This final piece in the Eleonore series sums up some more theoretic and political thoughts about the relationships between digital art, autonomy and the division of labour. It comes to the conclusion that the least digital artists can do is to use free software, strive for egalitarian types of working relationships and to name all their collaborators as co-creators of work, regardless of the usual social valuations of types of work and the institutional pressure they come under if their work joins the art circuit.
In my last article, I described Eleonore as a conceptual art work, a non-utopian 'social sculpture'. It carries a proposal for the role of artists in society, working out alternative routes for social-artistic-technological development. It does so without the universalistic-totalitarian notions inscribed into previous avant-garde projects. Yet still, it contains 'future' - therefore its' characterisation as non-utopian. It is real and realistic: small, cheap, livable and as far as possible, environmentally friendly. After spending one week here, I try to summarise my insights.
(notes, Artist in Residency, Day 2) Yesterday I arrived at the Eleonore in Linz. Already before leaving I had the first insight. I was packing and couldn't find any suitable string to tie together my Yoga map. So I took a Cat 5 ethernet cable because I thought I might need that as well. And then I thought what connects Linux with Yoga? That both can show up, sometimes painfully, the limitations of the human being, especially in my case.
Das vierteilige Radiokolleg -"Kommunikation statt Kommando? Arbeitsbilder im Postfordismus" beschäftigte sich mit den seit einigen Jahrzehnten vor sich gehenden Umbrüchen in der Arbeitswelt seit der Krise und dem Ende des Fordismus. Freundlicherweise und ausnahmsweise hat der ORF die Links zu den Sendungen bereitgestellt.
This article is a theoretical inquiry about the death of the Brazilian citizen Jean Charles de Menezes, shot in London at Stockwell tube station on 22 July 2005 by unknown specialist firearms’ officers. The previous day some stations of the Tube were struck by failed bombing attacks. The police were chasing four suspects. Some hours after the murder, de Menezes was discovered to be innocent and not involved in the terrorist act.
Section 8 of this article include a short addendum "False Positives".
This text is the preliminary outcome of a research project going back to 2003/2004 and developed jointly by Franz Xaver and Armin Medosch. It has a theoretical and artistic dimension as well as an activist one. At the point of its inception stood questions relating to the crisis of art in informational capitalism. The project sets out to bring some clarifications by word and deed about the relationships between art and technology, art and science and the role of the artist at the beginning of the 21st Century.
The point of the technopolitics project is not so much to carry out an original historical analysis of industrial capitalism, but instead, to test and modify the existing theories and then use them for engaged cultural critique. That requires a lot of reading and evaluating of ideas. To get through the existing literature without getting lost along the way, we’ll periodically have to reformulate what we're talking about. Each reformulation will add something, subtract something, forget something; but the essence is to keep on working cooperatively. To that end I want to propose ten postulates. They revisit what has already been written in the programmatic text on technopolitics, but with a different emphasis, mainly in terms of geography, culture and the cumulative nature of historical sequences. They're not set in stone, just some departure points, and it may be that a magical eleventh postulate is needed. Here they are: