Hi Ana,
Well, regarding Stockholm - I have recently received news about a
node.stockholm happening there, some of them came over to London to
visit during the media art season in 06, and were excited by it all...
I'd pay a visit to Mejan Labs if I were you and ask them about it -
because I know that they are involved in it...
marc
> I followed the Node project and was very sad I could not attend it. I
> think London is now the only spot in Europe I feel a kind of dynamic
> between Net Art, theory, activism and "permanent places". You have the
> Tate, comissioning interesting virtual Art and hosting interest
> events, you have your own organization, Furtherfield, the Node event,
> the Rampart crew, small anarchists bookstores, small publishing
> houses, etc. But the rest of Europe is quite dead, my friends in Paris
> and Berlin and Rom and Madrid and Barcelona are always searching
> "nodes" in other parts of the map. (And we in Stockholm are quite
> silent too).
> Ana
>
> On 2/13/07, marc <[EMAIL PROTECTED]> wrote:
>
>> 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
>> >>
>> >>
>> >>
>> >> _______________________________________________
>> >> NetBehaviour mailing list
>> >> [email protected]
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>> >>
>> >> _______________________________________________
>> >> NetBehaviour mailing list
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>> >> _______________________________________________
>> >> NetBehaviour mailing list
>> >> [email protected]
>> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>> >>
>> >
>> >
>>
>> _______________________________________________
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>
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