hey Marc, I can see the cultural connections with Factory Records and Rough Trade Records. Thanks for enlightening myself and those who are new here...
I am very much looking forward to coming along next Friday to the HTTP venue, and meeting a few other collaborators and co-curating :-) Will Dougald be there? Who else? All the best, stuart > >Hi Stuart, > > >Sorry for asking questions all of the time, I just find what is >happening with this project so fascinating. > >No problem, these are important questions. Yet, not a good enough reason >not to do it. The thing is, the soul and intent of it all aims to >challenge various processes and defaults put in place in the art world >and similar environments, it is also about challenging ourselves so to >question our own responsibilities, position and relationship with >others. By critiquing actively, through experience and collaborative >negotiation we learn more than just declaring our own more centralized >voices. The engagement may be less defined, but it also allows room for >exploration beyond the remit or assumed idea of one curator who knows >all. There's plenty of room for more :-) > >And even though it is essential that we have individuals, who be able to >expound their own dialogue and creative noise in the world. It is also >just as important that the frameworks which manage and gate-keep what is >seen and considered worthy of being represented as art or of academic >acceptance is challenged. I recently added a new definition to Rosalind >(http://www.furtherfield.org/rosalind/), our upstart media art lexicon. >The new definition is 'Acadenemic' - A constant refusal by certain >academics, historians to grant a truth by not including in their studies >'real histories' of other significant artists or collectives, >independent groups in their publications. A cultural sickness recognized >in Media Art culture. This of course, can be seen in other parts of our >cultures, I see it as a systemic culturalized disease that too many >accept without trying alternative ways in rediscovering more open and >imaginative territories for mutual play and exploration. > > >Sounds scary to me, I think you've got a tough job on there. I mean, > >what if you get some ass-hole trying to ruin everything from a less > >interesting art group, who's jealous of how dynamically networked >everything is? > >I would question whether an ass-hole would come from a less interesting >place, but I get what you mean. it is traditional, for those who become >more known or successful, to close the door after themselves, not >allowing other equally valid creative individuals, groups and >organizations in as well. We challenge this, which means we have to >leave a few doors open so to bring in others be a part of our own >process (on their on terms), but there are risks with this approach. It >is always open to abuse - yet, in contrast to what it might be if things >were more closed, I think its worth having a go. Being part of >something, struggling with others is a beautiful and real experience. >Hiding away and just piling up a production line which only engages with >just famous, privileged artists is, really boring, unimaginative and >shallow, and only serves to re-enforce negative power structures, >closing down essential creative dialogues. > >Our shared approaches consist of being playful, messing with and >challenging existing hierarchies and top down behaviors. Finding ways >around things creatively, this kind of thinking could be on a par with >cultural hacking. Cultural Hacking is an art itself, subverting and >finding alternative ways of communicating beyond traditional, historical >frameworks - reflecting our imaginations, ideas and practice on our own >terms. This is not to say we are not influenced by history, we are - >it's just that some our influences come from a less defined or >officially acknowledged singular art orientated canon. > >Other influences include not only sources from the arts but also >independent record companies and distributors, such as Factory Records >and Rough Trade Records. Rough Trade specialized primarily in European >post-punk and other alternative rock of the late 1970s and early 1980s. >Relating to ideas around setting up functional platforms for expressive >cultures and not singularly in the form of a modernist or mono-cultural >art framework. Allowing a more poly-cultural space and more realistic, >possibilities for people to explore their creative voices in ways that >transcend the limitations of imposed, non-contextual remits. > >I will shut up now ;-) > >wishing you well. > >marc > > > >Hi Marc, > >To be honest, I think 4 co-curators is enough to be dealing with let >alone the amount of 11-12, you mention. And there may even be more this >time round. Sounds scary to me, I think you've got a tough job on there. >I mean, what if you get some ass-hole trying to ruin everything from a >less interesting art group, who's jealous of how dynamically networked >everything is? > >Sorry for asking questions all of the time, I just find what is >happening with this project so fascinating. > >all the best, > >Stuart. > > > >Hi Stuart, > >The other thing to remember, is that many are already making a >curatorial decision when taking part, in choosing their on work... > >wishing you well. > >marc > > Hi Ruth & other DIWO/Netbehavourists/Dark Mountain explorers... > > > > This all sonds excellent. I have never been involved in this kind of > > co-curated, art collaboration before and it all feels pretty intense, > > but exciting and many other things... > > > > Anyway, I will definitely try and make to the event on the day. I am > > also interested to see how the link between virtual and physical > > works. On looking how it wne tlast time, it seems as though it went well. > > > > How many people were involved in the co-curation, when counting in the > > on-line participants as well last time? > > > > all the best, > > > > Stuart. > > > > > > > > > > ------- Original Message Follows ------- > > * From: * Ruth Catlow <mailto:%[email protected]%3e> > > * To: * [email protected] > > <mailto:%[email protected]%3e> > > * Subject: * [NetBehaviour] DIWO: Co-Curation event 12-3pm Friday 27th > > November 2009 > > * Date: * Fri, 20 Nov 2009 18:31:21 +0000 > > > > Hi Folks, > > > > A reminder about the upcoming DIWO open curation event next Friday. > > > > It will run from 12-3pm at HTTP Gallery > > http://www.http.uk.net/docs/gettingto.shtml and you can join us via > > the network. > > > > Details of how to get involved across the network will be posted here > > and on the blog at 10am on the morning of the event. If you are able > > to join us in meat-space let us know in advance so that we are sure to > > have enough tea and biscuits to go round. > > > > We have been thinking about how best to harness the potential > > concentration of so many great minds. > > > > 1) In practical preparation for co-curation we will gather all images, > > videos, sound files that have either been attached or linked to a DIWO > > email for viewing on the day. > > > > 2) We have also just bid for a v. cheap Dot Matrix printer - so we > > would welcome suggestions about how that might be used to display > > contributions. > > > > 3) We invite you to make suggestions about how to approach the > > curation of the exhibition over the next week. > > > > This is how we approached exhibiting DIWO email art last time.... > > (deets here http://vagueterrain.net/journal11/furtherfield/01) > > <http://vagueterrain.net/journal11/furtherfield/01%29> > > > > - we 'curated' the archive of the Netbehaviour list inbox into > > threads, streams, themes etc (see attached image), projected it on the > > wall and attached a computer so that punters could explore the mails > > and forward them to their own friends. > > - we printed out every image that was contributed > > - we played all the videos on a loop on a TV > > - we compiled all sound files and played them into the space > > - we had a drawing machine working for food to obscure the printed > > face of Karl Marx. > > > > > > > > But maybe this time we will want to take a whole new approach. > > > > Looking forward to it! > > > > Ruth and the Furtherfield.org crew > > > > > > > > > > > > *Plain Text Attachment:* > > > > _______________________________________________ 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
