What is at stake is not only the subsistence of the figure of the intellectual and, since Marcel Duchamp the intellectual has become synonymous with Semplificatore espressioni online dating artistbut the possibility of imagining a form of subjectivity that would not be totally at Semplificatore espressioni online dating mercy of instrumentalization.
All the above may sound at the same time a bit obvious and a little bit premature, like a statement uttered by somebody who jumps at the conclusions even before the facts are settled. Unfortunately, a closer analysis of the terms in discussion may probe not only the sheer fatality of the diagnosis but also the extreme difficulty of finding a productive way out of the current state of things. But we may start by wondering about the truthfulness of the propositions advanced at the very beginning of this short text.
The attempt at articulating a collective activity stems for, fist and foremost, a need for solidarity and a desire of abandoning the subjective positions associated with individualism and individual profit. For the last twenty years, individualism has come to represent the only operative ideology for the great majority of the cultural actors, at least in the countries of the so-called West.
Initially, the very notion of the individual clearly suited the older, romantic idea of the artist. But already in the mid-eighties it became quite obvious that the individualism of careerism and instrumentalization advanced by the very structure of late capitalism did not have much to do with the freedom of practical constraints implied in the romantic notion of the artist — that emerged, in the first place, in great part as a reaction against what was perceived as the oppressive mode of subjectivization characteristic of the factory worker.
But workers now are apparently free, seemingly not subjected to rigid constraints, and even encouraged to developed their individual creativity — everything that would advance the process of capital accumulation. Finding themselves in this trap, the artists today seem to be willing to explore alternative models of subjectivization, and collective action regains a centrality in this whole context.
Generation wise, it is people in their twenties and thirties who are better placed in order to perceive these very Semplificatore espressioni online dating, as it is this generation the one that has in fact being responsible for the changes in the economies of labor that characterized this stage of capital accumulation. In a way, the stakes are higher for them, since the failure of producing any viable alternative would finally fall on their shoulders as the impossibility of constituting any productive cultural comment on the current situation.
Right now, it is either collective action or simple repetition of the past. But to reinvent the notion and the possibility of collective action is nothing but simple. First and foremost, because there is no alternative ideology at hand, nothing of the order of an Outside — of the market — that could be reached for "Semplificatore espressioni online dating" an active principle.
In that respect, the situation is completely different than it was thirty years ago. On the other hand, and in connection with that lack of ideological alternatives, the very notion of the flexible subject constituted by the logic of late capitalism blocks any uncritical access to both an idealistic individual subjectivity and an equal utopical and complementary group identity. That agency still does not exist, somehow it has to be imagined.
Artists — these cultural producers who are able to imagine, meaning, to construct possible worlds with the use of images —, are maybe in a extremely advantageous position to accomplish this. This form of working has, throughout the 20th Century, existed in the shadow of the dominant art discourses.
As examples we can think of Futurism, Dadaism, Situationism, Mail Art or Fluxus, elements Semplificatore espressioni online dating which could always be objectified and assimilated by gallerists, but whose inter What is currently taking shape is a new internationalist artistic practice that is centrally concerned with the diversity of local situations, the idiosyncrasy of individual pursuits, and with the flows of connected, translocal actions.
This new practice takes on many disguises, but it frequently makes use of the new technological tools that facilitate translocal cooperations between creative people Semplificatore espressioni online dating all trades.
The Internet is the most important of these tools. Unlike other media — telephone, radio, newspaper, audio-storage media —, the Internet is a multi-channel medium which encompasses communication, presentation and distribution of text, image, video, sounds, live performances, and other formats. More generally, we can observe how the arts are increasingly opening up towards media practices, and how through this combination, the distinction between autonomous artistic practice and other, socially and culturally rooted practices, become inseparably mingled.
Only the prickly, the sour and the indigestibles are ignored. The new practice is made possible by a technological development through which many people get access to media that offer an alternative to the regime of mass media.
It is derived from the discussions of minority, of a minor literature and of becoming-minor as developed by Guattari and Deleuze: But here, this point, this object, begins to proliferate …begins to amplify, to recompose something that is no longer a totality, but that makes a former totality shift, detotalizes, deterritorializes an entity. Becoming minor is a strategy of turning major technologies into minor machines, of appropriating media, tools and discourses for the proliferation and articulation of heterogeneity.
Minor media practices are characterized by small, diverse, distributed networks of operators who make use of the new, digital means of production and distribution. Minor media operations grow out of the networked activities of passionate individuals and groups working in local and translocal contexts and using such media as magazines, record labels, websites, club events, mailing lists, etc.
Differences in these networks are not eliminated but relished. Minor media practice is characterized by a critical attitude towards the media in use, acting in lateral rather than vertical configurations, and an acceptance of the processuality and continuous transformation of context and practice.
If we look at the field of art production that makes use of media technologies we can see that some of the most exciting developments can be found in an area where there is not individual artists realizing their singular projects, but groups of artists working together in open-ended creative and collaborative processes.
An exemplary project in this respect is the Xchange network for audio experiments on the Internet that was initiated in late by the E-Lab in Riga. The participating groups in London, Ljubljana, Sidney, Berlin, and many other cities, use the Net for distributing their original sound programs.
Xchange is a distributed group, a connective, that builds creative cooperation in live-audio streaming on the communication channels that connect them. The people
Semplificatore espressioni online dating Xchange and others are thus also exploring the Net as a sound-scape with particular qualities regarding data transmission, delay, feedback, and open, distributed collaborations.
Moreover, they connect the network with a variety of other fields. The mailing list of the Xchange network functions as an important communication medium between like-minded people who share ideas and information, announce events and contact potential project partners through the list. Similarly, the Syndicate network and its mailing list can be described in the context of the emerging minor media practices.
Though less oriented than Xchange at concrete artistic production, the Syndicate creates a social and communicative context in which artistic projects can develop and thrive. A crucial aspect of such community-building mailing lists is that a significant portion of the people on the list have opportunities to meet in the real world. In the case of the Syndicate, these meetings take place at exhibitions, art festivals, in workshops, etc. Insuch meetings were held at the Next 5 Minutes conference in Amsterdam, and in the Oreste project space during the opening days of the Venice Biennale.
Although there are already some masters of this new genre, what is termed as net. Yet, what this net-based work is signaling is a paradigmatic shift away from an object-oriented art practice, engaged in representation, towards process-based work that turns communication into the very material of artistic practice.
At the moment this claim is pretty much a matter of belief, but there are indications that the new media ecology is catalyzing a radical transformation in the conception of what constitutes art, a shift away from representation towards communication.
The breeding sites, the incubators of these emergent practices are the temporary laboratories, the hybrid workshops and make-shift meeting places of minor media operators. It thus sought to infect different artistic and social practices with each other, and to bring them into a dialogue with each other. It offered a site of communication and exchange in the Italian pavilion and created a public space from where new forms of international cultural cooperation could arise.
We will have to see how this whole movement of sociable communication and artistic cooperation will evolve in the future. The historical importance of a playful, purposeful and effective development of the minor media environment will be clear to everybody who critically observes the pressure that convergence media, global financial markets and the deliberate depoliticization of the public domain are exerting on the heterogeneous field of independent cultural practices.
There is a poem by Rilke about the inside and the outside of a building, perhaps it is a cathedral. The light comes from without — and fills the space within, or perhaps it is the reverse.
There is a place where people come and go, a repository of expectations, sometimes it is uncomfortably full of remonstrances. I wish it were not a loss of the self, I hope it is not at the service of packaging and Semplificatore espressioni online dating software and the net. I am wary and suspicious of it when I sense it is an excuse for a certain loss of depth, and responsibility.
However, there "Semplificatore espressioni online dating" individuals in it who dream and have dreams. They are intelligent and live on its edges and thanks to it, they find the hope and Semplificatore espressioni online dating desire to look for something.
I remember a young person from Lecce, he wrote me long emails about the blue and about his goals. I did not respond, he wrote no more, but I think of him at times. There is a video I saw recently, by an artist called Nina Katchadourian. You see tweezers repairing a spider Semplificatore espressioni online dating, or maybe it was a needle sewing a word into it made up of little red twigs.
Over and over, the spider rejects this work and battles against the red word, so that the twigs fall out. It is a battle between a person and a spider for the control of a web.
Personally, I would like to live in a small house on a cliff in the Aran Islands, but I am always pleasantly surprised by the things you manage to put together and by how they fulfill — whether briefly or in more complex Semplificatore espressioni online dating — and orient the people who do them. I like the anarchy that underlies such dreams. RICCARDO HELD FANTASY ABOUT ORESTE The idea of an extremely moving structure that manages to tend at a high speed to a mental place, to a project, to the place "Semplificatore espressioni online dating" the lack of a project, to the presence in that place of the desire of a project, to the desire of having not so much of a project, to the place where one can has the desire of not having any project, without feeling not so much of a lack; on the contrary, feeling that it is possible to do that thing, that nothing to do, and just do it, but together with others.
The idea, then, that that speedy, and moving, and structured thing can arrive to touch even a real place, a magnificent, too-much-done, irritating, and dazzling city, and that that city is my city. Venezia, Venise, Venedig, Venice.
Exactly that kind of stuff, I mean. No, a great place, enchanted, and bewitched, and damned, and twinkling, and rotten itself enough. And that is possible. For us there are two Oreste. They are both very beautiful in their persona, and discreetly busy. And that thing there, and it was working. During those days the readings, the performances, the sounds and the talks, they were there, and they were good.
They were very close to something communicating, communicated and able to communicate. And around the only subject of communication, the following, fragmentary considerations move. Standard communication is behavior where someone says something to someone else who understands what has been said and if necessary, answers with something concerning what he has understood.
Every day it becomes something more rare and precious, that happy connection like those at the stationtiny moments of reconciliation within a wider context of alienation.
The present time has been defined as the age of communication, in other words, a time in which that happy connection should occur in the overwhelming majority of the cases, that is to say, it goes without saying.
I believe this is what has happened, but, as in the game of the three moving boxes, the coin has moved without anyone noticing, without warning. Coin is the key word here. It means money, dough, cash, Sometimes fashion and history produce incredible lapses of memory, hiding the key to a whole phase.
I find it wonderful that, regarding this matter, EMI, one of the first record companies to plan mass diffusion of music at all levels of production, had chosen as its logo a little dog which answered the sound coming out of a gramophone by barking.
The words are the same in every language. This is an extremely violent quarrel such as lovers have, acrimonious and passionate. At a certain point, Frieda shrieks out words and phrases one by one as if she wanted to make them unusable for ever after. This was an early description of the communication age. The total continuity and the trendy fungibility without residual of the language and of every compartment belonging to it, they Semplificatore espressioni online dating make it increasingly unusable for simple, normal, human purposes.
Somewhere, indeed everywhere, this unusable language used, can be bent, Semplificatore espressioni online dating be turned in the same way like you turn cheques, it is used as money. Here we are again, playing the three box game. Practical worries, success, what the public wants, sharing, the audience, average taste is not contemporary, there is nothing new about it.
It has always existed; cumbersome, and central to the thought of any creator in his time.
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