not

zaujimave, rozvit nejakym projektom:
Cyberspace is what Deleuze
and Guattari call a “haptic” space, as opposed to an optical
one: a space of “pure connection,” accessible only to “closerange
vision,” and having to be navigated “step by step. . . .
One never sees from a distance in a space of this kind, nor
does one see it from a distance”.
No panoramic
view is possible, for the space is always folding, dividing,
expanding, and contracting. [nema zmysel robit vizualne komplexne webstranky – len tolko co clovek
vie cele prijat, v pozadi socialna navigacia, takze ‘listujem’ dalej
Time is flexible on the Net as
well; things happen at different speeds. Sometimes I must
read and type extremely fast to keep up with rapid-fire chat
room conversations. Other times I have to hold myself back
as I wait for pages or files to download.
What’s more, these
multiple speeds, times, and spaces overlap. Enveloped in
the network, I am continually being distracted.
I can no
longer concentrate on just one thing at a time. My body is
pulled in several directions at once, dancing to many distinct
rhythms. My attention fragments and multiplies as I
shift among the many windows on my screen. Being online
always means multitasking.

[8:08:50 PM] Barbora: ahoj Dusan, mozem sa ta na nieco spytat? si na nieco na Slovensku hrdy? na co?
[8:09:10 PM] dusanson: na murgasa
[8:09:31 PM] dusanson: na ondaka
[8:09:37 PM] dusanson: na vineu
[8:09:59 PM] dusanson: na a4ku
[8:10:11 PM] Barbora: :)
[8:10:15 PM] dusanson: hm
[8:10:16 PM] dusanson: rozmyslam
[8:10:20 PM] dusanson: co este
[8:10:28 PM] Barbora: rozmyslaj
[8:10:33 PM] dusanson: na multiplace
[8:10:39 PM] dusanson: na letne dielne
[8:10:51 PM] dusanson: na hviezdoslava
[8:11:08 PM] dusanson: hm, zoznam sa uz asi blizi ku koncu )
[8:11:20 PM] dusanson: snad stefanika
[8:11:35 PM] dusanson: snad benovskeho
[8:12:34 PM] Barbora: preco si hrdy na hviezdoslava?
[8:12:43 PM] dusanson: vyborny spisovatel
[8:12:46 PM] Barbora: ale nahodou, napisal si aspon nieco
[8:12:52 PM] Barbora: ja by som ani tolko nedala
[8:13:02 PM] dusanson: to je vsetko co ma teraz napada
[8:13:07 PM] Barbora: robim si prieskum, mame urobit reklamny spot
[8:13:10 PM] dusanson: aha este na next festival
[8:13:13 PM] Barbora: na narodnu hrdost
[8:13:15 PM] Barbora: :)
[8:13:19 PM] dusanson: to su veci o ktorych sa nehanbim rozpravat ludom zvonka
[8:13:32 PM] dusanson: hrdy na narodnu hrdost znamena co?
[8:14:06 PM] Barbora: hrdy na narodnu hrdost?
[8:14:15 PM] Barbora: nie, robime spot, ktory ma byt o narodnej hrdosti
[8:14:19 PM] Barbora: narodna hrdost je produkt
[8:14:24 PM] dusanson: aha
[8:14:27 PM] Barbora: tak sa pytam
[8:14:34 PM] dusanson: akoze pre turistov?
[8:14:44 PM] Barbora: no skor pre domacich
[8:14:49 PM] Barbora: ale len ako projekt v skole
[8:14:51 PM] dusanson: reklama na slovensko pre slovakov? :)
[8:14:54 PM] Barbora: hej
[8:14:58 PM] dusanson: hha
[8:15:36 PM] dusanson: tak potom posli
[8:17:38 PM] Barbora: no jasne:)
[8:17:42 PM] Barbora: ale celkom si mi pomohol asi
[8:17:51 PM] dusanson: ziadna zena :(
[8:18:18 PM] Barbora: lebo napriklad to iste som napisala kamaratovi a ten odpisal ze nie je hrdy na nic, ale vela veci tu ma rad
[8:18:31 PM] Barbora: no … ziadna zena
[8:19:07 PM] dusanson: na ursinyho
[8:19:16 PM] Barbora: jasnee:)
[8:20:12 PM] dusanson: na fischera
[8:20:20 PM] dusanson: na zdena
[8:20:27 PM] dusanson: na tomasa straussa
[8:25:57 PM] dusanson: snad na jakubiska
[8:26:05 PM] Barbora: ou
[8:26:12 PM] Barbora: ja na perinbabu:)
[8:26:18 PM] Barbora: tu som v portugalsku ukazovala aj
[8:26:21 PM] dusanson: jj ta je pekna
[8:26:28 PM] Barbora: lebo to je zvlastna rozpravka
[8:26:29 PM] dusanson: kristove roky
[8:26:35 PM] Barbora: taka nerozpravkova
[8:26:43 PM] Barbora: hej, tie su!
[8:26:51 PM] dusanson: slnko v sieti mozno, ale si to uz moc nepamatam, mozno by sa mi to nepacilo uz…a uher neviem co dalsie robil
[8:26:56 PM] dusanson: obchod na korze ma nebavil
[8:27:36 PM] dusanson: aa na utekajme uz ide som hrdyy
[8:27:54 PM] dusanson: nadhlad a lahkost, pritom bez pretvarky

gabika pise ze problem venterovho genetickeho softveru nie su ani tak potvorky ako
mutacie umelej DNA v novom organizme..
—
http://respekt.ihned.cz/zkumavka/c1-43726410-craig-venter-nestvoril-umely-zivot

http://www.rozhlas.cz/zpravy/vedatechnika/_zprava/736218

tak ak to spravne chapem, tak to az take hrozive nebude…uvidime, ako to bude pokracovat dalej, pretoze je fakt, ze vacsina zlozitejsich organizmov ma systemy, ktore odmietaju cudzie molekuly….a nicia ich.
—
ono to tak z laickeho pohladu vyzera k podobnym ‘vynalezom’
sa postupne nevyhnutne dostaneme…ak s tym nepride venter,
tak niekto iny, ze? otazka je teda asi najma ako sa to da
vseliak zneuzit a ako bude flexibilna legislativa ohladom
prevencie rizik… hmm…. alebo?

> no, musim povedat, ze mna to celkom vydesilo, ked som sa to
> dozvedela….ani nie tak kvoli nejakym potvorkam, ale skor kvoli tomu, ze
> nikdy nevies, ako sa ten organizmus zacne branit zasahu do vlastneho
> DNA….
> moc informacii o tom nepreniklo, tak vlastne ani neviem, do ktorej fazy
> DNA zasiahli, alebo co modifikovali, ale urcite to moc pozitivne nie
> je….
>
> oni sa brania tym, ze sa budu dat liecit rozne druhy ochoreni, rakovin a
> podobne…ale neviem, neviem, do akej miery to su schopny strazit, aby
> nedochadzalo spatne k mutaciam tej DNA….
>
> uvidime, ake info este pustia….este skusim zistit viac…
>
> ale bat sa zatial nemusis, len hrat sa na ” Panov Bohov” je niekedy
> zradne…
>
> ale uvidime…..zatial mozes spavat kludne….
>>
>> pocuj vcera preletela mediami ta sprava, ze venterovmu timu
>> sa podarilo replikovat umelo syntetizovanu dna…
>> napriklad
>> http://veda.sme.sk/c/5385405/vedci-asi-stvorili-umely-zivot.html
>> http://news.bbc.co.uk/2/hi/science_and_environment/10132762.stm
>>
>> akurat mi stale neni moc jasne co z toho vyplyva…
>> bude zle? alebo sa to tyka len nejakych pre smrtelnika
>> nepovsimutelnych veci, napr ze ide o malu vedecku epizodku?
>> alebo ze postupne ked to vymakaju tak budu vediet ‘programovat’
>> nejake male organizmy, ktore sa v hejnach budu prehanat
>> labakmi pripadne aj mimo nich?
>>

dus▲nson –> MadeinMP —
22:57:19 – 06.04.2010 UNREAD
cau martin,

diplomoviek o net arte v poslednom case vzniklo v cechach a na slovensku snad viac ako samotnych diel :)) pozri si napriklad tuna prace od krekovica, zbiejczuka, harantovej, alebo sika: http://www.wuala.com/monoskoplog/theses/

mas to inak zamerane cisto na slovensko?
ak hej, tuna je prehlad bibliografie o ‘medialnom umeni’ na slovensku, vratane net artu – http://www.burundi.sk/monoskop/index.php/Bibliography_of_writings_on_media_art_in_Slovakia

co viem, tak na SK sa tomu venovali najma zden hlinka a mim, zdenove veci su tu napr
http://www.burundi.sk/monoskop/index.php/Digital_art_in_Slovakia_%281990s-2000s%29#Internet_art

z ciech co sa sucasneho net artu tyka, par veci spravil martinkohout.com

dufam ze ta tym moc nezahlcujem :)

v poslednych rokoch sa inak zacalo hovorit o post-internetovom umeni, kedy internetovi umelci zacali vystavovat v galeriach, z tych veci mi ale vela nepride moc zaujimavych, snad este cory arcangel a par dalsich.. funguju tiez “surf cluby”, co su v podstate blogy s x uzivatelmi, ktori tam postuju rozne kolaze z netu ktore niekedy na seba reaguju, napriklad tento je fajn http://nastynets.com, aj ked to najlepsie ma uz za sebou

poznas jodi.org? ma dost bavi co robia teraz… napriklad toto http://vimeo.com/4651473

all in all mi ale pride ze zamerat sa na lokalnu narodnu scenu (sk/cz) neni moc zaujimave, tie hranice tam uz casto nehraju nejaku zasadnu rolu, najma ak ide o internet..

si mozeme kludne pisat viac, ma to stale zaujima & bavi, navyse je dost mozne ze podobne veci zacnem studovat haha (sa hlasim na dalsiu skolu)
MadeinMP
MadeinMP –> dus▲nson —
22:22:03 – 06.04.2010
Ahoj Dusan

Uz to bolo davnejsie, co sme sa videli, niekedy v 2007 na Letnych dielnach v Tranzite. Teraz pisem bakalarku o internetovom umeni a pozeram, ze tuto na kyberii vedies celkom zaujimave nody. Chcem sa Ta spytat, ci nemas nejake aktualne info, co sa deje na slovenskej net.art scene? …deje sa vobec nieco take? Staci, ak mi postrcis nejake indicie, ja si uz podrobnosti vyhladam. Vopred Ti dakujem, ak si najdes chvilu na odpisanie.

Prajem krasny povelkonocny tyzden :)

Martin

[5:00:47 PM] lucas kendo: :)
[5:32:23 PM] lucas kendo: preco lanierovi vadi anonymita
[5:32:25 PM] lucas kendo: ?
[5:32:44 PM] lucas kendo: “Don‟t post anonymously unless you really might be in danger.”
[5:32:57 PM] lucas kendo: prvy bod v suggestions ako zmenit status quo
[5:33:25 PM] dusanson: mozno dostava dirty maily od anonymov )
[5:33:35 PM] dusanson: neviem, cital som zatial len preface a reviews
[5:33:59 PM] dusanson: ale ten jeho plan je dost fail
[5:34:11 PM] dusanson: chce aby z kazdeho suboru bol len jeden kus
[5:34:17 PM] dusanson: teda aby sa veci nemuseli kopirovat
[5:34:52 PM] lucas kendo: hm no divne to znie cele.. najviacej mi vadi ze ini autori by si dali zalezat na tom zadefinovat pojmy ktore pouzivaju
[5:35:02 PM] lucas kendo: A similar campaign should be taking place now, influencing engineers, designers,
businesspeople, and everyone else to support humanistic alternatives whenever possible.
[5:35:06 PM] dusanson: jj, za to ho zdrbali vsetci
[5:35:08 PM] dusanson: ze pise esejisticky moc
[5:35:14 PM] lucas kendo: co je to humanistic v tejto vete ?????
[5:35:21 PM] lucas kendo: chapes,, ale on to tam vsade ma
[5:35:39 PM] dusanson: akoze sa vydal do boja proti web2 pliage
[5:35:47 PM] dusanson: ktora z nas robi zombikov alebo co
[5:36:21 PM] dusanson: ked ho zavolali na sxsw zrobit prednasku tak vsetkym povedal ze nech prestanu tweetovat a bavia sa f2f
[5:36:22 PM] dusanson: lol
[5:36:45 PM] lucas kendo: :))
[5:36:58 PM] dusanson: ako keby to neslo naraz
[5:36:59 PM] lucas kendo: preface bol super, ale dalsi text ma coraz viacej odradza
[5:37:14 PM] dusanson: jj, ten preface je asi jediny fajn na tej knihe
[5:37:15 PM] dusanson: :)
[5:38:55 PM] dusanson: kniha je najskor urcena pre starsich dobre situovanych panov, ktorym chybaju konzervativne argumenty proti web2 pliage co opantala mladez
[5:39:08 PM] lucas kendo: no ..
[5:39:37 PM] lucas kendo: no nic pise ze tie veci rozoberie v celej knizke tak snad najdem nejake argumenty ktorymi sa da naozaj nesuhlasit :)
[5:39:44 PM] dusanson: Lanier’s critique of online life has a strong whiff of the “false consciousness” dicta that gained currency in the aftermath of the New Left.
[5:39:55 PM] dusanson: par imo najdes
[5:40:06 PM] dusanson: pod bol z nej celkom uneseny
[5:40:55 PM] dusanson: si tam chcem pozriet co pise proti open sourcu
[5:41:35 PM] lucas kendo: tej vete nerozumiem
[5:41:38 PM] lucas kendo: co je to whiff ?
[5:41:42 PM] dusanson: He dismisses most modern culture as “retro” and “a petty mashup of preweb culture..It’s as if culture froze just before it became digitally open, and all we can do now is mine the past like salvagers picking over a garbage dump.
[5:41:45 PM] lucas kendo: co je to false consciousness ?
[5:42:12 PM] lucas kendo: a f.c. je reakcia na new left, alebo je to vlastnost pripisovana new left ?
[5:42:18 PM] lucas kendo: ah som blby :)
[5:42:56 PM] dusanson: no ze ked novej lavici dosiel dych tak sa vratila spat k boju dobra so zlom, kde za zle sa povazuju rozne ezotericke veci ako trh alebo kapitalizmus s nejakym privlastkom, a ze lanier sa uchyluje k podobnemu polarizovaniu
[5:43:39 PM] dusanson: ze osocuje tych ‘zlych’ a stoji na strane dobrych
[5:43:57 PM] dusanson: resp ze clovek ma skazene vedomie a potrebuje sa od niecoho ocistit
[5:44:59 PM] dusanson: k “false consciousness” sa uchylila ‘porazena’ new left
[5:45:52 PM] dusanson: Online culture “is a culture of reaction without action”
[5:46:05 PM] lucas kendo: jj to tam je
[5:46:23 PM] lucas kendo: v niecom kusok pravda ked sa zameras len nato ako je teraz popularne robit s klise
[5:46:30 PM] lucas kendo: ako zo zakladnymi blokmi nejakeho diela
[5:46:33 PM] lucas kendo: a metanaracia a tak
[5:46:43 PM] dusanson: klise tu bolo vzdy )
[5:47:30 PM] lucas kendo: inac ten gegen die wand je super
[5:47:48 PM] lucas kendo: sa mi pacilo jake tam silne veci setcia prezivali bez toho aby ten film sam o sebe bol pateticky
[5:47:57 PM] lucas kendo: teraz mame rozkukane to co natocil v 2007
[5:48:02 PM] dusanson: lanierov refren je volanie po ‘novom digitalnom humanistickom cloveku’, ktoreho nestrhne hlas masy …
new collectivist ethos — embodied by everything from Wikipedia to “American Idol” to Google searches — diminishes the importance and uniqueness of the individual voice, and that the “hive mind” can easily lead to mob rule
[5:48:05 PM] lucas kendo: soul kitchen su len ruske abo spanish ripy
[5:48:18 PM] dusanson: gegendiewand som videl snad v svetozore, sa mi pacil tiez
[5:48:26 PM] dusanson: som nasiel taliansky dvdrip
[5:48:39 PM] lucas kendo: no pokial to je bez titles tak nic moc
[5:48:45 PM] lucas kendo: akoze ja nemcinu davam
[5:48:47 PM] dusanson: uvidme
[5:48:57 PM] lucas kendo: a italian asi znamena dabovane nie ?
[5:49:04 PM] dusanson: dufam ze nieee
[5:50:46 PM] dusanson: Lanier argues for a third way, inspired by the Internet’s first visionary, Ted Nelson. Nelson created a proto-Web in 1960 called Xanadu that simplified the user’s experience. One password and fee to enter the world, and one logical copy of each file, instead of the endless file sharing that clogs our bandwidth and cheapens the discourse.
[5:51:04 PM] dusanson: to ale neni ani utopia, skor retroutopia
[5:51:16 PM] lucas kendo: no tak retroutopia je aj militant modernism
[5:51:20 PM] lucas kendo: a to je fasa
[5:51:54 PM] dusanson: hm, akurat keby prisiel s nejakou novou, nelsona poznam :(
[5:52:42 PM] lucas kendo: inac on tam mrte operuje singularitou ale pritom mne je cely ten new age hogwah dost vzdialeny ale aj tak som zastanca “openness” a citam boingboing
[5:53:21 PM] dusanson: neviem preco si mysli ze edge.org maju nejaky vpyv
[5:53:22 PM] dusanson: l
[5:54:19 PM] dusanson: aj ked osobnych hodnotovych rebrickoch zapalenych technoevangelistov v silicon valley asi maju..
[5:59:36 PM] lucas kendo: aaa
[5:59:38 PM] lucas kendo: uz som tam
[5:59:49 PM] lucas kendo: I say that information doesn‟t deserve to be free.
[6:03:13 PM] lucas kendo: aha
[6:03:21 PM] lucas kendo: tak on berie informaciu ako ulozenu experience
[6:03:27 PM] lucas kendo: nieco ako petencialna energia tehly
[6:03:32 PM] lucas kendo: ktoru nikto zdvihne a polozi na skrinu
[6:03:39 PM] lucas kendo: az ked ju posunies aby spadla tak sa ta energia uvolni
[6:03:50 PM] lucas kendo: takisto infoska musi byt prezita aby bola pouzitelna
[6:03:51 PM] lucas kendo: Information of the kind that purportedly wants to be free is nothing but a shadow of our
own minds, and wants nothing on its own. It will not suffer if it doesn‟t get what it wants
[6:04:10 PM] lucas kendo: a zevraj sucasny technokrati chcu aby informacia zila
[6:04:14 PM] lucas kendo: a presiel na turinga
[6:04:18 PM] lucas kendo: huh ?
[6:05:27 PM] lucas kendo: no nie
[6:05:49 PM] lucas kendo: a to ze infosky mozu byt zive je vraj sposobene tym ze ako turing trpel pred smrtou lebo musel brat zenske hormony aby sa vyliecil z homosexuality
[6:06:07 PM] lucas kendo: a vymyslel turingov test kde je pocitac posudzovany nezavisle na jeho fyzicne
[6:06:13 PM] lucas kendo: alebo teda druha strana – len na reakciach
[6:06:35 PM] lucas kendo: a ze toto bolo skrz jeho tuzbu aby aj on ako weirdo gaysky nebol posudzovany ako gay ale ako nejaka bytost
[6:06:46 PM] lucas kendo: no a turingov test potom ovplyvnil dalsie generacie a dal vzniknut tejto myslienke
[6:06:49 PM] lucas kendo: omg
[6:07:41 PM] lucas kendo: What the test really tells us, however, even if it‟s not necessarily what Turing hoped it
would say, is that machine intelligence can only be known in a relative sense, in the eyes of a
human beholder
[6:08:22 PM] lucas kendo: to je akoze pravda, ale tam skor ide o funkciu… ze je jedno aky je substrat, ak ho nevies odlisit od toho co pokladas za inteligentne
[6:08:58 PM | Edited 6:09:04 PM] lucas kendo: som zvedavy kedy vytiahne a misquotne searla
[6:12:19 PM] dusanson: protiargument je ze vyvoj prvych pocitacov znacne katalyzoval hon po fungujucej anti-aircraft masinke na zostrelovanie lietadiel, z coho vznikla teoria negativneho feedbacku, z ktorej vzisla kybernetika… tam slo o realny fyzicky svet, ziadne myslienkove virtualitky odtrhnute od hmoty..
[6:13:21 PM] lucas kendo: protiargument ku protiargumentu je ze
[6:13:25 PM] lucas kendo: (budem citovat)
[6:13:26 PM] dusanson: na tom pracovali nezavisle na sebe matematici v usa, ceskoslovensku, madarsku a rusku, o ktorych zatial viem
[6:13:42 PM] dusanson: z ktorych sa neskor stali kyberneticki pioneri
[6:13:47 PM] lucas kendo: Computers and chess share a common ancestry. Both originated as tools of war. Chess
began as a battle simulation, a mental martial art. The design of chess reverberates even further
into the past than that—all the way back to our sad animal ancestry of pecking orders and
competing clans.
Likewise, modern computers were developed to guide missiles and break secret military
codes. Chess and computers are both direct descendants of the violence that drives evolution in
the natural world, however sanitized and abstracted they may be in the context of civilization.
The drive to compete is palpable in both computer science and chess, and when they are brought
together, adrenaline flows.
[6:14:45 PM] dusanson: ku guide missiles a break codes pridavam este odstranovanie noisu z telefonov
[6:14:53 PM] dusanson: to su tri hlavne spustace ktore sa uvadzaju casto
[6:15:04 PM] dusanson: telefonneho signalu teda
[6:16:15 PM] dusanson: ano, je to strasne, pocitace nam dala vojna
[6:16:37 PM] dusanson: ako s tym suvisi ta turingova homosexualita?
[6:17:02 PM] dusanson: btw vojna nam dala aj UN resolution o ludskych pravach
[6:18:00 PM] lucas kendo: ^^ toto posledne je fajn
[6:18:13 PM] lucas kendo: no jeho homosexualita suvisi s tym tak ako som napisal
[6:18:34 PM] lucas kendo: ze on tuzil podla laniera aby sa ku inteligencii pristupovalo odfyzicnene ako ku nejakej cistej informacii
[6:18:40 PM] lucas kendo: bez konotacii ze je povedzme homosexualna
[6:18:49 PM] dusanson: inak vyvoj toho z coho mohli byt pocitace zastavila vojna napr v priprade Zuseho, Lebedeva a Atanasova
[6:18:50 PM] lucas kendo: a ze to bolo tym ze tak trpel a potom sa zabil kvoli tomu
[6:19:23 PM] dusanson: pracovali na protopocitacoch este v 30tych rokoch
[6:19:41 PM] lucas kendo: no a babbage dali dole okolnosti
[6:19:46 PM] lucas kendo: ten mohol by najskorsi
[6:19:58 PM] lucas kendo: s analytical engine
[6:20:03 PM] dusanson: tam je vtipna story
[6:20:11 PM] dusanson: s tym ze za nim prisla ada
[6:20:38 PM] dusanson: ktora chodila casto stavkovat na dostihy, ze vyratajme si sance a podajme to tak aby sme vyhrali
[6:20:53 PM] dusanson: mu pisala aj prednasky
[6:21:02 PM] dusanson: babbage ju zatienil, lebo bol o 1-2 generacie starsi
[6:21:18 PM] dusanson: pritom vela veci ma na svedomi ona :)
[6:22:18 PM] lucas kendo: hmm
[6:22:48 PM] lucas kendo: podla mna z tohto a leibnizovej storky pochadza cela ta fascinacia viktorianskou proto-tech dobou v steam-punkovej estetike
[6:23:01 PM] lucas kendo: ze co keby to akoze vyslo vtedy
[6:23:20 PM] lucas kendo: leibniz si tiez postaval masinu na ratanie integralov myslim
[6:24:18 PM] lucas kendo: aha nie .. len – + * /
[6:26:06 PM] lucas kendo: http://en.wikipedia.org/wiki/Stepped_Reckoner
[6:26:17 PM] dusanson: developed a ‘no-fail’ winning system for horse racing. Unfortunately, horses not being big on math, the system did fail, and Ada finished her life as a bankrupt laudanum addict, dying of cancer at the age of 36.
[6:26:47 PM] dusanson: Augusta Ada Byron was a complex, eccentric character, and it’s probable that none of her contemporaries ever really understood the woman who managed to combine an amazing intelligence with a supposed alcohol dependency and a drug-induced fixation on fairies.
[6:26:48 PM] dusanson: :)
[6:27:45 PM] lucas kendo: whoa no musela byt dost excentricka
[6:27:49 PM] lucas kendo: asi ako vdm
[6:27:50 PM] lucas kendo: a viac
[6:27:54 PM] dusanson: jj
[6:28:13 PM] dusanson: hura nasiel som ten clanok http://www.cabinetmagazine.org/issues/19/hunt.php
[6:28:15 PM] dusanson: si ho daj niekedy
[6:30:26 PM] dusanson: ajo tak tie dostihy nebola obsesia ale len sposob ako sa dostat k prachom

+

17:24 < gnd> ten druhy tribe co menuje lanier okrem weizenbauma co som cital
vobec nepoznam
17:24 < gnd>
the late Joseph
17:24 < gnd> Weizenbaum, Ted Nelson, Terry Winograd, Alan Kay, Bill Buxton,
Doug Englebart, Brian
17:24 < gnd> Cantwell Smith, Henry Fuchs, Ken Perlin, Ben Schneiderman (who
invented the idea of clicking
17:24 < gnd> on a link), and Andy Van Dam
17:26 < wao> http://www.mylocaltribune.net/
17:27 < gnd> nah ale namiesto 100 stran preco tito ludia (cybernetic totalists)
tvoria jednu skupinu a na com operuju odbije troma odstavcami …
17:27 < gnd> snad sa k tomu este dostane dalej v knizke
+
17:55 < gnd> he antihuman approach to computation is one of the most
baseless ideas in human
17:55 < gnd> history. A computer isn”t even there unless a person experiences
it. There will be a warm mass of
17:55 < gnd> patterned silicon with electricity coursing through it, but the
bits don”t mean anything without a
17:55 < gnd> cultured person to interpret them.
17:55 < gnd> This is not solipsism. You can believe that your mind
makes up the world, but a bullet
17:55 < gnd> will still kill you. A virtual bullet, however, doesn”t even exist
unless there is a person to
17:55 < gnd> recognize it as a representation of a bullet. Guns are real in a
way that computers are not.
17:55 < gnd> wtf ?

+

pod,

with reviews i prefer linking the small sites,
since the big ones usually cannot afford being honest
(the one in NYT mentions some catchy ideas, which is ok).
xlt review would get a link for sure! )
errr i should be linking reviews to more books,
but it’s just take too much time, wish there would
be some kind of a book review aggregator (which i’m sure
it is), any ideas? :)

btw
http://www.eurozine.com/articles/2010-03-18-lovink-en.html
lovink in this article mentions lanier, carr and schirrmacher,
although many times he tends to come up with too generalising
statements, which makes him feel prophetic, but they don’t even
have the poetic utopic potential, are just theoretical show-offs
which doesnt challenge anything, like eg. “It is no longer
necessary to approach the PC with a question and then dive
into the archive” etc.. same goes with lanier btw.
anyway, you can still find good insights (as with lanier too)

yea, if you think about what is lanier saying in the nutshell,
it doesn’t really makes sense.. ..or maybe i should better take him
seriously and stop using the cellphone since the network
is being ran by capitalist oligarchs, and sending short messages
and disembodily talking to people fucks up my true personality :)

btw i really like the preface of the book!

re monoskop linking
thx for asking, we like to be linked from the friendly sites!

ciao, d.

> i will for sure utilize for grabbing quotes…
>
> still not finished, and encountered lots of things i’m not sure i agree w/ …
> but very profound stuff all along the way…
>
> tech liberation is a compelling review w/ useful links so glad u posted,
> NYT is also quite good

shoegaze (late 80s)
by NME & Melody Maker: musicians stand relatively still during live performances, in a detached, introspective, non-confrontational state, hence the idea that they were gazing at their shoes.

toytronica
ti s mackami, Four Tet (London, M, *77)
Four Tet/Pause/Domino (01)
Four Tet/Pause/Rounds (03)

kapely okolo not fun festu

—

via http://www.villagevoice.com/2009-12-22/music/the-decade-in-music-genre-hype

underground hip-hop (1998-2003)
The Definitive Jux roster, Atmosphere, Blackalicious, Cannibal Ox

glitch (2000-2002)
Also, Tortoise and Björk said it makes you smart and cool and handsome
Kid606, Prefuse 73, Kit Clayton
VA/The Clicks & Cuts 2 (01)

return of the rock (2001-2002)
boring rock
The White Stripes, The Strokes, the Hives, the Vines

electroclash (2001-2003)
Somehow finding the common ground between Fashion Week and college radio, electroclash artists used tinny keyboard blips and hackneyed new wave clichés to help publicize their oversize personalities (and occasionally their music).
Electroclash never really died—it just keeps renaming itself every three years. See the “electropunk” of MU, the “electropop” of the Knife, or the “wonky pop” of La Roux.
Peaches, Miss Kittin & the Hacker, Felix Da Housecat

mash-ups (2001-2004)
Danger Mouse, 2 Many DJs, Freelance Hellraiser ~ 02 @NYT

dance-punk (2002-2005)
early 80s post-punk + early 00s post-punk
The Rapture, Radio 4, !!!

grime (2003-2006)
London garage+hiphop+dancehall
Dizzee Rascal, Wiley, Kano ~ 03 @Guardian
Dizzee Rascal/Boy in Da Corner (03)

freak-folk/new weird america (2004-2006)
Joanna Newsom (CA, *82 cp ahau), Devendra Banhart (Houston/TX, *81 ge 10 manik+), CocoRosie (Paris, FF)
CocoRosie/La maison de mon reve/Touch and Go (04)
Devendra Banhart/Oh Me Oh My/Young God (02)
Devendra Banhart/Rejoicing in the Hands/Young God (04)
Devendra Banhart/Nino Rojo/Young God (04)
Joanna Newsom/The Milk-Eyed Mender (04)
CocoRosie/Noah’s Ark (05)
Devendra Banhart/Cripple Crow/XL (05)
Joanna Newsom, Ys/Drag City (06)
CocoRosie/The Adventures of Ghosthorse and Stillborn/Touch and Go (07)
Devendra Banhart/Smokey Rolls Down Thunder Canyon/XL (07)
Devendra Banhart/What Will We Be/Reprise (09)
Joanna Newsom, Have One On Me/Drag City (10): Mega-sized Laurie Anderson ambition used to tackle not America, but love and foxes and fish.#6

hipster metal (2004-2007)
Boris (Tokyo, MMF, funguju od 92, striedaju zanre furt), Wolfmother (Sydney, MMM, fung od 00), Dead Meadow (DC, MMMM, fung od 98), Mastodon (Atlanta/Georgia, MMMM, fung od 99) ~ 06 @NYT
Mastodon/Leviathan (04)
Boris/Pink (05)

hyphy (2005-2006)
bay area rap
E-40, Keak Da Sneak, Mistah F.A.B.

blog house (2006-2008)
french nu-electro
Justice, Simian Mobile Disco, Boys Noize

lo-fi/shitgaze/diy noise-punk (2007-2008)
by De Broux of Psychedelic Horseshit told his music was not like the shoegaze that Whitehurst listened to, but rather, it was “shitgaze”.
The same crappily recorded garage-punk tantrums that have been around since the days of Count Five—but now on trendy indie-rock record labels you’ve heard of!
Times New Viking (Columbus/Ohio, MMF, art school studs), No Age (LA, MM, *81 pi 3 muluc & sa 12 chuen*), Jay Reatard (Memphis, M, 80 ta 6 ben-10 cocaine+alcohol, top 10/08, aggr-garage-punk+melodic pop, vela kapiel mal)
Times New Viking/Dig Yourself/Siltbreeze (05)
Times New Viking/Present the Paisley Reich/Siltbreeze (06)
No Age/Weird Rippers/Fat Cat (07)
No Age/Nouns/Sub Pop (5/08) [PF 9.2]
Times New Viking/Rip It Off/Matador (08)
Jay Reatard/Watch Me Fall/Matador (8/09): You can’t go home again, pinhead.#7
No Age/Losing Feeling EP/Sub Pop (9/09): Funkless goons gracefully enter their “Chairs Missing” period.#7
Times New Viking/Born Again Revisited/Matador (9/09): Still learning Vaselines melodies, how to make lo-fi to soothe instead of grate.#6.5

glo-fi/chillwave (2009)
chillwave by blogger Carles (Hipster Runoff)
mushy textures, summery melodies, tape distortion ~ Toro Y Moi (SC, M), Memory Tapes (NJ, M), Neon Indian (Austin/NYC, M+FMM, *89, pitchfork: best new music), Washed Out (SC, M) ~ jj, Pocahaunted, Ducktails ~ 03/10 @WSJ
Memory Tapes/Seek Magic/Sth in Construction (8/09): Chill project wave fi drugs gaze pseudonym summer dream dance art blog hazy 2009 nostalgia bedroom.#4.5
Washed Out/Life Of Leisure/Mexican Summer (9/09): Tears For Fears via Ariel Pink hiss-wave, a too-cold entry into the Nite Jewel sweepstakes.#5
Neon Indian/Psychic Chasms/Lefse (10/09): Hazy gloopcore gets brighter moths, superer rainbows.#6
Toro Y Moi/Causers Of This/Carpark (02/10): Prefuse blues makes them smarter, funkier than drab chillwave peers. But better? #5.5

—

ine:
Owen Hatherley’s term ‘pseudomodernism’
used to describe the seemingly modernist geometries of the recent ‘building as sign’ architectural style nurtured by Norman Foster
http://themeasurestaken.blogspot.com/2008/11/icons-in-fire.html

????!!
Oneida, Swod, Animal Collective, Dan Deacon, Dakota Suite, Peter Broderick (4 Track Songs), Yeasayer, Murcof, Beirut, Daedelus, William
Basinski, hamburg kapela z newnew?, Paul DeMarinis, Andrew WK, Andrew Liles, Bibio (Fi), RiSIL (Non Meters Vol 1),
Cloaks, Terrible Eagle, The XX (XX, 09), Radiohead, Wavves, Astral Social Club, Grouper
Gil-Scott Heron (I’m New Here 10), Bill Callahan, Bon Iver, Cindytalk, Evangelista, Fursaxa,
Felicia Atkinson & Sylvain Chauveau [Roman Anglais], irr. app. (ext.) – kreiselwelle, Karl Blau, judith juillerat-soliloquy, Klimek,
Mi Ami (cosmic disco-punk hedonism), MV & EE, Jon Hopkins
Zola Jesus (Madison/WI, Nika Danilova, F, *89 ar 8 etznab+) crimsonwave & lo-fi goth
Fennesz, Jan Jelinek, Alva Noto
Apparat, Ellen Allien
Vindicatrix/Die Alte Boesen Lieder/Mordant Music (10) (David Aird, London, part of SE EN’s Mentalist Assoc, M)
my tags: dada, german, spaceship, schubert, classical, decay, dubstep, mad scientist, 21st century song
Fisher@Wire: dadaist Big Pop; Schubert’s Winterreise being sung on a decaying space station;
consistency generated from decaying fragments of dubstep, classical music, unhinged crooning and noise;
gibbers like some mad inventor talking to himself
Ben Frost/By The Throat/Bedroom Community (09) (IS, M)
my tags: noise, cinematic, minimalism
positioned between momentous expressionist soundtrack composition – with a strong undertow of Noise and epic minimalism (Wire)
Harappian Night Recordings (Syed Kamran Ali, Sheffield/UK, M)
my tags: impro, shamanic, arabic, sufi, far east, jam, loose, psych
Spicer@Wire: young British man of Asian descent, making musical forgeries from an imagined East, recalling the work of American outsiders,
and released by a label at the heart of the Arabic world
Cluster/Qua/Klangbad-Broken Silence (09) (HJ Roedelius+Dieter Moebius, *34, MM)
King Midas Sound/Waiting For You/Hyperdub (Kevin Martin+Roger Robinson+Hitomi, MMF, Martin: ex-The Bug)
my tags: spectral dub, dub
Barker@Wire: reminiscent of Tricky’s Maxinquaye; themes of fear, isolation and love on the verge of loss; vocals: Roger Robinson;
sounds w/ dulled down drums, mogadon beats, weathered FX and mournful synth counterpoint;
gave dancehall an unexpected reversal, slowing it down until it took on an emotional register of eternal loss
Kuupuu/Lumen Tahden/Time-Lag (Jonna Karanka, FI, F)
Robot Koch/Death Star Droid/Robots Don’t Sleep
my tags: mash-up, soul, r&b, world music, hiphop, psych rock, dubstep
Monolake/Silence/Imbalance Computer Music (09) (Robert Henke, M)
my tags: post-techno, post-dubstep, berghain
Autechre/Oversteps
my tags: dance music
Sharp@Wire: “ilanders” revolves around a languid, cyclical bassline that is subjected to the most exquisite abrasions as surges of
phosphorescent noise obscure and qualify every melodic cadence
Gary War/Horrible Parades (heavy on synths, effects, and lo-fi noise)
Richardson@Wire: “pop for experimental music fans”
Mordan Music/Symptoms/Ghost Box (10/09) (Baron Mordant)
Boomkat: blending FX swamped synthlines and dancefloor-suspicious rhythms with his own vocals
Mordant Music/Dead Air (06)
Mugwump@Quietus: vicious car crash between Saint Etienne and Throbbing Gristle with Sarah Cracknell regenerating into the warm form of Phillip Elsmore.

freak-folk/new weird america (2004-2006)
Joanna Newsom (CA, *82 cp ahau), Devendra Banhart (Houston/TX, *81 ge 10 manik+), CocoRosie (Paris, FF)
CocoRosie/La maison de mon reve/Touch and Go (04)
Devendra Banhart/Oh Me Oh My/Young God (02)
Devendra Banhart/Rejoicing in the Hands/Young God (04)
Bell@Wire: his best ever, haunted ecstasies
Devendra Banhart/Nino Rojo/Young God (04)
Joanna Newsom/The Milk-Eyed Mender (04)
CocoRosie/Noah’s Ark (05)
Devendra Banhart/Cripple Crow/XL (05)
Joanna Newsom/Ys/Drag City (06)
CocoRosie/The Adventures of Ghosthorse and Stillborn/Touch and Go (07)
Devendra Banhart/Smokey Rolls Down Thunder Canyon/XL (07)
Devendra Banhart/What Will We Be/Warner Bros (09)
my tags: evening breeze penetration folk
Bell@Wire: ‘Angelika’ is rewrite of Velvet Underground’s I’ll Be Your Mirror;
Goin’ Back = JJ Cale, ‘Rats’ = Jeff Buckley
Joanna Newsom/Have One On Me/Drag City (10): Mega-sized Laurie Anderson ambition used to tackle not America, but love and foxes and fish.#6

noise-rock
Liars (LA+Berlin), Sightings (Brooklyn), Aa (Brooklyn)
Liars/They Threw Us All in a Trench and Stuck a Monument on Top/Gern Blandsten (10/01)
Liars/They Were Wrong, So We Drowned/Mute (2/04)
Liars/Drum’s Not Dead/Mute (2/06)
Liars/Liars/Mute (8/07)
Aa/gaAme/Gigantic (07)
Liars/Sisterworld/Mute (10): Veteran pounders absorb Los Angeles’s contemporary, sunny, yes-wave freak scene by osmosis.#7

drone-rock
Not Not Fun label
Robedoor

dub techno/ambient dub
Deadbeat (CA->Berlin), Anders Ilar, Fenin, Pole
Deadbeat/Something Borrowed, Something Blue (04)
Deadbeat/New World Observer (05)
Deadbeat/Journeyman’s Annual (07)
Anders Ilar/Ludwijka
Fenin/Been Through

dubstep (2005-2008) [London]
2-step garage+house+…, Hyberdub label etc
Mugwump@Quietus: bass-virus mutations of Hyperdub, whose possessed meat-puppet Kode9 still invokes London as the point of infection despite the label’s astonishing international roster of artists
Burial, Shackleton, Kode9, Appleblim, Vex’d (London, MM), Scuba
Vex’d/Degenerate/Planet Mu (05)
Burial/Burial/Hyperdub (06)
Burial/Untrue/Hyperdub (07)
VA/Skull Disco – Soundboy Punishments
Vex’d/Cloud Seed (10)

post-dubstep [London]
these producers infected dubstep with the hyperactive blip’n’fizz of the Sega soundtracks of their formative years (Wire)
Zomby, Rustie, Ikonika, Joker

folk
Marissa Nadler (DC, *81 ta 8 eb*), Jana Hunter (Baltimore), Rio en Medio, Big Blood
Marissa Nadler/The Saga of Mayflower May (7/05)
Jana Hunter/Blank Unstaring Heirs of Doom/Gnomonsong (10/05)
Marissa Nadler/Songs III: Bird on the Water (3/07)
Jana Hunter/There’s No Home/Gnomonsong (4/07)
Marissa Nadler/Little Hells (3/09): Folk-dreamer sprouts out. When bleak, loss has a scent; when joyous, 4AD builds a beach house.#7
Big Blood + The Grove

sludge metal
Om, Habsyll (FR)

dream pop
Beach House (Baltimore, FM), Girls
Beach House/Beach House/Carpark (06): PF 8.1
Beach House/Devotion/Carpark (2/08): PF 8.5
Beach House/Teen Dream/Sub Pop (1/10): Sputtering out of the cuddlegaze muck into bold indie rock hooks—luckily they have them.#6.5; PF 9.0

singer-songwriter
DM Stith/Heavy Ghost
Sir Tralala
Patrick Watson/Wooden Arms
White Flight/White Ark
Magic Arm/Make Lists Do Something
Emily Wells/Beautiful Sleepyhead and the Laughing Yaks (06)
Timber Timbre/Timber Timbre (09)
Boduf Songs/Lion Devours the Sun
Ruby Throat
Charlotte Gainsbourg/IRM (09)
David Sylvian/Manafon/Samadhisound (09): a timbrally subtle set of hermit-like song utterances (Wire)
Fink/Sort of Revolution (09)
Hanne Hukkelberg
B Fachada/B Fachada
Jeremy Jay/Slow Dance (09)
Juana Molina
Jose Gonzalez/In Our Nature
Xiu Xiu
Liger – Crash Symbols (2009): xiuxiu.at
Former Ghosts/Fleurs/Upset The Rhythm (Stewart/Xiu Xiu+F Ruppert+Zola Jesus): Richardson@Wire: darkened subverted synth-pop

post-classical/neo-classical/quasi-classical [intl]
Max Richter, Hauschka, Loscil, Elegi, Johann Johannsson, Richard Skelton (Lancashire/UK, aka A Broken Consort, v 04 stratil artist wife),
36, Jacaszek, Sylvain Chauveau, Andrew Chalk (M, zahadny-moc o sebe nedava vediet), On (Chauveau+Hess+Sten; death ambient), Aaron Martin (Kansas)
Max Richter/The Blue Notebooks/Fat Cat (04)
36/Hypersona
Johann Johannsson/Fordlandia/Advance (08)
On/Your naked ghost comes back at night/Type (09)
Jacaszek/Treny/Miasmah (08)
Richard Skelton/Landings/Type (09)
my tags: pärt, site-specific, emotional, post-classical
Moline@Wire: Pärt’s children: Skelton, Richter, Hauschka, Johannsson (user-friendly form of meditative instrumental music homaging 80s+90s
Holy Minimalist style of Part/Tavener/Gorecki);
overdubbing simple, repetitive phrases using bowed guitar, teasing out as many harmonics as possible from the metal strings and
allowing them to clash as the melodies run in and out of sync;
z miest si do studia prinasa kamene, konare, droty, kosti, nenahrava priamo na lokaciach, to evoke the place + inspire the music:
“flint for the memory”;
vysla k nim aj poeticka kniha via blog via dennik projektu
Andrew Chalk/The Cable House/Faraway Press
Loscil/Endless Falls (10)
Aaron Martin/Chautauqua/Preservation
Barnes@Wire: found sound samples; ‘core’ ensemble of organ, banjo and cello; a la Beach Boys’ Cabinessence & The Books

glitch-hop [LA]
Flying Lotus (LA, M), Nosaj Thing (LA, M, *85), Gonjasufi (Las Vegas, M, rapper-singer-yoga teacher), Daddy Kev
Flying Lotus/Los Angeles/Warp (6/08)
Nosaj Thing/Drift/Alpha Pup (6/09): The Tricky to Flying Lotus’s Portishead.#6.5; PF 7.9
Gonjasufi/A Sufi And A Killer/Warp (2/10): desert sufi psychedelia meets lo-fi psych-glitch hop; A demented blast of pitch black hookah smoke that does for Turkish funk what Dilla did for American.#7.5; PF 8.4
Muggs@Wire: slip-sliding manipulation of loose rhythms, fuzzy psychedelic records and instrumental sounds new and old plays powerful games
with experiences of cultural deja vu and false memory, blurring the kitsch with the visceral and the playful with the raw and threatening;
cracked voice
Flying Lotus/Cosmogramma (10)

chillwave/glo-fi (2009) [US]
chillwave by blogger Carles (Hipster Runoff)
mushy textures, summery melodies, tape distortion ~ Toro Y Moi (SC, M), Memory Tapes (NJ, M), Neon Indian (Austin/NYC, M+FMM, *89, PF: best new music), Washed Out (SC, M) ~ jj, Pocahaunted, Ducktails (summery escapism) ~ 03/10 @WSJ
Memory Tapes/Seek Magic/Sth in Construction (8/09): Chill project wave fi drugs gaze pseudonym summer dream dance art blog hazy 2009 nostalgia bedroom.#4.5
Washed Out/Life Of Leisure/Mexican Summer (9/09): Tears For Fears via Ariel Pink hiss-wave, a too-cold entry into the Nite Jewel sweepstakes.#5
Neon Indian/Psychic Chasms/Lefse (10/09): Hazy gloopcore gets brighter moths, superer rainbows.#6
Toro Y Moi/Causers Of This/Carpark (02/10): Prefuse blues makes them smarter, funkier than drab chillwave peers. But better? #5.5

wonky
Adam Harper, Alex Williams (http://splinteringboneashes.blogspot.com/search?q=wonky): hauntology and ‘wonky’ are aesthetic siblings.

hauntology [UK]
by Mark Fisher and Simon Reynolds (The Wire 273, *mid-2000s): coined chiefly in response to the music of UK label Ghost Box
Adam Harper@roguesfoam: ‘playback hauntologists’: The Caretaker, Basinski and Indignant Senility
Mugwump@Quietus: the paradoxical retro-futurist real-world mythologies of the Ghost Box label with related (Broadcast) and parallel travellers (Moon Wiring Club, Position Normal)
Belbury Poly/From An Ancient Star/Ghost Box: incorporated shades of disco and dub
Broadcast + The Focus Group/Investigate Witch Cults Of The Radio Age/Warp (09) (Warp’s James Cargill+Trish Keenan & Ghost Box’s Julian House):
a chemical wedding of pop-sike bliss, cut-up weird audio and occult sonics; dark monarchs of hauntology’s expanding kingdom;
untethering slippage and slurring of loops and rhythms, a new approach to sampling that perhaps better represents the way music really
sits in our memory (Wire)
Seeland/Tomorrow Today/Advance (09) (Tim Felton ex-Broadcast, Billy Bainbridge ex-Plone):
marries antique futurist textures to attractive pop songcraft (Wire)
James Kirby (aka The Caretaker, The Stranger and Leyland Kirby)
Moon Wiring Club
Position Normal/Goodly Time/Rum (00) (London, Chris Bailiff and John Cushway, MM?, *93): proto-hauntology
Position Normal/Position Normal/Rum (09)
The Advisory Circle
The Caretaker
Mordant Music
Wooden Veil (Berlin)

hypnagogic pop [US]
by David Keenan (The Wire, *09): US underground’s equivalent strain of hauntology
these artists turned away from the bleak grind of Noise to embrace the fuzzily remembered forms of their childhoods, including soft rock and New Age.
for them, the vague recollection of a zero-budget sci-fi flick watched once during a sleepover takes on a mythic, almost occult quality,
ripe for processing via cheap technology into a sound that oscillates bwn the naggingly familiar and the utterly alien (Wire)
James Ferraro, Pocahaunted, Emeralds, Daniel Lopatin (of Oneohtrix Point Never; of Infinity Window), Inca Ore (Eva Saelens, F, Not Not Fun),
Ducktails, High Wolf
James Ferraro/KFC City 3099 Pt 1: Toxic Spill: lo-definition joyride through the polluted swamps of US cultural half-memory (Wire)
Pocahaunted: scrawled connections between free folk, LA-period Fleetwood Mac and dub with joyous abandon (Wire)
Emeralds & Oneohtrix Point Never: drag the beatless meditations of Klaus Schulze and Tangerine Dream through a prism of 1980s pulp culture,
accumulating layers of ectoplasmic residue which allow their music to glow with an unearthly, greenish-blue beauty (Wire)
Oneohtrix Point Never/Rifts/No Fun Prod (Daniel Lopatin, Brooklyn, M)
my tags: synth, cinematic, timbral, lost in space, spaceship, lo
Wuethrich@Wire: keyboard polysynth; “timbral fascism”;
musical narrative of an astronaut lost in space, his subsequent wanderings on an uninhabited planet and his old-age reflection on that time;
realignment of low-rent pop culture from the 70s+80s, abandoned synth timbres and obsolete consumere electronics
Inca Ore & Ducktails & High Wolf: material resonant with a distressed nostalgia for halcyon days (Wire)

witch house/drag (2010) [US]
taking the familiar dubby beats and haunting, pitch-shifted vocals and adding a more ambient, droney take to it that’s as beautiful as it is bleak + nekriticka laska k reverbu
Salem, Mater Suspiria Vision, White Ring (MF), oOoOO
White Ring, http://www.myspace.com/whytering
oOoOO, http://www.myspace.com/wkwkwkwkwkwkwkwk

piano
last.fm/…
Alva Noto/Ryuichi Sakamoto; William Basinski?; Yann Tiersen+Shannon Wright; Tiago Sousa+Joao Correia; Balmorrhea?; The Dead Texan?; Musette (SW)
Yann Tiersen+Shannon Wright/Pale White
Hauschka/Versions of the prepared piano
Musette/Datum
Magda Mayas/Heartland (10)

gitara
last.fm/…
Bill Orcutt; Christopher Riggs; James Blackshaw; Bill Nace; John Zorn (Film Works); Gabriel Araujo; Ilyas Ahmed; Porto
Gabriel Araujo/st
James Blackshaw/The Glass Bead Game/Young God (09)
Ilyas Ahmed/Goner/Root Strata (09)
Jim O’Rourke/Visitor/Drag City (09): visiting alien struggling to master American AOR: a deceptively sweet confection of blue-sky acoustic guitar, rustic banjo, organ, woodwinds, piano and drums (Wire)

cello
Hildur Gudnadottir/Without Sinking/Touch (09)
Lost in Hildurness/Mount A

jazz
Supersilent; Swami LatePlate; Kilimanjaro Darkjazz Ensemble; Kammerflimmer Kollektief; Bohren & Der Club of Gore; The Necks (Sydney)
Supersilent/9 (09)
Beequeen/The Bodyshop

freeform (post-Residents)
No-Neck Blues Band (NYC), ?Vindicatrix, ?Position Normal

obskurne fenomeny?

field recordings
Chris Watson, Alesandro Bosetti, BJ Nilsen, Jez riley French
BJ Nilsen/Invisible City/Touch

mediale musik
(zo zahrobia)

generative music
(aymeric etc)

[z Foucault Reader interview]

Principal target of Stoic ethics was an aesthetic one.
It was a personal choice for a small elite.
The reason for making this choice was the will to live a beautiful life, and to leave to others memories of a beautiful existence.

Friendship is reciprocal, and sexual relations
are not reciprocal: in sexual relations, you can penetrate or you
are penetrated

Greek sexual
ethics: if you have friendship, it is difficult to have sexual relations.

between a man and a boy it is obvious that the
boy is only the spectator of the man’ s pleasure .

The
erection was, for the Greek of the fourth century, the sign of
activity, the main activity . But since, for Augustine and the
Christians, the erection is not something which is voluntary, it
is a sign of a passivity-it is a punishment for the first sin .
(So the Greeks were more concerned with health than with
pleasure)

sexual ethics for the Greeks:
not between people who prefer women or boys or have sex in
this way or another, but was a question of quantity and of activity
and passivity. Are you a slave of your own desires or their
master?
sexual austerity = sebekazen.
For Epictetus, you had to be able to look at a beautiful
girl or a beautiful boy without having any desire for her or him.
a philosophical movement coming from very cultivated people
in order to give to their life much more intensity, much more
beauty.

In the name of a beautiful life they were austere,
and now in the name of psychological science we seek self-fulfillment.

PRE WORKSHOP ?!
What strikes me is the fact that in our society, art has
become something which is related only to objects and not to
individuals, or to life . That art is something which is specialized
or which is done by experts who are artists . But couldn’t everyone’s
life become a work of art? Why should the lamp or the
house be an art object, but not our life?
+
Sartre: we have to create ourselves as a work of art. (studuje Baudelaira/Flauberta cez ich diela–su bud autenticki alebo nie)
MF: i say the contrary: we should not have to refer the creative activity of somebody to the kind
of relation he has to himself, but should relate the kind of relation
one has to oneself to a creative activity.
like Nietzsche in The Gay Science: one should create one’s life by giving style to it through long practice and daily work.
(to uz dlho riesim—-ako “prekladat” zivot/zivotne situacie do vystupov/”umenia”/”tvorby”)
(FB + last.fm + … social media’s “profiling” ??)

If, by sexual behavior, we understand the three poles—acts, pleasure, and desire-we
have the Greek “formula, ” which is the same at the first and at
the second stage. In this Greek formula what is underscored is
“acts, ” with pleasure and desire as subsidiary: ACTE-plaisir-[desir].
I have put desire in brackets because I think that in the
Stoic ethics you start a kind of elision of desire; desire begins to
be condemned.
The Chinese “formula” would be PLAISIR-desir-[acte] . Acts
are put aside because you have to restrain acts in order to get
the maximum duration and intensity of pleasure.
The Christian “formula” puts an accent on desire and tries
to eradicate it. Acts have to become something neutral;
you have to act only to produce children, or to fulfill your conjugal
duty. And pleasure is both practically and theoretically excluded:
[desir]-acte-[plaisir] . Desire is practically excluded you have to
eradicate your desire-but theoretically very important.
And I could say that the modern “formula” is desire, which
is theoretically underlined and practically accepted, since you
have to liberate your own desire . Acts are not very important,
and pleasure-nobody knows what it is!
=
22:30 < barak> o tuzbe ale zaujimavejsie rozpraval lacan (potom ho rozvija
zizek) – tu som kedysi davno spisal vycuc jeho ‘mirror stage’
teorie, ktora hovori o tuzbe (a tyka sa aj narcizmu)
http://kyberia.sk/id/982087
22:36 < barak> budhisti to vidia moc jednoducho :)
22:37 < gnd> lacan o tuzbe sa mi vobec nepaci
22:37 < gnd> psychoanalyza suxxx
22:45 < barak> psychoanalyzu zbastardil farmaceuticky priemysel na
predpisovanie pirul, ale je dnes podcenovana, i ked ponuka dobre
metafory.
22:55 < barak> henten foucaultov quote hovori o sexualnej tuzbe (neviem ci sa
da automaticky zovseobecnovat na tuzbu ako taku), a riesi to
nejak tak, ze na sex (a suvisiace obrady) sa da pozerat ako na
vykon (biologickej/reprodukcnej) aktivity; oddavanie sa pozitku;
a splnenie tuzby.
22:57 < barak> o cinanoch tvrdi neviem preco ze chcu len sukat, takze im staci
jedna zena, ktora je tehotna max raz (ubermax dvakrat) za zivot
22:57 < barak> hah
22:57 < barak> takze neoplodnuju (acts) a netuzia (po inych zenach)….to ale
len tak smikol v rozhovore, by som to nebral nejak vazne
23:00 < barak> o sucasnych ludoch hovori ze idu za svojimi tuzbami, a ze
biologicka reprodukcia nie je az taka dolezita, a co znamena
pozitok nikto netusi
23:06 < barak> ale napisal trojdielnu buksu o historii sexuality, tak snad
nerozpraval do vetra

epimeleia heautou in ancient Greece:
The one who cared for himself had to choose among all the
things that you can know through scientific knowledge only
those kinds of things which were relative to him and important
to life .
+
For the Stoics, the true self is
defined only by what I can be master of.

(why Greeks cared for the self?)
It was a question
of making one’ s life into an object for a sort of knowledge, for
a techne-for an art.
We have hardly any remnant of the idea in our society, that
the principal work of art which one has to take care of, the main
area to which one must apply aesthetic values, is oneself, one’s
life, one’s existence . We find this in the Renaissance, but in a
slightly academic form, and yet again in nineteenth-century
dandyism, but those were only episodes.

In the Californian cult of the self,
one is supposed to discover one’s true self, to separate it from
that which might obscure or alienate it, to decipher its truth
thanks to psychological or psychoanalytic science, which is supposed
to be able to tell you what your true self is. Therefore,
not only do I not identify this ancient culture of the self with
what you might call the Californian cult of the self, I think they
are diametrically opposed .
What happened in between is precisely an overtuning of
the classical culture of the self. This took place when Christianity
substituted the idea of a self which one had to renounce, because
clinging to the self was opposed to God’s will, for the idea of a
self which had to be created as a work of art.

hypomnemata:
Precisely this type of notebook was coming
into vogue in Plato’s time for personal and adminIstrative
use. This new technology was as disrupting as the introduction
of the computer into private life today
+
In the technical sense, the hypomnemata could be account
books, public registers, individual notebooks serving as memoranda
. Their use as books of life, guides for conduct, seems
to have become a current thing among a whole cultivated public.
Into them one entered quotations, fragments of works, examples,
and actions to which one had been witness or of which
one had read the account, reflections or reasonings which one
had heard or which had come to mind. They constituted a
material memory of things read, heard, or thought, thus offering
these as an accumulated treasure for rereading and later meditation
. They also formed a raw material for the writing of more
systematic treatises in which were given arguments and means
by which to struggle against some defect (such as anger, envy,
gossip, flattery) or to overcome some difficult circumstance (a
mourning, an exile, downfall, disgrace) .
+
Among all the forms this training
took (and which included abstinences, memorizations, examinations
of conscience, meditations, silence, and listening to
others), it seems that writing-the fact of writing for oneself and
for others—came quite late to play a sizable role .
+
hypomnemata do not constitute an “account of oneself”; their objective is not to bring about
the confession of which-be it oral or written-has a purifying value.
The point is not to pursue
the indescribable, not to reveal the hidden, not to say the nonsaid,
but, on the contrary, to collect the already-said, to reassemble
that which one could hear or read, and this to an end
which is nothing less than the constitution of oneself.

for Christians, the self was no longer something
to be made but something to be renounced and deciphered

When grasping the mode of being of your soul, there is
no need to ask yourself what you have done, what you are
thinking, what the movements of your ideas or your representations
are, to what you are attached . That’s why you can perform
this technique of contemplation using as your object the
soul of an other. Plato never speaks of the examination of conscience-never!

among the Stoics,
where the experience of the self is not a discovering of a truth
hidden inside the self, but an attempt to determine what one
can and cannot do with one’s available freedom.

ja: greeks trained to master themselves, to be dependent on nothing; christianity teaches us that we are nothing

extraordinary thing in Descartes’s “Meditations” is
that he succeeded in substituting a subject as founder of practices
of knowledge, for a subject constituted through practices of the self
+
the relationship to the self reveals to me the obvious truth of what
I see for me to apprehend that truth definitively. Thus, I can
be immoral and know the truth. I believe that this is an idea
which, more or less explicitly, was rejected by all previous culture (before Descartes).
With Descartes, direct evidence is enough.
After Descartes, we have a nonascetic subject of knowledge .
This change makes possible the institutionalization of modern
science.

young urban professional; 20s-early 30s; job-hopping; never develops the skill; soon suffers
a sudden loss of career impetus and goes into a power stall; socially liberal but fiscally conservative;
puts off having families so he can make payments on the BMWs;
numbed by the sterile materialism of modern life; yuppification often replaces the word gentrification;
…Fight Club (96); American Psycho (91); Bobos; Wall Street [Charlie Sheen] (87)
[z wikipedie]

Lecture at Museo Nacional Centro de Arte Reina Sofía, Madrid, 2 November 2009

There is no longer an outside
The commons are inside the space of capitalism

If somebody violates an artwork protected by a Creative Commons licence, a ‘traditional’ tribunal is meant to intervene.
To defend the the commons we rely on the force of the public, on the public force — that is the State.
The ‘legal code’ of Creative Commons licences: “The work is protected by copyright”

A sort of new ‘capitalism without intellectual property’ (Google, Facebook) is emerging and supporting the flows of free culture produced by the digital multitudes.

If the new cultural commons want to escape the typical modern opposition between public and private, they have to focus on their productive power, on their living knowledge before it is turned into a legal object or a cognitive commodity.

In the school of Italian post-operaismo, similarly, a new understanding of rent emerged recently.
Within cognitive capitalism the leading business model is said to be based on rent rather than
profit. ‘The rent is the new profit’.

If rent is becoming the dominant model of the knowledge economy, which should be the political
response? Sabotage of value (like @ dotcom crash; mortgage crisis) — the sabotage of rent.

we support P2P practices as they represent a sabotage of cognitive and speculative rent on a massive scale. Target of knowledge sharing and peer-to-peer networks is the regime of rent rather than the copyright regime.

pavel skopal:
zdar, tu knihu ani autora neznám a popravdì dobrovolnì bych ji neèetl:)
ale zdá se, ¾e to mù¾e být v oblasti media studies/visual studies docela
dùle¾itý text,
na obalu knihy ji chválí Cubitt a Mirzoeff, to jsou ¹pièky, a dal¹í
známá figura, Steven Shaviro,
ji velebí tady: http://www.shaviro.com/Blog/?p=561
nemyslím, ¾e ji bude u nás nìkdo podrobnìji znát, ¹anci by jsi mìl mo¾ná
u lidí z pra¾ské katedry filmových studií –
Petra Hanáková, Kateøina Svatoòová, Sylva Poláková, nebo mimo obor filmu
tøeba Ladislav Kessner.

Beller recasts marx’s theory of alienation, and of value into a simple film setting

cinema, tv, video, computer, internet = deterritorialised factory
imaginal functions are part of perception
‘cinema’ as social relation = sociality
image is mise-en-scene of work
social theory needs become film theory
looking = (value-productive) labour
we labour in the image
‘attention theory of value’ ~ ‘labour’ = source of all value production
human attention = production of value for late capital
attentional biopower is transferred into capital
sociality = visuality
task of film theory = write political economy of culture as a mode of production
labour theory of value must be reformulated as attention theory of value

+ page-based notes @ mendeley @ umax’ windows

dus:
temer :)

lit.veda + new media theory (uz RU formalisti) => expand lit.veda o digi
anglofon works, aj inak neinterpretovane works
digi art: a) digitized (hypertext: 1) Ennslin-US skola, 2) Aarseth-cybertext as lit+pc games–nie via media, ale via text funkcie ~ ergodicka lit),
b) created using digital media

ludifikacia kultury ~ upriamenie na hravy postoj ~ esencia par excellance (pozera na svet cez hru!)

—

literatura nie je moc moja domena, mam teda len par velmi strohych poznamok,
a znozku tipov na suvisiace diela/temy (ktore uz asi poznas) :

paci sa mi moc kombinacia
ludifikácia kultúry & využitie diverzity medialít na zaujatie citatela & co najintenzívnejší zážitok v co najkratšom case
!

bohaty poznamkovy aparat, velmi sucasne pramene (bolter, manovich, hayles, …),
slovencinu si obohatila o viacero novych terminov, nenasiel som floskule,
tomu hovorim poctiva praca!! fii, no, neviem ci som taku kvalitnu phd uz niekedy videl…

pacia sa mi hrave nazvy kapitol

“nesúsledné písanie” je fajn vyraz :)

technicke:
nasiel som malu chybicku – poznamka 259.
na str. 89 je uprostred strany skok na dalsiu, neviem ci to tak malo byt

hih, citujes Szczepanika, s nim robim projekt v brne :)

par tipov:

pre cast Interludium ta mozno bude zaujimat Austinov koncept “speech act”
http://en.wikipedia.org/wiki/Speech_act

mozno by ta tiez mohli zaujimat boty, umele inteligencie komunikujuce s uzivatelom v realnom case, napr. Alice
http://en.wikipedia.org/wiki/Artificial_Linguistic_Internet_Computer_Entity
alebo ELIZA
http://en.wikipedia.org/wiki/ELIZA

tu ma este sean cubitt pracicku:
http://www.ucl.ac.uk/slade/digita/notes.html

v historiach net.artu sa vzdy spomina praca ‘my boyfriend came back from the war’ olia lialina,
skvele je, ze vzniklo vyse 10+ remixov
http://myboyfriendcamebackfromth.ewar.ru/

a na prace Jodi.org by bolo veelmi zaujimave sa pozriet z literarneho hladiska

este ma napada code poetry [ http://burundi.sk/monoskop/index.php/Category:Code_poetry ],
a spam, ale to uz je mimo hypertextu…

zuzana:
moja skolitelka ju mala vypisanu tu temu, tak sme to spolu vymysleli, ona mala, ze hypertext, ja som uz potom z toho pojmu grcala, tak som si to cele prestavila na DF – a to cele je pootm moje.
samozrejme Austina poznam, citala som jeho aj Searla,
projekty Eliza a spol su sice zaujimave, ale stare jak rit – a nie je to moc fikcia, skor iba kvazipsychologicky efekt, ktoremu niekto neskor prisudil katarznu hodnotu v dobe ked fical narative turn.
toho Cubitta som niekde citala ale neviem ci toto :) prezriem
Szcepanika pozdrav :)))) aj mu to mozes posunut od utorka :DD

a ta Oliana je tiez znama, ja som sa uz v prvom semestri studia presytila tymito starymi hypertextovymi projektmi, preto som ako reprezentanta dala Judy Malloy, lebo to je prvy z takych :))

aj to Jodi.org som kukala kedysi.

Myslím si, že prínos Adornovej a Horkheimerovej koncepcie kultúrneho priemyslu a dialektiky osvietenstva pre súčasnosť (i prínos frankfurtskej školy všeobecne), spočíva predovšetkým v neustálom apeli na kritického ducha, v dôraze na problematizovanie kultúrnej prítomnosti, na rozvíjanie interdisciplinárneho prístupu k jej skúmaniu, na odmietnutie fetišizácie akýchkoľvek kategórií, prostredníctvom ktorých definujeme našu kultúrnu prítomnosť a na využívanie dialektickej metódy, ktorá zabraňuje statickému a ahistorickému videniu kultúry.

Zároveň som presvedčená, že koncepcia kultúrneho priemyslu je vo svojej pôvodnej podobe len veľmi málo využiteľná v súčasnej kultúrnej teórii a výskume. Adornov a Horkheimerov prístup k masovej kultúre nie je jednostranne odmietavý a pohŕdavý, ako im vytýkajú mnohí kritici, ale dialektický, tendencia ku kritickej reflexii len negatívnych aspektov až príliš prevažuje. Aplikovanie Adornovho a Horkheimerovho prístupu priam zvádza k pesimistickým teoretickým úvahám, ktoré nesmerujú k žiadnym praktickým návrhom a sústredia sa len na odhaľovanie falošnej podstaty súčasnej kultúry a spoločnosti. Vo všeobecnosti by som ako základný princíp stanovila vyhnutie sa odhaľovaniu negatívnych a seba-deštrukčných tendencií (hoci nepochybne existujú a sami ich pociťujeme) a vyhnutie sa samoúčelnému dokazovaniu využiteľnosti Adornovej a Horkheimerovej koncepcie a platnosti všetkých ich pesimistických záverov. Naopak, je potrebné sústrediť sa na momenty emancipačné, kritické a pozitívne. Postoj kultúrneho pesimistu je v istom zmysle nesmierne lákavý, ak však chceme prekonať základné nedostatky Adornovho a Horkheimerovho modelu, mali by sme zaujať postoj „kultúrneho optimistu“. Z pozície kultúrneho optimistu, ktorého cieľom je pozitívne zužitkovať Adornovu a Horkheimerovu koncepciu, je podľa môjho názoru následne potrebné predovšetkým:

• Položiť dôraz na to, čo Adorno a Horkheimer neuskutočnili: na odhaľovanie pozitívneho potenciálu kultúrneho priemyslu a na kreatívne zapracovanie teórie kultúrneho priemyslu do rôznych projektov a výskumov.
• Zmeniť postoj k samotnej priemyselne produkovanej masovej kultúre.
• Prestať ju vnímať ako manipulujúcu jednotlivca a uprednostniť také ponímanie, v ktorom masová kultúra predstavuje priestor, v ktorom sa jednotlivec rozličnými spôsobmi pozitívne formuje.
• Vzdať sa prísneho presadzovania dialektického výskumu a obohatiť kritickú teóriu o metodológiu empirického sociologického výskumu.
• Dôraz by sa mal jednoznačne presunúť na rozvíjanie možností pre formovanie jednotlivca a formovanie emancipátorských produktov a médií.
• Rozšíriť okruh Adornom a Horkheimerom skúmaných tém v súvislosti s našou pozíciou a potrebami doby. V tejto súvislosti považujem za nesmierne podnetnú tému napríklad kultúrnu sabotáž ako undergroundové kultúrno-kritické hnutie, ktoré má post outsidera, využíva médiá, umenie a paródiu a stáva sa základom pre formovanie špecifickej subkultúry, ktorá v sebe zahŕňa aspekt kritického nazerania na súčasnú konzumnú a informačnú spoločnosť a jej komodifikovanú kultúru a vyjadruje vlastný postoj umeleckými prostriedkami. Téma kultúrnej sabotáže zároveň otvára široký priestor pre skúmanie svojho vplyvu na rozvíjanie kreatívneho myslenia recipientov – aktívnych divákov.

re:
pozeram ze na Kellnerovi si stavala ) tyjo a tiez pozeram, ze v ceskoslovensku sa o nich prestalo pisat v 70-tych rokoch…. resp. potom len zmienky u Budila, Fajkusa a Faya, to je celkom bieda…
to je fajn, ze na to upozornujes v zavere, ze to chyba, a vobec sa mi paci ten zaver….(!!)
magda ma inak phd temu, ktora celkom suvisi s kulturnou sabotazou — konkretne ‘aktivizmus na internete’

ach –> dusanson —
21:38:56 – 16.05.2008
ďakujem za komentár!!! oveľa lepší ako posudok od rankova, kde mi vypočítava kde som zabudol napísať čiarky v texte :)

rád sa s tebou stretnem, ale a) asi som chorý, smrkám b) mám zajtra narodeniny a s tým sa spája zopar rodinných úkonov c) mám prácu na doma a mal by som cez víkend opraviť 21 strán bibliografických údajov

potrebujem si teraz ujasniť tému doktorátu, v oblasti autorstvo, piráti, sociálne siete, alebo i inde.

dusanson –> ach —
18:45:52 – 16.05.2008

Strohy feedback —

Pekny text, v slovencine ani cestine som v podstate nic podobne zatial necital,
zasluznu pracu si odviedol :)
Je sympaticke, ze citujes aj zdroje z tohto roka a je tam siroka bibliografia.
Nenasiel som vela, mozno az ziadne determinizmy — ze by jeden fenomen sposoboval dalsi
(kedze je jasne, ze vsetko je prepojene so vsetkym a cokolvek vplyva na cokolvek ine
[co i len v tazko postrehnutelnej miere]).

Mozem byt aj kriticky?
Snad budem k veci.

Nie je mi jasne, co bola vlastne priorita prace — zamerat sa na ekonomicky (zmeny v modoch
produkcie v prostredi neskoreho kapitalizmu), sociologicky (ako suvisi fenomen prozumenta
so socialnou interakciou), pravny (legalne otazky pri tvorbe publikovanej na internete)
umelecky (kunsthistoricky), alebo iny aspekt autorstva? Alebo ak na vsetky, tak aka je tvoja
pozicia? Si myslim, ze ‘objektivna’ pozicia vyskumnika (resp. pohlad Bozieho oka) sa dnes
neda obhajit.

V zabere “elektronickej komunikacie” spominas len internetove prostredie
(chybaju napr. mobily, satelity) — neskor to myslim na jednom mieste obhajujes,
ale samotny nazov prace je predsalen trochu zavadzajuci.
V ramci internetu je dalsim velmi podstatnym formatom mailing list — vid napr archivy
a nasledne aj papierovo vydane readre zo Spectre alebo Nettime.

Z historickeho pohladu na autorstvo v elektronickom prostredi mi pride zasadne
spomenut, ze to zacalo na poli softveru, a konkretne s licenciami GNU GPL.
Ten reflektuje aj silnu copyleftovu kulturu, s odlisnymi ideami ako CC.

Ad autor –
Spominas Bourdieuove koncepty kapitalu — prisiel tiez s teoriou pola (okolo 1993), ktora by ta
mohla zaujimat. Prezentuje ju ako alternativu voci inym dvom pristupom ku kulturnej produkcii:
(1) (post)strukturalistom, ktori sa zameriavaju na dielo tak, ze ho vytesnuju od socialnych a
ekonomickych podmienok produkcie, a (2) kritickej teorii (oplyvnenej marxizmom), ktora sa zas
obmedzuje na socialny povod autora a/alebo zamyslaneho publika.
Tvrdi, ze zavedenim teorie pola obchadza ich obmedzenia: rozne polia su charakterizovane
poziciami a zastavanim pozicii jednotlivymi umelcami, dielami, spisovatelmi, textami, ktore
si vydobijaju vlastne miestecka v tej-ktorej oblasti.
Bruno Latour, John Law a dalsi idu v tomto este dalej. V actor-network theory sa vyhybaju
antropocentrickemu ponatiu autora (cloveka dominujuceho celemu procesu produkcie,
vratane technologii), a stavaju vedla seba do nehierarchickych vztahov nielen ludi a diela,
ale aj idey, techniky, technologie a dalsie “hybridy”. Klucovym pre tuto teoriu je tiez
radikalne odmietnutie dualizmu priroda – kultura. (Mozno by tu bolo zaujimave rozvit
tiez koncept peer production).

V praci mi chyba uvaha o povahe diela v novych podmienkach.

Zaujimavou je tiez sirsia rola verejnej domeny:
ustava, vzduch, voda, galaxia
(ta sa ale netyka elektronickej komunikacie).

Kapitolka 3.4.3 by si zasluzila rozvit viac.

Nenasiel som odpovede napr na:
– preco maju niektori autori zaujem sirit diela volne?
– preco publikum masovo ignoruje pravne obmedzenia nakladania s cudzim dielom?

Tym ze je praca v slovencine, opis situacie v CC a pripadne GNU GPL v nasom regione (SK, CZ)
by bol urcite velkym prinosom.

Ale treba povedat, ze som si to zatial nestihol precitat cele poctivo, skor len pasaze
a ine letiacim okom.

Co dalej —
pre mna by bolo velmi zaujimave si od teba precitat viac o povahe a produkcii diel
(teda hybridov, amalgamov) v novych podmienkach (teda formou peer-production,
neviditelnej prace, cez socialne siete a podobne) — v ramci toho by bolo autorstvo
jeden z dolezitych aspektov.

Dmytri Kleiner kritizuje Creative Commons aj Benklerovu ideu ‘commons-based peer-production’..

o CC hovori, ze namiesto toho aby podporovala slobodu uzivatela (napriklad GPL definuje slobodu ako 4 slobody uzivatela–to use/share/study/modify), dava autorovi ‘slobodu’ urcit uroven kontroly nad uzivatelom (teda rozne obmedzenia ako noncommercial-only/view-only atd).. cim CC neberie kontrolu z ruk producentov (co je ideou Free Culture), ani vobec nerusi rozdiel medzi producentom a konzumentom, ako tvrdi Lessig.

no a Benklerova teza z Wealth of Networks o ‘commons-based peer-production’ hovori o komunite autorov (peers), ktori spolocne tvoria v prostredi bez vlastnictva (commons). tu zas Kleiner tvrdi, ze tym ze Benklerovo commons ma imaterialnu/digitalnu povahu, tak ti co skutocne profituju v takejto situacii su ti, ktori vlastnia (materialne) prostriedky na vyrobu (nematerialnych) statkov, pretoze tvorcom neposkytuju slobodny pristup, ale na nom zarabaju. no a na to, aby autori prispievajuci do takejto commons neboli vykoristovani vlastnikmi fyzickeho materialu, treba do commons okrem virtualnych prostriedkov (softver, videa, texty, obrazky, atd) produkcie zahrnut aj materialne prostriedky..

q: “where does power lie in the global network society?”
communication is the central power in contemporary society.
via power vs counter-power; multinational corporate media networks vs creative audience; biased/scandal media politics vs insurgent grassroots media politics.
[10] defines power in a Weber-inspired way as “the relational capacity that enables a social actor to influence asymmetrically the decisions of other social actor(s) in ways that favor the empowered actor’s will, interests, and values”

[42-47,418-420] 4 kinds of power in the network society:
* networking power –
* network power
* networked power
* network-making power: “paramount form of power in the network society”; held and exercised by programmers and switchers; analysed via power struggles between the global corporate multimedia networks and the creative audience (chapter 2), the development of media policies in the USA (chapter 2), framing and counter-framing in political campaigns, especially the framing of the US public mind before, during, and after the Iraq war (chapter 3); to scandal politics in Spain in the 1990s (chapter 4), media control and censorship in the USA, Russia, and China (chapter 4); the environmental movement, the global movement against corporate globalization, the spontaneous citizens’ movement that emerged in Spain after the al-Qaeda attacks in 2004, and the Barack Obama presidential primary campaign (chapter 5).

Fuchs about “new web“:
– Tapscott and Williams claim that the “new web” brings about “a new economic democracy (…) in which we all have a lead role“ (2007)
– Kelly argues that the “new web”, where people “work toward a common goal and share their products in common, (…) contribute labor without wages and enjoy the fruits free of charge” (Kelly, 2009, p. 118) constitutes a “new socialism” – “digital socialism”. The new socialism is for Kelly a socialism, in which workers do not control and manage organizations and the material output they generate. Therefore this notion of socialism should be questioned. For Kelly, socialism lies in collective production, not in democratic economic ownership. If “socialism seeks to replace capitalism by a system in which the public interest takes precedence over the interest of private profit“, “is incompatible with the concentration of economic power in the hands of a few“, and “requires effective democratic control of the economy“ (Frankfurt Declaration of the Socialist International, 19511), then Kelly’s notion of socialism that is perfectly compatible with the existence of Microsoft, Google, Yahoo, and other web corporations (as indicated by the fact that he lists Google, Amazon, Facebook, and YouTube in his history of socialism), is not at all a notion of socialism, but one of capitalism disguised as socialism. [critique also by Lessig: http://lessig.org/blog/2009/05/et_tu_kk_aka_no_kevin_this_is.html, http://lessig.org/blog/2009/05/on_socialism_round_ii.html ]
– Castells about ‘new web’ in a refreshing techno-dialectical way that avoids the deterministic pitfalls of technooptimism and techno-pessimism. For Castells, a novel quality of communication in contemporary society is mass self-communication. The three forms of communication (interpersonal, mass communication, and mass selfcommunication) coexist, interact, and complement each other rather than substituting for one another. Castells theorizes mass self-communication based on Eco’s semiotic model of communication as the emergence of “the creative audience” (pp. 127-135) that engages in the “interactive production of meaning” (p. 132) and is based on the emergence of the figure of the “sender/addressee” (p. 130). contemporary Internet = conflict bwn global multimedia business networks that try to commodify the Internet VS “creative audience” that tries to establish a degree of citizen control of the Internet and to assert their right of communicative freedom without corporate control.

Fuchs about autonomy of communicative subjects:
– autonomy in the sense of Kant, understood as the autonomy of the will as the supreme principle of morality (Kant, 2002, p. 58), the “quality of the will of being a law to itself” (Kant, 2002, p. 63)
– autonomy as “true individualism” that Hayek (1948) had in mind, in which capitalism is conceived as spontaneous order that should be left to itself and should not be shaped by political rules (Hayek, 1988)
– autonomy as freedom of speech, taste, and assembly – “the liberty of thought and discussion” – in line with the harm principle, as postulated by John Stuart Mill (2002)
– autonomy as the existence of functionally differentiated self-referential subsystems of society (Luhmann, 1998)
– autonomy in a less individualistic sense as the combination of individual autonomy, understood as subjectivity that is “reflective and deliberative” and “frees the radical imagination” from “the enslavement of repetition” (Castoriadis, 1991, p. 164), and social autonomy, “the equal participation of all in power” (Castoriadis, 1991, p. 136; see also Castoriadis, 1998)
– theoretically unreconciled relationship of private autonomy and public autonomy that Habermas (1996, p. 84) has critically examined
– dialectic of autonomy that Habermas has in mind when he speaks of a “cooriginality of private and public autonomy” (Habermas, 1996, p. 104) achieved in a “system of rights in which private and public autonomy are internally related” (Habermas, 1996, p. 280) and “reciprocally presuppose each other” (Habermas, 1996, p. 417)
– autonomy as the “status of an organized people in an enclosed territorial unit” (Schmitt, 1996, p. 19, for a critique of this approach see Habermas, 1989)
– autonomy as a postmodern project of plural democracy with a multiplicity of subject positions (Laclau & Mouffe, 1985)

For Castells, there are the following new aspects of media politics: the use of the Internet in political campaigns (p. 230), the multiplication of entry points of political reports, on which an interaction between mainstream media and the Internet is based (p. 234), an unprecedented prevalence and significance of scandal politics (p. 246), the easy and immediate diffusion of scandal politics over the Internet by everyone (pp. 247f), an increase of the publicity and perception of corruption and of the impact on public trust (p. 289). The result would be a worldwide crisis of political legitimacy, a decline in public trust, and a crisis of democracy. These crises could possibly, but not automatically result in depoliticization, and would in many cases also create a desire for insurgent politics, social movements, and new public spaces.

artificial hill 80m above the surrounding Brandenburg plain, more precisely the north of Berlin’s Grunewald forest. built by Allies during WW2 from rubble est. 400,000 buildings, higher than the highest natural hill (the Kreuzberg) in the Berlin area. buried underneath the hill: a Nazi military-technical college designed by Albert Speer. Allies tried using explosives to demolish the school, but it was so sturdy that covering it with debris turned out to be easier. In the 1960s a small skiing center was built on the slopes of the hill.

US National Security Agency (NSA) built one of its largest listening stations on top of the hill, rumoured to be part of the global ECHELON intelligence gathering network. is @british sector. found as the bast vantage point for listening to Soviet and East German military traffic. operated by NSA. there till 1989, then equipment removed. vraj vykopali aj escape tunel, but never proven.

in 90s sold from city to group of investors to build hotels+appt, but left untouched. for city is not vyhodne to kupit nazad. lebo bola idea spy museum.

http://en.wikipedia.org/wiki/Teufelsberg
http://www.lostplaces.de/content/view/36/33/

vo forme newslettra / alebo webu / alebo tlaceneho casopisu? rozni autori, a la http://www.zcommunications.org/zparecon/reimaginingsociety.htm

– promote cultural&ecological commons + alt models for their mgmt (alter copyright; alt economies ~ pay-as-you-like/donations/crowdfunding; “noncommercial” @CC = wrong)
– update education (pillars: amateur culture=youtube; public domain=free pdfs; networking technologies=fb/blogs/forums; collaboration=open methods; globalised knowledge/interdisciplinarity)
– open tools
– new art (as creativity; rather than art as a discipline; thus also transform cult.policies–incl. home-made culture)
– internet of things (expanded connectivity and access)
– revolution of human nature (rather than smashing down the government, or building up communes @desert)
– pro understanding econ/polit/cult/aesth aspects of globalisation @integralist fashion (rather than sci-fi/futurism, or identity politics of marginalised minorities=stigmatism)
– subject to critique: multiculturalism, avantgardism, back-to-origin essentalist radicalism, progress, fundamentalism, neoliberalism, disciplinarism (stratification of knowledge)

filesharing cases @USA:
1. http://en.wikipedia.org/wiki/Capitol_v._Thomas / verdict: $1.92m; ended in a mistrial. But in that case, the judge commented that he believed that the damages sought were something like 1000 times excessive. / Earlier this year (2009), Jammie Thomas Rasset was found guilty of illegally sharing 24 songs via Kazaa. She was ordered to pay a total of $1.92m, or $80,000 per song.
2. RIAA vs Tenenbaum (aj ked v PDFkach je Capitol Recs)

* DMCA act of 1999: (1) $750-$30,000 per song; (2) $750-$150,000 per song if the infringement was “willful”
* T shared mp3s via Kazaa
* 2003, RIAA starts new business-plan, T received a notice (from Sony BMG, Warner, Atlantic Records, Arista Records, and UMG Records) claiming “copyright infringement”, and told him that he could settle the case for $3,500 (via 1-800-DONT-SUE-ME-style call centre). He offered $500, and sent a money order in that amount. That offer was denied.
* 30,000 people have been accused and almost every single case has settled. * The average settlement is between $3,000 – $12,000. * There are actually 133 people in the same docket as Joel (??)
* In 2007, a complaint showed up on his doorstep after years of silence requiring that Joel appear in court. Rather than backing down, like the other 30,000 people, Joel chose to stand his ground and elected to proceed pro se with the help of his mother. Joel filed an answer with a counterclaim asserting abuse of federal power and that the excessive damages were unconstitutional. Joel appeared in court where the Judge ordered the parties into settlement. In the settlement, Joel offered to settle for $5,000. The opposing counsel denied and counter-offered a settlement of $10,500 to be paid over 1 year. Joel declined.
* Aug 2007 – suit filed, accusing T of C infringement for the downloading of 7 music files
* Shortly before the trial, the RIAA increased the number of songs he was being sued for from 7 to 30.
* last week of July 2009 (till 31st) – trial: T is guilty; $675,000 award (jury decided to go to the lower end of willful and chose $22,500 a song); T admitted he down’ed many mp3s; lawyer Charles Nesson said he was a ‘kid’ and internet changed things and music industry had been ‘slow to adapt’; T claimed the law under which he is being prosecuted is unconstitutional
* next: appeal, if fail then file for bankruptcy

Joel Tenenbaum – *1983, @Providence RI, MA in phy+math @Maryland, currently PhD phy

JP Barlow/EFF @ court as expert:
– “economics of ‘file-sharing’ can work to the great benefit of musicians and creators”
– Grateful Dead let audience tape their shows and invented ‘viral marketing’, solving the advertising problem
– internet/p2p “allow us to do which we, as humans, fundamentally need to do: share art”
– “music industry will never be endangered because [..] we as humans absolutely require music, and because in the music business as i know it, familiarity, not scarcity, creates value”
– “online world presents us with a ‘gift economy’, where no moral blameworthiness attaches to non-commercial sharing, and [..] this does not threaten the music industry”
– “recording industry is complicit in allowing itself to hold on to antiquated business models rather than adjust to the changing landscape around them”

Nesson, 2009: RIAA is shifting strategy – contract deals with ISPs, three strike rule ~ 3 times infringes copyright and you’re cut off internet

in email debate the copyleft experts (whom Nesson had planned to call as expert witnesses to testify on Tenenbaum’s behalf) tell Nesson in no uncertain terms that his plan to mount a fair use defense of Tenenbaum’s peer-to-peer activities is a sure legal loser.
* Lessig urges Nesson to argue for outright jury nullification: “I am surprised if the intent is to fight this case as if what joel did was not against the law. of course it was against the law, and you do the law too much kindness by trying to pretend (or stretch) “fair use” excuses what he did. It doesn’t. But if you want to argue it does, then I should think it a big mistake to include Terry on the team, or me for that matter. I have given literally hundreds of speeches where I expressly say p2p filesharing is wrong, and kids shouldn’t do it. I think FREE CULTURE says that more than a dozen times. ”
* William Fisher [proposes replacing much of copyright and DRM with a gov-administered tax-funded reward system, making songs/movies legal to download; pro semiotic democracy]: “neither civil suits against individual downloaders nor secondary-liability suits against intermediaries will solve the crisis in the entertainment industry. The best solution to the crisis, rather, is some variant of the blanket licensing system that I, Neil Netanel, and the EFF have been advocating for some time and that now appear to be gaining some traction.”

lessons:
* you don’t have to accept phone contact from the RIAA lawyers, but could demand correspondence by mail.

http://en.wikipedia.org/wiki/RIAA_v._Tenenbaum
http://www.guardian.co.uk/music/musicblog/2009/jul/27/filesharing-music-industry
JP Barlow: http://beckermanlegal.com/pdf/?file=/Lawyer_Copyright_Internet_Law/sony_tenenbaum_090410ExpertWitnessReportBarlow.pdf
Nesson, Lessig, Zittrain, Barlow, etc: http://www.scribd.com/doc/13831120/Nessonblog33009

adopted 16 june 2009
via grand coalition (social democrats and conservative party)
led by Minister for Family Affairs Ursula von der Leyen
via usual guise of protecting children (kid prn)
despite 130k signatures (not just hackers and digital activists) @„No indexing and blocking of Internet sites“
#zensursula

DNS queries for sites on a list will be given fake answers that lead to a page with a stop sign. The list itself is maintained by the German federal police (Bundeskriminalamt).

http://netzpolitik.org/wp-upload/zensursula-231×300.png
http://netzpolitik.org/2009/the-dawning-of-internet-censorship-in-germany/
https://epetitionen.bundestag.de/index.php?action=petition;sa=details;petition=3860
http://www.ak-zensur.de/
http://www.thomasmoehle.de/zensur/

Rather than seeing the commons as something that exists outside of drives to dominate and control, there is no commons without the antisocial tendencies that animate it.

As a file is shared between two computers, a disc burned and handed to two individuals, there is always a third, the owner of the network, or the hardware, that profits from it. This leads Pasquinelli to declare, along with, Vercellone, that “rent is the new profit.” (Pasquinelli also develops this idea through a discussion of this essay by David Harvey). This new form of rent operates in terms of speed and time rather than space.

If it is true that ‘the multitude is to the metropolis, as the working class is to the factory,” then the multitude must in some sense produce the skyrocketing rents of gentrification.

Jason Read’s review of Animal Spirits

To make the case for “no technical solutions”, Hardin notes the limits placed on the availability of energy (and material resources) on Earth, and also the consequences of these limits for “quality of life”. To maximize population, one needs to minimize resources spent on anything other than simple survival, and vice versa.

hypothetical example of a pasture shared by local herders. individual herder will continue to add additional animals to his or her herd. However, since all herders reach the same rational conclusion, overgrazing and degradation of pasture is its long-term fate.

examples of latter day “commons”, such as the atmosphere, oceans, rivers, fish stocks, national parks, advertising, and even parking meters.

potential management solutions: commons problems including privatization, polluter pays, and regulation.

The metaphor illustrates the argument that free access and unrestricted demand for a finite resource ultimately dooms the resource through over-exploitation.

as architect consider “software” of space (sounds, smell, light, temperature, electromagnetic fields, social relationships, etc) rather than “hardware” (floors, walls, roof, etc) | The City… takes everything explored in Everyware as a given, and a point of departure | not just a social networking project for sensor data | emphasis on contextually specific “environments” rather than object-centric “sensors” | Extended Environments Markup Language (EEML) | backend capable of handling millions of users | internet of things | technologies of “extreme connectivity” | ‘eco-system’ of conversant devices, buildings & environments

Pachube evolved out three strands of thought:
1) the geographical non-specificity of architecture these days as people live their lives in constant connection with people in remote spaces
2) a desire to open up the production process of “smart homes” in reaction to current trends for placing the design and construction process solely in the hands of knowledgeable others.
3) an emphasis on contextually specific “environments” rather than object-centric “sensors”
– environment is a construction process and not a medium; nor is it a state or an entity
– one of the major failings of the usual ubicomp approach is to consider the connectivity and technology at the object-level, rather than at the environment-level. It’s built into much of contemporary Western culture to be object-centric, but at the level of “environment” we talk more about context, about disposition and subjective experience.

I asked Bruce Sterling to be a “visionary” adviser because he was one of the people early on to envisage the concepts and ramifications of “spimes” (his neologism for ’space-time objects’). While I agree that “spimes” are directly relevant, what I found most important from his conception was the concept of “wrangling” – being actively and productively engaged and responsible in the development of spimed environments. I think it was a crucial leap: to talk about “wranglers” rather than “end-users”.

THIS BOOK
is sequel to Empire {which described a current form of global order as networked power of nation-states (G8), institutions (WTO, NATO, IMF) and corporations, being constituted by permanent state of (civil) war}
Empire (new global form of sovereigny–empire) => Multitude (emerging global class formation–multitude) ~ reverse of Hobbes’ De Cive (1642; social body and forms of citizenship–nascent bourgeoisie which needed political power above it as abs.authority) => Leviathan (1651; future form of sovereignty–nation-state)

PREFACE
war
democracy
multitude = possibility of democracy on a global scale; also provides means to achieve it; alternative growing within Empire; is network in which all differences can be expressed freely and equally; is not identity / the people (is unitary conception; is single identity; is one); is not uniform / the masses (are indifferent; where all colors fade to gray); is not the working class (separates workers from owners who don’t work; separates industrial workers from service/agricultural workers; separates waged workers from unpaid laborers); has good model in internet (nodes are different but connected; new can always be added); internal differences of multitude must discover (or rather produce) the common that allows them to communicate/act together (while remaining different)
shifts in global economy – industrial working class no longer plays hegemonic role in global economy; production is not only in economic terms, but social production (of communications/relationships/forms of life)
the common = not the commons (refers to pre-capitalist-shared spaces that were destroyed by advent of private property); our communication/collaboration/cooperation are not only based on the common but they in turn produce the common in expanding spiral relationship; production of the common = central to every form of social production + is primary characteristic of new dominant forms of labor today
biopolitical production = newly dominant model of production; it not only involves the production of material goods in strictly economic sense but also touches on and produces all facets of social life, economic, cultural, and political; is strong pillar of multitude
“political” organization = second pillar of multitude; resistance/revolutionary orgs as not only means to achieve democracy, but to create internally the democratic relationships
Empire = new form of global order (no longer as imperialism via nation-state extending in a foreign territory)
network power = new form of sovereignty; its nodes = dominant nation-states + supranational institutions + major capitalist corporations + other powers; is “imperial”, not “imperialist”; is tendency; unilateralism (USA as dominant power) neither multilateralism (UN) are not just desirable but not even possible; perpetual war ~ state of (civil) war is inevitable in Empire and functions as instrument of rule; imperial peace (Pax Imperii) is false pretense of peace

WAR
[12-13] war si becoming permanent social relation
Clausewitz: war is a continuation of politics by other mean; today some theorists: war is becoming the primary organizing principle of society, and politics merely one of its means or guises
Mao: politics is simply a war without bloodshed
Gramsci: political strategies: either wars of position or war of maneuver
war has become regime of biopower – form of rule aimed not only at controlling population but producing/reproducing all aspects of social life
[14-15] consequences:
– limits of war are indeterminate, both spatially and temporally
– int’l relations and domestic politics become increasingly similar and intermingled
– reorientation of conception of the sides of battle or conditions of enmity (eg against terrorism)
[38-39] shift in int’l rels: not that much 1989, as 26 may 1972, when USA+USSR signed Anti-Ballistic Missile Treaty which regulated nuclear weapons production of 2 superpowers ~ mass bombing like @WW2 could no longer be part of art of war; war begun to be less oriented twd defending against coherent mega-threat and more focused on proliferating mini-threats; less intent on general destruction of enemy and more inclined twd transformation or even production of enemy; high-intensity police actions (~low-intensity warfare; eg US @Vietnam or Latin Am, or USSR @Afg) rather than all-out large-scale combat
[39] early 70s: 1971 delinking US$ from gold standard; 1973 first oil crisis; bgn of destruction of welfare state; bgn of shift of hegemony of econ.prod. from factory to more social/immaterial sectors
[40-41] “military-industrial complex” = simplification eliminating any real considerations of class conflict, insurgency, and movements of multitude; term was created to name a confluence of interests in imperialist phase of capitalist development bwn major corps and state military/policy apparatus (eg. Knupp steel works and German army; Dassault aviation manufacturing and Gaullist military policies; or Lloyds insurance and British imperialist projects; or Boeing and Pentagon); now rather “military-vital complex”

MULTITUDE
[196-197] flesh of the multitude produces in common in a way that always exceeds the measure of any traditional social bodies, and it doesn’t produce chaos and social disorder, but what it produces is common, and that common we share serves as the basis for future production, in a spiral, expansive relationship (eg. communication as production: we can communicate only on the basis of languages, symbols, ideas, and relationships we share in common, and in turn the results of our communication are new common languages, symbols, ideas and relationships); today this dual relationship between production and the common–the common is produced and it is also productive–is key to understanding all social and economic activity
[198] singularities interact and communicate socially on basis of the common, and their social comm. in turn produces the common; multitude is subjectivity that emerges from this dynamic of singularity and commonality
[199] shift from habit (american pragmatist philosophy) to performance as core notion of production of the common
[202] production of the common tends to displace trad.divisions bwn individual/society, subjective/objective, private/public
[203-204] WRONG: “private” = includes the rights and freedoms of social subjects together with the rights of private property, blurring the distinction between the two. this confusion results from the ideology of “possessive individualism” in modern legal theory, that conceives every aspect/attribute of subject, from its interests and desires down to its soul, as “properties” that are owned by individual, reducing all facets of subjectivity to the economic realm; “private” = subjective + material “possessions”; “public” = state control + what is held and managed in common; WE NEED alt legal strategy/framework: conception of privacy that expresses singularity of social subjectivities (not private property) and conception of public based on the common [commonality] (not state control)–one might say a postliberal and postsocialist legal theory; good example: “postsystems theory” school, which is molecular conception of law and production of norms that is based on constant/free/open interaction among singularities, which through their communication produces common norms
[204] community = often refers to moral unity that stands above population and its interactions like sovereign power
[204] the common IS NOT community; IS NOT public; it is based on communication among singularities and emerges through collaborative social processes of production
[205] neolib. legal frameworks – privatization of public goods (water, air, land, and all systems of mgmt of life: healthcare, pensions) and privatization of public services (telecom and other network industries, post, public transp., energy sys, edu); these public goods and services were very basis of modern sovereignty in hands of nation-state

/ Sylvère Lotringer has criticized Negri and Hardt’s use of the concept for its ostensible return to the dialectical dualism in the introduction to Paulo Virno’s A Grammar of the Multitude

http://burundi.sk/monoskop/log/?p=399

problem property a problem hodnoty

(political theory)

1. Michael Hardt – Politics of the Common (2009)
michael hardt gives very good summary of current debates
about the commons. he explains the immaterial property
and the common got into centre of contemporary production
shifting away from industrial capitalist mobile/immobile
commodity properties. he says that today the capital
and economic development paradoxically relies on the common,
and that the central task for contemporary society is
to develop an alternative management of the common.
by the common he means the ecological (earth, ecosystems,
and all forms of life interacting with them) and social/cultural
(shared products of human labor–ideas, images, affects,
social relationships) domains. that is not much news,
but what is interesting – these two domains are often treated
separately, and here hardt mentions two major instances
of contradictions which link them:
contradiction between private property and the common;
and the fact that the value of common is immeasurable with
the traditional capitalist system of measures (and is rather
based on value of life, which we have not yet invented).
/ o ‘the common’ hovori ako o ekologickych (lesy, plaze,
vzduch, jazera) a nematerialnych socialnych/kulturnych
statkoch (videa, texty, fotky, idey, pocity, socialne vztahy,
zabava, nove formy zivota), ku ktorym maju (mat) vsetci
volny pristup. hovori o dvoch hlavnych rozporoch
s ohladom na klasicky system – konkretne nemoznost
urcit ich (ekonomicku) hodnotu, a problem vlastnickeho
vztahu k nim.
http://www.zcommunications.org/znet/viewArticle/21899

2. Slavoj Zizek – Ecology: A New Opium of the Masses
tu zizek vychadza z idei commons ako ju chapu hardt a negri,
a jemne ju rozsiruje: commons ako kultura, externa
priroda (ekologia), a interna priroda (biogenetika).
tvrdi, ze je do commons zasadne zapojit aj mensiny,
populaciu vylucenu z politickych procesov.
http://www.lacan.com/zizecology1.htm
(je tam aj video prednaska)

(economy)

3. Lawrence Lessig – Remix: Making Art and Commerce
Thrive in the Hybrid Economy (2008)
to je jeho nova kniha, hovori tam o tom, ako mozu
ist dokopy ekonomika ‘komercie’ (klasicky online biznis)
a ‘zdielania’ (v ktorej nefigujuru peniaze–napr. priatelstvo
alebo P2P filesharing). odtial by bolo dobre vytiahnut
nejaku cast, ale najst nejaky sumarizujuci text, pripadne
jeho kritiku.
http://burundi.sk/monoskop/log/?p=224

4. Mikael Pawlo – What’s the meaning of “non-commercial”? (2004)
pawlo je sef svedskych iCommons a kritizuje tu fakt, ze drviva
vacsina materialov pod CC pouziva klauzulku ‘non-commercial’.
pyta sa co to znamena — a dava vela prikladov, kde sa to
co je commercial a co non-commercial neda urcit – napriklad:
verejna televizia, verejne skoly, reklamy na neziskovky,
rss-feedy embednute vo weboch na ktorych je reklama –
to su priklady, v ktorych nie je mozne urcit ci mozeme
pouzit CC videa ktore su sirene pod noncommercial licenciou.
http://www.nettime.org/Lists-Archives/nettime-l-0501/msg00006.html

x. Bauwens – crowdfunding

(software)

5. Richard Stallmann
Stallmann v Lessigovej knihe hovori, ze free software
nie je altruizmus, ze tie veci programatori nerobia
lebo maju dobre srdce, ale spravidla maju pragmaticke
dovody. musi k tomu byt nejaky dobry clanok.

(philosophy)

6. Bernard Stiegler – transindividuation
to je francuzsky filozof, ktory sedel 7 rokov v base
za kradez v banke, a napisal tam niekolko zvazkov, ktore
prepisuju filozofiu z pohladu techniky/technologii.
bol nejaky cas sefom IRCAM, potom aj Centre Pompidou.
v poslednom case ho celkom hypuju. uz dlhsie kritizuje
web 2.0 sluzby a hovori o procese “transindividuacie”,
kedy svoj esteticky vkus menia uzivatelia medzi sebou
tym, ze zdielaju online material. nadvazuje na zabudnuteho
filozofa Simondona, ktory s tym terminom prisiel snad
este v 50-tych rokoch.
k tomu mam zatial len toto kratke video:

(commons in practise)

7. Creative Commons v cz/sk praxi
mozno interview s clovekom z cz/sk projektu, ktory dava veci
pod CC (je ich viac).

8. kauza a predaj Pirate Bay
zatial nemam tip na clanok

9.
jeden zaujimavy projekt v anglicku:
http://uniteddiversity.com/commons-creation/

(art/activism)

10. Ines Doujak – Victory Gardens
instalacia (2007) viedenskej umelkyne kritizujucej politiku USA a EU,
ktora prehliada privatizovanie verejnych statkov (vody, potravin, pody)
korporaciami prostrednictvom patentov [biopiratstvo],
najma v krajinach “mega diverzity” (mexiku, indii, brazili, indonezii).
/ Hardt: I object to calling this piracy, by the way, because pirates
at least have the dignity to steal property. These corporations steal
the common and transform it into private property.
http://www.lakeside-kunstraum.at/archiv.detail.asp?active_semprog_ID=525386989&active_topic_ID=854442775
http://www.we-make-money-not-art.com/archives/2008/05/raised-above-the-ground-with.php

11. Yes Men – Bhopal

to je akoby nove medium ten internet, ako kedysi rec. medzi ludmi.

robi nam uz lepsie sa zhovarat cez internet, cez interface, skype, cez taketo medium ako osobne – cez rec.

odpovedame textom, obrazom, linkou, videom, fotkou. pouzivame ich v konverzacii.

ako guy o hansenovi
(G: so let’s do it!
D: we do it…)

mna to celkom oplyvnuje ked mi palo hovori ze by som mal byt sociologom

Marisa: ja sa na to divadlo dokazem pozerat len cez nejake medium.

Santiago Sierra, MX

– paid drug-addicted Brazil prostitutes to have their backs tattooed by a straight horizontal line for a drug of their choice.
– hired 200 immigrants of African, Asian and eastern European origin, all of whom had dark hair, for an ‘action’ in which their hair was bleached.
– hired a group of unemployed men to push concrete blocks from one end of a gallery to the other.
– In an exhibition at P.S.1, New York, Person Remunerated for a Period of 360 Consecutive Hours Sierra hired a person to live behind a brick wall 24 hours a day for 15 days (September 17 – October 1, 2000) without having any further instructions or duties. P.S.1 staff slid food under a narrow opening at the base of the wall. The individual behind the wall was generally invisible to the audience but was allowed to relate to the other side through the small opening in the wall.

– In South Korea, he paid sixty-eight people twice that nation’s minimum wage to block the main entrance to the inauguration of Pusan’s International Contemporary Art Festival.
– On the occasion of the 2003 Venice Biennale he built a wall blocking off the entrance to the Spanish Pavilion. Visitors needed a Spanish passport to gain entry to the building, through the back door. But even then the visitor was confronted with an empty gallery.
– on the occasion of an exhibition by Sierra to mark the opening of a £500,000 extension to the Lisson Gallery, London, he barred the entrance to the gallery with a sheet of corrugated steel. Sierra comments on the considerable frustration of the invited London glitterati who turned up for the opening: ‘It was as though they were saying: “Just get me inside and give me a drink. That’s what I’ve come for”
– During the economic crisis in Argentina (1999–2002) the banks closed and protected their facades with corrugated steel. People demonstrated using a form of protest known as cacerolazo which consisted of banging pots and pans against the corrugated metal. In 2002 Sierra taped these sounds and sent CDs of the recording out to galleries in London, New York, Vienna, Frankfurt and Geneva (Jeffries 2002). The CD sleeve instructed the owner to put speakers in the window and turn the stereo up full volume during certain specified local times.

http://www.installationart.net/Chapter3Interaction/interaction04.html
http://en.wikipedia.org/wiki/Santiago_Sierra

Thomas Hirschhorn, CH, 11 ben X
Bataille Monument, 2002, Documenta, Kassel
– He chose as his location the Friedrich-Wöhler Siedlung, a mixed Turkish-German social housing complex in a low socio-economic suburb of Kassel.
– ‘one thing has always been clear for me: I am an artist and not a social worker.’
– he assembled a team of people living in the Friedrich-Wöhler Siedlung who were willing to work on the monument for the eight euros an hour he paid them.
– to oversee the construction Hirschhorn moved into an apartment in the Siedlung
– He even convinced the people working for him to return his belongings when some of them broke into his apartment and stole his laptop, video, hi-fi and camera equipment.
– Like many artists of the 1990s and 2000s Hirschhorn acts as an entrepreneur, which is to say a boss, albeit a more or less enlightened boss

http://www.installationart.net/Chapter3Interaction/interaction03.html
http://en.wikipedia.org/wiki/Thomas_Hirschhorn

4 scenarios w/ art+culture after crisis:
– consolation – mast na rany, podobne ako hollywood pocas great depression, feel-good filmy a hudba, people find solace in the social nature of arts events; to je ok, ale nezabudajte na minority, new art a innovation
– anger – a la punk v 70s
– business-as-usual, aj ludia v art/kult chcu spat bohate roky
– get real –
— talk to people, art have to find a new source of funds from millions of small donations (like obama)
— prepare for cuts – do more with less
— get much smarter at marketing
— free events/experiences, livestreaming
— don’t let mainstream media cut the arts programming
— use networks, involve people

now: art from periphery to heart of remaking society; because art isnt about leisure but about life

before: high culture (classical art forms) vs popular culture (cooking, watching tv, dancing, playing football)
now 3 interdependent spheres: publicly-funded culture (“what gets funded becomes culture”), commercial culture (gatekept by big companies similarly like pub-funded by state admins), home-made culture

“In this new model the arts are integrated into a wider cultural ecology so they become reconnected to everyday life”.
kulture sa konecne uzna zasadny podiel vo vzdelavani, ekonomike ci zahr.vztahoch.
Leadbeater: people want to enjoy, talk or do = passively sit and watch, socialise, and be creative.
20 yrs ago ‘do’ part was limited to few people. ‘talk’ part bola tiez dost obmedzena – divaci boli pasivni.
marginal [pub] + entertaing [comm] + amateur [home] = potent democratic expression.
Shoshana Zuboff: “there is a new kind of public out there, being made up of ‘new individuals who seek true voice, direct participation, unmediated influence and identity-based community because they are comfortable using their own experience as the basis for making judgements”.

via panel na Forum for Creative Economy v Prahe, marec 09, plus teraz kvoli iview s bishop