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Christina Battle, "Distributed Systems and the Collective Model for the Media Arts Network of Ontario," Other Place
"Now firmly rooted in Canada’s cultural landscape, artist-run centres operate more like mini-institutions than their designation might insinuate—albeit often with less funding and security— than their institutional counterparts and certainly than their larger council- based benefactors."

"We often think of artist-run centres as radical spaces challenging the hierarchies and bureaucracies of dominant culture, and in some cases, comparatively at least, they are. But as they quickly became formalized as artist-run centres,6 groups were quick to adapt to the organizational priorities handed down from the government agencies at the top, instilling an administrative imperative that continues to shape artist-run centres today."

"It’s not cynical to assume that attempting to maintain a radical perspective from the inside of institutionalization is a naïve concept; bureaucracies are incongruent with radical politics and activist ideals. What needs to shift is our ready acceptance that artistic spaces are radical and progressive merely because they are artist-run."

"If organizations with no motivation, understanding, or desire to have a more diverse makeup have become so institutionalized that they are forced into doing so because their government bureaucracies insist on it, what hope is there that these same institutions will ever lead the way toward a better, more inclusive or progressive sector?"

"All of this is not to say that we should do away with the current system created and facilitated by the Canadian public arts sector. To the contrary, it fosters important conversations and creativity. But it is ambitious to expect the sector, as it stands, to produce progressive change."

"I suggest we map Galloway’s theories about network systems onto the current public artistic sector by deprivileging the focus on established, institutionalized organizations in favour of a broadening of smaller groups and collectives that have the ability to remain autonomous."

"By strengthening the number of collectives that are part of the arts sector, we could see the influx of a multiplicity of voices more adaptable to the times. By supporting collectives in a way that better maintains and enhances their own agency, the groups would be able to react more spontaneously to societal changes as they happen. In turn, this new focus could offer a higher degree of stability to the entire system."

"I find it critical to look toward DIY strategies of engagement as a tactic going forward, for artists to come together and try and, perhaps even more importantly, to fail. Only through the encouragement of a number of working strategies and methods can a diverse and truly distributed artistic sector surface and continue to thrive. And these diverse methodologies need to come from artists themselves."
2019  ChristinaBattle  Ontario  Toronto  ArtWorld  ArtistRunCenters  collectives  ArtInstitutions  Canada 
5 weeks ago by briansholis
Digital Life Collective
"The Digital Life Collective researches, develops, funds and supports Tech We Trust: technologies that prioritize our autonomy, privacy and dignity. Our tech, not their tech.

Forming a co-operative of like-minded people is the best and perhaps only way to nurture Tech We Trust.

We are a co-operative.

Member funded. Member owned. Member controlled. Our rules are published here, and all our member rights and responsibilities can be found here.

Co-operation requires trust, and Tech We Trust requires co-operation.

Why we're here

The norm today is Tech We Don’t Trust. Every time we engage with digital technologies, we should ask – what’s actually going on here? – and the answer is too typically illusive.

We cannot wait for the invisible hand of the market to help solve this. If anything, it seems to guide many companies in the opposite direction for now. We cannot wait for governments to solve this either. In short, we need to co-operate. And that’s why we exist, why we are incorporated as a co-operative, and why we need you to join us.

Why are you incorporated as a UK co-op?

When we got started, we had several core team members in the UK who were willing to put in the effort and take on the responsibilities of becoming directors and founding members, and some with significant knowledge of UK Co-op structures and their legal requirements. Once we are better resourced/bigger, we anticipate having entities in multiple countries subject to our review of the respective technical and legal environment."
accessibility  collectives  equality  technology  privacy  autonomy  cooperatives 
july 2019 by robertogreco
NOPHOTO. Colectivo de Fotografía Contemporánea
"NOPHOTO es un colectivo de fotografía contemporánea nacido en 2005 con el objetivo de hacer viables proyectos individuales y colectivos NO convencionales.

Se caracteriza por una actitud abierta en contenidos, una tendencia interdisciplinar en las formas, la utilización de múltiples soportes de difusión de los proyectos, como web y proyección digital y la implicación personal en el proceso de gestación y producción de los mismos.

NOPHOTO hace de la negación su punto de partida. NOPHOTO no es una agencia de fotógrafos, sino una ACTITUD. Una manera de ver. Una revolución. Un NO (que nunca está de más).

Esta actitud estética hace que NOPHOTO no renuncie a ninguna forma de creación o exhibición. Los trabajos del colectivo ofrecen una experimentada mirada sobre lo cotidiano que siempre conduce a lo extraordinario. Este proceso es resultado de la reflexión en grupo y de la interacción de procesos de creación alternativos.

“No es que nos guste ir a la contra, es que lo que nos divierte es caminar despacio, torpemente, observar las diferencias menudas entre las cosas, descubrir sus ritmos. Tratar de describir un objeto, dar una vuelta alrededor, acariciar su contorno y cubrir todo el perímetro. Preguntarse de qué está hecho y qué papel cumple en la historia. Obligarse a agotar el tema y no decir nada. Obligarse a mirar con sencillez y no resolver nada. No ilustrar, no definir, no fotografiar. Lo que nos gusta es desfotografiar las cosas y desnombrarlas.”

NOPHOTO ha sido galardonado con el Premio Revelación 2006 del Festival Internacional de Fotografía y Artes Visuales PHotoEspaña."
nophoto  photography  spain  españa  collectives  lcproject  openstudioproject  interdisciplinary  español  slow  differences  difference  betweenness  between  margins  periphery  unschooling  deschooling  opposition  discovery  howwelearn  learning  glvo  liminality 
november 2018 by robertogreco

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