TOOLS OF DISTORTED CREATIVITY Transmediale 2013 BWPWAP Berlin/DE:29.01-03.02.2013
Transmediale 2013 BWPWAP Berlin/DE:29.01-03.02.2013
Access To Technology is a Human Right™
Access To Technology is a Human Right™ from tttp on Vimeo.Hamburg 1996 Leuven 2012 Photo documentation by Inke Arns
transmediale 2012 Programme Overview
/ Tuesday 31 Jan 2012 - Opening Night 17:00 transmediale 2012 Exhibition Vernissage Dark Drives. Uneasy Energies in technological Times curated by Jacob Lillemose with artworks from Ant Farm, William S. Burroughs and Antony Balch, Art 404, Bjørn Erik Haugen, Bureau of Inverse Technology (B.I.T.), Chris Burden, Chris Cunningham/Aphex Twin, Constant Dullaart, Costanza Candeloro and Luca Libertini, Daniel García Andújar / Technologies To The People, Heath Bunting, Jack Caravanos (Blacksmith Institute), Vibek Raj Maurya, Jaromil, Jennifer Chan, JK Keller, JODI, jon.satrom, Junko & Mattin, Marcelina Wellmer, Matteo Giordano, Karla Grundick and Mistress Koyo, Paidia Institute, Peter Luining, Ruth White, SPK, Steina and Woody Vasulka, Sture Johannesson, Nikola Tesla, Jay Dahl, TR Kirstein, Tracy Cornish, UBERMORGEN.COM, VNS Matrix, [epidemiC], Franco Berardi, Eva and Franco Mattes aka 0100101110101101.ORG
Artefact 2012 THE SOCIAL CONTRACT
14 > 23 February 2012 STUK arts centre Leuven The theme of this eleventh edition of Artefact is The Social Contract. That term has been used in political and philosophical theories since the 17th century, but still emerges regularly today, in interviews with politicians, political party programs and debates. Even the early adopters of the social contract theory, such as John Locke, Thomas Hobbes and Jean-Jacques Rousseau, used and interpreted the concept in different ways. The classic interpretation concerns the relation between the individual as a citizen and a political entity, in which the individual sacrifices part of his freedom and power in order for the state to offer safety and social and economic security to the citizen. But what is the position of the social contract in our current times of crisis in a globalized world?
THE WONDERFUL WORLD OF IRATIONAL.ORG: Tools, Techniques and Events 1996-2006 in Novi Sad
[gallery=42] THE WONDERFUL WORLD OF IRATIONAL.ORG: Tools, Techniques and Events 1996-2006 Museum of Contemporary Art of Vojvodina Dunavska 37, Novi Sad, Serbia Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen) Dates: 28. October - 27. November 2008. from 9-17h, during weekends from 9-14h; Museum is closed on Mondays. Production: New Media Center_kuda.org, Novi Sad, http://www.kuda.org Hartware MedienKunstVerein, Dortmund, http://www.hmkv.de Co-producers of the show: Museum of Contemporary Art of Vojvodina, Novi Sad, http://www.msuv.org Institute for Flexible Culture and Technologies - Napon, Novi Sad, http://www.napon.org
THE WONDERFUL WORLD OF IRATIONAL.ORG (Predivni svet irational.org-a)
Izložba čuvenih pionira net.arta
kustosi:Inke Arns, Jakob Lilemoze (Jacob Lillemose)
Muzej savremene umetnosti Vojvodine, Novi Sad
Dunavska 37, Novi Sad
28. Oktobar - 27. Novembar 2008.
Otvaranje izložbe: Utorak 28. Oktobar, u 20:00 časova
Muzej savremene umetnosti Vojvodine, Novi Sad
Koproducenti izložbe :
Hartware MedienKunstVerein, Dortmund
Centar za nove medije_kuda.org, Novi Sad
Institut za fleksibilne kulture i tehnologije – Napon, Novi Sad
Irational je neformalna grupa šest internacionalnih net i medijskih umetnika koji su se svojevremeno okupili oko servera irational.org, kojeg je osnovao britanski net umetnik Heath Bunting 1996. Članovi Irational.org su: Daniel G. Andujar (Valensija/Španija), Rachel Baker (London/Velika Britanija), Kayle Brandon (Bristol/Velika Britanija), Heath Bunting (Bristol/Velika Britanija), Minerva Cuevas (Mexico City/Meksiko), Marcus Valentine (Bristol/Velika Britanija)
Fri software på overfladen, bag skærmen og i et kulturelt kalejdoskop: X-Devian
[Essay] Jacob Lillemose fortæller i dette essay om Daniel Garcia Andújars installation X-Devian. The New Technologies To The People System og om baggrunden for dette værk Af Jacob Lillemose Foto: Århus Kunstbygning
Udstillingen X-Devian. The New Technologies To The People System blev vist i Århus Kunstbygning fra 12. maj til 10. juni 2007 www.aarhuskunstbygning.dk
|Udstillingsbillede fra Århus Kunstbygning|
Free Software on the Surface, Behind the Screen and in a Cultural Kaleidoscope: X-Devian.
The New Technologies To The People® System By Jacob Lillemose In 1999, when the art and technology festival Ars Electronica awarded The Golden Nica, first prize in the ”.net” category, to the programmer Linus Torvalds for his development of the Linux operating system, it was pointing in general to the relationship between free software and art, and more specifically to the affinity between free software and that part of contemporary art which is concerned with software’s constantly increasing influence on social, economic and political conditions. Like Linux, this part of contemporary art works against the proprietary software industry’s standardization, repression and rationalization of the software culture, and instead explores alternate possibilities for freeing the software culture through more open, expressive and speculative processes. On a more indirect level, Ars Electronica’s choice of Linux also emphasized another relationship between free software and this contemporary art, i.e. the idea informing both that software is not just a question of programming, but of producing culture - of understanding and using technology as a means of engaging in a social context. According to the founder of the Free Software Foundation (FSF) Richard Stallman, free software is about ”practical material advantages” but also about ”what kind of society we want to live in, and what constitutes a good society”. 1 Stallman himself imagines an extremely collective and creative society founded on the freedom to ”use, study, copy, modify and redistribute software”. For him, the free software’s fundamental abolishment of intellectual property rights represents a chance to structurally and conceptually ”reprogram” society for the better, and this is an opinion he shares with much of contemporary art.
X-Devian. The New Technologies To The People System 2003- Social event in public space: production, promotion and distribution of FLOSS software and advertising video x-devian.org Presented with advertising video in the exhibition, and during the Irational Action Weekend in Dortmund Judging from the aesthetics x-devian looks like your standard commercial proprietary software. With its minimalistic »X« and slogan reading »With over 150 innovative new features, it’s like having an all-new computer«, the stylishly designed black-and-white cover effectively signals that this product means business — which it does. However, the content and not least the ethics of the product is explicitly opposed to the software culture promoted by neo-liberal corporations like Microsoft and Apple. As a bootable operating system (i. e. it does not need to be installed on your computer but can be run directly from the portable disk) based on GNU/Linux, x-devian is involved not in the business of capitalism but of free and shared culture. The system represents a comprehensive conceptual and practical reconfiguration of the economics of mainstream software culture. To use it, no investment in expensive software or hardware is necessary. Just insert the disk - which your can order for free at the X-Devian website - in your
TTTP Promotional video
1998 DVD Presented on a monitor » Like every other company Technologies To The People (TTTP) is highly aware of (the value of) its public image and how this image is presented through different media. In this promotional video a number of international tech-economic experts praise the values and ethics of TTTP. However, originally the experts were not hired and paid by TTTP but by its market rivals — global corporations like Dell, Microsoft, and so forth. The promotional video strings together sequences hijacked from corporate PR videos and the abstract concepts they use to deliver ultra-positive descriptions of their companies’ imagined role in the world. Thus, it adopts the language and visuals of business to promote the rival notion of a human-centred and common culture, subtly and humorously confronting the viewer with the question of which of the two cultural economies one wants to define ›freedom‹, ›the future‹, and not least ›access to technology‹. (Jacob Lillemose)