Creating Commons
Creating Commons
Shusha Niederberger; Cornelia Sollfrank; Felix Stalder
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26 Items
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OPEN SCORES
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- Subtitle
- Flyer
- Author
- Date
- 21.09.2019
- Keywords
- Description
- Flyer zur Ausstellung "OPEN SCORES. How to program the Commons"
21 September – 12 October 2019
panke.gallery, Berlin
- Flyer zur Ausstellung "OPEN SCORES. How to program the Commons"
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- Creating Commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 10.05.2021
- Parent sets
- 1
OPEN SCORES
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- Subtitle
- Exhibition Catalogue
- Author
- Date
- 10.06.2020
- Keywords
- Description
- The exhibition OPEN SCORES brought together a series of practices through which artists articulate their specific forms of digital commons. From online archives to digital tools/ infrastructure and educational formats, the projects envision a (post-)digital culture in which notions of collaboration, free access to knowledge, sustainable use of shared resources, and data privacy are central. For the exhibition, each of the projects created a unique score to present their practice.
Participants:
Dušan Barok (monoskop.org), Marcell Mars & Tomislav Medak (memoryoftheworld.org), Sebastian Lütgert & Jan Gerber (0xdb.org), Kenneth Goldsmith (ubu.com), Sean Dockray (AAAAARG), Zeljko
Blace (#QUEERingNETWORKing), Ruth Catlow & Marc Garrett (furtherfield.org), Laurence Rassel (erg.be), Marek Tuszynski (Tactical Tech), Michael Murtaugh, Femke Snelting & Peter Westenberg (Constant), Stefanie Wuschitz (Mz* Baltazar’s Lab), Panayotis Antoniadis
(nethood.org), Alessandro Ludovico (neural.it), Eva Weinmayr (andpublishing.org), spideralex, Sakrowski (curatingyoutube.net), Creating Commons.
Curated by Creating Commons
(Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)
- The exhibition OPEN SCORES brought together a series of practices through which artists articulate their specific forms of digital commons. From online archives to digital tools/ infrastructure and educational formats, the projects envision a (post-)digital culture in which notions of collaboration, free access to knowledge, sustainable use of shared resources, and data privacy are central. For the exhibition, each of the projects created a unique score to present their practice.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- Creating Commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 10.05.2021
- Parent sets
- 1
OPEN SCORES
Name that can easily go onto 2 lines
Author that can easily go onto 2 lines as well
- Subtitle
- Exhibition Guide
- Author
- Date
- 21.09.2019
- Keywords
- Description
- OPEN SCORES. How to program the Commons
21 September – 12 October 2019
panke.gallery, Berlin
This exhibition brings together 16 practices through which artists articulate their own forms of (digital) commons. From online archives, to digital tools/infrastructure and educational formats, the projects envision a (post-)digital culture in which notions of collaboration, free access to knowledge, sustainable use of shared resources and data privacy are central.
For the exhibition, artists have developed a SCORE relating to their practice. A SCORE can have different meanings: It can be a general instruction, a working instruction, a performance instruction or an operating instruction. In any case, it is meant to lead to a realization of an intended action and as such is an interface between a human actor and an object/material/machine. And a SCORE can also be linked to a technical HOWTO document, in that it contains information on how to perform a specific task.
Within the exhibition, the newly developed SCORES add an aesthetic layer while pointing to the socio/political impact of the presented projects. The exhibition will also feature the interviews conducted as part of the research project as well as a temporary library on the subject of digital commons. Furthermore, there will be a program of talks, screenings, and workshops.
Participants:
Dušan Barok (monoskop.org), Marcell Mars & Tomislav Medak (memoryoftheworld.org), Sebastian Lütgert & Jan Gerber (0xdb.org), Kenneth Goldsmith (ubu.com), AAAAARG, Zeljko Blace (#QUEERingNETWORKing), Ruth Catlow & Marc Garrett (furtherfield.org), Laurence Rassel (erg.be), Marek Tuszynski (Tactical Tech), Constant (Michael Murtaugh, Femke Snelting & Peter Westenberg), Stefanie Wuschitz (Mz* Baltazar’s Lab), Panayotis Antoniadis (nethood.org), Alessandro Ludovico (neural.it), Eva Weinmayr (andpublishing.org), Spideralex, Sakrowski (curatingyoutube.net), Creating Commons, Johannes Kreidler, Alison Knowles.
Curated by Creating Commons (Shusha Niederberger, Cornelia Sollfrank, Felix Stalder)
- OPEN SCORES. How to program the Commons
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- Creating Commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 10.05.2021
- Parent sets
- 1
Thick Webs & Continuous Relays: Feminist Epistemologies for the Digital Commons
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- Subtitle
- Lecture by Isabel de Sena
- Author
- Date
- 11.10.2019
- Keywords
- Description
- This talk examines several feminist concepts that are relevant for envisioning the (digital) commons. What they share is an understanding of knowledge as that which occurs by sustaining relational webs and ongoing relays, rather than as the endpoint of linear progressions.
Isabel discusses firstly Ursula Le Guin’s The Carrier Bag Theory of Fiction (1986), in which she urges that the first piece of technology was not a weapon but a bag for carrying seeds, asserting that the function of technology is not a resolution but a continuing process. Donna Haraway’s concept of “string figures” builds further on Le Guin by proposing how distributed forms of access to and dissemination of knowledge can give rise to collective agency, while Karen Barad’s diffractive methodology contributes to envisioning the commons as something that necessarily involves a constant transformation of knowledge – regarding both the objects of inquiry and the apparatus (resources, discourses) through which they are viewed. This is relevant for addressing how the commons can produce situated knowledges (Haraway) and understanding how its collective nature only seemingly suggests that it conflicts with the partial positionings of individuals within a collective.
Isabel de Sena is a curator, author, and lecturer based in Berlin. She is working on the Philosophy and Aesthetics of Science and has published internationally. She has worked as a curator for institutions like Martin-Gropius Bau here in Berlin and others abroad. She is currently teaching at NODE Center for Curatorial Studies in Berlin and as a guest lecturer at CalArts in California.
- This talk examines several feminist concepts that are relevant for envisioning the (digital) commons. What they share is an understanding of knowledge as that which occurs by sustaining relational webs and ongoing relays, rather than as the endpoint of linear progressions.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1
Film as Digital Object
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- Subtitle
- Sebastian Lütgert in conversation with Cornelia Lund
- Author
- Date
- 27.09.2019
- Keywords
- Description
- When films enter the database 0xDB(1) and its underlying software pan.do/ra(2), they become digital objects. As such, they form part of a network of interrelated elements that constitute the archival environment and, at the same time, point beyond it. How does this new environment affect our way of dealing with moving images? How does it affect the films and their aesthetics to be embedded in a digital framework of paratextual elements? And how do the films, in turn, influence this framework? What does it mean when the films are shown in the context of a Pirate Cinema(3) screening? And ultimately: how does this change not only the way we see the films, but also cinema itself?
(1) https://0xdb.org (2) https://pan.do/ra (3) https://piratecinema.org
Sebastian Lütgert is an artist, programmer, and writer. He is (together with Jan Gerber) the founder of experimental movie database 0XDB and the software behind it (pan.do/ra). He has co-initiated other initiatives like Pirate Cinema Berlin, Bootlab and texts.com.
Cornelia Lund is an art, film and media theorist and curator living in Berlin. She is the co-director of fluctuating images, a platform for media art and design with a focus on audiovisual artistic production. She has been teaching design theory at various universities.
- When films enter the database 0xDB(1) and its underlying software pan.do/ra(2), they become digital objects. As such, they form part of a network of interrelated elements that constitute the archival environment and, at the same time, point beyond it. How does this new environment affect our way of dealing with moving images? How does it affect the films and their aesthetics to be embedded in a digital framework of paratextual elements? And how do the films, in turn, influence this framework? What does it mean when the films are shown in the context of a Pirate Cinema(3) screening? And ultimately: how does this change not only the way we see the films, but also cinema itself?
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1
Next few years of art and commons: on idiosyncratic learners and radical lurkers
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- Subtitle
- Lecture by Olga Goriunova
- Author
- Date
- 19.10.2017
- Keywords
- Description
- Cultural theorist, philosopher, and curator Olga Goriunova focus in her talk on the radical differences between the first 15 years of the World Wide Web (1990 -2005) and the next 15. To speak about artist-run platforms (such as the hub for software art, runme.org) and other experimental projects thriving in these first 15 years, I developed the term “organizational aesthetics”, which was concerned with specific forms of artistic and cultural movements within technological networks.
Typical for such projects was that they incorporate many different, flexible roles through which they are developed and maintained, and which provide models of contribution and use. These roles reflect a specific form of knowledge, and they coalesce around certain figures: learners and lurkers, to start with. (The term lurker comes from online forum culture and stands for a kind of participation, where the lurker is part of the forum, but not actively contributing to. The lurker is a reader who could but chooses not to, write.) With time, the classical knowledge of the learner gave way to the local knowledge of the lurker.
Now, the question is, what kind of knowledge – and with it: what kind of technology – will be created and sustained in the next 15 years? Are projects of at the intersection of the art and commons (that is, freely available resources produced and maintained by a community) developing new figures and with them, new infrastructural aesthetics?
Dr. Olga Goriunova (1977, Ulan-Ude, UdSSR) is a cultural theorist, philosopher, and curator with a focus on digital art and culture. She is Reader and Director of Graduate Research at Royal Holloway University London.
- Cultural theorist, philosopher, and curator Olga Goriunova focus in her talk on the radical differences between the first 15 years of the World Wide Web (1990 -2005) and the next 15. To speak about artist-run platforms (such as the hub for software art, runme.org) and other experimental projects thriving in these first 15 years, I developed the term “organizational aesthetics”, which was concerned with specific forms of artistic and cultural movements within technological networks.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1
Rethinking the Art School
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- Subtitle
- Lecture by Laurence Rassel
- Author
- Date
- 01.03.2018
- Keywords
- Description
- A school of art is a zone of convergence studded with a multiplicity of individuals, things and flows, stories, fictions, and stagings, with social, cultural, material, singular and interacting asperities. And it is also a common territory by default: if we choose to come there to work or to study, we do not choose those with whom we will share this ephemeral biotope.
Taking her current position as head of the Brussels-based art school e.r.g (Ecole de Recherche Graphique) as a starting point, Laurence Rassel reflects in her talk about how the art school as an institution can be conceived as an environment for developing a sense of collectivity. Assuming the double definition of the word “institution” as a potential to be developed as well as an established form, Rassel identifies alienation where the “instituted” takes precedence over the “instituting.”
In her work, the common is thought and will be constructed as the result of an action composed of the differences in presence. The common will not erase these differences, and it will not only be composed by them. The common is always the result of a “common doing” rather than a fixed group and or an “institution.” The paradoxical task then is to sustain the collective, the common, while preserving heterogeneity and the singularities in place.
For the participants, workers, collaborators related to the institution, however, it is a real instituting movement that is at stake. The inspirations for Rassel’s models for work processes come from open source/free software culture, but also from institutional psychotherapy. The school is a place full of hierarchies, governed by texts, decrees but also by consciences that reveal themselves there as brutal, feverish, urgent, generating a desire to reach a “whole” and a desire to question “the whole,” and nevertheless build a common. By opening up this layer from “read-only” to “read, write and execute,” the very structure of the school can be turned inside out – to serve new purposes. People can get involved and affect the structure by their history to be made. The process is the collective development of the “how.”
Laurence Rassel is a cultural worker who can act as curator, teacher, organizer. She is currently based in Brussels. From 2008 to 2015 she was Director of Fundació Antoni Tàpies, Barcelona, an institution created in 1984 by the artist Antoni Tàpies to promote the study and knowledge of modern and contemporary art (http://www.fundaciotapies). From 1997 to 2008, Rassel was a founding member of Constant, a non-profit association and interdisciplinary arts-lab based and active in Brussels in the fields of art, media and technology. Currently, she is Director of erg (école de recherche graphique – école supérieure des arts) in Brussels.
- A school of art is a zone of convergence studded with a multiplicity of individuals, things and flows, stories, fictions, and stagings, with social, cultural, material, singular and interacting asperities. And it is also a common territory by default: if we choose to come there to work or to study, we do not choose those with whom we will share this ephemeral biotope.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1
Commoning Infrastructures. Promises, challenges, and the role of art.
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- Subtitle
- Lecture by Daphne Dragona
- Author
- Date
- 13.09.2018
- Keywords
- Description
- Cultural scientist and curator Daphne Dragona talks about alternative community-based network systems and the role art can play in their development.
Practices of commoning are driven by affect, a sense of new possibilities and a desire to respond to existing asymmetries of power. In the case of network infrastructures, asymmetries usually refer to issues of access, as well as to the surveillance and commodification of circulating information. Wishing to oppose the structures of the sovereign corporate systems of communication, different examples of alternative networking have emerged in the last two decades. Initiated and built by artists, activists, and other network practitioners, these infrastructures manifest a desire for accessible, user-owned and controlled systems, that respect the needs of different territories, communities and users.
What can we learn from the recent history of alternative and radical networking? What are the promises and challenges of the commoning of infrastructures in times of increasing socio-politcal divides and conflicts? When does commoning need to be readdressed and which forms of learning and doing might be of help? Turning to examples coming from the fields of art, this presentation will examine how the poetics and imaginaries of counter-infrastructures can assist in re-imagining the way we relate to each other and to the world itself.
Daphne Dragona is a Berlin-based theorist and curator. Since 2015 she has been part of the curatorial team of transmediale festival. She has worked with different institutions for exhibitions, conferences, workshops and other events. Dragona has been working in the field of digital and urban commons since 2009, having curated Esse Nosse Posse: Common Wealth for Common People (EMST 2009), Mapping the Commons, Athens (EMST 2010), Off-the-cloud zone (Transmediale, 2016) and “… An Archaeology of Silence in the Digital Age”, solo exhibition of Christoph Wachter and Mathias Jud (Aksioma, 2017). She holds a Ph.D. from the Faculty of Communication and Media Studies of the University of Athens.
- Cultural scientist and curator Daphne Dragona talks about alternative community-based network systems and the role art can play in their development.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1
Crowd Benefits
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- Subtitle
- Interview with Mauricio O’Brian
- Author
- Date
- 15.09.2018
- Keywords
- Description
- Mauricio O’Brian is a co-founder of Goteo.org, a crowdfunding platform foregrounding collective return. The platform was founded in 2011 and is one of the pioneering platforms. It was developed by Platoniq, an arts and media design collective working on participatory culture in the digital realm, working since 2001 and based in Barcelona, Spain.
Goteo is different from other crowdfunding platforms like Kickstarter in the way it conceptualizes crowdfunding as a participatory project. Central for Goteo is the social return of the projects. It promotes projects working for the commons, open code and/or free knowledge, putting the accent on the public mission and favoring free culture and social development, allowing only projects available under a free and/or open license. Apart from the usual monetary contributions, Goteo includes collaborations like services, material resources, infrastructure or participation in specific microtasks needed for the development of projects. It is thus as well fostering a network of local communities. It has always put an emphasis on local events, working together with local communities, organizations and public institutions and has sought to involve the community through local workshops and other means in developing new features. Goteo has put a lot of emphasis on partnering with a wide range of public and private institutions, primarily municipalities in Spain. The principle of “co-responsibility” is also touching on public decision-making processes.
Goteo is managed by the Goteo Foundation, a non-profit organization that unites all the agents committed to the development of the project.
Mauricio O’Brian talks in this interview about the social dimension of crowdfunding and explains the concept of crowd benefit and social return in crowdfunding. He discusses the vision of a culture of co-responsibility, and how this is also linked to decision making processes when it comes to partnerships with public institutions.
- Mauricio O’Brian is a co-founder of Goteo.org, a crowdfunding platform foregrounding collective return. The platform was founded in 2011 and is one of the pioneering platforms. It was developed by Platoniq, an arts and media design collective working on participatory culture in the digital realm, working since 2001 and based in Barcelona, Spain.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 16.12.2019
- Parent sets
- 1
Buen Vivir.
- Subtitle
- Interview with Penny Travlou on collaborative practices in emerging networks
- Author
- Date
- 31.03.2021
- Keywords
- Description
-
Posted on March 31, 2021 by Cornelia
Buen Vivir. Interview with Penny Travlou on collaborative practices in emerging networks.
Framed by her long-standing research on collaborative practices, geographer and ethnographer Penny Travlou introduces two projects she has been involved lately: Platohedro, a space, a platform and community based in Medellín, Colombia, and the Feminist Autonomous Research Center in Athens (FAC). Platohedro refers to the indigenous concepts of Buen Vivir and Buen Conocer and works on adapting them to the contemporary living conditions in urban societies, while FAC puts an emphasis on commnity-based autonomous knowledge production. Both are concerned with forms of thinking and working together that allow for creating alternatives to extractivist, colonial, racist and anti-feminist modes of (knowledge)production.
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- Copyright holder
- Zürcher Hochschule der Künste
- type
- Project title in German
- Creating Commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 10.05.2021
- Parent sets
- 1
Negotiating Space in Culture and Technology.
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- Subtitle
- Cornelia Sollfrank in conversation with Ruth Catlow and Marc Garrett
- Author
- Date
- 15.09.2018
- Keywords
- Description
- Ruth Catlow and Marc Garrett are the co-founders of furtherfield, an artist-led organisation and community platform located in Finsbury Park, North London. Furtherfield asks critical questions about art and technology, and addresses today’s important questions through exhibitions, labs and debates across many platforms and spaces.
In this interview, Ruth and Marc look back on how they started from an online community and grew into a multidimensional space for different practices in and through technologies and art culture. They highlight the importance of communities and public space, and how they reflect their concerns in their curatorial practice in today’s techno-political situation. They explain how furtherfield is working as a community-driven institution, how formats and subjects are developed, how they position themselves in the cultural landscape, and how they manage to get funding. Alongside these insights into the inner life of furtherfield they provide a detailed discussion about the importance of data as a commons, how this discussion is related to historical events, and what an informed, critical mindset could achieve for the future of us all.
- Ruth Catlow and Marc Garrett are the co-founders of furtherfield, an artist-led organisation and community platform located in Finsbury Park, North London. Furtherfield asks critical questions about art and technology, and addresses today’s important questions through exhibitions, labs and debates across many platforms and spaces.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 28.05.2019
- Parent sets
- 1
Networking Institutions
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- Subtitle
- Interview with Z. Blace
- Author
- Date
- 03.03.2018
- Keywords
- Description
- Z. Blace is one of the founders of Multimedia Institut / MaMa in Zagreb.
In this interview, he gives an overview of the activities of Multimedia Institute and it’s public space MaMa in Zagreb until today. He discusses the work of networking institutions and cultural advocacy in the political context of Croatia and draws connections to the discourse around the commons.
- Z. Blace is one of the founders of Multimedia Institut / MaMa in Zagreb.
- Copyright holder
- Zürcher Hochschule der Künste
- Institutional affiliation
- type
- Project title in German
- creating commons
- Lecturer / head of project
- Felix Stalder
- Imported on
- 17.12.2019
- Parent sets
- 1