Filed under book | Tags: · biosphere, cold war, computing, cybernetics, environment, governmentality, history of science, networks, politics, secrecy, soviet union, systems science, systems theory
“In The Power of Systems, Eglė Rindzevičiūtė introduces readers to one of the best-kept secrets of the Cold War: the International Institute of Applied Systems Analysis (IIASA), an international think tank established by the U.S. and Soviet governments to advance scientific collaboration. From 1972 until the late 1980s IIASA in Austria was one of the very few permanent platforms where policy scientists from both sides of the Cold War divide could work together to articulate and solve world problems. This think tank was a rare zone of freedom, communication, and negotiation, where leading Soviet scientists could try out their innovative ideas, benefit from access to Western literature, and develop social networks, thus paving the way for some of the key science and policy breakthroughs of the twentieth century.
Ambitious diplomatic, scientific, and organizational strategies were employed to make this arena for cooperation work for global change. Under the umbrella of the systems approach, East-West scientists co-produced computer simulations of the long-term world future and the anthropogenic impact on the environment, using global modeling to explore the possible effects of climate change and nuclear winter. Their concern with global issues also became a vehicle for transformation inside the Soviet Union. The book shows how computer modeling, cybernetics, and the systems approach challenged Soviet governance by undermining the linear notions of control on which Soviet governance was based and creating new objects and techniques of government.”
Publisher Cornell University Press, Ithaca, NY, 2016
Creative Commons BY-NC-ND 4.0 International License
ISBN 9781501703188, 1501703188
Reviews: Roundtable: Barbara Czarniawska, Jenny Andersson, Claudia Aradau, Paul Rubinson, author’s response (H-Diplo, 2019), Kristine C. Harper (Isis, 2018), Benjamin Peters (Slavic Review, 2019), Gerald Easter (American Historical Review, 2018), Jeanne Morefield (J History of Ideas, 2020), Laurent Coumel (Cahiers du monde russe, 2018, FR), Una Bergmane (Lithuanian Historical Studies, 2018), Christian Dayé (Serendipities, 2018).
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Filed under book | Tags: · art, image, internet, media, networks, politics
“The proxy, a decoy or surrogate, is today often used to designate a computer server acting as an intermediary for requests from clients. Originating in the Latin procurator, an agent representing others in a court of law, proxies are now emblematic of a post-democratic political age, one increasingly populated by bot militias, puppet states, and communication relays. Thus, the proxy works as a dialectical figure that is woven into the fabric of networks, where action and stance seem to be masked, calculated and remote-controlled.
This publication looks at proxy-politics on both a micro and a macro level, exploring proxies as objects, as well as networks as objects. What is the relation between the molecular and the planetary? How to fathom the computational regime? Yet, whilst being a manifestation of the networked age, thinking like a proxy offers loopholes and strategies for survival within it.
The Research Center for Proxy Politics (RCPP) explores and reflects upon the nature of medial networks and their actors. Between September 2014 and August 2017, the center hosted workshops, lectures and events at the Universität der Künste, Berlin, under the auspices of Hito Steyerl’s Lens-based class.”
Contributors: Tom McCarthy, Kodwo Eshun, Goldin+Senneby, Brian Holmes, Nick Houde, Jonathan Jung, Laura Katzauer, Boaz Levin, Mikk Madisson, Doreen Mende, Sondra Perry, Oleksiy Radynski, Robert Rapoport, Hito Steyerl, thricedotted, Vera Tollmann, Miloš Trakilović.
Edited by Research Center for Proxy Politics (Vera Tollmann and Boaz Levin)
Publisher Archive Books, Berlin, October 2017
ISBN 3943620719, 9783943620719
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Filed under book | Tags: · 1960s, 1970s, art history, avant-garde, central europe, cold war, collaboration, community, conceptual art, documentation, east-central europe, eastern europe, experimental art, language, mail art, neo-avant-garde, networks, performance art
“Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznań, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers.
Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976—points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences—a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc, Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.”
Publisher MIT Press, 2018
ISBN 9780262038300, 0262038307
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