I completely forgot you had attended the Open Source Studio (OSS) class
with Mark, Ruth, et al last fall. My interpretation of Filliou's notion of
the institute for permanent creation was to think of my graduate seminar
as a permanent record in the database. Too often, education is a transient
experience, with scant traces left behind in the personal notebooks of
students and faculty. (Even more frightening is the proprietary system of
Blackboard.) However, in the age of digital networks, everything can be
preserved (ideally): every post, discussion, comment, reply, etc. In OSS,
we used a Wordpress site to aggregate discussion, research, and
production. What is particularly powerful about this in terms of the
network, is that everything is indexible. Years from now, anyone who
participated (or not) can retrieve some aspect of the work/dialogue and
employ it as a link in a subsequent publication or project. In my limited
exposure to Filliou, I had interpreted his idea as a digitally networked
act of permanent creation in the context of pedagogy. Of course, this can
be applied to any activity, but it is well within our means to engage
education as a permanent knowledge base that is open and transparent and
For anyone interested, the Open Source Studio Website from fall 2012 is
OSS was offered by Tom Leeser and his renowned Integrated Media Program at
CalArts. And to add to Roddy's citation of one of my blog posts, here are
all my posts detailing the project:
Up Close and Personal with Furtherfield
OSS as 3rd Space
Pedagogy as Collective Agency
CalArts @ 30,000 Feet
The Storm, the Dialogue, and the Desert Moon
Is this the Future?
On 2/5/13 6:32 PM, "Roddy Hunter" <[log in to unmask]> wrote:
>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
>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?
>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,
>> 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
>> 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
>> "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
>> shift art education into a less hierarchical and more peer-to-peer,
>> collective experience: precisely where it belongs. In this sense,
>> suggestion of the political nature of networks-as-artworks also applies
>> 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.
>> 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.
>> 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
>> >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
>> >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
>> >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
>> >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
>> >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?
>> >Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global
>> >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
>> >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
>> >Invited respondents are:
>> >Annie Abrahams
>> >Artist who questions the possibilities and the limits of communication
>> >general and more specifically investigates its modes under networked
>> >Zeigam Azizov
>> >Artist born in Azerbaijan, based in London. Studied art and philosophy
>> >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,
>> >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.
>> >Barnaby Dicker
>> >Artist-filmmaker, researcher, lecturer and curator. He holds a
>> >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.
>> >Ken Friedman
>> >University Distinguished Professor at Swinburne University in
>> >Australia. Since 1966, Friedman has been active in Fluxus. Theory,
>> >Culture, and Society recently published Friedman's reflections on
>> >at the 50-year mark. The full text is available free at:
>> >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.
>> >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.
>> >Iliyana Nedkova
>> >Curator and writer. Creative Director (Contemporary Art) at Horsecross,
>> >Perth and Research Curator at CCA, Glasgow
>> >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.
>> >Clive Robertson
>> >Performance and media artist, curator and critic teaching art history,
>> >performance and cultural studies at Queen's University, Kingston,
>> >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.
>> >Looking forward to a good conversation,
>> >Best wishes
>> >CRUMB Profile: http://tinyurl.com/cm5t3bp
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