Paper delivered as part of Networks and Sustainability stream at the 6th European Meeting of the Society for Literature, Science and the Arts, 15 – 19 June 2010, Riga, Latvia. Soon to appear in a publication edited by RIXC The Centre for New Media Culture.
Information in the terms of information theory is the likelihood of the selection of messages in relation to all possible messages. Thus, if a selection is made from a number of possibilities which are all equally likely or unlikely, the information is high. The mathematical theory of information is linked to the concept of entropy and the second law of thermodynamics. This says that the available degree of ordering of matter - and thereby the energy contained in it - is decreasing.
This article is a first attempt to specify some technical and conceptual aspects of the productive process under Informationalism, and to cut through some of the ideology surrounding it. The text suggests the role of the imaginary both in enabling and potentially disabling this social form (i.e. the value-form as expressed in contemporary society); but it doesn't deal with the integrative processes. Some research on migrant labor struggles in the US intermodal and warehouse sectors is underway, so hopefully we will publish something on it soon. All comments welcome, changes can still be made. Thanks to Armin for the just-in-time critique on version 1.0.
This article examines the 'digital city' debate of the mid 1990s as a point of departure for a media-historical questioning of how technology and the discourse about technology were used as an experimental playground for new forms of knowledge that are fundamental for the understanding of today’s network society. This text has been presented as a conference paper at the 'networks and sustainability' track of the 'textiles' conference in Riga in June 2010. The paper will also appear in a special edition of the Arts and Communications Journal edited by RIXC at the end of 2010.
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.