Hi Randall,

Glad to see you here, thanks for your comments. I really enjoyed
participating in your recent Open Source Studio Global Concept Exchange on
the work of Marc and Ruth at Furtherfield (
http://www.randallpacker.com/?p=2798). It was there I encountered Annie
Abrahams for the first time and have invited her as a respondent to this
discussion here. We could talk about that event as an example of how your
particular networked-pedagogic methdology works in terms of production,
distribution, perception. I have some notes somewhere, if you'd like.

I asked a question then about Cal Arts in relation to
cross-interdisciplnary pedagogy in relation to my own experience at
Dartington College of Arts from 1998-2007, where there was a comparably
experimental approach. There is a good relationship too between your Open
Source Studio model and Filliou's interest in pedagogy in art. His artists'
book 'Teaching and Learning As Perfroming Arts' (
http://www.leftmatrix.com/teachingandlearning.html) is similarly dialogic
in tone. Yours is digitally networked, his is materialistically analogue?

Best wishes

Roddy

On 5 February 2013 21:59, Randall Packer <[log in to unmask]> wrote:

> I was very interested in Roddy's reference to Robert Filliou's notion of
> 'permanent creation,' which came up recently in an essay by Janet
> Sarbanes: "The Poiegg and the Mickeymaushaus: Peedagogy and Spatial
> Practice at the California Institute of the Arts." In this essay, Sarbanes
> describes CalArts as influenced by the Bauhaus in its approach to the
> "building" as structure for the development of new radical pedagogical
> techniques in arts education as well as the synthesis of the arts. More
> specifically, she points to Filliou's "Institute of Permanent Creation
> where anybody might make suggestions about what kinds of things might be
> investigated or looked at" as a transparent and open source approach to
> teaching and learning. The idea of "education as dialogue rather than as a
> transmission of knowledge" was a fundamental concept I employed in the
> online course I taught at CalArts last semester entitled Open Source
> Studio. (several participants of this community, including Marc Garrett,
> Ruth Catlow, Annie Abrahams, and Helen Varley Jamieson, were guest
> speakers in the course)
>
> Like Roy Ascott's reference to the 'gesamtdatenwerk' in his seminal essay,
> "Is There Love in the Telematic Embrace," I believe more than ever after
> teaching Open Source Studio, that the network and its tools can be used to
> shift art education into a less hierarchical and more peer-to-peer,
> collective experience: precisely where it belongs. In this sense, Roddy's
> suggestion of the political nature of networks-as-artworks also applies to
> the idea of the network-as-art-school.
>
> My own 'utopia' in this regard is the post-institutional approach to
> teaching. I gave up on the idea of being "institutionalized" in my
> academic career several years ago, and now freelance for several
> Universities and art schools around the world. It is through this
> developing network that I see the potential of bringing students into an
> "open university" setting - no longer tethered to a single institution -
> through video-conferencing and other forms of networked learning tools. It
> is my hope that art students can reach out inter-institionally and
> inter-culturally to engage in a form of collaborative research and
> production that is underutilized, but well within our reach conceptually
> and technologically.
>
> I would be interested in related work in this area.
>
> Randall
>
> On 2/3/13 9:39 PM, "Roddy Hunter" <[log in to unmask]> wrote:
>
> >Dear List,
> >
> >It is my pleasure to announce the February 2013 Theme of the Month.
> >
> >ŒCurating the Network as Artwork¹
> >
> >In 1968, artists George Brecht and Robert Filliou co-created 'The Eternal
> >Network'. Arguably, this network was itself an artwork and vice versa.
> >Filliou in particular explored how this network-as-artwork could enable
> >collaboration, exchange and dialogue across space and time. More than
> >solely a means of distribution or medium of production, 'The Eternal
> >Network' became for him a conceptual context for Œpermanent creation¹
> >(Filliou 1996). Filliou¹s project is one example of many in which artists
> >inhabit networks as systems of communication and exchange (Grundmann
> >1984; Saper 2001). These networks are attractive to artists as
> >decentralised or distributed environments bypassing institutional
> >curatorial spaces. There is then often a political as well as aesthetic
> >dimension to the attractiveness of networks-as-artworks. This may now,
> >however, be undermined by a dependence of these networks upon the
> >internet which has been argued to be Œthe most material and visible sign
> >of globalisation¹ (Manovich 2001, 6). Lovink (2002) has cited the view
> >that the Œpace [of globalisation] has increased with the advent of new
> >technologies, especially in the area of telecommunications¹ and so
> >artists, activists and commercial, corporate players alike have employed
> >online networks in search of their respective Œutopias¹. Lovink
> >elaborates on this irreconcilability later that Œwe need to develop a
> >long-term view on how networked technologies should and should not be
> >embedded in political and cultural practices¹. (Lovink 2012, 160) How far
> >has the Œglobalism¹ of communication sought by Filliou and others been
> >supplanted by Œglobalisation¹ in its neoliberal, doctrinal sense?
> >(Chomsky 1999). Can the network as artwork be effective beyond
> >conceptualisation in material terms? How can we rethink curatorial
> >strategies in respect of the network-as-artwork¹s media of production,
> >means of distribution and experience of reception? In short, how can we
> >find ways to curate 'The Eternal Network' after globalisation?
> >
> >References:
> >Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global Order.
> >New York: Seven Stories Press.
> >Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver:
> >Morris and Helen Belkin Gallery.
> >Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western
> >Front / Vienna: BLIX
> >Lovink, Geert. 2002. ³A Ramble through Theories of Globalization².
> >Available at
> >http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/.
> >Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social
> >Media. Cambridge: Polity.
> >Manovich, Lev. 2001. The Language of New Media. MIT press.
> >Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota
> >Press
> >
> >Invited respondents are:
> >
> >Annie Abrahams
> >Artist who questions the possibilities and the limits of communication in
> >general and more specifically investigates its modes under networked
> >conditions.
> >http://bram.org/info/aa.htm
> >
> >Zeigam Azizov
> >Artist born in Azerbaijan, based in London. Studied art and philosophy in
> >Russia, France and UK. His work addresses the question of
> >cross-circulations of knowledge through images. Exhibitions include
> >Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer
> >Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum,
> >Klagenfurt.
> >http://zeigamazizov.com/
> >
> >Mideo M. Cruz
> >Cross-disciplinary artist-organizer based in Manila and Southeast Asia.
> >Network projects critiquing globalisation include New World Disorder in
> >addition to performances internationally.
> >http://www.mideo.tk/
> >
> >Barnaby Dicker
> >Artist-filmmaker, researcher, lecturer and curator. He holds a doctorate
> >in experimental stop-frame cinematography and teaches on BA Film
> >Production at University for the Creative Arts, Farnham and the Royal
> >College of Art, London. He is a founder member of Art¹s Birthday Wales,
> >which annually celebrates Robert Filliou¹s fifty year-old proposition.
> >http://artsbirthdaywales.tumblr.com
> >
> >Ken Friedman
> >University Distinguished Professor at Swinburne University in Melbourne,
> >Australia. Since 1966, Friedman has been active in Fluxus. Theory,
> >Culture, and Society recently published Friedman's reflections on Fluxus
> >at the 50-year mark. The full text is available free at:
> >http://tcs.sagepub.com/content/29/7-8/372
> >
> >Marc Garrett
> >Artist, curator, writer, activist, educator and musician. Co-Founder &
> >Co-Director, Furtherfield, London and currently doctoral researcher in
> >Art, Technology and Social Change at Birkbeck, University of London.
> >http://www.furtherfield.org/user/marc-garrett
> >
> >Ingo Günther
> >Artist and journalist based in New York. Studied Ethnology and Cultural
> >Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf.
> >Founded Eastern Europe's first public access non-commercial TV station.
> >The social geography project Worldprocessor is now in its 24th year.
> >http://ingogunther.com
> >
> >Iliyana Nedkova
> >Curator and writer. Creative Director (Contemporary Art) at Horsecross,
> >Perth and Research Curator at CCA, Glasgow
> >http://www.horsecross.co.uk/about/threshold-artspace
> >
> >Helen Pritchard
> >Artist and researcher exploring ideas of co-research, co-production and
> >co-operation. Currently doctoral researcher at 'HighWire', Lancaster
> >University and visiting researcher at City University, Hong Kong.
> >http://www.helenpritchard.info
> >
> >Clive Robertson
> >Performance and media artist, curator and critic teaching art history,
> >performance and cultural studies at Queen's University, Kingston, Canada.
> >http://www.queensu.ca/art/arthistory/faculty/cRobertson.html
> >
> >Scott Watson
> >Head and Professor of Art History, Visual Art and Theory and
> >Director/Curator of the Morris and Helen Belkin Art Gallery at the
> >University of British Columbia, Vancouver.
> >http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1
> >
> >Looking forward to a good conversation,
> >
> >Best wishes
> >
> >Roddy
> >
> >CRUMB Profile: http://tinyurl.com/cm5t3bp
>
>
>


--
Roddy Hunter

artist｜curator｜educator｜writer

[log in to unmask]
http://yorksj.academia.edu/RoddyHunter/About