Das Wesen des Kapitalismus ist die kreative Zerstörung, sagte der österreichische Ökonom Joseph Schumpeter schon in den dreißiger Jahren. Seine Theorie vom kreativen Unternehmertum feierte in den neunziger Jahren kreative Urständ: die New Economy, man erinnere sich. Junge Burschen und Mädchen mit feschen Frisuren, modischen Turnschuhen und krausen Ideen wurden plötzlich zum Ideal des neuen Unternehmertyps.
Stichwort: Sie hätten ja auch Künstler werden können, aber sie wollten was verdienen. Alte Wahrheiten des Wirtschaftslebens galten auf den Kopf gestellt, Unternehmen begannen ihre besten Produkte zu verschenken, um fiktive Marktanteile an “Eyeballs” in der Ökonomie der Aufmerksamkeit zu gewinnen. Auf der Achse zwischen Silicon Valley und Market Street, San Francisco, im Herzen der ehemaligen Gegenkultur der 1960er Jahre entwickelte sich der “coole Arbeitsplatz”. Ehemalige Fertigungs- und Lagerhallen wurden in Großraumbüros umgewandelt, deren architektonische Anlage bereits flache Hierarchien symbolisierte. Hier arbeiteten Menschen, die an der Garderobe ihr Skateboard deponierten, unter Kopfhörern Grunge oder Hip Hop hörten und Cappuccino Frappe Latte mit Limettengeschmack und Soyamilch, koffeinfrei, tranken, vor allem aber eines taten: sie identifizierten sich mit ihren Jobs. Die Arbeit war nicht mehr eine entfremdete Tätigkeit, die man sozusagen neben sich stehend ausführte. Jeder, ob Chef, Angestellte, Freelancer oder Praktikanten wollte ihr bestes geben, neue, glänzende Dinge machen, einfallsreich, geschickt, ja sogar genial sein. Und dafür arbeitete man dann, sozusagen frei und selbstbestimmt, bis zum Umfallen1. Continue reading ‘Creative Cities 3.Teil: Kreativ aus der Krise – oder eine kurze Genealogie der kreativen Klasse’
we had a chat with bronac ferran and juha huuskonen, two members of the jury, about their difficult job of choosing the artworks for this years transmediale. they had to choose from about 100 preselected works out of more than 900 entries. but listen to their methodology and experience yourself…
because philips moved it’s production to the east we can be here and celebrate electronic culture. a couple of years ago the monotonic movements of production robots determined the daily rhythm, now it is the bumping sound of techno music which makes the people move in a robotic behaviour. it’s an electronic circus with artbots, installations, cinema, lecture and performances… STRP is actually a quite mainstream event with a slightly taste of a critic approach. there are no deepening philosophical lectures or theoretical input. but that’s not the intention of the festival organizers : “The composition of the programme is based on the principle that STRP should be a low threshold festival, geared to a large audience.” – from this point of view it’s definitely a big success! A lot of people not only during the day-time, but also the shows were sold out every night! thousands of people everywhere… mostly dutch of all ages, baby’s to granny’s – they were all there. the dutch people are really the most friendly and helpful people i’ve ever met: yesterday i even got driven home on the backseat of a bicycle – thx walter ! :-) i really enjoyed the people and atmosphere a lot at the festival!
To learn how to make computers more human, we have to f**k them.
Arse Elektronika’s sex and technology conference in San Francisco held 5-7th October 2007 at kink.com’s Pr0n Palace opened with a bang. Here a young cyberpunk woman engages in sex with a robot for the first time in media art history.
This video shows her, F**kzilla and operator Jacob Appelbaum preparing the next giant step for mankind by trying F**kzilla’s tongue chainsaw: “We have the technology.” (Jacob Appelbaum)
In my talk I explored the relationships and intersections between porn, art and politics. In my opening statement, I made two arguments1. We must understand pr0n as a medium of expression, criticism and resistance 2. Therefore we have to make pr0n a language of public discourse
My lecture covered a brief introduction to the work of the Serbian filmmaker Dušan Makavejev, a founding member of Yugoslavia’s oppositional “Black Wave”, famous for his groundbreaking films of Yugoslav cinema in the late 1960s and early 1970s.
Makavejev’s breakthrough and international recognition came with W.R.—Misterije organizma (W.R.—Mysteries of the Organism, 1971), a film that he described as “a fantasy on the fascism and communism of human bodies, the political life of human genitals, a proclamation of the pornographic essence of any system of authority and power over others.”
douglas gordon and philippe parrenos portrait of zinedine zidane left me with a profound impression. the film has a length of 90 minutes and shows the football player, keeps close focus on him during the match of real madrid contra villa-real on april 23rd 2005. only very short wide shots of the stadium, the field and halls, and parts of the television emission interrupt the camera close-ups on zidanes feet and face. this shift from the usual football match perception of the whole team as a unit and the ball as center point of attention towards the close-up observation of a single person acting and reacting to the happenings on the field has tremendous impact. what at first seems like a steady close-up, including surprisingly clear sound from the field and clearly audible zidane, later develops into more and more layers of perception. we see zidane not only playing the ball, after a while we notice that he remains highly concentrated, but then you can almost see his thoughts shifting as the attention level drops because theres nothing going on close by, or him getting very agressive due to a failed pass. and suddenly he also seems nervous, although he remains quite serious throughout the match. through slowly noticed changes in the soundscape (main contributor to the soundtrack are british soundscaperock artists mogwai) or the minimally set subtitles gordon and parreno add even more layers to the portrait. suddenly the inner eye sees zidane as a boy playing backyard football, or we hear his reflections on the character of being a pro football player on the huge field with this humongous crowd. for me this film can not merely be called a simple portrait, it is a carefully assembled composition of impressions, sounds and feelings, more reluctant that a conventional desription of a famous person but poetic in its narrative and developing unusual perspectives on zidane and football. maybe for this the addition: a portrait of the 21st century. a very poetic one.