Hi Ana,
I agree - I am also a romantic, which one of the reasons that I get so
involved in so much stuff generally...
>But where are today the spaces for joint action and collaboration?
Are they only virtual?
Well - I can definately answer that one. It was only last year that in
march, London that many people, including ourselves at furtherfield
participated in a massive project which involved over 80 artists and
groups, showing at over 40 venues. A collaboration of the season media
arts.
The project was called Node.London and was controlled by and directed on
a consensus basis, which was not easy, and as you can imagine; there was
always the loud mouth (modernist) guy who did not know what the hell was
happening and kept on talking over everyboby else - a bit like my dad
the pub saying 'I know my pint and I'm sticking to it' sort of thing.
But luckily, everyone else managed to work through this kind of obstacle
to set up a pretty dynamic media arts season for a whole month.
Much more happened as well, loads of people where involved in many
differrent ways - here are some links below related to it, if yourself
or anyone else is interested...
http://www.nodel.org/ - the site.
There is even a book publication that was part of the monthly season
called 'Media Mutandis'.
You do not have to buy the book though you can read its contents online,
download it or print it out.
"The NODE.London Reader projects a critical context around the Season of
Media Arts in London March 2006 and provides another discursive
dimension to the events of October 2005's Open Season."
http://publication.nodel.org/
marc
> I have some thoughts which I wanted to share about the concept
> Multitude, Swarm. The mailing lists and the networks for social
> exchange and social software are exploding, but I feel they are also
> "imploding". I mean, I see the same people participating in -empyre-,
> Nettime, Rhizome, IDC, this list. We are all active in Delicious,
> Stumble upon, we digg, we make blogs, we are verbalized and active.
> But where are today the spaces for joint action and collaboration?
> Are they only virtual? I miss a kind of modern Bauhaus.
> But I am a romantic :(
> Ana
>
>
> On 2/13/07, Allan Revich <[EMAIL PROTECTED]> wrote:
>
>> 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.
>> >
>> >
>> > _______________________________________________
>> > NetBehaviour mailing list
>> > [email protected]
>> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>>
>>
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>
>
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