sCrAmBlEd?HaCkZ! by Sven König
April 27, 2007, 6:57 am
Filed under: Archive, Documentation, Performance

sCrAmBlEd?HaCkZ! is the result of an effort to develop an artistic strategy that could shed some light on evident but very confusing problems of intellectual property. Intellectual property is a misconception deeply conflicting with the basic principles of any cultural production because it is completely negating its collaborative nature.

Nevertheless IP laws are continuously expanded as if romantic notions of geniality and originality would not have been put ad acta quite a while ago. At the very latest in todays society which is, to an ever increasing degree, shaped by digital networks und computers it is getting obvious what IP actually is: an instrument of power and censorship to secure economic interests.

Fascinated by the effects caused by a small program called Napster (and its successors) I wondered to what extent certain software could unfold discursive power in such a situation if that software would open up new technical possibilities for something which is already the (subconscious) desire of many.

Because of my interests in artistic strategies and social practises of appropriation – collage, montage, sampling and remix in general and plunderphonics, bastardpop and mashups in particular – the idea of a hypothetical mind music machine has evolved which, as a metaphor, helped the concept and the design of sCrAmBlEd?HaCkZ! to take shape.

More info please visit:


IASLonline Lessons in NetArt
April 25, 2007, 5:53 am
Filed under: News


Conceptual Art and Software Art: Notations, Algorithms and Codes

Self-replicative and generative codes have been developed in Software Art. Intermedia Arts relations between notation and realisation are expanded by new mutations in relations between readable code and computer processing: Examples of program codes appear as the next step after formalizations of verbal concepts in Dada, Fluxus and Conceptual Art. And on the other hand: These formalized notations can be presented as precursors of Software Art.

Participation with Camera: From the Video Camera to the Camera Phone

The development of the camera technology (video camera, WebCam, camera phone) and its context had and has consequencies for the development of strategies to integrate participative uses of cameras into projects. The article outlines the camera use as a subject of change from video and net projects to collaborative mapping with locative media.

The article “Participation with Camera” offers an overview on some of the nearly hundred projects described in German in:

Collected tips: Interactive Urban Experience with Locative Media (Mapping)
Part 1: URL:
Part 2: URL:

The project “Interactive Urban Experience” is presented in all its parts (Mapping, Pervasive Games, Installations) in German in:

Collected tips 1-3: Interactive Urban Experience with Digital Media (Internet, Mobile Telephone and Locative Media):

Thomas Dreher

Dr. phil. Thomas Dreher
Schwanthalerstraße 158
D-80339 München
Tel.: 0049/89/5029513 (privat);

[Reader-list] Wiki politics – special issue
April 23, 2007, 11:32 am
Filed under: News

The democratic promise of the Internet has remained partly unfulfilled. It is still doubtful how the use of new collaborative tools (wikis, blogs, forums, mailing lists, podcasting, and videos) can transform the ways politics are practiced and how the increasing prospects for larger political participation can result to the emergence of active citizens. Perhaps, it is essential to start from the concrete: Wiki politics is a concept that encompasses existing practices which instantly give birth to new democratic forms. They produce a particular form of political participation -horizontal and equitable- which operates on the basis of the principles of decentralisation and openness. This issue aims to explore the openings that the concept of the ‘wiki politics’ presents for democratic theory and practice.

New online journal Re-public < >, has just published the first part of its special issue “Wiki politics”. The issue explores how the use of new collaborative tools (wikis, blogs, forums, mailing lists, podcasting, and videos) can transform the ways politics are practiced. Articles include:

McKenzie Wark celebrates Wikipedia as an example of a new kind of social relation, as a model for producing knowledge outside the commodity form…

An interview with the author of A Hacker’s Manifesto on how wikipedia is an example of a new kind of social relation.

Geert Lovink – Theses on wiki politics

Wikis reflect a culture of pragmatic non-commitment, argues Geert Lovink. One edits, adds, deletes, changes and quits. Then it is time to stand up, get a coffee, smoke a cigarette, talk on the phone or chats, and return to the screen again…


Trebor Scholz – What the MySpace generation should know about working for free

Driven by hormones and a sea of desires, millions are sucked into networked screens for hours on end. For the media and news industries these are the heydays of participatory cultures. Cultural anthropologists study “interactivity,” and the networked sociality of teens, fans, and bloggers of all ages who are trying to impress their friends or seek a platform for their ideas. Rather than balancing affordances and pitfalls (democratizing effects such as the massification of voice and harmful aspects such as addiction and continuous partial attention), this essay focuses on creative labor from the perspective of the MySpace generation.

MySpace addicts formulate comments, tag, rank, forward, read, subscribe, re-post media, link, moderate, remix, share, collaborate, favorite, and write. What kind of labor is this, asks Trebor Scholz?

Michel Bauwens – P2P politics, the state, and the renewal of the emancipatory traditions

Michel Bauwens explores the possibilities opened up by P2P projects for progressive politics, arguing that they could present an alternative to neoliberal privatization, and to the Blairite introduction of private logics in the public sphere.



All articles of Re-public are published with a Creative Commons license and can be re-printed freely, by acknowledging their source.

SUMMIT — Non Aligned Initiatives in Education Culture
April 17, 2007, 1:55 pm
Filed under: News

May 24 to 28, 2007, Berlin (DE)

The debates around education are shifting. In Europe, questions of coordinated systems with comparable outcomes seem to dominate the concerned discussion around the forthcoming “Bologna” accord. While much critical opposition focuses on the loss of local traditions and fears of global homogenization — both sets of responses serve only to fetishize knowledge within a commodity economy of education.

In actuality numerous non-aligned initiatives are converging around “education”, recognizing that it is equally a platform for cultural actualisation and self organization. Within self organised educational forums that range from free academies, to exhibitions as educational modes to ad-hoc initiatives within social, political and economic organisations, it is becoming clear that beyond knowledge transfer, education is one of our most important tools for the transformation of subjects towards a participatory mode. Equally many initiatives to articulate contemporary subjects and forge new methods, to see education as itself a creative cultural practice, are taking place within established and recognised institutions of higher learning. While these two efforts might be perceived as separate due to their institutional and structural status, they share a desire to reclaim education for present needs.

The crisis in education offers us potential modes of critical engagement: drawing on activist practices and processes of participation which circulate in the wider culture, it allows us to claim the power to shape and define the terms of the debate. It is clear from the many exhibition, art practice and research projects which have recently converged on the notion of ‘education’, that there is much potential for seeing it as far more than the transmission of knowledge within dedicated institutions.

SUMMIT is a proposal to change the terms of the debate away from a purely bureaucratic engagement with quantitative and administrative demands and from the ongoing tendency to privatize knowledge as so called “intellectual property”. Instead of concerns with its purely organisational dimensions we would hope to steer it towards some of the important questions faced by our cultures today:


How does migration affect canonised knowledge? Can we conceive of a non-linear projection of learning? Whom do notions of fluidity and precarity serve? How do emergent subjectivities, produced out of current mobilities, produce newly situate knowledges?


What are the gestures of “un”-organizing education? If to define was to own, where do we encounter emergent possibilities of mutuality and collaboration within education? How can we envision new configurations of multiple ownership of knowledge? Is self-organization a mode of education beyond the patterns of identification?


The model of education has become central to a range of creative artistic practices and to a renewed interest in radical pedagogy. As a mode of thinking an alternative to the immense dominance of art as commodity and display as spectacle, education as a creative practice that involves process, experimentation, fallibility and potentiality by definition, offers a non-conflictual model for a rethinking of the cultural field.


There are principles within learning and teaching that extend far beyond the years spent within the institutions of education. What models are emerging for an understanding of both an expanded duration of education as well as for our need to redefine what needs to be know within a contemporary civic landscape?

We call on all those interested and engaged in the debates around education to come forth and unalign.

SUMMIT offers the following formats:

– A public program with “keynote-lectures” by prominent thinkers, “curated conversations” between actors in the field, and ‘history lessons’ which locate previous moments of radical aspirations or transformations in the field.

– Working groups, caucuses and concept labs: A series of meetings and sessions on burning questions of education

– Open space: Forum for initiating proposals, highlighting practices and making theory urgent

– Collaborative drafting of a declaration


May 24 to 28, 2007


Hebbel Am Ufer (HAU), Stresemannstr. 29, 10963 Berlin
unitednationsplaza, Platz der Vereinten Nationen 14a, 10249 Berlin
bootlab, Tucholskystrasse 6, 10117 Berlin



Kodwo Eshun, Susanne Lang, Irit Rogoff, Florian Schneider, Nicolas Siepen, Nora Sternfeld

SUMMMIT is organized by Multitude e.V., in collaboration with Goldsmiths College, London University and Witte de With, Rotterdam. SUMMIT is supported by the Federal Culture Foundation, Germany.

Glocal & Outsiders (part of the Prague Biennale 3), Call for proposals
April 14, 2007, 3:08 am
Filed under: News

Center for Global Studies (Academy of Sciences and Charles University)
International Centre for Art and New Technologies (CIANT)
and Prague Biennale 3

invite you to send proposals for the conference on the interplay between art, culture and technology and issues of globalization and international cooperation:

Glocal & Outsiders
(part of the Prague Biennale 3)

Prague, 13. and 14. July 2007

Since the mid 1990’s biennial exhibits in cities such as Johannesburg, Istanbul, Melbourne, Havana, Sao Paulo and other expanded the art world’s institutional context beyond any imagination. Art became a new global spectacle which exposes various cultures and nations to an international audience. Asian contemporary art has become something like a fashion and museums are being built at an increasing rate in Asia as well as throughout South America with new collectors popping up all over the world.

Parallel to this, art also incorporated emerging technologies and developed various interdisciplinary relations to science and industry. Technological innovations and artistic creativity joined forces in various new media festivals and events which brought new and very diverse groups and interests into play. Technology and globalization also changed the economic infrastructure of the art world. Internet services such as allow artists to showcase their work to a very broad
audience of international collectors which fund the contemporary art boom. On the other hand, many artists use the distributive and peer to peer properties of the internet to experiment with new economic models.

Artists, critics, curators but also buyers are part of these global and technological exchanges and it is not clear yet whether these interdependences, integrations and interactions lead to reduction in diversity, to assimilation or to hybridization: What are the challenges artworld is facing in the time of globalization and increasing technologization? How to balance cultural interests and local scenes with global opportunities and art with technological innovations? How to view the interplay of art and globalization in the context of complex economic, trade, social, technological, cultural and political interrelationships? How does art reflect upon globalization: does it support intercultural and transnational ideals or it is indifferent to claims of geography, history, and identity? How does it resist and how does it support globalization? Do new institutions and technologies allow us to enjoy and experience art from different cultures or they unify them? What new forms of artistic and technical exchanges are taking place? How does international cooperation help emerging fields of art? How can new technologies expand the social, economical, cultural and artistic aspects? What are the limits or possibilities on the technological level to build art projects that improve international cooperation? Do emerging technologies and art institutions support cultural diversity or they level it?

We are calling for proposals by cultural theorists, cultural historians, museum experts, art historians, art curators and experts of other disciplines. Any program formats (papers, roundtable discussions, media presentations etc.) are welcommed.

Proposals should include the following items:
1. Preliminary abstract, 150-300 words.
2. CV with e-mail address, phone and fax numbers.

Please send them by May 15, 2007 via e-mail to:
Denisa Kera (kera AT and Aurelie
Besson (aurelie AT

Taste of Harmony by Homogenic
April 4, 2007, 11:47 am
Filed under: Performance, Video/Animation

Probably this is the best music video of Homogenic, an electronic music trio from Bandung – Indonesia. This video presenting Taste of Harmony, a delicate electronic music composition from Homogenic. The song was released under their first album Epic Symphony (FFWD Records, 2004). Cerahati, a local production house that is well known for their cutting edge & experimental video piece was producing this video in the same year. This video resemblance some influence from Biosampler, a multimedia performance collective that are often works with liquid images that was made by using a low-tech/analog device in Bandung. By their talented skills and experience, Cerahati made beautifull monocromatic liquid images that were projected trough an overhead projector, which perfectly blends with Homogenic musical expression. This is exactly the video that will enhance your music & visual experience.