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Editorial content |
Submitted by mute on Wednesday, 29 October, 2008 - 18:18
Institute for the Art and Practice of Dissent at Home The Liverpool Biennial '08's strand of site-specific installations, MADE UP, promoted an engagement with fantasy and beauty over criticality. But, in the context of Liverpool's current City of Culture status and the epic regeneration this entails, we should wake up, not be put to sleep – write the Institute for the Art and Practice of Dissent at Home
subject: Art | Cultural Industries | Site-Specific
OpenPublishing |
Submitted by mute on Sunday, 21 September, 2008 - 19:09
Ben Please come to Clerkenwell County Court tomorrow morning to show solidarity with Lowell Spirit Grant. Spirit is being taken to court by the overseas developers who bought his place from Hackney Council for a song and who now want to evict him, allegedly because of outstanding rent arrears. Please come along to the court at 9.30 a.m. tomorrow morning - the hearing starts at 10 but we need to be outside to show that Spirit has lots of support. The Gee Street Courthouse 29 - 41 Gee Street EC1V 3RE subject: Site-Specific
More noise, more self-respect, more daring
Submitted by unterschreber on Wednesday, 3 September, 2008 - 20:07
Wildcat Firsthand account translated from Wildcat issue 81 (original article at: http://www.wildcat-www.de/wildcat/81/w81_dacia.htm) of the Romanian Renault/Dacia strike earlier this year, which forced wage increases of 30-40% and, in the context of a migration-induced labour shortage, inaugurated a strike wave which has since hit Constanta port and ArcelorMittal. More reports from Romania forthcoming. subject: Class | Europe | Events | Labour Struggles | Money | Site-Specific | Strategy
OpenPublishing |
Submitted by Ben on Thursday, 17 July, 2008 - 15:35
Rory Olcayto i guess the idea that 'negative' social energies can be redirected and inverted into perfecting the reigning negativity is nothing new (ie 'the apprentice' - both the tv series and the picaresque proletarian of yore - is always encouraged to turn class hatred back on his own class in order to ascend from it), but this marks a new level of assimilation even for graffiti. subject: Architecture | Financial Crisis | Site-Specific | Situationist
OpenPublishing |
Submitted by unterschreber on Tuesday, 24 June, 2008 - 17:59
Jon Amsden / Jeffrey Fleishman / LA Times staff writers Thanks to Meltdown III stalwart Jon Amsden for finding and introducing this impressionistic but telling survey of what a dollar free-falling towards worthlessness ('Monopoly money', anyone?) means in terms of everyday survival in some parts of the world.
For those who may wish to take a break from the lofty abstractions of financial skullduggery and dollar decline, here's how it looks on the fishmarket floor and in other places where the dollar was once the basic currency of international trade but is now losing its former luster. subject: Business | Credit | Economics | Fictitious Capital | Finance & Trade | Financial Crisis | Globalisation | Liquidity | Mapping | Markets | Site-Specific | Strategy
Editorial content |
Submitted by admin on Friday, 23 May, 2008 - 10:47
Matthew Fuller This year’s Futuresonic festival in Manchester attempted to spark an alternative vision of social networking software. Matthew Fuller, software critic and participating artist, recognises its urgent necessity subject: Festivals | New Media Art | Site-Specific | Web 2.0
OpenPublishing |
Submitted by unterschreber on Friday, 18 April, 2008 - 20:06
Gary Leupp Overview of the maoist victory in the Nepalese Constitutent Assembly election by long-term observer and sympathiser Gary Leupp, a US academic and regular Counterpunch (www.counterpunch.org) contributor. It's not necessary to agree with Leupp that the maoists stand for 'communism' to recognize that the election result represents a major strategic success for the provisionally demilitarized 'people's war' and a geopolitical upheaval at the borders of India (where the Naxalite maoists continue to wage war) and China. More open to question, perhaps, is Leupp's claim that the event is o subject: Asia | Government | Insurgency | Site-Specific | Strategy | War
Editorial content |
Submitted by mute on Friday, 26 October, 2007 - 13:56
Minnie Scott In this recent archival opus, the fragile legacy of Newcastle based curatorial project – variously incarnated as The Basement Group, Projects UK and, finally, Locus+ – is imaginatively and rowdily conserved. Review of This Will Not Happen Without You by Minnie Scott
subject: Art | Festivals | Performance | Site-Specific
OpenPublishing |
Submitted by unterschreber on Friday, 17 August, 2007 - 21:15
Nathalie Rothschild An all-too-believeable first-hand account from Spiked (http://www.spiked-online.com/index.php?/site/article/3730/) of the heroic Civil Obedience at the pro-Behaviour Modification protest camp outside Heathrow. (Although Spiked's habit of labelling this lot 'Puritans' seems a bit unfair on 17th century Calvinists, given the latter group's social-levelling tendencies, hatred of superstition and insistence on independent thought.) There are particularly telling moments when protest spokesman John Jordan says the muddy austerity of the camp exemplifies the kind of 'simple life' subject: Activism | Climate Change | Environment | Festivals | Games | Marketing | Media | NGO | Performance | Site-Specific | Slums
Editorial content |
Submitted by mute on Wednesday, 9 May, 2007 - 14:35
Anthony Iles John Jordan and James Marriott’s operatic audio tour set in London’s Square Mile is intended to awaken city workers to the impact of financial systems on climate change. But not only does And While London Burns misgauge how much the suits already know, its hysterical tone also harmonises too easily with the coming new eco-order subject: Artivism | Climate Change | Environment | Finance & Trade | Locative | Site-Specific | Socially Engaged
mariposa
OpenPublishing |
Submitted by mariposa on Friday, 2 March, 2007 - 17:10
subject: Artivism | Conceptual | Dada | Fluxus | Futurist | Institutional Critique | Net Art | New Media Art | Performance | Relational Aesthetics | Site-Specific | Situationist | Socially Engaged | Surrealist
Editorial content |
Submitted by mute on Tuesday, 9 January, 2007 - 13:16
Ted Byfield Last autumn’s conference, Architecture and Situated Technologies, at the Villard House in New York sought to rescue technologists and architects from their industry controlled and conceptually rigid engagement with each other. With the current euphoria around situated or context specific computing apparently creating new opportunities for dialogue, Ted Byfield asks whether this intersection is really something new, or whether architecture itself is not the ultimate situated technology
subject: Architecture | Computing | Site-Specific
Editorial content |
Submitted by mute on Monday, 6 November, 2006 - 13:47
Finn Smith Curators talked a lot about the politics of place, identity and participation during Curating Post-Nation: Rethinking the Survey Exhibition for the Biennial Age, a symposium at Bristol's Arnolfini gallery this September. But are curatorial self-reflexivity and multiple exhibition sites enough to guarantee criticality?, asks Finn Smith
subject: Art | Multiculturalism | Regeneration | Site-Specific
OpenPublishing |
Submitted by mute on Monday, 9 October, 2006 - 16:12
Armin Medosch 'Waves', writes Armin Medosch, 'are the sort of invisible work horses of electronic mass society, but the waves as such are generally ignored.' Here, in his catalogue essay for the show Waves which he co-curated with Rasa Smite and Raitis Smits, (Riga, August, 2006), he explains how the concept of the show developed out of a desire to build a new media art discourse from the bottom up, starting with its two 'fundamental layers': code and (electromagnetic) waves.
OpenPublishing |
Submitted by Josie on Thursday, 3 August, 2006 - 13:52
Josephine Berry Slater This thesis examines site-specific art on the Internet from the popularisation of the World Wide Web in 1994 until 2001. The artists studied here are those primarily associated with the term 'net.art', although other artists not associated with this term have also been considered wherever relevant. The generic term I use to designate all these artists is thus 'net art'. The central aim of this thesis is to understand how Internet technology has been used by artists to extend certain avant-garde tendencies in the context of a globalised and networked society. |
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