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      8 Jun 2008

      Save the internet

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      txt: Net Neutrality 101 - www.savetheinternet.com
      Net Neutrality 101 When we log onto the Internet, we take lots of things for granted. We assume that we'll be able to access whatever Web site we want, whenever we want to go there. We assume that we can use any feature we like -- watching online video, listening to podcasts, searching, emailing, and instant messaging -- anytime we choose. We assume that we can attach devices like wireless routers, game controllers, or extra hard drives to make our online experience better. What makes all these assumptions possible is "Network Neutrality," the guiding principle that ensures the Internet remains free and unrestricted. Net Neutrality prevents the companies that control the wires bringing you the Internet from discriminating against content based on its ownership or source. But that could all change. The biggest cable and telephone companies would like to charge money for smooth access to Web sites, speed to run applications, and permission to plug in devices. These network giants believe they should be able to charge Web site operators, application providers, and device manufacturers for the right to use the network. Those who don't make a deal and pay up will experience discrimination: Their sites won't load as quickly, their applications and devices won't work as well. Without legal protection, consumers could find that a network operator has blocked the Web site of a competitor, or slowed it down so much that it's unusable. The network owners say they want a "tiered" Internet. If you pay to get in the top tier, your site and your service will run fast. If you don't, you'll be in the slow lane. What's the problem here? Discrimination: The Internet was designed as an open medium. The fundamental idea on the Internet since its inception is that every Web site, every feature, and every service should be treated without discrimination. That's how bloggers can compete with the CNN or USA Today for readers. That's how up-and-coming musicians can build underground audiences before they get their first top-40 single. That's why when you use a search engine, you see a hit list of the sites that are the closest match to your request -- not those who paid the most to reach you. Discrimination endangers our basic Internet freedoms. Double-dipping: Traditionally, network owners have built a business model by charging consumers for access. Now they want to charge you for access to the network, and then charge you again for the things you do while you're online. They may not charge you directly via pay-per-view Web sites. But they will charge all the service providers you use -- who will pass those costs along to you in the form of price hikes or new charges to view content. Stifling innovation: Net Neutrality ensures that innovators can start small and dream big about being the next EBay or Google without facing insurmountable hurdles. Unless we preserve Net Neutrality, startups and entrepreneurs will be muscled out of the marketplace by big corporations that pay for a top spot on the Web. On a tiered Internet controlled by the phone and cable companies, only their own content and services -- or those offered by corporate partners who pony up enough "protection money" -- will enjoy life in the fast lane. The End of the Internet? Make no mistake: The freewheeling Internet as we know it could very well become history. What does that mean? It means we could be heading toward a pay-per-view Internet where Web sites have fees. It means we may have to pay a network tax to run voice-over-the-Internet phones, use an advanced search engine, or chat via Instant Messenger. The next generation of magical new inventions will be shut out of the top-tier service level. Meanwhile the network owners will rake in even greater profits.
      video: Save the Internet! - SaveTheInternet on youtube.com [youtube=http://www.youtube.com/watch?v=cWt0XUocViE]
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      7 Jun 2008

      A new Cultural Economy

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      link: Ars Electronica 2008 - A New Cultural Economy: The Limits of Intellectual Property LINZ 04-09 september 2008 txt: Curatorial Statement (Joichi Ito)
      Computers and the Internet has lowered the cost of communication and the creation and distribution of information so much that many fundamental notions of organizations, economics and property have completely changed or require major upgrades. There is a new generation of youth across the globe which lead the charge into this changing world, modifying their basic behaviors to adapt to technology as it develops. Some businesses and artists have been able to keep up with these trends while other struggle and fail. The much slower to adapt legal system is being pushed to its limits with organizations on all sides of the issues trying very hard to adapt outdated laws. Most of the new behaviors and organizations creating value have a completely different notion property. Intellectual property, while key to the post-industrial revolution nature of the firm, is more of an encumbrance than an asset to the sharing oriented mode of creation now central to the Internet. This year, we will bring together the users, artists, businesses, policy makers and academics involved intentionally or beyond their control in this change to understand this new world and to try to adapt to it. Joichi Ito
      video: Company Picnic - The Meth Minute 39 - Channel Frederator on blip.tv [blip.tv ?posts_id=971429&dest=-1]
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      7 Jun 2008

      Mixed media

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      txt: Mixed media - Wikipedia.org
      Mixed media, in visual art, refers to an artwork in the making of which more than one medium has been employed. There is an important distinction between "mixed media" artworks and "multimedia art". Mixed media tends to refer to a work of visual art that combines various traditionally distinct visual art media. For example, a work on canvas that combines paint, ink, and collage could properly be called a "mixed media" work - but not a work of "multimedia art." The term multimedia art implies a broader scope than mixed media, combining visual art with non-visual elements (such as recorded sound, for example) or with elements of the other arts (such as literature, drama, dance, motion graphics, music, or interactivity).
      video: Mixed Media With Suzi Blu: Byzantia and LuLu gets a haircut - suziblutube on youtube.com [youtube=http://www.youtube.com/watch?v=zepDd0dz3Gk]
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      4 Jun 2008

      iGoogle art

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      link: iGoogle - Introducing artist themes for iGoogle Introducing artist themes for iGoogle: Now you can put the work of world-class artists and innovators on your personalized Google homepage. txt: Google: art - www.artworldsalon.com
      Most of the custom themes are from the hands and keypads of web designers and animators whose names few gallery-goers would recognize. Many are from Asia (but no Murakami here). Then there’s Coldplay, Beastie Boys, Lance Armstrong, and Mark Morris. Lesson? Though Google’s developers are clearly not trying to draw an all-inclusive map of global visual culture here, what if their selections are, in fact, faithful to what our society understands under the rubric of “artists”? Is Koons the best choice for this virtual Noah’s Ark?
      img: Lily Franky (リリー・フランキー)'s theme for iGoogle
      One of Japan's best-selling writers, Lily Franky is the author of the novel Tokyo Tower:Mom, Me and Sometimes Dad and the illustrated book Oden-kun, the subject of an animated series. He is also an illustrator and actor. www.lilyfranky.com
      Media_httpwwwgoogleco_cdctp
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      1 Jun 2008

      We must become the change we want to see in the world

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      "We must become the change we want to see in the world" - M.K. Gandhi txt: Change - Wikipedia
      Change can mean: * The process of becoming different. - Social Change - Metamorphosis - Calculus * Small denominations of money given in exchange for a larger denomination.
      video: Eric Clapton - Change The World (live) - youtube.com [youtube=http://www.youtube.com/watch?v=VUXDBK1lZb0]
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      27 May 2008

      The idea becomes a machine

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      txt: Sol LeWitt - Paragraphs on Conceptual Art, Artforum, 1967
      In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.
      link: Paragraphs on Conceptual Art - DDOOSS video: One letter from sol lewitt - joaoleonardo1974 [youtube=http://www.youtube.com/watch?v=JJOGFpjmtig]
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      17 May 2008

      Long Weekend 2008 + Margini Festival

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      txt: UBS Openings - The Long Weekend 2008

      UBS Openings: The Long Weekend brings you three days and nights of extraordinary live events and performances at Tate Modern. During the day, the gallery will be buzzing with performances to watch and opportunities to get involved, themed around the States of Flux Collection display, which explores change, progress and movement.

      On Friday, Saturday and Sunday, the Turbine Hall is the dramatic setting for spectacular evening events combining music and visuals.

      There is also the chance to see the exhibitions Duchamp, Man Ray, Picabia, Street & Studio and Street Art.

      Programme

      Friday 23 May 2008

      • Konono No. 1 & Djibril Diop Mambéty 21.00–23.30

      Saturday 24 May 2008

      • Make a Salad 13.00–17.00  free
      • Nan Goldin with Patrick Wolf and John Kelly 21.00–23.00

      Sunday 25 May 2008

      • Early Computer Animation Screening 21.00  free

      Monday 26 May 2008

      • Graffiti Research Lab 19.00–22.00  free

      All weekend (Saturday 24 – Monday 26 May 2008)

      • Art Talks 11.00–15.00  free
      • Flux-Olympiad 10.00–17.00  free
      • Flux-concerts  10.00–17.00  free
      • Willem de Ridder 10.00–17.00  free
      • Gustav Metzger 10.00–17.00 free
      • Quicksilver: The Cholmondeleys and The Featherstonehaughs  10.00–17.00  free
      txt: MARGINI Festival - Livorno now links: - Margini - festival delle arti ai margini - Programma Margini Festival - .pdf [it]
      This three-day event entitled Margini is dedicated to 'marginal arts' and focuses on two districts (or quartieri) of Livorno that, until recently, were associated with urban decay and social problems. Known as Shangay and Corea, these areas have now been redeveloped, from an architectural, social and cultural point of view. The Margini festival focuses attention on street art and will feature street artists of international fame, such as Blu, Ericailcane, Dem and Run, all of whom will be leaving their mark on the area during the festival which aims to be an open air artistic workshop. There will also be exhibition of works by artists including Michelangelo Setola and Riccardo Bargellini, and a series of art workshops organised by the Blu Cammello gallery. Music will be provided by The Cage Club in the form of a dj set (Friday and Saturday at 7.30pm), the Magicaboola Brass Band (Thursday 9.30pm in Shangay), and the Senegalese band Africa Jembee and the Morning Skifflers on Saturday from 6pm to midnight.
      video: What is a Friend? - notebookbabies on youtube.com [youtube=http://www.youtube.com/watch?v=wZHmsVRshwU]
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      16 May 2008

      The Gen Y Guide to Web 2.0 at Work (or Art, or ..)

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      1. ok, think about the content 2. but consider it also as a sort of digital graffiti Interesting in both cases. via: readwriteweb.com slide: The Gen Y Guide to Web 2.0 at Work - sachac on slideshare.net [slideshare id=396865&doc=genyweb20-1210364558509716-8&w=425]
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      16 May 2008

      Simplicity

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      txt: The Laws of Simplicity - John Maeda
      Law 1: REDUCE - The simplest way to achieve simplicity is through thoughtful reduction. Law 2: ORGANIZE - Organization makes a system of many appear fewer. Law 3: TIME - Savings in time feel like simplicity. Law 4: LEARN - Knowledge makes everything simpler. Law 5: DIFFERENCES - Simplicity and complexity need each other. Law 6: CONTEXT - What lies in the periphery of simplicity is definitely not peripheral. Law 7: EMOTION - More emotions are better than less. Law 8: TRUST - In simplicity we trust. Law 9: FAILURE - Some things can never be made simple. Law 10: THE ONE - Simplicity is about subtracting the obvious, and adding the meaningful.
      video: John Maeda on the simple life - TED Talks - The MIT Media Lab's John Maeda lives at the intersection of technology and art -- a place that can get very complicated. Here, he talks about paring down to basics, and how he creates clean, elegant art, websites and web tools. In his book Laws of Simplicity, he offers 10 rules and 3 keys for simple living and working -- but in this talk, he boils it down to one simply delightful way to be. [blip.tv ?posts_id=502779&dest=-1]
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      15 May 2008

      Multiversity in Venice

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      link: www.sale-docks.org
      Media_httpoddtagfiles_kjfgs
      txt: MULTIVERSITY, or the Art of Subversion 16, 17 and 18 May 2008 S.a.L.E. DOCKS VENICE www.sale-docks.org multiversity.sale@gmail.com
      The event “Multiversity, or the Art of Subversion” is the fruit of a joint effort between Uni.Nomade and S.a.L.E. (Signs and Lyrics Emporium), between a trans-territorial network of militants and researchers carrying out a critical analysis of the themes of contemporaneity and a self-managed space, called S.a.L.E. docks, born a few months ago in Venice so as to intervene on a practical level in the world of cultural production. A world which, not only in Venice, has affirmed itself as preferred area for current capital valorisation processes. In fact, if we concentrate on contemporary art, this undoubted importance can be seen on at least three levels. The first is the central role which immaterial assets and knowledge, creativity and affections, relational and communicational talents assume for contemporary forms of production: artistic production cannot get away from this centrality. The second is the relationship between cultural production and the metropolis where the interlacing between town-planning and architecture, fashion and design, art and literature, in that productive social space par excellence – the urban basins – becomes on the one side a crucial element in the process of subjectification through which are built the multiplicity of forms of life which inhabit it, to the other decisive factor for defining the strategic positioning of each metropolitan area in the economic competition between global cities. The third is the relationship between the art market and the financial capital: at a global level, banks and multinationals are the among the main investors in a sector which today seems to be the only one to have not been even slightly touched by the crisis which has overrun the world system of money circulation. What we are now seeing is a complex capturing system, which capital has brought into play in the multiple flow of informal cultural production, from the appropriation of the ability to cooperate of individual intelligences and individual ways of life, to ensure the valorisation of what has been defined as the “symbolic collective capital”. The complexity of these dynamics depends on a double mechanism of exploitation, where the first aspect is made up of the barriers of intellectual property and from each further moment of private appropriation of general social knowledge, while the second is the parasitic rapport which is established towards the creative production by those speculative interventions occurring in the body of the metropolis, there where state and private institutions, large events and art fairs, and cultural zones and meta-zones are established. Where S.a.L.E.’s experience wants to immerse itself critically, what the Multiversity event has decided to face, is called “culture factory”, that is the place of valuation of cognitive capitalism, but it is only so in the measure in which it, before anything else, the place of creative subjectivity, of the expression of the multitudes, and consequently, the space of a face-to-face between creative freedom and autonomy of cooperation on the one hand, and the system of dominion and exploitation of this productive force on the other. In this light, Multiversity, will present, discuss and compare, with the most advanced European and global experiences, the first results, although partial, of an enquiry on the city’s job insecurity linked to contemporary art and intangible work. Here the main question is to understand widespread behaviours and the methods of intervention which could change a social composition, already central in the forms of contemporary production, in a political composition. Examined also will be the core issues of the role of university training on the one side, and the communication network on the other side, played within the most complex organisation of the work of the “culture factory”. An indispensable requisite for this discussion is the comparison around contemporary art understood as a “wider social institution”: from the historical-artistic events which drove art in the post-war period from the transcendental space of medial specificity to the social space with its relationships of strength, to the relationships established between art, social movements and cultural activism outside of any avant-garde rhetoric, to the methods of capture by the institutional artistic system and by the financial ciruits of a vast heritage of critical thought and conflicting ways of life. For these reason, the Multiversity event will be organised into three seminar sessions: 1. Art and activism This means problematizing historical events and contemporary forms in the interlacing between art and activism. Some of the questions to start off the discussion will be: Which road was travelled to reach the conception of the work as transcendental to a conception of the same as object, process or dynamic able to intervene within man’s space-time and subsequently, within social processes? How did we go from a judgement of the work based on a topography of its material characteristics to one based, instead, on the analysis of its function, or even its efficiency in social terms? How does it function today, in this post-Ford era, activist art? What, once all avant-garde rhetoric is abandoned, is the position of art and artists with respect to movements? 2. Art and the market: between creative freedom and financial capture This second point must necessarily move from gathering date on the size of the art market and its relationship with financial capital. Art is taken here as an example of paradigmatic value because of the extreme paradox which affects it: if artistic work expresses a maximum level of creative freedom, at the same time it is subject to maximum fixation within the financial capital. 3. Art and multitude: for the survey into social composition, conflicts and organisation of live work in the “culture factory” This session will examine the core of the relationship between singularity and multitude, and between individual production and construction of the common. There are two research plans which will proceed in parallel. The first is historical-artistic and concerns the attempts which, starting in the 60s, were developed by artists in response to the rhetoric of the individual genius, up to the current platforms of collective production tied to the affirmation and diffusion of social hacking. The second plan concerns the survey into social composition of precarious workers which has grown around the culture industry’s drive. From the students in the training circuits to temporary workers in the cooperatives for logistics and stage design, trainees, networkers, project consultants, freelancers, to that global class of artists and professionals intent on becoming an integral part of the international art system. In all this wide social galaxy, we will need to investigate the material conditions of life and work, needs and aspirations, desires and possible assertions. . All this to get to the key point: how to transform this social composition into a political composition? PROGRAM 1) FRYDAY 16 ore 17 Art and Activism. Marco Baravalle, Claire Fontaine, José Pérez de Lama (Osfa), Brian Holmes, Marko Stamenkovic. ore 21 Performance: Margine Operativo. 2) SATURDAY 17 ore 9.30 Art and Activism (second session) Marco Scotini, Giovanna Zapperi, Judith Revel, Maurizio Lazzarato. ore 14 Art and Market. Chiara Bersi Serlini, Anna Daneri, Matteo Pasquinelli, Pier Luigi Sacco, Angela Vettese. ore17.30 Hans Ulrich Obrist ore 18 Art and Moltitude. Antonella Corsani, Adam Arvidsson ore 21 Performances VS Music 3) SUNDAY 18 ore 9.30 Art and Moltitude (second session) Antonio Negri, Alberto de Nicola, Gigi Roggero, Pascal Nicolas le Strat ore 18 Massimo Cacciari One lesson on: “One: Number 31” by Jackson Pollock “Brodway Boogie-Boogie” by Piet Mondrian Will participate to the discussion during the seminar: Beppe Caccia, Octavi Comeron. Andrea Fumagalli, Cristina Morini, Margine Operativo, Sandro Mezzadra, Alessandro Petti. During the days of the seminar till June 16, S.a.L.E. will host a selection of works by: Claire Fontaine, Marcelo Exposito, Andrea Morucchio, Lab. Cartografia Partecipata. Info and program updating: www.sale-docks.org
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    #contemporary #change #future @Venice area (Italy)

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