— Archive —
C.O.P.Y, Martin Wecke (2013)

The pages of C.O.P.Y remain empty for the human eye. After xeroxing or scanning, thanks to the ‘void pantograph’ method, the book reveals the essay “Copyright, Copyleft and the Creative Anti-Commons” by Anna Nimus. As in open source development, the text’s quality (legibility) gets better with every copy.
Digital technologies sometimes seem to know more about our wishes than we do. We need philosophy to make sense of the radical changes brought about by the information revolution. And we need it to be at its best, for the difficulties we are facing are challenging. Rebooting Philosophy | OUPblog blog.oup.com/2014/07/rebooting-philosophy
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Polemics, Politics and Problematizations | Michel Foucault

And no doubt fundamentally it concerns my way of approaching political questions. It is true that my attitude isn’t a result of the form of critique that claims to be a methodical examination in order to reject all possible solutions except for the one valid one. It is more on the order of “problematization” — which is to say, the development of a domain of acts, practices, and thoughts that seem to me to pose problem for politics.


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  • Problematization (or problematisation) of a term, writing, opinion, ideology, identity, or person is to consider the concrete or existential elements of those involved as challenges (problems) that invite the people involved to transform those situations.[1] It is a method of defamiliarization of common sense. Problematization is a critical thinking and pedagogical dialogue or process and may be considered demythicisation. Rather than taking the common knowledge (myth) of a situation for granted, problematization poses that knowledge as a problem, allowing new viewpoints, consciousness, reflection, hope, and action to emerge.[1] What may make problematization different from other forms of criticism is its target, the context and details, rather than the pro or con of an argument. More importantly, this criticism does not take place within the original context or argument, but draws back from it, re-evaluates it, leading to action which changes the situation. Rather than accepting the situation, one emerges from it, abandoning a focalised viewpoint.[1] To problematize a statement, for example, one asks simple questions: Who is making this statement?
  • For whom is he or she making it?
  • Why is this statement being made here, now?
  • Whom does this statement benefit?
  • Whom does it harm?
  • The term is also used in association with actor–network theory (ANT), and especially the "sociology of translation" to describe the initial phase of a translation process and the creation of a network. According to Michel Callon, problematization involves two elements: 1. Interdefinition of actors in the network 2. Definition of the problem/topic/action program, referred to as an obligatory passage point (OPP)
  • ( My understanding of the creative process is very much tied up in these ideas. Defamiliarization, another one of my favorite ideas makes a cameo here.)
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Post-Surveillance: Suzanne Treister’s riposte to ‘Post-Internet’ art

“As an ironic riposte to much of the new wave of ‘Post-Internet’ art, which generally ‘lacks any criticality or awareness of the history or politics of the net and new technologies’, she has created her own label: ‘Post-Surveillance art.’ ‘I decided to…extend the idea that if you are born into an internet culture you can make ‘Post-Internet’ art, to our current surveillance culture, which I felt had been around at least since I was born in one form or another.’
You cannot, however, read any of it as an activist gesture – it is politically ambiguous. ‘The work is ironically part accepting and part moving on, and sometimes celebratory. What if we stop complaining or justifying for a minute…let’s try and visualise this brave new world…I like the idea of playing with an image of the NSA, or GCHQ,’ she explains, ‘and representing it all as a kind of hallucinogenic drug induced visionary landscape, a kind of pop poetry.’”



MIRRORCITY shows recent work and new commissions by key emerging and established artists working in the capital today. These artists seek to address the challenges, conditions and consequences of living in a digital age.
Hayward Gallery, London


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by jonrafman http://ift.tt/1bW01hv