Hi Folks, Thanks to everyone that took part on Friday. We had a great time and got lots of work done.
Below is a short summary of the main themes that we discussed over 3 hours. For the full story you can go and check out a recording of the webcast. http://tinyurl.com/y8q93gt A detailed exhibition plan will follow shortly. cheers Ruth and the Furtherfield crew Co-curation event for DIWO at the Dark Mountain 27th November 2009, HTTP Gallery A Summary of the Main Themes Discussed The absence of substantial physical work in the gallery Postal strikes mean that some of the work sent by snail mail have not turned up. Discussed how as infrastructure become more unreliable, it also becomes more visible. How can we represent the works that didn't turn up ( Missing In Action) in the exhibition? Politics and Discussions of Art as Argument A central question for the project as a whole – to explore collective agency as individuals, groups, institutions in a time of environmental crisis. However the agency of artists is indirect. Dougald (Dark Mountain Guide) proposed to script the initial heated discussions that occurred in the early stages of the project for a performance at the opening. How the Uncivilised Manifesto provoked discussions about countryside vs town/industry : metropolitan vs. rural Complexity and Divergence arise from Doing it With Others Bringing together the network, artists/programmers/writers within an email list and complex manifesto, opens things up, reveals and generates questions without necessarily answering any of them. Conversations within the email list would have played out differently if they had happened face to face. We all struggled with the limitations imposed by the narrow bandwidth of the format. Not about conclusion: the exhibition will open up conversations and space. This is an experiment. Stories vs. infrastructure Shifting from literary to media art contexts In the first DIWO project, as well as remix content and stories, participants tended to 'perform' the list and the Internet, connecting to online software, writing programmes and software to revisualise peoples exchanges, conveying meaning through the exchange format itself, (and so remoulding the infrastructure as they did so). But whilst there is agreement on the importance of re-engaging with our own stories- “a lot of our stories have been stolen” by dominant consumer and celebrity cultures and mediation- with a few exceptions, most of the stories in DIWO at the Dark Mountain appear to emerge around the work rather than in the work itself. Ecologies of stories interweaving different levels, historical, social, personal, those fed to us by the media etc ... and their impacts. Recording of the Webcast of the event here http://tinyurl.com/y8q93gt
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