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Written by Administrator
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Friday, 25 May 2007 |
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By Daniel G. Andujar*
In the last few years, copyright has become a controversial issue. On the one hand, current information and communication technologies have generated a new social reality in which both old situations and new sceneries coexist. Undoubtedly, these transformations have also produced a crisis on the prevailing systems of distribution and cultural management. Societies have enough mechanisms to adapt themselves to their own processes, but we must ask ourselves if the current dogmatic legislative apparatus is prepared to confront these changes. On the other hand, the recent pressure that collective copyright management societies have exerted on our legislators, so as to make sure that the new laws on intellectual property will safekeep their interests, has intensified this debate. Specialists express their opinions on this subject even on the paparazzi TV shows, and of course, a few of them may suddenly show their preference for one of the options with the sole purpose of taking advantage of this situation. This is not just one more ephemeral topic. It's in fact an open confrontation between those who control and defend leisure industries -culture's big business-, and those who demand an urgent revision of the prevailing system and a reformulation of the notion of intellectual property in a new "free-culture" context.
This confrontation has already begun. Its tracks can be found everywhere and they are broadcasted without control through an increasingly complex system in which one can hardly identify central and peripheral zones, transmitter and receiver, means and messages.
Tags: free-culture english artsits |
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Memory_Archive_Database v 3.0 |
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Written by Administrator
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Monday, 28 May 2007 |
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Memory_Archive_Database v 3.01 By Steve Dietz
In 1968, in a report to the Rockefeller Foundation during a residency at SUNY Stony Brook, Nam June Paik argued that 97% of all electronic music was not recorded and that "a simple measure would solve the whole problem. An information center for unpublished electronic media should be created."2 Of course, at the time, this meant such a center would "provide a xerox copy and a tape copy of musical pieces, at the request of performers, students, and organizers from all over the world." Still, convert analog to digital, and the dream lives on, perhaps more vibrant than ever, of a universal archive, with access to everything by anyone anywhere at anytime. For the past 25+ years, museums and other cultural institutions have been trying to figure out, first how to automate their information systems--create computer-based databases--and, more recently, how to provide the public access to this "automated information."3 |
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‘Irational’ Net Art Skewers Systems |
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Written by Administrator
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Thursday, 31 August 2006 |
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The year 1996 seems to have been a magical one in the world of internet art. A number of key arts organizations, discussion lists, and artist collectives were founded, at that time, and highly influential among the latter is irational.org. Founded by Heath Bunting and expanded to include Daniel Garcia Andújar/ Technologies to the People (E), Rachel Baker (GB), Kayle Brandon (GB), Minerva Cuevas/ Mejor Vida Corporation (MEX), and Marcus Valentine (GB), the group’s actions often entail activist-oriented political maneuvers, parody-rich ‘pseudo-ventures,’ and the development of strategies for rethinking socio-political norms and ‘corporate aesthetics.’ By tackling prohibitive trademark laws, immigration policies, surveillance networks, cartography, language, and other systems of power, irational.org have demonstrated the efficacy of parasitic media and other modes of interrogating systems from the inside out. As pioneering net artists who’ve since expanded their scope, their work questions geographic boundaries as well as art-world ones, and whether operating in or outside of the gallery, they have always been noted for their sharp humor and ironic wit. Irational.org’s projects are documented at their eponymous website, but now an exhibition entitled ‘The Wonderful World of irational.org: Tools, Techniques and Events 1996-2006,’ at the Hartware MedienKunstVerein in PHOENIX Halle Dortmund, Germany, provides a context for surveying ten years of significant art production and for expanded public interaction. Programs continue through the end of October, so do hop the fence into the area, if you’re able. - Marisa Olson
http://www.hmkv.de/dyn/e_program_exhibitions/detail.php?nr=1757&rubric=exhibitions& Originally from Rhizome.org Net Art News on August 23, 2006, 1:00am |
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