{"id":822516,"date":"2013-06-14T17:39:17","date_gmt":"2013-06-14T16:39:17","guid":{"rendered":"https:\/\/exindex.hu\/?p=822516"},"modified":"2013-06-14T17:39:17","modified_gmt":"2013-06-14T16:39:17","slug":"shared-digital-futures","status":"publish","type":"post","link":"https:\/\/exindex.hu\/hu\/hirek\/shared-digital-futures\/","title":{"rendered":"Shared Digital Futures"},"content":{"rendered":"

International conference on the impact of digital network technologies for cultural production<\/strong><\/em>
\r\n 2013. 06. 14.-15.<\/strong><\/p>\r\n\r\n

Kunsthalle Wien, Karlsplatz
\r\n <\/span><\/strong>http:\/\/world-information.net\/sdf\/<\/a>
\r\n <\/span><\/strong><\/strong><\/p>\r\n\r\n

Program:<\/strong><\/p>\r\n\r\n

<\/strong><\/p>\r\n\r\n

Friday\u00a0 14.\u00a0 June 2013<\/strong><\/p>\r\n\r\n

THE ART WORK IS NEVER FINISHED<\/strong><\/p>\r\n\r\n

13:00 \u2013 15:00 h<\/p>\r\n\r\n

In the Western tradition we are used to think of art works, once they have been made public, as finished and thus stable. Ideally from then on, they are preserved for eternity in specialized institutions like museums. With the growing importance of digital cultures and the increasing influence of non-western cultural traditions, these assumptions are called into question. Increasingly, the art work is regarded as unfinished and considered only temporarily fixed, changing in versions, adaptable to contexts and usages. It is, at the same time, a finished product and raw material. This poses serious challenges to the theory and practice of cultural production. Does the concept of the art work need an update?<\/p>\r\n\r\n

Copying as a Means for Creativity? \u2018Chinese Creativities\u2019 and Plagiarism on the Chinese Bestseller Market<\/em>
\r\n Lena Henningsen, writer and journalist and working as an editor for S\u00fcddeutsche Zeitung in Munich, Germany. http:\/\/www.sinologie.uni-freiburg.de\/index.php\/mitarbeiter\/profs\/henningsen<\/a><\/p>\r\n\r\n

There is a New Version Available \u2013 How Digitalization Changes our Idea of Culture<\/em>
\r\n Dirk von Gehlen, writer and journalist and working as an editor for S\u00fcddeutsche Zeitung in Munich, Germany. http:\/\/digitale-notizen.de<\/p>\r\n\r\n

Remix Culture and Its Discontents \u2013 On the Freedom of Art in the Age of \u2018Intellectual Property\u2019<\/em>
\r\n Inke Arns, independent curator, writer and theorist, currently artistic director of Hartware MedienKunstVerein in Dortmund, Germany. http:\/\/www.hmkv.de<\/a><\/p>\r\n\r\n

Hosted by:
\r\n Christian H\u00f6ller, Springerin Wien<\/p>\r\n\r\n

POLITICS OF SHARING<\/strong><\/p>\r\n\r\n

16:00 \u2013 18:00 h<\/p>\r\n\r\n

The rise of sharing as a new paradigm is embedded in large-scale social and political transformations. Some speak of the 3rd industrial revolution; others envision a world beyond capitalism. While the crisis of the traditional paradigms, particularly in the cultural industry is a matter of daily experience, is necessary to understand more about the larger dynamics driving this. How to understand these transformations? How to develop models that do not simply support new business cycles but rather increase transparency and participatory aspects? How can such a new model relate to state and markets?<\/p>\r\n\r\n

How to Render the P2P\/sharing Economy More Autonomous<\/em>
\r\n Michel Bauwens, founder of the Foundation for Peer-to-Peer Alternatives works with a global group of researchers in the exploration of peer production and governance. http:\/\/p2pfoundation.net<\/a><\/p>\r\n\r\n

Digital Labor: New Opportunities, Old Inequalities<\/em>
\r\n R. Trebor Scholz, associate professor for Culture and Media at The New School in NYC. http:\/\/newschool.academia.edu\/TreborScholz<\/a><\/p>\r\n\r\n

Sharing Beyond the Digital Sphere<\/em>
\r\n Brigitte Kratzwald, social scientist and commons activist http:\/\/www.commons.at<\/a><\/p>\r\n\r\n

Hosted by:
\r\n Felix Stalder, World-Information Institute<\/p>\r\n\r\n

FUNDING THE COMMONS<\/strong><\/p>\r\n\r\n

18:00 \u2013 20:00 h<\/p>\r\n\r\n

From Free Software to Wikipedia, from Alpine meadows to new urban gardens, the commons are increasingly identified as an alternative mode of production; a model which rather provides use-value to communities than exchange-value to markets. However, immediately the question of how to finance these commons is raised. If this is to be sustainable beyond certain niches, there is a need to raise money outside the commodities exchange market. State support plays a role, but cannot provide the main funding. A new regulatory framework needs to find a balance of interests to maintain and expand the commons. Different models of how to address this question will be investigated with a focus on the field of art and culture. How to realize the benefits of a commons and what are pitfalls to be avoided?<\/p>\r\n\r\n

Learn by Funding \u2013 Making Social Entrepreneurship more Open and Open Entrepreneurship more Social<\/em>
\r\n Olivier Schulbaum, Co-Initiator of Bank of Common Knowledge, Burnstation, open crowd-funding platform http:\/\/goteo.org<\/a>.<\/p>\r\n\r\n

The Challenges of Sustaining a Cultural Society with Multiple Contributors<\/em>
\r\n Philippe Aigrain, computer scientist and analyst of political, economic and cultural stakes of information technology and knowledge governance. https:\/\/www.laquadrature.net\/en\/elements-for-the-reform-of-copyright-and-related-cultural-policies<\/a><\/p>\r\n\r\n

Art Continues to Evolve. Will we Do the Same?<\/em>
\r\n ZOE.LEELA, musician, C3S advocate, creative commonist. http:\/\/www.zoeleela.com\/<\/a><\/p>\r\n\r\n

Hosted by:
\r\n Emilie Kleinszig, World-Information Institute<\/p>\r\n\r\n

Saturday\u00a0 15.\u00a0 June 2013<\/strong><\/span><\/p>\r\n\r\n

NEW COLLECTIVE AUTHORSHIP<\/strong><\/p>\r\n\r\n

13:00 \u2013 15:30 h<\/p>\r\n\r\n

Digital media allows for new forms of collaboration and networked modes of cooperation locally and globally; not only in distributed production chains or the field of software development but also in the arts and culture. Collective action that intervenes in processes and flows of signs and sounds becomes more relevant than past models of isolated genius. Practices that draw on technical intelligence and diverse skills are necessarily based on cooperation. What are critical cultural practices in a fluid field of Network society beyond the obsolete 19th century model of the individual author and the aura of the fetish object? What means authorship in the regime of the creative imperative after \u201cthe death of the author\u201d?<\/p>\r\n\r\n

Tools for a Read-Write World<\/em>
\r\n Femke Snelting, artist and designer, developing projects at the intersection of design, feminism and free software. http:\/\/www.constantvzw.org<\/a><\/p>\r\n\r\n

Prismatic Captures of Referential Landscapes<\/em>
\r\n Jonathan Uliel Saldanha, founding member of the art and music platform SOOPA. Works as a cultural producer in Porto, Portugal. http:\/\/www.jonathanulielsaldanha.com<\/a><\/p>\r\n\r\n

Collective Identities are Necessary, Progress Implies Them<\/em>
\r\n Ewen Chardronnet, author, artist, film maker and curator based in Brittany, France. http:\/\/www.ewenchardronnet.com<\/a><\/p>\r\n\r\n

From Visiting to Living, Into the Archive<\/em>
\r\n Daniel Garc\u00eda And\u00fajar, visual media artist, activist and art theorist from Spain. Lives and works in Barcelona. http:\/\/www.danielandujar.org<\/a><\/p>\r\n\r\n

Hosted by:
\r\n Konrad Becker, World-Information Institute<\/p>\r\n\r\n

NEW INTERMEDIARIES<\/strong><\/p>\r\n\r\n

16:00 \u2013 18:00 h<\/p>\r\n\r\n

In digital environments the transaction costs for publishing, distribution, logistics and administration has fallen dramatically. It is not so much about big trucks distributing tons of material to thousands of outlets than about paperless trails and automatized logistics. Many forms of cultural production have been democratized with widely accessible tools and independent producers can benefit from digital scaling effects. Social networks and recommendation systems unseat the dominant powers of industry marketing campaigns and mass media. While traditional roles of cultural gatekeepers have become outdated, there is a need for new intermediaries that do not function as privatizers of social surplus, but as partners of independent cultural producers.<\/p>\r\n\r\n

Dealers in Free <\/em>
\r\n Jamie King, producer\/director of the \u201cSteal this Film\u201d series and founder of the VODO project in London http:\/\/vodo.net<\/p>\r\n\r\n

Can there be a Commons without a Community? Shifting emphasis from the Free and Open to the Commons and the Collaborative economy.<\/em>
\r\n Eric Kluitenberg, theorist, writer, educator, and advisor working at the intersection of culture, media, and technology. http:\/\/www.ecommons.eu<\/a><\/p>\r\n\r\n

Public Library*<\/em>
\r\n Marcell Mars, founder of the Multimedia Institute \u2013 mi2 and net.culture club mama in Zagreb. http:\/\/2012.haip.cc\/en\/festival\/<\/a><\/p>\r\n\r\n

Hosted by:
\r\n Emilie Kleinszig, World-Information Institute<\/p>\r\n\r\n

Saturday 15. June 2013<\/strong><\/span><\/p>\r\n\r\n

A workshop with Marcell Mars and Christoph Kummerer
\r\n Location: Kunsthalle Karlsplatz
\r\n 10:30- 12:30 h<\/p>\r\n\r\n

Be Your Own Public Library!<\/em><\/p>\r\n\r\n

Marcell Mars[0] introduces his extension[1] to the free Calibre[2] e-book management software, that allows everybody to share their own collections with the world.
\r\n No matter if you are a researcher, journalist, scientist, literary geek or a collector of the odd or otherwise hard to find, this workshop will show you new ways of discovering material as well as sharing your own painstakingly collected and indexed stock of works with the world.
\r\n The workshop will get you up to speed with Calibre and the book-sharing extension, discuss the reasoning behind it and hopefully gather some input from the participants on how to move forward.
\r\n Bring your own computers.<\/p>\r\n\r\n

links:
\r\n https:\/\/github.com\/marcellmars\/letssharebooks<\/a>
\r\n http:\/\/calibre-ebook.com\/<\/a><\/p>","protected":false},"excerpt":{"rendered":"

International conference on the impact of digital network technologies for cultural production 2013. 06. 14.-15. Kunsthalle Wien, Karlsplatz http:\/\/world-information.net\/sdf\/ Program: Friday\u00a0 14.\u00a0 June 2013 THE ART WORK IS NEVER FINISHED 13:00 \u2013 15:00 h In the Western tradition we are used to think of art works, once they have been made public, as finished and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-822516","post","type-post","status-publish","format-standard","hentry","category-hirek"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/822516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/comments?post=822516"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/822516\/revisions"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/media?parent=822516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/categories?post=822516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/tags?post=822516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}