Vuk Cosic - who's having a solo exhibition at the Skuc Gallery in Ljubljana- wrote me then that he was putting together a show called CTRL-C on a similar subject. The show has just opened at the galerija Simulaker in Slovenia. Here's the gist:
From Duchamp and Benjamin to Beuys the art of the previous century has asked the question of copying and multiplying as a legitimate artistic practice. The advent of the internet has dramatically placed the digital original and digital copy in the very center of artistic but also economic frictions.
Mere simplicity of making copies is socially not perceived as a liberating tool for artistic creation but is turning out to be the main point of conflict between economic interests and those of societies at large. Traditionalists fighting for Intellectual Property are trying to pull the giants from under our feet.
The CTRL-C show is presenting projects exclusively focused on the artistic relevance of the digital copy. Exhibited works are using the language of the non-original to express a very concrete critique of the circumstances in the world of art and in the society. All works in the show have provided their authors with a measure of scandal and a bigger measure of fame:
In September 1997, Vuk Cosic made an almost perfect copy of the website of Documenta X before it was taken down by the organisers of the famous contemporary art show. The artist saw his act as an 'expression of a rebellion against the art system and the return of art from a gallery into reality.'
Epilogue: The copy found its way into relevant 'kunst.historisch ...
Mental Maps and the Networked Urban Space
Transit by KLAUS FILIP & NICOLAJ KIRISITS :: There is no doubt that within a few years urban space will be fiilled up with invisible data. Digital Communities will be located in real space. The internet will be extended by a geospatial network. All you'll need is a mobile interface (cellphones) to get involved with the communities / information / networks at certain places within the city. But what does that mean for the face of the city?What kind of mental map will we have from the geospatial networked based urban space?
As Kevin Lynch (1960, the image of the city) researches the legibility of urban space, Transit tries to find out the legibility of digital communities in urban spaces. For that proposition we built up an example of this digital urban space on a free field at the Kleyehof (Burgenland) with 25 invited Media artists. The Elements of that digital sculpture were text, video, sound and digital code, spatial located by using gps tools. The grid elements could be connected, to set up different networks.
The Objects are based on a spatial Masterplan, situated in a 3D grid of 1 to 1 to 1 meter; 20 meters long, 20 meters wide and 3 meters high), which defines private area (everyone can see-hear what you do but only you can change it), public (everyone can schange the data), and free spaces.
Transit was part of the podspot project at the University of applied arts vienna / department of digital art. [via Rhizome]
The purpose of the multimedia festival Break is to explore new artistic expressions and contemporary topics and to emphasize emerging poetics whose artistic discourse has not yet been deep-rooted within firmly established standards, criteria and cultural values.
The ninth edition of the festival, Break 2.4, will take place in Ljubljana from the 5th to the 18th of November 2007.
We are currently seeking art projects, from established, mid-career, and emerging artists, that address the theme selected for the festival: Potemkin village.
Definitions of the Potemkin village:
Pretentiously showy or imposing facade intended to mask or divert attention from an embarrassing or shabby fact or condition
Something that appears impressive but is ineffective and insubstantial
Any hollow or false construction, physical or figurative, meant to hide an undesirable or potentially damaging situation
Politically generated appearance that covers a less impressive underside
The application must include the completed application form, supporting material, and a project presentation (visual and/or text) on A4 sheet.
Deadline: February 1, 2007 (postmark)
For more information, please check: http://www.break-festival.org
or contact: email@example.com
you built a really smart (in many ways) and hypnotizing (practically and aesthetically) mechanism....
download freaks will be happy. culture freaks will be happy.
you should go fetish and remix all the extracted books, and share the remixes, too.
----Messaggio originale---- Dal: firstname.lastname@example.org Data: 14/12/2006 17.04 A: "RHIZOME RAW"<email@example.com Ogg: RHIZOME_RAW: Thieves of the Invisible
Thieves of the Invisible www.amazon-noir.com Text by Alessandro Ludovico vs. Paolo Cirio feat. UBERMORGEN.COM
We have stolen the invisible.
Amazon, the motherly bookseller, always sensitive to her customer
needs like an affectionate friend, was outraged in her own intimate
affects. Her most precious resource, an infinitely beautiful body of
culture, able to mesmerize your eyes for hours, was somehow deprived
and exposed, after we had eluded her copyright protection. Amazon had
been a witty advisor to millions of happy customers, and had spent
the last decade researching how to improve her service. She had dedicated all her time and energy to building the best
collection of purchasable culture possible. She never wasted her time
investing in public mass advertising or in spamming the profiled
potential new customer. All she counted on and needed to count on was
the grand word of mouth that happy customers passed on one another. That was a killer application – together with the software platform
that made books the center of an interrelated universe. She started
then to hyper-contextualize every piece of her inventory, researching
the overlaps of tastes her happy customers kind of anonymously
displayed. Furthermore, she incited customers to compile lists,
review, comment, discuss and tag all books. But all her love was
finally expressed in allowing users to peek into the inner side of
her treasures: the original texts. She worked hard from the beginning ...
People often ask me, which free or open source tools I suggest for their university labs, which storage archives should be used and which browser-based applications should be bookmarked in their labs. In the US, students would probably stage a riot if university labs would completely abandon proprietary software tools. They'd perceive a lack of familiarity with these packages as a intolerable disadvantage when it comes to job applications and they are right. In the United States it'd be elitist and arrogant to leave out the mainstream tools that are used in the market place. Surely, most of their Floss equivalents are not as slick and are perhaps a bit harder to use. My recommendation is to install both, a set of useful Floss applications and the unavoidable “Photoshops” of this world. I always opt for diversification of tools to avoid or counteract centralization of a particular tool or service. Familiarity with Floss tools is paramount for students as they will learn to use instruments and access references that are available to them for free, which is crucial for the moment that they leave the university and don't have legal access to the expensive proprietary software anymore. Here is what I suggest:
Audacity is free, open source software for recording and editing sounds. It is available for Mac OS X, Microsoft Windows, GNU/Linux, and other operating systems.
Firefox The award-winning Web browser is now faster, more secure, and fully customizable to your online life. With Firefox 2, we’ve added powerful new features that make your online experience even better.
Vienna is a freeware, open source RSS/Atom newsreader for the Mac OS X operating system. It provides features comparable to commercial newsreaders, but both it and the ...