Hi Jan,
Good to hear from you and welcome to Netbehaviour:-)
Perhaps WDL, who specifically work with writers who regularly explore
uses of technology with their writing contexually as well as
practically. It is an MA group (based in Leicester University) but there
are many others on the list & blog such as myself who, are not part of
their academic course at all - they are a great bunch, not snotty at all
from my own personal exsperience. So, I reckon it's worth a try.
Here is a link to them:
Online MA in Creative Writing and New Media.
Visit the Writing and the Digital Life blog.
http://www.hum.dmu.ac.uk/blogs/wdl/
marc
> Hi Mark
> I am a sceenwriter new to but fascinated by the potential of digitel
story telling.
> The issue for me is that I am not a mulitmedia author, I dont have
those skills.
> Do you no if there are any sites which facilitate collaboration
between writers and multimedia artists in the uk.
> Best
> Jan
>
> marc <[EMAIL PROTECTED]> wrote:
>
> 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 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 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"
> >> >> To: "NetBehaviour for networked distributed creativity"
> >> >>
> >> >> 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]
> >> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> >> >>
> >> >> _______________________________________________
> >> >> NetBehaviour mailing list
> >> >> [email protected]
> >> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> >> >>
> >> >> _______________________________________________
> >> >> NetBehaviour mailing list
> >> >> [email protected]
> >> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> >> >>
> >> >
> >> >
> >>
> >> _______________________________________________
> >> NetBehaviour mailing list
> >> [email protected]
> >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
> >>
> >
> >
>
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