists and
> curators. The project acknowledges support from Leeds Metropolitan
> University. A new issue of /seconds. will be published every three
> months and will include text, visual material (including moving image)
> and sound-based work. General enquiries should be made to
> [EMAIL PROTECTED], [EMAIL PROTECTED] executive editors Derek Horton
> Peter Lewis designer Graham Hibbert editorial board Maurizio Bortolotti
> Tony Chakar Clementine Deliss Wolfgang Fetz Simon Ford Andrew Hunt Craig
> Martin David Mollin Sarah Wilson advisory board Steve Arguelles Richard
> Caldicott Mark Harris Melanie Manchot Makiko Nagaya Michael Nyman Annie
> Ratti Dimitra Vamiali Paul Violi Mark Arial Waller Steven Wong /seconds
> is published by Derek Horton and Peter Lewis. The views published in
> /seconds are are not necessarily those of the individual writers and
> artists who contribute, nor of the publishers, editors, editorial and
> advisory board members or funders.
>
>
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