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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