I am Houssine SOUSSI from Paris and I am your moderator for this week.
Just a reminder to new members of yasmin, it would be great if you could send a brief post to the list introducing yourself and your interests relevant to art and science in the mediterranean region.
soussi
> Date: Sat, 18 Jun 2011 10:26:01 -0300
> From: zavenpare@gmail.com
> To: yasmin_discussions@estia.media.uoa.gr
> Subject: Re: [Yasmin_discussions] art and science agency
>
> Roger,
>
> 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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> >
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