Juan Martin
Since 2006

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Fri May 04, 2007 17:21

MEETING [New art dynamics in Web 2 mode]

Meeting moderator: Juan Martin Prada

Deadline for the submission of keynotes and art projects: June 1st 2007.

Places: Medialab Madrid, Madrid, Espana.

Norms of participation:

Researchers, artists, professionals, teachers or collectives interested in
participating in this meeting must send an abstract of the research or art
project (in the case of theory research, we recommend sending in the full
paper) and a brief resume through the following application form available
at: http://www.inclusiva-net.org/

Main subject areas of the meeting:

What follows is a draft proposal of a number of high-priority subject-matter
nuclei for this meeting. Nevertheless, we will also consider projects and
research initiatives related to other subject areas proposed by the
researchers and/or artists, insofar as they pose an interesting contribution
to the subject areas engaged in this meeting.

-An analysis of the processes of transition to the so-called Web 2 and their
relationship to the development of new aesthetic and artistic phenomena. New
projects, and the current state of the research endeavour.

-Art projects as a model for alternative communication practises in the new
digital networks. New media design and new tools for community-based digital

-Artistic appropriation of online collective participation technologies.

-Subjectivity, creativity, and critical thought in the context of the new
ditigal cooperation platforms.

-The creative, social, and political dimension of the "blog" phenomenon.

-Developments in the field of "Blog-art".

-Cyberfeminist art creativity in the context of the current models of
digital participation and cooperation.

-The possibilities of Web 2 regarding the intensification of the
inter-cultural dynamics and the circulation of cultural diversity.

-The role of Web 2 in the processes of cultural globalisation.

-Educational applications and/or experiences in Web 2 oriented towards the
critical comprehension of the new aesthetic and artistic behaviours.

-New initiatives and cultural policies for the development and support of
online art creation.

More info at: http://www.inclusiva-net.org/




Meditations about time, places and desplacements in a selection of 8 web art

Curator: Juan Martin Prada

Artists: Vadim Bernard, Harris Skibell + Shaque, Joelle Bitton + Alexis
Nema, Takuji Kogo; anonymes.net; Second Planet, La Societe Anonyme; Armelle

Produced by Area de las Artes. Council of Madrid.

An e-show curated for the Cabinet of Digital Culture of the White Night
Madrid (September 23rd 2006.)



(Reflexiones sobre tiempo, lugares y desplazamientos en una seleccion de 8
obras de web art)

Comisario: Juan Martin Prada

Artistas participantes: Vadim Bernard, Harris Skibell + Shaque, Joelle
Bitton + Alexis Nema, Takuji Kogo; anonymes.net; Second Planet, La Societe
Anonyme; Armelle Aulestia.

Organiza: Area de las Artes. Ayuntamiento de Madrid.

Una muestra concebida para el Gabinete de Cultura Digital de la Noche en
Blanco de Madrid. Fue presentada en el Palacio de Comunicaciones el 23 de
septiembre de 2006.



(a selection of 11 web art works on contemporary affectivity and its
technological mediation)


Curator: Juan Martin Prada
Produced by: MediaLabMadrid

Artists: Rob Bevan + Tim Wright; John Miller + Takuji Kogo; Young-Hae Chang Heavy Industries; Akira Mori; Jess Loseby; David Crawford; MTAA (M. River & T. Whid Art assoc.) ; Colectivo 8552; Laura Bey
Essays by: Michael Hardt, Franco Berardi (Bifo), Juan Martin Prada


Although affectivity is still a "perturbing enigma", it appears to act as the first link for human interaction or more like the link that precedes (link A, first or primary link) all of the others in this function; i.e. before professional, economical, political, identity links or those that are generated by ludic affinities. Probably the set of psychic representations of the drives, affectivity is the departure point in the generation of all sociability.
Affectivity is a bodily experience that occurs between the individual and the pre-individual and is certainly the part of psychism that most actively makes the organism become a body. It is undoubtedly located in an area somewhere between culture and biology, and thus the generation of affections may only be understood in a complex, sometimes opposed dynamic between nature and culture.
Affectivity points towards the virtuality of the world, its potential of being for the subject, for its own existence, by indicating to him/ her that it is not a complete part of reality. It requires a permanent excess or exteriorisation of the individual, which must go beyond him/herself, proven by all of his/her inclinations for the others in the world or for things, by his/her propensity to love. It is a primordial point of connection between the outside and the inside, between individuality and sociability. Affective syntony, shared affection, is the elementary basis for real interaction between people. There is a profound dependency between affectivity and interactivity, in the depth of what "being in touch" means.
Regardless of the relationship or dependency of affectivity on body chemistry, there is no doubt that affectivity is an aesthetic link, it is the link that is generated with the world, its objects, environments and beings through the emotions on the world, of the feelings that are produced by affecting and being affected by it. Perhaps this is why affectivity situates aesthetics so obviously in a prepolitical place (and thus what is probably its immense revolutionary potential). Thus, to propose an analysis of affective meetings is to try to impact on the basis of the political, even on what precedes the forms of organisation that represent ethics.
Despite the fact that the sphere of affection is still one of the least
studied fields in the behavioural sciences, the various contributions made in recent decades have opened up a very important gap by acknowledging, at least, the role of affectivity in the production of meaning and significance, by virtue of which this relationship is proving to be particularly relevant, for example, in developing the new educational theories, in which confirmation of the impossible separation between cognition and affectivity nowadays conforms one of its most essential methodological nuclei.
Of course, the intrinsic relationship between affectivity and aesthetic
experience means that many of the manifestations of artistic creation seem to be the most interesting ways to approach the problems that affect the sphere of human affection in contemporary society. Active development of research on this relationship could be able to reveal the connections and interrelations between aesthetics and biopolitics, demonstrating, perhaps and in the last instance, that the politics of affectivity and of its production, management and handling are actually aesthetics of contemporary biopower.
This project intends to take one step in this direction. In order to do so, the following texts intend to present, basically, approximations to the problems that arise regarding the affective nature of biopolitical
production, and the processes of desensitisation and automatism imposed by cybertime. The artistic proposals that have been selected, on the other hand, evoke a whole range of references related to the desires for personal contact and affection through the networks, their forms that are often camouflaged by deceit or fiction, or their narrative forms. We will also include allusions to the warm sincerity of the amateur affective imaginaries that are proliferating with increasing strength in the Internet, and the cold disaffection that characterises the casual meetings between people in the areas of transit of major cities and, of course, the subtle borders, which are often very blurred, between care and control, affectivity and submission.
Juan Martin Prada