I completely agree with you, and transactional analysis may some times solves
ours relations with institutions, and not only at the Iméra.
yours sincerely,
Zaven Paré
2011/6/17 roger malina <rmalina@alum.mit.edu>
> hi george and yasminers
>
> I am receptive to your summary of stateofmind as:
>
> ""Thestatofmind project can be thought of a relational space that
> includes its orientation and underlying discourse, meaning the project
> hasn't been planned in a previous stage and then put to action. All
> the people that have had to relate to the project had have decisions
> to make and have therefore contributed to the project's becoming.
> People are therefore acting as process nodes in an ongoing thought
> process with respect to the issues and questions that launched the
> whole process.""
>
> indeed in all the discussions on networking, one sometimes looses the
> idea of agency= networks are interesting in a real sense
> if they enable different kinds of action of the world-
>
> you then go on to state:
> ""All institutions whether governmental or not deal with agency, the
> USDAT Is a good example. But in nearly all cases there is a clear
> distinction between those who organize and those who produce art. An
> interesting example is artist Anton Vidokle's e-flux magazine, a
> commercial entreprise that generates funding for art projects.
> Although there too there is distinction.
> ""
>
> where you introduce a dichotomy between 'those who organise and those
> who produce art"
>
> the recent discussion on the governmental budget cuts in holland to
> some of the most innovative media arts
> groups perhaps tests the dichotomy that you set up- organisations like
> V2 not only advocated, promoted,
> enabled, produce new kinds of art making and they fit neither in an
> 'organie' or a 'produce category but
> clearly both
>
> one of the aspects of networks is that it makes certain boundaries more
> porous
>
> roger
>
> here is the response from the dutch organisations which articulates a
> number of very
> pertinent issues on art agency in society !!
>
> roger
>
>
>
> From: V2_ <joris@v2.nl>
> Date: June 17, 2011 10:52:01 GMT+02:00
>
> Response New Media & Art Institutions to Governmental Cuts
>
> Source of innovation is eliminated
> http://www.v2.nl/news/response-to-governmental-cuts
>
> Netherlands, June 15 2011
>
> Dear Mr Zijlstra
> Dear Members of the House of Representatives
>
> One of the many decisions in your arts policy paper "More than quality; a
> new
> vision on arts policy", is the liquidation of the total infrastructure
> for new media
> and art. The media arts & technology sector, which has acquired a place in
> arts
> policy in the past 8 years, has been abolished. The socalled 'development
> institutions': STEIM, Waag Society, V2_, Submarine Channel, WORM and
> Mediamatic are losing their structural funding. In addition to that
> the Netherlands
> Media Art Institute, a visual arts institution which also works in the
> media arts field,
> loses its government funding. These structural institutional resources will
> be
> rerouted into a new Fund for the Creative Industry, which's mission is
> to stimulate
> the social and economic value of the creative industry as a whole.
>
> New media art is an independent art discipline
>
> The existance of new media as an independent art discipline, including
> artistic
> production, audiences, (inter)national networks, and events, is
> completely denied
> in this proposed new arts policy.
>
> New media art is a discipline which questions and researches the
> technological
> developments and challenges of our times, and designs new applications for
> these issues. It has its own idiom and art practice. It is an
> independent discipline
> sustaining independent thematics, international networks of media
> labs, festivals,
> publications and presentations. The Dutch model of these cooperating new
> media
> labs with crossovers into other fields (social, educational,
> economical) has been
> an exemplary model since years. The above mentioned 'development
> institutions'
> are internationally renowned, part of vast international networks, and
> contribute
> to the position of the Netherlands in the fields of new media and art.
>
> Paradox: punished for success
>
> Like no other arts field, new media art makes connections to other
> fields. Its R&D
> functions are relevant towards the total field of culture, as well as
> heritage and
> media. Exchange with science is continually growing, it plays a vital
> role in the
> innovation of social domains, and has a large impact on the current renewal
> of
> education. The paradox now is that new media art is widely acknowledged and
> seen as very relevant, but its source: artistic research including its
> audience
> outreach, autonomous art prodcution and international network, will now be
> discontinued.
>
> Project based vs structural
>
> The policy paper indicates a choice for a project based way of working, and
> for
> that reason a total cut in institutional funding for R&D. This is a
> very remarkable
> way of reasoning as R&D activities need long term commitment in order to be
> able to develop from experiment to result. It also requires excellent
> networking
> and a sustainable infrastructure, including complex relationships to
> social fields,
> business and science. The new media institutions like no other have paved
> the
> way for such cooperations, and have shown that arts, sciences, business and
> society in general can work together in meaningful coalitions.
> International
> cooperations that have been opened up to Dutch partners also exist thanks
> to
> long term policy. With the abolishment of structural support of these
> new media art
> institutions, the basis is washed away and it will be impossible in
> the future to
> enter into long term commitments. Like European funding for and
> participation in
> research and projects, and participation in national research programs.
> A project based way of working interferes with continuity.
>
> Talent development
>
> The new Fund for the Creative Industry is also supposed to work on talent
> development in a project based manner. This is contrary to the needs of the
> educational field where there is a demand for structural connections. The
> new
> media and art institutions have acknowledged that and play an important
> role in
> development of talent and skills through the programs they have set up
> together with vocational institutions and universities. They also
> offer internships
> and work with PHD students. The very same sustainable long term structures
> are
> necessary here in order to be able to structurally work within education.
>
> The way the Fund for the Creative Industry should work!
>
> New media art can only contribute to the mission of enlarging the social
> and
> economic value of the creative industry, in case the Fund is enabled to:
>
> (1) issue longer term institutional subsidies and
>
> (2) means are explicitely made available for artistic research,
> artistic production
> and audience based activities
>
> We sincerely hope that you will involve the new media and art
> institutions in the
> set up and creation of the new Fund, and that the above arguments will lead
> to
> the desired adjustments. We will be more than happy to share our views with
> you,
> as well as the knowledge that we have in the area of international new
> media
> arts policy.
>
> Yours sincerely,
>
> V2_
> Waag Society
> STEIM
> Mediamatic
> WORM
> Submarine Channel
> Netherlands Media Art Institute
>
>
> Hello Roger,
>
> It could be construed as that indeed.
>
> All institutions whether governmental or not deal with agency, the
> USDAT Is a good example. But in nearly all cases there is a clear
> distinction between those who organize and those who produce art. An
> interesting example is artist Anton Vidokle's e-flux magazine, a
> commercial entreprise that generates funding for art projects.
> Although there too there is distinction.
>
> Thestatofmind project can be thought of a relational space that
> includes its orientation and underlying discourse, meaning the project
> hasn't been planned in a previous stage and then put to action. All
> the people that have had to relate to the project had have decisions
> to make and have therefore contributed to the project's becoming.
> People are therefore acting as process nodes in an ongoing thought
> process with respect to the issues and questions that launched the
> whole process.
>
> More simply said: instead of putting objectives relating to values or
> positions (answers or attitudes that are prior to the project and that
> condition its development and heading), thestateofmind has been born
> of questions and problematics, and its purpose of existence is
> creating collaborative dialectics from those questions, and issues.
>
> Instead of reaching consensus as in social networks, the project is
> creating dissensus, and that leaves open dialectical possibilities.
>
>
> G. H. Rabbath
>
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