Leonardo Online, Jan 2010 (Jussi Parikka)
Curating Immateriality: The Work of the Curator in the Age of Network Systems
from http://www.leonardo.info/reviews/jan2010/parikka.php
Creating Insecurity: Art and Culture in the Age of Security takes as its guiding idea that security and insecurity are fabricated constellations. Any lack of security is as much constructed as the supposed guarding mechanisms, which guarantee the predictability of the future. Security is a time-loop of a sort that is to make the future seem present as a possibility that is going to actualise whether in the hoped for scenario of avoiding catastrophes and continuing with business as well usual, or then in the sense of being prepared for the emergency-predicted-to come. [MORE]
Leonardo Online, Sept 2006 (Jonathan Zilberg)
Curating Immateriality: The Work of the Curator in the Age of Network Systems
from http://leonardo.info/reviews/sept2006/curating_zilberg.html
Curating Immateriality will prove interesting for museum professionals concerned with curatorial processes in an expanded digital field in which the art museum no longer has any walls, never mind material objects. In short, the digital environment presents qualitatively new challenges for curators - especially for those who would prefer to reduce the traditional role of the curator to a network manager. [MORE]
Le Monde Diplomatique (Nordic edition) - April 2005 - Bøker (Jacob Lillemose)
Economising Culture
Med netværks- og informationsteknologiers gennemtrængning af nutidens kulturelle produktion accelereres den forsatte nedbrydning af barriererne mellem kunst og massekultur. Resultatet er dog ikke en homogen sammensmeltning, selvom det ofte kan virke sådan. Tværtimod, er den enorme udveksling mellem kunst og massekultur årsag til nye modsætningsforhold. [...]
iDC 2005 (Trebor Scholz)
The Truth About Networks: Between the total hell of networked, salaried labor and the promises of the commons
from http://distributedcreativity.typepad.com/idc/2005/10/the_truth_about.html
In short succession the first two in a series of publications called "DATA browser" were just released. Both start out with historical texts to search for effective contemporary models of cultural production that merge socio-technological with artistic critique. [MORE]
Rhizome Net Art News, July 2005 (Marina Vishmidt)
Towards a Networked Modernism
from http://rhizome.org/netartnews/story.rhiz?×tamp=20050701
The Data Browser series, published by Autonomedia under a Creative Commons license, has so far emerged as two text compilations. The first volume, Economising Culture: On The (Digital) Culture Industry, came out in late 2004 and Engineering Culture: On the Author as (Digital) Producer has just hit a distribution system near you. Edited by Geoff Cox, Joasia Krysa and (only vol. 1) Anya Lewin, the series intends to situate recent changes in art and activism in historical contexts as well as relate them to contemporary trends and agendas. [MORE]
neural.it
from http://www.neural.it/nnews/databrowser02engineeringculturee.htm
The immaterial production does not only have exquisitely political (precariousness, mobility, real time...), or aesthetic (manipulability, coding, de-location...) implications. It contains the conflict generated by the capitalism, that struggles for applying to immaterial goods the old, consolidated production schemes for physical goods. [MORE]
neural.it
from http://www.neural.it/nnews/databrowser01economisingculturee.htm
The devastating social consequences of the post-fordist economical models had led to the flooding of work time in our private spaces, and this is one of the fundamental themes of come cultural resistance practices, including the ones that relates to the IT technologies. One of the most interesting branches in this field is the creation of micro economical models, that go against the mainstream. [MORE]