Marcus Kaarto, Rasmus Fleischer (eds.): Copy Me. Samlade texter från Piratbyrån (2005) [Swedish]

30 June 2010, dusan

Digitaliseringen av kultur och information har utvecklats till en av vår tids stora stridsfrågor. Med en dator kan vem som helst kopiera information gratis, vilket har gjort tidigare monopolister desperata. Deras bittra nej till allt vad digital kultur heter, har skapat en onyanserad och tråkig debatt. De analoga massmedierna har fyllts av tyckare som på de mest udda sätt försöker förhålla sig till en främmande digital värld. Tidningarnas rapportering har varit ur tryckpressens perspektiv. Boken du håller i handen består däremot av texter som analogiserats från det digitala kulturlivet. Perspektiven som kommer fram är både hackerns, konstnärens, filosofens och den vanlige fildelarens. Copy Me bjuder på sågningar av kopieringsdiskussionens myter, men också visioner och praktiska exempel på ett kulturliv som för länge sedan lämnat upphovsrättens epok bakom sig. Från Public Enemy till Friedrich Hayek, från TV-spelens historia till Michel Foucault, från datornätverk till läkemedelsfabriker. För första gången i bokform och på svenska presenteras här en samling texter om en av vårt århundrades mest brännande ämnen: kopieringen.

Editors: Marcus Kaarto and Rasmus Fleischer
Publisher: Roh-Nin förlag, Stockholm. 2005
ISBN: 91–975797–0-X

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Medialab Prado: Inclusiva-net 1-3 (2007-2009) [English/Spanish]

23 June 2010, dusan


Inclusiva-net #3: net.art (second epoch). The evolution of artistic creation in the net-system

Publication of texts and videos of the lectures and keynotes presented during the 3rd Inclusiva-net meeting: NET.ART (SECOND EPOCH). The Evolution of Artistic Creation in the Net-system Seminar at the Centro Cultural de España Buenos Aires from March 2 through 6, 2009. Moderator: Juan Martín Prada.

This event was aimed to develop an analysis of the current situation of artistic practices on the Web from various theoretical and critical perspectives.

Throughout the meeting, many topics will be addressed including questions such as: Can we speak of a second epoch in net.art? What do the new art forms based on on/off-line hybridization contribute? What critical reflection do new manifestations of digital creations in networks offer us? What are the new relations between creation and dissention?

Net.art, which arose in the mid-1990s as a form of creative exploration and critical experimentation of the Internet, is one of the contemporary fields of artistic creation that has contributed most to a new outlook on forms of artistic production and experience.

Publisher: Medialab Prado. Área de Las Artes. Dirección General de Promoción y Proyectos Culturales. Madrid. 2009
Under Creative Commons License: Attribution – Share Alike (by-sa)

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Inclusiva-net #2: Digital Networks and Physical Space

From March 3 through 14, 2008, the 2nd Inclusiva-net Meeting, curated by Juan Martín Prada, took place at Medialab-Prado. In addition to a two week production workshop, lectures were held by invited researchers and artists and selected papers were presented.

ISSN 2171-8091
Publisher: Área de Las Artes. Dirección General de Promoción y Proyectos Culturales. Madrid. 2009
Under Creative Commons License: Attribution – Share Alike (by-sa)

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Inclusiva-net #1: New Art Dynamics in Web 2 Mode

Seminars and keynotes presented at the First Inclusiva-net Meeting: [New Art Dynamics in Web 2 Mode] · July 2007.

ISSN 2171-8091
Published by: Área de las Artes. Dirección General de Promoción y Proyectos Culturales.
Madrid, 2007

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Shifter Magazine 16: Pluripotential (2010)

22 June 2010, dusan

“We present scores, scripts, instructions, critical essays and more for Shifter’s 16th issue entitled ‘Pluripotential’.

Here we invoke a term, which describes the innate ability of stem-cells to differentiate into almost any cell in the body, to think through the possibility of criticality and cultural change through aesthetic strategies.

The skin that we are born with is transformed as a result of its life of touches, caresses and trauma and becomes flesh. While on the one hand each of us experiences a unique set of circumstances, our common knowledge also shapes this flesh. Analogously, the brain becomes the mind through its history of experiences: A British child growing up in Tokyo speaks fluent Japanese, something her parents having arrived later in life to Japan may never be able to do. The brain is prepared for a multiplicity of cultural and linguistic conditions, within certain biological limits of malleability. Furthermore, as Agamben has noted, ‘the child [...], is potential in the sense that [s]he must suffer an alteration (a becoming other) through learning.’

These limits of malleability may fall within the paradigm of what Ranciere calls the distribution of the sensible: “the system of self-evident facts of sense perception, that simultaneously discloses the existence of something in common, and the delimitations that define the respective parts and positions within it.” Does art have the pluripotential ability to produce events in the cultural landscape, which in turn produce a redistribution of the sensible: a shift in public consciousness concerning how and what we see and feel, and furthermore a reconsideration of who constitutes the public ‘we’. Here the contradicting ideas of a homogeneous people, versus the singularities that produce differences within the multitude become relevant.

This play between structural constraints and a potential for continuous change is seen in forms such as scores, scripts and instructions; and strategies including ‘detournement’ and remix, which hold within them the potential to be performed and reconstituted in multiple ways. It is therefore through these forms that we set out to explore ‘Pluripotential’.” (editors)

Contributors:
 Éric Alliez
, Bernard Andrieu, 
Eric Anglès
, Kader Attia, 
Elena Bajo, 
Lindsay Benedict
, Nicholas Chase, 
Seth Cluett
, Zoe Crosher
, Krysten Cunningham, 
Yevgeniy Fiks
, Dan Levenson, 
Antje Majewski
, T. Kelly Mason, 
Michele Masucci
, Daniel Miller, 
Seth Nehil
, Warren Neidich, 
Susanne Neubauer, 
Hans Ulrich Obrist
, Chloe Piene, 
Sreshta Rit Premnath, 
Linda Quinlan, 
Patricia Reed
, Silva Reichwein, 
Barry Schwabsky, 
Gemma Sharpe, 
Amy Sillman
, Francesco Spampinato, 
Tyler Stallings, 
Laura Stein, 
Clarissa Tossin
, Brindalyn Webster
, Lee Welch
, Olav Westphalen
, James Yeary

Editors: Sreshta Rit Premnath, Warren Neidich
Published in April 2010
Creative Commons Attribution-Noncommercial 3.0 United States License

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Back issues 1-15

Nieman Reports: The Digital Landscape: What’s Next for News? (Summer 2010)

19 June 2010, dusan

Explore the emerging realms of digital territory where news and information reside—or will soon. It’s a place where game playing thrives and augmented reality tugs at possibilities. It’s where video excels, while the appetite for long-form text and the experience of “deep reading” is diminished, and it’s where the allure of multitasking greets the crush of information. Learn how young people negotiate their journey, and travel inside the brain to discover its capacities in the digital realm. Dig deeper into topics covered in the magazine by clicking on the books in our digital library to reveal selected videos, articles, blogs and Web sites.

Vol. 64 No. 2 Summer 2010
Publisher: Bob Giles
Editor: Melissa Ludtke
Assistant Editor: Jan Gardner
Nieman Reports (USPS #430-650) is published in March, June, September and December by the Nieman Foundation at Harvard University, One Francis Avenue, Cambridge, MA

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FLOSS Is Not Just Good for Your Teeth (2006)

13 June 2010, dusan

Free, Libre and Open Source Explained (finally) in Simple English!

“Why do they call it ‘FLOSS’ when it doesn’t clean your teeth?”

Are you a non-nerd, a human being who happens to use computers without living inside them? Does that make you curious to find out what the buzz regarding open source and free software is all about? What’s in it for you? Does it work? Is it fun and easy to use? How is it made and who makes it? And how ‘free’ or ‘open’ is it, really? Have you looked long and hard for answers to questions like these in plain English? If that’s the case, ‘FLOSS is not just good for teeth’ could be just what you are looking for.

Impress your techie buddies with the fact that you care for your kernel, and open yourself to a whole new world of concepts that offer challenging and exciting ideas about creativity, collaboration and coding. ‘Floss’ geeks, make yourselves understood to other human beings – download and distribute ‘FLOSS is not just good for teeth’ to friends, family and colleagues, so they can finally know and appreciate what keeps you awake while they sleep.

‘FLOSS is not just good for teeth’ is a collaboratively produced introduction to the concepts that underlie free and open source software, written specially for the non-technical reader, at the Sarai Programme (www.sarai.net) of the Centre for the Study of Developing Societies, Delhi.

Editorial/Design Coordinator: Monica Narula
Text: Ben Olin, Aniruddha ‘Karim’ Shankar, G Karunakar
Illustration: Parismita Singh
Design: Mrityunjay Chatterjee
ISBN: 81-901429-8-4
Delhi, 2006
32 pages

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