Hi Roger,
Thank you for your response,
Currently working on a publication on the subject of Drones and art, and
currently interviewing different individuals & groups for it.
In respect of intimate science and data-sexuality. I'm not sure how to
approach this one (yet).
Although, I have been writing a lot about Donna Haraway's 'Situated
Knowledges', which I think is more relevant now than her Cyborg
Manifesto. her ideas around 'Situated Knowledges' has informed my
current chapter 'Hack Value', part of a larger study.
Extracts…
This study investigates contemporary art and cultural activism in terms
of Hack Value. It explores artworks, innovative projects and hacking
tendencies with and without technology. It argues that hacking has been
with us a long time before our use of computers. A characteristic all
hackers share whether it is legal or illegal is to break into or through
machined and walled up systems. […] They are all social and cultural
hacks against, closed, dominant and reigning systems. By examining
social and cultural hacks, technical and non-technical, and observing
the similarities shared to overturn existing concepts and established
modes of representation. We can ensemble a set of processes not specific
to technology alone, but towards a creative and ecological context that
informs a flexible, contemporary and trans-disciplinary art practice.
Haraway proposes a kind of critical subjectivity in the form of Situated
Knowledges. "We seek not the knowledges ruled by phallogocentrism
(nostalgia for the presence of the one true world) and disembodied
vision. We seek those ruled by partial sight and limited voice – not
partiality for it sown sake but, rather, for the sake of the connections
and the unexpected openings situated knowledges make possible. Situated
knowledges are about communities, not isolated individuals."(Haraway 1996)
Haraway's call for agency through Situated Knowledges sidesteps the
inescapable traditions of Western binarisms. Haraway offers us a glimpse
of how we can proceed whilst opening up multi-layered perspectives of
creative tactics to claim agency. This agency is similar to contemporary
forms of tactical media as it initiates playful and critical
inventiveness, hacking around blockages put in place by those in power.
The antics Haraway suggests to peer feminists in a male dominated world
of science is to enact playful roles of a witty agent, and like the
"Coyote or Trickster, […] we give up the mastery but keep searching for
fidelity, knowing all the while we will be hoodwinked."(Haraway 1991)
Anyway, thank you for your thoughts :-)
& wishing you well.
marc
> Marc
>
> thanks for your detailed response to sean's comments and the info on
> your movable borders project with drones- you make the statement:
>
> The intention is to investigate additional and fresh ways of looking and
>> thinking about life as artistic intervention. We try to somehow ensemble a
>> set of processes not specific to technology alone, but towards a creative
>> and ecological context that informs a flexible, contemporary and
>> trans-disciplinary art practice. It just so happens that technology is one
>> factor of many tools for all kinds of production as well as being a
>> globally, networked medium for surveillance in the age of Netopticon, a
>> neoliberal version of the Panopticon.
> i very much like this stance -which involves the kind of cultural appropriation
> and resulting redirection of science and technology which i have advocated
> in my 'intimate science' argument for art-science collaboration
>
> ah yes intimate science and data-sexuality !
>
> its also true that data is becoming so perceptually tangible that
> it opens new avenues for artistic practice n the information arts
> as steve wilson used to advocate it
>
> roger
>
>
>
> On Sun, Nov 3, 2013 at 7:14 PM, marc garrett
> <marc.garrett@furtherfield.org> wrote:
>> Hi Roger & all,
>>
>> Before responding to the other examples proposed for discussion on Drones.
>> For this post I think it may be useful to offer a context regarding our own
>> decisions to put on the 'Movable Borders: Here Come the Drones!' exhibition
>> at Furtherfield
>> (http://www.furtherfield.org/programmes/exhibition/movable-borders-here-come-drones)
>> Hopefully, it will add to what I'm sure will be a rich dialogue.
>>
>> Firstly, to answer Sean's question "The difficult balance between paranoia
>> and protest: the question is whether it is possible to make art by
>> communicating fear and shame;
>>
>> and whether it is possible to make art without taking fear and shame into
>> account."
>>
>> From our own position, it was about opening things up and bringing it down
>> to earth, amongst ourselves and whoever was interested in the subject also.
>> Before we had the show and the workshops 'Movable Borders: The Reposition
>> Matrix' Workshop, organised by Dave Young
>> (http://www.furtherfield.org/programmes/event/movable-borders-reposition-matrix-workshop),
>> Drone technology (to us) seemed as though it was primarily a strange
>> spectacle where there was an awful lot of information flying around in the
>> news and the internet - without much contextual discussion. In a way it was
>> about claiming agency or a connection with the subject of Drones, beyond the
>> constant effect of mediation interfering with the learning process of
>> knowing what it was all about.
>>
>> Thankfully, many visited the space to learn and see what artists and
>> amateurs were doing with Drones, as well as experiencing other aspects of
>> this of this technology. This included all kinds of information, films,
>> Youtube videos, diagrams, maps and discussions, with visitors, and of course
>> the workshop. It featured different levels of engagement. We did not want to
>> create a closed case where people were coerced by a dialectic as a dominant
>> framework at point of entry. It included fun items where we showed everyday
>> people making drones themselves, but we also had a serious side where we had
>> works and information that was dealing with the political, operational,
>> military, the business of Drone production about the different parts made
>> for Drones, distributed across different regions of the world.
>>
>> We are fortunate because we have consciously situated ourselves in a
>> building in a park (Finsbury Park). Where a high number of the visitors are
>> local passers by either walking their dogs, or are out for a walk with the
>> family, which also of course includes those actively coming to the space
>> already aware of what we do. The reason and motives of why you have a space
>> at all, is as important as the work being presented, whatever this may be.
>> Everything we do is based on emancipation and opening up things, unlocking
>> the blockages that culture, scarcity and hegemony closes down. "We must
>> allow all human creativity to be as free as free software" (Hans-Christoph
>> Steiner 2008)
>>
>> The intention is to investigate additional and fresh ways of looking and
>> thinking about life as artistic intervention. We try to somehow ensemble a
>> set of processes not specific to technology alone, but towards a creative
>> and ecological context that informs a flexible, contemporary and
>> trans-disciplinary art practice. It just so happens that technology is one
>> factor of many tools for all kinds of production as well as being a
>> globally, networked medium for surveillance in the age of Netopticon, a
>> neoliberal version of the Panopticon.
>>
>> Anyway, I'll stop here - much still to be discussed but I'm playing
>> badminton early tomorrow morning and I need my energy.
>>
>> Thank you all & wishing you well.
>>
>> marc
>>> b) The emergence of the social phenomenon of data-sexuality see
>>> for instance IEEE spectrum article on the phenomenon of people of
>>> obsessively self-track and accumulate all forms of data on themselves
>>> and make it public
>>> http://spectrum.ieee.org/at-work/test-and-measurement/meet-the-datasexual
>>> - a number of artists explored this in the 1990s anticipating a social
>>> phenomenon- clear the evolving ideas of privacy with public display of
>>> datasexuality shifts the location of shame
>>>
>>> roger
>>>
>>>
>>>
>>> Best
>>> Annick
>>>
>>>
>> A living - breathing - thriving networked neighbourhood -
>> proud of free culture - claiming it with others ;)
>>
>> Other reviews,articles,interviews
>> http://www.furtherfield.org/reviews.php
>>
>> Furtherfield – online arts community, platforms for creating, viewing,
>> discussing and learning about experimental practices at the
>> intersections of art, technology and social change.
>> http://www.furtherfield.org
>>
>> Furtherfield Gallery – Finsbury Park (London).
>> http://www.furtherfield.org/gallery
>>
>> Netbehaviour - Networked Artists List Community.
>> http://www.netbehaviour.org
>>
>> http://identi.ca/furtherfield
>> http://twitter.com/furtherfield
>>
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--
--->
A living - breathing - thriving networked neighbourhood -
proud of free culture - claiming it with others ;)
Other reviews,articles,interviews
http://www.furtherfield.org/reviews.php
Furtherfield – online arts community, platforms for creating, viewing,
discussing and learning about experimental practices at the
intersections of art, technology and social change.
http://www.furtherfield.org
Furtherfield Gallery – Finsbury Park (London).
http://www.furtherfield.org/gallery
Netbehaviour - Networked Artists List Community.
http://www.netbehaviour.org
http://identi.ca/furtherfield
http://twitter.com/furtherfield
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