I have several thoughts about it. Please discuss them.
-----Original Message-----
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of marc
Sent: Tuesday, February 13, 2007 9:01 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Handbook for Disobedience: Multitude-
/seconds:Call for contributors
Hi Clive & list,
"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.
Of course this may be the same of any book that is published, or any
single
type of specific practice.
So, what is your opinion regarding collaborative creativity, and how
this
kind of behaviour is influencing media art, or art culture generally?
I would also be interested in your ideas in respect of some of the
text that
you responded to the 'Handbook for Disobedience: Multitude'.
If anyone else here have some thoughts about it I would love to
discuss them
:-)
marc
----- 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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