Blog #2: Free as in ___?
Investigate these links from the class reading list: RTMARK, FREE CULTURE (LESSIG), FREECULTURE.ORG, COPYLEFT, AND CREATIVE COMMONS.
Consider further research into topics like the "gift economy" and "peer-to-peer networks (P2P)". Are distributed artist networks conspiring to make up their own theory? How do works of art theorize themselves? Is that the conspiracy of art?
You may also be interested in looking up the term "attention economy". How has the fluidity of digital source material made it easier to surf-sample-manipulate the data of everyday life, and how does contemporary remix culture challenge the status of intellectual property?
For your own artistic practice, do these evolving copyleft procedures have any value in helping you intervene in the mainstream culture? What are the political ramifications of this kind of "open source lifestyle"? Is it even possible that this kind of alternative approach to copyright and licensing could actually prove financially beneficial to a contemporary art practice? If yes, then how? If no, then why not?
Finally, how do the methods and techniques used by Baldwin in Tribulation 99, the culture jammers he features in Sonic Outlaws, and The Yes Men, connect or disconnect with your own current thinking on the way artists manipulate data to create an interventionist practice that jams with both conventional politics and the traditional media apparatus?
Quote from William Burroughs:
Consider further research into topics like the "gift economy" and "peer-to-peer networks (P2P)". Are distributed artist networks conspiring to make up their own theory? How do works of art theorize themselves? Is that the conspiracy of art?
You may also be interested in looking up the term "attention economy". How has the fluidity of digital source material made it easier to surf-sample-manipulate the data of everyday life, and how does contemporary remix culture challenge the status of intellectual property?
For your own artistic practice, do these evolving copyleft procedures have any value in helping you intervene in the mainstream culture? What are the political ramifications of this kind of "open source lifestyle"? Is it even possible that this kind of alternative approach to copyright and licensing could actually prove financially beneficial to a contemporary art practice? If yes, then how? If no, then why not?
Finally, how do the methods and techniques used by Baldwin in Tribulation 99, the culture jammers he features in Sonic Outlaws, and The Yes Men, connect or disconnect with your own current thinking on the way artists manipulate data to create an interventionist practice that jams with both conventional politics and the traditional media apparatus?
Quote from William Burroughs:
"A paranoiac is someone who has all of the facts at their disposal."
Metadata: art, politics, metadata, hacking, cinema, open source
posted by Professor VJ at 3:00 PM
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