The research project “Creating Commons” explores interstitial practices which open the space between art and commons. They are challenging established notions of contemporary aesthetic practice as well as of contemporary commons, requiring the development of a new theoretical and aesthetic framework for this emerging field.
The framing questions for the research are:
– how can new forms of organization and collaboration bring forth different kinds of cultural works and social relations?
– how are new property relations articulated?
– how can artistic practices contribute to the further developement of the commons as inclusive, diverse and democratic forms of organization?
– what role can art and an expanded understanding of aesthetics play in the advancement of the commons as a political project?
We think these are urgent questions, because commons constitute constantly evolving realities pointing beyond the growing commercialization of culture and its damaging effects.
The research project is located at the Institute for Contemporary Art Research, Zurich University of the Arts, financed by the Swiss National Science Foundation (grant: # 100016_169419) and conducted in cooperation with HeK (House of Electronic Arts Basel).
Research is conducted by Felix Stalder, Cornelia Sollfrank and Shusha Niederberger. The project started in January 2017 and runs for 36 months.
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.
In this interview, Marek Tuszynski, one of the two co-founders of Tactical Tech, explains what the goals of their non-profit organization are, how it is structured, how it aims to reach a wide audience through a variety of public engagements, and what its basic assumptions are. Originally dedicated to train human rights defenders and social justice activists in safe handling of technology, the organization has expanded over time and now also provides easily accessible information about critical use of technology for the average user. This is mainly done through exhibitions, workshops and freely accessible training materials on its website. Working with the paradoxes of technology means for TT to present technology, information and data in all their ambiguity, raising awareness of the political aspects of technology, including both empowerment and disenfranchisement.