theme 1: Community –> Inclusion, structures, and power / for who?

 

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This topic contains 9 replies, has 3 voices, and was last updated by Jessica Westbrook Jessica Westbrook 1 year, 11 months ago.

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  • #149

    theme 1: Community –> Inclusion, structures, and power / for who? –> considers barriers, language, systems of participation.

    #165

    A Primer on Sexism in the Tech Industry.

    By Faruk Ateş on October 10, 2012

    http://www.netmagazine.com/features/primer-sexism-tech-industry

    #173

    Jo Freeman, Tyranny of Structurelessness and response by Cathy Levine, Tyranny of Tyranny

    http://www.jofreeman.com/joreen/tyranny.htm

    http://theanarchistlibrary.org/library/Cathy_Levine__The_Tyranny_of_Tyranny.html

    #175

    thread from oF list-serve on gender and participations…

    excerpt here –>

    http://www.onchanneltwo.com/of.html

    >>> The biggest problem? “Homogeny breeds more homogeny, and unless you do

    >>> something about it, it just doesn’t go away.”

    #221

    mikloslegrady
    Participant

    Miklos Legrady

    1-reply in the form of a video; The artworld eats its own http://www.mikloslegrady.com/artworld/art.html

    2-reply in the form of a commentary;

     

    The Anonymous Art Awards
    presented by Miklos Legrady
    along with Those Who Wish To Remain Anonymous.

    The Anonymous Art Awards will celebrate and honor those artists
    who have shown excellence this year but wish to remain anonymous.

    The art community, while an endearing crowd,
    like all groups will enforce their own sense of social conformity.
    Some artists on the other hand are shy, socially inept, or badly confused.

    Anonymous art could be more interesting than art history; it’s a known fact.
    This is an opportunity to let your imagination soar
    to what those anonymous works would be, could be…
    if we could but see them.

    Awards will be presented in all media categories.
    Unfortunately, the artwork could lead to indentifying the artists,
    so no work may be entered in the competition or shown to the public.

    Since the winners wish to remain anonymous, there’ll be no need for prizes,
    or walking up to the podium under the glare of spotlights.

    In fact, since the winners won’t show up at all,
    there’s no point in expensive award presentations,
    which have been very successfully cancelled.

    Thank you all for participating.

     

    (Collection, rhizome.org 2007)

    • This reply was modified 1 year, 12 months ago by  mikloslegrady.
    • This reply was modified 1 year, 12 months ago by  mikloslegrady.
    #224

    mikloslegrady
    Participant

    A third reply from Legrady:

    Derrida, searching for the conceptual contradiction within the statement, would have loved the notion that to be successful today, an artist has to be a member of the avant-garde.

    It follows that where there’s a territory (being avant-garde) there must be a script (a look, a style, brand, model, orthodoxy) which then subverts, negates and contradicts the avant garde, of being ahead of our time and cultural practice.

    Most fine art producers , artists, critics, curators graduate from similar schools and share similar values, which are reflected in their production, association, and the systems created thereby. Surely a cultural blindness results from such group judgments.

    • This reply was modified 1 year, 12 months ago by  mikloslegrady.
    • This reply was modified 1 year, 12 months ago by  mikloslegrady.
    #530

    notendo
    Participant

    Very interesting thread!

    #564

    @Miklos Legrady it seems like you are interested in a meta conversation about institutionalized and inherited orders/Art worlds. not unrelated to this concern –  i worked with a group called basekamp out of philadelphia who investigated a multiplicity of constructs over the course of a year — and still just scratched the surface of discovering and describing ways of being an artist and connecting with community and the affirmation that sharing and agreeing can bring –> http://www.plausibleartworlds.org/ and about basekamp: http://basekamp.com/about/projects… which brings this reply back to the topic of “community” and “art” and “who” and “how”

    #565

    anonymity == awesome. and hard to come by. i think its counter to our economic system

    #566

    re: “community” – a cloud like construct with a past present futures, shared language or situation or timing, with people coming and going. these things just happen, or they are constructed/modified into something more formal — via association or definition.  it has been interesting over the past few weeks that i find myself describing and explaining “glitch” over and over again –> generally i jump to aesthetics (art, easiest thingness to grasp), to mechanics (process, tech), to philosophy (shared concerns/ideas/politics). for whatever reason i had learned to assume there was some common knowledge involved/acculturation/presence with glitch in art oriented circles – but its not necessarily the case. education/translation still required… and as i’m writing this i am remembering someone mentioning at codeblocks last week that there is a certain amount of active engagement/research/inquiry/assertiveness necessary for participation to happen. so maybe the question is what/where is the threshold between education and — leetspeak? how much exclusion is necessary for authenticity? how much outreach is necessary for diversity? is the community as it is, interested in a level of transformation/otherness? this is an interesting way of listening: http://en.wikipedia.org/wiki/Progressive_stack

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