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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