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      20 Apr 2008

      Open your network mind

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      txt: TED - Yochai Benkler: Legal expert
      Yochai Benkler has been called "the leading intellectual of the information age." He proposes that volunteer-based projects such as Wikipedia and Linux are the next stage of human organization and economic production. Why you should listen to him: Larry Lessig calls law professor Yochai Benkler "the leading intellectual of the information age." He studies the commons -- including such shareable spaces as the radio spectrum, as well as our shared bodies of knowledge and how we access and change them. His most recent writings (such as his 2006 book The Wealth of Networks) discuss the effects of net-based information production on our lives and minds and laws. He has gained admirers far beyond the academy, so much so that when he released his book online with a Creative Commons license, it was mixed and remixed online by fans. (Texts can be found at benkler.org; and check out this web-based seminar on The Wealth of Networks.) He was awarded EFF's Pioneer Award in 2007. He's the Berkman Professor of Entrepreneurial Legal Studies at Harvard, and faculty co-director of the Berkman Center for Internet and Society (home to many of TED's favorite people).
      video: Yochai Benkler: Open-source economics
      Law professor Yochai Benkler explains how collaborative projects like Wikipedia and Linux represent the next stage of human organization. By disrupting traditional economic production, copyright law and established competition, they're paving the way for a new set of economic laws, where empowered individuals are put on a level playing field with industry giants.
      img: Yochai Benkler - Joi on flickr.com
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      19 Apr 2008

      Continuos partial attention (AKA art fair)

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      link: VernissageTV takes you to opening receptions of exhibitions and events and provides insight into the social side of the world of contemporary art, design, and architecture and interviews its protagonists. VernissageTV: The window to the art world. txt: Continuous Partial Attention - Linda Stone
      Continuous partial attention describes how many of us use our attention today. It is different from multi-tasking. The two are differentiated by the impulse that motivates them. When we multi-task, we are motivated by a desire to be more productive and more efficient. We're often doing things that are automatic, that require very little cognitive processing. We give the same priority to much of what we do when we multi-task - we file and copy papers, talk on the phone, eat lunch -- we get as many things done at one time as we possibly can in order to make more time for ourselves and in order to be more efficient and more productive. To pay continuous partial attention is to pay partial attention - CONTINUOUSLY. It is motivated by a desire to be a LIVE node on the network. Another way of saying this is that we want to connect and be connected. We want to effectively scan for opportunity and optimize for the best opportunities, activities, and contacts, in any given moment. To be busy, to be connected, is to be alive, to be recognized, and to matter. We pay continuous partial attention in an effort NOT TO MISS ANYTHING. It is an always-on, anywhere, anytime, any place behavior that involves an artificial sense of constant crisis. We are always in high alert when we pay continuous partial attention. This artificial sense of constant crisis is more typical of continuous partial attention than it is of multi-tasking.
      video: Art Cologne 08 part 2 - VernissageTV on blip.tv [blip.tv ?posts_id=843143&dest=-1]
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      18 Apr 2008

      Express yourself (and ask for rights)

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      txt: Walter Benjamin (1936) - The Work of Art in the Age of Mechanical Reproduction Source: UCLA School of Theater, Film and Television; - Transcribed: by Andy Blunden 1998; proofed and corrected Feb. 2005.
      The growing proletarianization of modern man and the increasing formation of masses are two aspects of the same process. Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate. Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves. The masses have a right to change property relations; Fascism seeks to give them an expression while preserving property. The logical result of Fascism is the introduction of aesthetics into political life. [...] “Fiat ars – pereat mundus”, says Fascism, and, as Marinetti admits, expects war to supply the artistic gratification of a sense perception that has been changed by technology. This is evidently the consummation of “l’art pour l’art.” Mankind, which in Homer’s time was an object of contemplation for the Olympian gods, now is one for itself. Its self-alienation has reached such a degree that it can experience its own destruction as an aesthetic pleasure of the first order. This is the situation of politics which Fascism is rendering aesthetic. Communism responds by politicizing art.
      video: 1 of 10 - ABC Democratic Debate from Philadelphia [youtube=http://www.youtube.com/watch?v=eb6P4JJbe9k]
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      18 Apr 2008

      Miuccia Prada, The Lady

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      txt: Il museo veste Prada - Espresso on line oddtag: Read all the article! [it]
      Ms. Prada, have you bet on the future of Milan? I'll be honest: it was my husband who insisted about. I have thought a lot to New York and London, and Venice, because of synergies with the Biennale. In the end we decided this way. We discussed a lot with Koolhaas. In fifteen years, we've made an important network of international relations, and we need a place where physically exhibit the works: both of the Prada Foundation and Prada. Even though I do not like at all to define myself as a collector. Why? For me art is a process of knowledge. Studying, learning, working with the artists. Their works have been designed especially for the Foundation. From the first experience, Sixties-Seventies sculpture, Michael Heizer, Mark Di Suvero, Walter De Maria, along with Germano Celant, our artistic director, we have greatly opened ourselves to other languages, video, photography, architecture. For me art is a tool for learning about the world. Real knowledge, politics. -------------------- Signora Prada, avete scommesso anche voi sul futuro di Milano. Sarò sincera: è mio marito che ha insistito. Io ho pensato a lungo a New York e a Londra, e anche a Venezia per via delle sinergie con la Biennale. Alla fine abbiamo deciso così. Ne abbiamo discusso molto con Koolhaas. In quindici anni abbiamo tessuto una rete di relazioni internazionali importanti, e ci serve un luogo fisico dove esporre le opere: sia della Fondazione sia le nostre. Anche se non amo affatto definirmi una collezionista. Perché? Per me l'arte è un processo di conoscenza. Studiare, imparare, lavorare con gli artisti. Le loro opere sono state pensate apposta per la Fondazione. Dalle prime esperienze, la scultura anni Sessanta-Settanta, Michael Heizer, Mark Di Suvero, Walter De Maria, insieme a Germano Celant, il nostro direttore artistico, ci siamo enormemente allargati ad altri linguaggi, video, fotografia, architettura. Per me l'arte è uno strumento di conoscenza del mondo. Conoscenza reale, politica.
      img: Prada in Omote Sando - Gavin Stok on flickr.com
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      16 Apr 2008

      Venice from East to West

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      txt: Venice is a dream still, although a bit noisy and full - The Telegraph - Calcutta - India
      Today, with little of the past elegance of Venetian inhabitants and visitors on show and the famous bars and teashops in the Piazza selling overpriced cocktails to profligate tourists, Beaton would not have been impressed by the lycra generation doing Venice even had he appreciated the importance of tourism to keep the city alive and afloat. It is only the hidden shops and restaurants and the markets known to habitués that retain a particular atmosphere of the place, although the tradition of craftsmanship of the city continues in sympathetic and skilled restorations of great works of art; the preservation of ancient skills such as the handloom silk weaving of the Bevilaqua family and the skills of the Murano glass blowers; and a continuance of the love for beauty that carries the visitor from the 12th century, through the High Renaissance, and, to my mind, the overblown frills of mannerism and the baroque, on to the glorious 20th century riches in the Guggenheim Museum. The present-day opening of the Palazzo Grassi and the ongoing development of the Punta della Dogana as exhibition sites for the contemporary collection of the French billionaire, Francois Pinault, can be celebrated as part of the generational artistic life of the city.
      video: Jeff Koons @ Venezia 2/4 - blog.palazzograssi.it Incontri di Palazzo Grassi aspettando Punta della Dogana [dailymotion id=x45099]
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      12 Apr 2008

      Itinerant consumers

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      txt: Nomads at last - The economist - Wireless communication is changing the way people work, live, love and relate to places
      Humans have always migrated and travelled, without necessarily living nomadic lives. The nomadism now emerging is different from, and involves much more than, merely making journeys. A modern nomad is as likely to be a teenager in Oslo, Tokyo or suburban America as a jet-setting chief executive. He or she may never have left his or her city, stepped into an aeroplane or changed address. Indeed, how far he moves is completely irrelevant. Even if an urban nomad confines himself to a small perimeter, he nonetheless has a new and surprisingly different relationship to time, to place and to other people. “Permanent connectivity, not motion, is the critical thing,” says Manuel Castells, a sociologist at the Annenberg School for Communication, a part of the University of Southern California, Los Angeles.
      link: digital-nomads.blogspot.com video: Mongolian Nomads offer us a home - adrianHmay on youtube.com [youtube=http://www.youtube.com/watch?v=rfK5YOP1s4s]
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      6 Apr 2008

      Let's freedom rain

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      txt: 1 John 2:11 RSV
      But he who hates his brother is in the darkness and walks in the darkness, and does not know where he is going, because the darkness has blinded his eyes.
      video: Martin Luther King "I have a dream" -superjsuh on youtube.com - The full version of Martin Luther King's famous "I have a dream" speech. [youtube=http://www.youtube.com/watch?v=PbUtL_0vAJk]
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      4 Apr 2008

      Age against the Turbine?

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      txt: Tate Modern - Street Art - 23 May – 25 August 2008 Free Entry
      In the first major public museum display of street art in London, an awesome line-up of acclaimed street artists will create gigantic new art works on the external walls of Tate Modern overlooking the Thames. An eclectic group of artists, who have worked in both street and gallery environments, are showing work: Blu from Bologna, Italy; the artist collective Faile from New York, USA; JR from Paris, France; Nunca and Os Gemeos, both from Sao Paulo, Brazil and Sixeart from Barcelona, Spain. This is the first time work has been commissioned for the building’s iconic external wall.
      txt: Art World: Is street art losing its 'outsider' edge? - The Indipendent Blogs
      So a screenprint poking fun at the art establishment is sold by the establishment. In fact, the establishment is now in on the joke. Does this mean urban art is losing its subversive edge? And is it even street art - accessible and (often) transient work created for the ordinary public - if it is connected to a gallery or established institution? [...] The question that some young artists may now be asking is, if street art is entering into the mainstream with urban artists increasingly becoming establishment figures, where do the real rebels go to rage against the machine?
      links: JR Blu sixeart os Gemeos faile img: Street Art by "Os Gemeos" - Rob Wallace on flickr.com
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      4 Apr 2008

      Survive With/Without Selling

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      txt: "Wooster's How To..,." #12 - Blek Le Rat's How to Survive in the Graffiti World Without Selling Your Soul
      First of all: Before starting a career as a graffiti artist you have to make sure to have another income than your art to live for over a long period of time and maybe even for the rest of your life.... This is the best way to keep your work free from any parasites or bad influences from people who dont care about you as an artist but only about their own benefits of YOUR work. [...] Fifthly: The ligths of the city quickly go out!!! and how to switch them on? It is in the cold of the darkness when you are alone and looking for someone and the way out back to the lights of success that your conscience is being cleaned because free of the blinding pollution of success. Your pain will turn into a new creativity. And you should never forget the old law of nature that after a down always comes an up...
      links: Blek le rat site - bleklerat.free.fr video: Blek Le Rat - Original Stencil Pioneer - kingadz on youtube.com Blek le Rat is the inventor of modern stencil art. He began his quest on the streets of Paris In 1981 and many artists (most famously by Banksy) have been influenced by his unique style ever since. Street art has evolved and the year is now 2006. Blek and filmmaker King Adz depart on a road trip through France to witness Blek's influence on street art and the modern media. The two men are friends off-screen, and Adz just lets the camera roll... [youtube=http://www.youtube.com/watch?v=B2D1kFS9TY4]
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      3 Apr 2008

      Arts, Culture and Public

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      txt: Arts, Culture and the Public Sphere
      How do cultures relate to the public sphere? To which extent is the shape of the public discourse affected by cultural codes? What are the cultural dimensions of public knowledge? Why and how does culture matter? In contemporary societies the public sphere is constantly shaped and reshaped by media discourses. The public discourses can no more be analyzed at the national levels only because globalization processes are at work. We are witnessing the emergence of multiple global public spheres, which are intersecting to each other, articulating both local and global issues. In this context the role of culture is highly increased. The visibility of cultural codes becomes global. They are used to express power, to mediate conflicts, to negotiate claims of citizenship, to construct minority identities, gender and ethnicity issues, and to inscribe the public knowledge of the past in the national and international arena. The aesthetic dimensions are becoming key issue to articulate power relations. Culture matters and it does it in many new ways.
      Arts, Culture and the Public Sphere Expressive and Instrumental Values In Economic and Sociological Perspectives Venice (Italy) November 4 - 8 2008 A joint Conference organized by: FDA – Faculty of Design and Art – IUAV University, Venice DADI - Department of Art and Industrial Design – IUAV University, Venice EPOCA - Centre of Economics and Advanced Cultural Policy Research – IUAV University, Venice Sociology of Culture RN of the ESA - European Sociological Association Sociology of the Arts RN of the ESA - European Sociological Association video: Part 2 of the video on Chelsea space, London. Detailed info at VernissageTV [blip.tv ?posts_id=248547&dest=-1]
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    #contemporary #change #future @Venice area (Italy)

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