Pirate Pad – http://piratepad.net/oe4gQRtuer is open for YOUR collaboration too! Its a nice on-line tool for reviewing our participative strategies and creative group work, and it will surely be running throughout ART01 event in ContentArt gallery from 25th to 31st July 2010.

art01 piratepad on-line collaborative tool from GentleJunk on Vimeo.

For better understanding of art operating systems here is an analogy running between computer operating systems and art operating systems:

Diagram shows art operating system with working in autonomy and dependant one in reference to computer operating systems.

Gallery NANO will host a collaborative and interactive environment project under the name PD Exchange Summit. What lies hidden behind this name? PD stands for Pure Data, real-time graphical programming environment for audio, video, and graphical processing. Exchange stands for a way of giving and receiving, making a loop or interaction. Summit stands for a meeting of the highest-level leaders. Connecting the three gives a great name that will strike funders, media and curious ones. Also it gives a reason to meet: to share PD patches, parts of the software that can be exchanged, build on, taken from, connected to or used for exchange of information. It takes a greatest level of importance as it is not a one man show where he or she shows the world what is going on, but in the act of sharing lies the true art.

Next diagram is showing why the event is done in gallery NANO. Also it shows what are connections between participating artist, ART01 project and where it’s other aspects, behind pure visual or multimedia art, are stored. I guess it takes all kind of hacks to make interactive, improvisational, “always work in progress” type of art work a credential its relatives of visual representational, object orientated artworks have.  Question is: can this be alternative to object orientated exhibitions, and can it be presented as such? And other pertinent question: how important is work to be done in NANO concerning influences on HZSU decisions on my possible health insurance and retirement funds help? What is the level of my decision and aspire to work there concerned autonomy, and what to hacking national funding to cover fear of being poor and helpless.

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Thesis was that boat gives most autonomy concerning expression and mobility, as when it stands in international waters, it can broadcast completely autonomous material, and its mobility is more concerned on nature than on human laws. But, as later shown my labour was to no avail as boat was entangled to so many non-autonomous issues that the whole thing became a bad and ill body in need for shiatsu treatment so the blocks, knots and knobs can be released and energy can flow healthy again.

This is the diagram of the idea how to use boat that goes by the name Galeb. After so many escapades in recent history, as well as in the past, it is owned by city of Rijeka. As former president Tito’s boat, it is of cultural value that, as the case is showing is differently understood by me and city of Rijeka cultural and bureaucrat apparatus. Next diagram shows an idea for using the boat Galeb as a place where international partners would meet and offer new models for using and preserving this boat. It was supposed to be funded by IPA actions.

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Now, this is the diagram of their blockage:

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They didn’t understand our ideas that would provide larger autonomy for initiatives, networks and partners to create space for international projects. I bet Tito would like this.

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In spite of all the blocking systems around IPA application was used for a boat:

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As the ART01 event is master year exhibition, a set of cards depicting each students own design will be mixed in years printed representation. This is solution for ART01 as it shows graphically the process that will take place at ContentArt gallery. Beside being a part of catalogue it can also be used as invitation card for the event.

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This diagram came up as a lament for artist and their chosen systems.

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When organizing an event with international participants one has to consider that their calender can change which can bring a havoc to original meeting plans. This is why the process has to be open enough so that changes in participation do not stop the realisation. Also, an event can collide with another event with similar features. This two cases can be taken as possibilities, rather than obstacles.

Best way to turn this two cases from a problem to optional add to the program is remote participation that can be organized with on-line tools, video and audio streaming. Other types of loop process can be initiated too, using scope of different information types that are exchanged. Programs can be exchanged with audio for example where each of events pick up the stream of other one and play it on the speakers. Same can be done with video streams where lectures, performances and conferencing can be arranged.

When looking on personal education and information exchange that helped me to became aware of the systems that art operates I have learned that education and academic approaches of dominant and hegemonic western principles created a background for creating superstar environment. In this diagram I am trying to see what influences created such a development.

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One has to take in consideration low budget when thinking about self organized event. ART01 strives to bring core group of mediators from different countries that requires more hacking concerning funding. For ART01 a complex system of events that can co-fund ART01 is strategically organized. Sets of different approaches are considered for creating a TAZ from resources already available. One has to keep in mind that non of this resources (funders) had TAZ in mind.

This is the general idea of what might be interesting to have as open processes during ART01 in Berlin:

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To organize such an event people from Berlin and other countries are invited to help. It is a loose network created by trust and mutual trust from people who collaborated in this or that way.

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To create funding for core people to be part of ART01 this is envisioned time-line and events that are creating opportunities to share knowledge in the context of art events and gallery exhibitions:

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This is time-line in more details:

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With this diagram I wanted to sketch idea borrowed from those of Actor Network Theory. Multiple actors are connected in network where processes of power relation can be manipulated.

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Musing on how art systems regulates artistic outputs furthering us from autonomy and how project orientated art system needs objects, needs to asses, needs to evaluate. Is cultural invasion making our culture the same, different only by local input of stereotypes?

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Based on “circular causal” or cybernetic feedback theory (and Jack burnham System Esthetics), this drawing simply shows upgrading of each event done by self-organizing principle, that also resembles process of adoptive systems in Donald Schons theory and practice of learning.

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If we envision ART01 project as a collaborative and process orientated where open source technologies are used, where information dissemination and knowledge transfer is important and by where negating art object and accepting systems aesthetics leads to group production and feedback as an artwork itself, maybe genealogy could be sketched in a way done here:

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What interests me the most, I think, is that I am looking for a way to explain what are different aspects of explaining system of ART01. By creating event I am proposing:

– alternative event to dominant of art exhibition where artworks are offered for inspection, assessment and consummation;

– an environment where process is in focus, thus modes of operating change to adjust it;

– that aesthetics are than of process, not of object;

– that form is a process and content is actions that make the process.

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Dear friend, I would like to invite you for a collaborative project that would start now as online communication and disscusion and end as residency in Berlin summer 2010. The points our collaboration would address are:

– redefining borders of art systems with autonomy as a strategy;
– developing alternative and parallel art systems;
– DIY aesthetics (Do it Yourself);
– DIWO aesthetics (Do it With Others);
– multidisciplinary and interactive approach;
– collaborative and participatory art practices.

Methods: Donald Schons “learning, reflection and change” will be initiated and carried out trough action, reflection in action and reflection on action. According to Castoriadis self-instituted autonomy of the work-progress of such group would be implemented trough critical self- and social- reflexion considering the “ . . . motives, its reasons for acting, its deep-seated tendencies . . . ” to distributed creativity and non-authorship that includes (not independence but) interdependence. Interactivity between participants are in focus, not the final work. Improvising with everyday together with use of digital technologies and free open source software for multimedia, but also in any sort of discipline and its interactivity is welcomed. (to be discussed)

Goals: to create an environment where autonomy is negotiated, discussed and acted. To create environment where participants exchange knowledge and produce art work as interaction between participants that include forms that are temporal and done in real time, as focus is on interactivity, not on the finalized object. Modes of representation are negotiated to the point where process becomes representation.

Why: focus on collaborations and non-authorship comes from the idea that one, solitary, individual creator drives into self-egoistic occupation that results in confrontation, rivalry and competition which are pillars for functioning of neo-liberal society. To exchange knowledge and to collaborate, in this sense, means to create environment where creativity is not based on market driven forces.

How: To keep open flow of ideas and to create flow between participants, actions are introduced by participants where improvisation and bricolage approach to creativity is happening in real time. Participants bring their ideas that are proposed, discussed and rehearsed beforehand by using on-line tools. Ideas are initiated at the residency and acted out. Focus is that each participant strives to connects his/hers creativity to initiated idea. This way we are striving to produce a human/machine feedback-loop.

Important background:
Researching autonomy in art operating systems brought me to a conclusion that only by producing an event consisting of transdiciplinary activities that are initiated by the participants and developed in horizontal manner and self-organizing fashion, can I introduce and present complex social and group topography in such art autonomy. I have decided to initiate this project as my MFA final exam at Transart Institute, which in a way contradicts my proposal. People can ask: why should we work for your MFA, what is our benefit? And I do agree that question is on the right track. But I also do put blind faith in people, where I am proposing a TAY inside art operating system of TI, where gallery can be used, appropriated, for our own way of expressing. By (blind) trust in human goodness I have proposed something that can go wrong in many ways: no participants, no funds, TI administration doesn’t approve the project, there is no visible artistic merit, there is no artistic authorship that can be assessed, etc. Partially, this is what I want to confront by critically observing system of the study and art I am taking part. Partially, I am trying to use this opportunity to make another meeting position of like-minded people, using the system that already exists, by parasiting on resources that are there, but to also give back knowledge and information that needs to be shared. I see this project as creating temporary autonomy zone in the system of institution, a system of collective experience and experiment instead of individual showcase.

Time: to be negotiated – approximately between 15^th of July 2010 and 15^th August 2010.

Place: ContentArt gallery, Berlin, other locations are optional.

Proposed time-line: (to be changed and discussed according to work flow and interests)

Now: opening mailing list in accordance to people invited
trough February: discussion on methods and goals and WHY
trough March: proposing action and discussing them
trough April: proposing on-line software that would suit virtual participation, discussing and tryouts
trough May: propose activities – skill sharing – discuss needs, equipment etc
trough June: finalize time-line for actual event
July – August: event

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If autonomous art system is envisioned, than a valid question is where the money comes from and how it influences a project. In this diagram a positive way to give back value to the public for their tax collected money is drawn. Giving back to the public trough involving them inthe project or giving information on how to and creating space for workshops where knowledge transfer is happening are some of the options.

What is in question here is how to negotiate and how to recognize positions of systems that apply for funding: what is agenda of their system, what is systems background? Simply, are they following structure that funder requires to obtain funds or is their focus to retur public welth in the sphere of public.

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A diagram of ART01 operations, interdependencies and solutions for organizing TI 2010 event – relations put to visible.

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This diagram is showing what research ART01 will focus on and what tools will be used: what is collaboration and how it works, what are systems of institution that we are working within, and what are systems of representation in process-orientated art (http://en.wikipedia.org/wiki/Process_art).

Art Operating Systems are systems defined by what kind of art operates inside them. Art Operating System that is putting, before everything else, market value of art work, or is generating value of creativity according to benefits for entertainment industry  differs from system that takes art as a means for constant reevaluating of ones symbolic being in the society and world at large.Art Operating Systems can differ in its capacity to be self critical and to reevaluate its points in need to change, and in its hegemonic need to dictate creative standards that are unalterable.

There is certain move from traditional visualization to data visualization I have to have in mind. When I was attending art academy I was drawing sketches and drawings. Now, as technology progressed in direction where we use tools that compute while making creative works, I am driven to make diagrams, relationships, mathematical equations not in numbers but in graphs.

So first I have to create visualization that would be representational of ART01 project. but how to represent something that is looking not to be representative art?

First of all I have to explain to myself what is it that I am doing and than I have to put it in format that will be understandable to others. I am moved to realize project ART 01 that will be overview of my understanding of art systems we are dealing with and how am I looking for autonomy by creating parallel or alternative art systems.

I am looking for the method of how to work around art project that follows my multidisciplinary artistic practices whatever they might be at given moment (multimedia artist, artivist (artist-activist), bureaucrat, nomad, lecturer/educator, musician, computer based artist…) and wherever they might take place (gallery, street, festival, theater, NGO space, etc).

• I have successfully took part of couple self-organized “open process” events with collaborative outputs.

• I have had been in constant contact with Ministry of Culture of Croatia and other funders to secure the fundings for further events.

• I have been gathering documentations about my everyday life, my travels and bureaucratic operations I have to get involved with.

• I have started taking video and audio material looking for different media to capture and document, but all seamed to fail to get the moments I was looking to represent.

My output was being documented on web-log trough photography and text. Research is being done in what kind of output would this material take shape, and what kind of tools could be used. All ideas seemed too narrow though, thats why I gave this material a tag ‘frozen in time’, as captured didn’t, and in my opinion couldn’t represent my need to consolidate art practices and ideas I was forming.

Sleeping and working place of artist in Manchester

Photo-logs:

Traveling >>

Artist living space >>

From the events >>

Art project will follow my multidisciplinary artistic practices whatever they might be at given moment (multimedia artist, artivist (artist-activist), bureaucrat, nomad, lecturer/educator, musician, computer based artist…) and wherever they might take place (gallery, street, festival, theater, NGO space or other forms of events).

I will collect evidence or data about processes taking place during my artistic practices, and archive it so it can be presented in different ways. I will detect how did I obtain funding and put it in context with what am I supposed to do at given event. Events I will strive to be part of will be collaborative, self- organizing and with horizontal structure. Final outcome presented at the summer 2010 can vary in form – a blog, self interviews, map of travel, collected trivia while traveling, institutional and bureaucratic documentation, emails while setting up connections with anyone that will have me or my work presented. It will resemble a diary of my nomadic artistic practices.