Blog Archives

Un castillo en ruinas, la decodificación del Imperio

Daniel G. Andújar

Siguiendo el buen ejemplo de la sociedades capitalistas desarrolladas, la actividad terciaria, la prestación de servicios, se ha convertido en uno de los sectores clave de la economía de este país (España). Diría más, los servicios de ocio y turismo se han convertido en una necesidad, hasta el punto de convertirse en la principal fuente de divisas y en el motor económico que alimenta toda una nueva idiosincrasia. Es un papel en perfecta armonía con la fuerza dinámica de la economía global que asumimos de forma colectiva con cierto conformismo ¿Quién no se ha sentido alguna vez en este país, o ha ejercido directamente, de guía turístico o camarero? Nos viene en el DNI (Documento Nacional de Identidad). Nuestra disposición para el servicio es puesta a prueba con cierta periodicidad ya que en reiteradas ocasiones nos vemos obligados a ejercer de guías ocasionales para familiares, conocidos y amigos que vienen de visita y necesitan del perfecto anfitrión que los oriente por el complejo y fascinante mundo de la tapa, el flamenco, la paella, la cala, la ruina, el museo, la catedral, etc., según afinidades y naturaleza del visitante, guía y lugar en concreto. Nos convertimos en mediadores ocasionales filtrando de forma subjetiva la información que conforma parte de nuestra realidad más inmediata, y lo hacemos de forma automática, casi profesional, sin darnos cuenta, destilamos la realidad a nuestro antojo, de acuerdo a nuestras preferencias. Y cuento todo esto porque en una de estas jugadas, me vi ‘obligado’ a acompañar a una amiga investigadora hasta la capital del Reino, donde debería orientarla, fundamentalmente, en una investigación que estaba llevando a cabo en torno a la cultura del archivo y que pronto verá la luz con forma de ensayo en la lengua franca de la sociedad de la información, el inglés. Guiar, manipular, interpretar, filtrar, condicionar, orientar, mediar, priorizar, jerarquizar… todo lo que trato de combatir sin éxito alguno, demasiado poder, hasta para un amigo.

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Creating a surrounding world

Hacklandscape

by Álvaro de los Ángeles, 2006

Arcades first appeared in Paris in the first third of the nineteenth century and became increasingly commonplace, as Walter Benjamin points out, with the growth of the textile trade, which marked the beginning of a hitherto unknown relationship between the inhabitant as a customer/buyer (user) and the city. Glass, iron, overhead light and artificial lighting -“The arcades were the setting for the first gas lighting,”‘ wrote Benjamin- covered entire blocks of buildings. This new architectural concept was in keeping with the period of change and the industrial revolution it formed part of. However, it also represented the ubiquity of a city inside a larger city, a clear attempt to create a “new” world inside a known one, while evoking the ideals of progress and well-being, albeit founded on a virtual idea, unreal or unattainable, that the physical and tangible world no longer seemed capable of generating or achieving.

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Fri software på overfladen, bag skærmen og i et kulturelt kalejdoskop: X-Devian

[Essay] Jacob Lillemose fortæller i dette essay om Daniel Garcia Andújars installation X-Devian. The New Technologies To The People System og om baggrunden for dette værk
Af Jacob Lillemose
Foto: Århus Kunstbygning

Udstillingen X-Devian. The New Technologies To The People System blev vist i Århus Kunstbygning fra 12. maj til 10. juni 2007
www.aarhuskunstbygning.dk

 
Udstillingsbillede fra Århus Kunstbygning

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Free Software on the Surface, Behind the Screen and in a Cultural Kaleidoscope: X-Devian.

akb x-devianThe New Technologies To The People® System

By Jacob Lillemose

In 1999, when the art and technology festival Ars Electronica awarded The Golden Nica, first prize in the ”.net” category, to the programmer Linus Torvalds for his development of the Linux operating system, it was pointing in general to the relationship between free software and art, and more specifically to the affinity between free software and that part of contemporary art which is concerned with software’s constantly increasing influence on social, economic and political conditions. Like Linux, this part of contemporary art works against the proprietary software industry’s standardization, repression and rationalization of the software culture, and instead explores alternate possibilities for freeing the software culture through more open, expressive and speculative processes.
On a more indirect level, Ars Electronica’s choice of Linux also emphasized another relationship between free software and this contemporary art, i.e. the idea informing both that software is not just a question of programming, but of producing culture – of understanding and using technology as a means of engaging in a social context. According to the founder of the Free Software Foundation (FSF) Richard Stallman, free software is about ”practical material advantages” but also about ”what kind of society we want to live in, and what constitutes a good society”. 1 Stallman himself imagines an extremely collective and creative society founded on the freedom to ”use, study, copy, modify and redistribute software”. For him, the free software’s fundamental abolishment of intellectual property rights represents a chance to structurally and conceptually ”reprogram” society for the better, and this is an opinion he shares with much of contemporary art.

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Art’s price

Toma las riendas

By Daniel G. Andujar*

Artists Rights

Artecontexto, winter 2006

In the last few years, copyright has become a controversial issue. On the one hand, current information and communication technologies have generated a new social reality in which both old situations and new sceneries coexist. Undoubtedly, these transformations have also produced a crisis on the prevailing systems of distribution and cultural management. Societies have enough mechanisms to adapt themselves to their own processes, but we must ask ourselves if the current dogmatic legislative apparatus is prepared to confront these changes. On the other hand, the recent pressure that collective copyright management societies have exerted on our legislators, so as to make sure that the new laws on intellectual property will safekeep their interests, has intensified this debate. Specialists express their opinions on this subject even on the paparazzi TV shows, and of course, a few of them may suddenly show their preference for one of the options with the sole purpose of taking advantage of this situation. This is not just one more ephemeral topic. It’s in fact an open confrontation between those who control and defend leisure industries -culture’s big business-, and those who demand an urgent revision of the prevailing system and a reformulation of the notion of intellectual property in a new “free-culture” context.

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El precio del Arte

artecontexto

Daniel G Andújar

LOS DERECHOS DE LOS ARTISTAS
Artecontexto Número 12
Invierno 2006

El tema de los Derechos de Autor se ha convertido últimamente en motivo de polémica y discusión recurrente. Por un lado, las actuales tecnologías de información y comunicación, han generado una nueva realidad social en medio de la cual se desenvuelven tanto situaciones previas como nuevos escenarios. Lo que no podemos dudar es que estas transformaciones han puesto en crisis los modelos de distribución y gestión cultural dominante. La sociedades tienen mecanismos suficientes para adaptarse a sus propios procesos de cambio, pero no podemos evitar preguntarnos si el aparato dogmático y legislativo vigente está preparado para afrontar estos cambios. Por otro lado, la reciente presión que las entidades de gestión de derechos colectivos de autor realizan sobre nuestros legisladores, para que nuevas leyes sobre la propiedad intelectual garanticen sus intereses, ha intensificado aún más el debate y la discusión en torno a esta cuestión. Los especialistas en uno y otro sentido surgen como los tertulianos en los programas del corazón, y por supuesto siempre aparecen quienes súbitamente se suben a uno u otro carro con el único propósito de sacar rédito de la situación. No estamos hablando de una moda pasajera, nos estamos refiriendo directamente a una confrontación abierta entre quienes controlan y defienden la industria del ocio, el gran negocio de la cultura, y quienes reclaman una revisión urgente del sistema imperante y una reformulación de la noción de propiedad intelectual en un nuevo contexto de ‘cultura libre’.

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Net.activismo: una de las Bellas Artes

Worhsho Virreina

Por Alberto López Cuenca

Julio 2005 | ABCD las artes y las letras |

Las artes plásticas desde hace más de un siglo, del puntillismo al land art, pasando por el neoconcreto brasileño y la transvanguardia italiana, pueden entenderse animadas por un insaciable afán de deglución de técnicas y materiales ajenos a la esfera artística. Sopesar el alcance de esta estrategia de absorción de lo impropio es crucial para entender la transformación de los vocabularios plásticos durante el siglo XX. En sus últimas décadas, fue vital la experimentación con los nuevos soportes tecnológicos, que abriría algunas de las sendas más fructíferas para el arte actual, ya se tratara de la videocámara en manos de Nam June Paik, los proyectores en las instalaciones de Bruce Nauman o el LCD en los trabajos de Jenny Holzer. De ahí que la que probablemente haya sido la revolución tecnológica más profunda de los últimos años no haya pasado inadvertida para muchos artistas.

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Technologies To The People Annual Report 2000

Posted by Rhizomer on February 26, 2001 12:00 am

To our shareholders

Technologies To The People had another remarkable year in 2000. We made major advances in all our key businesses. The demand for great software that helps people work, communicate, and learn is stronger than ever. Our products are doing well because they deliver on these needs.

iStreet Access Machine (iSAM) is proving a great success. Customers appreciate its ability to work better, while its robustness means that iSAM is generating less than half the customer calls of its predecessor (SAM). Integrated with the latest Internet technology, iSAM helps our customers leverage the interactivity of the Internet with the intelligence of the PC. iSAM is making deeper inroads onto the streets, based on its productivity, reliability, and lower total cost of ownership. And iStreet, a compact version of the Street operating system designed for a wide range of intelligent devices, is finding its way into everything from interactive televisions to hand-held computers.

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Technologies to the People® – Our Sponsor, or: How we got the attention of both Apple™ and the left German art critique

by Inke Arns, Berlin, June 2000 <inke@snafu.de>

written for Technologies to the People [d.i. Daniel Garcia Andujar], La sociedad informacional, catalogue, to be published in August 2000 [English / Spanish]

„I am not fond of manipulation, and I think you should not use it for political aims.” (1)
(Left-wing squatter in Berlin, April 2000)
In 1996-1997 together with Ute Vorkoeper we organized and curated the international exhibition project discord. sabotage of realities (2) which took place in the Kunstverein and the Kunsthaus in Hamburg. The exhibition was part of the Hamburg Week of Visual Arts 1996, partly funded by the city’s Cultural Office. Artists worldwide were invited to submit artistic concepts dealing with today’s more and more un-peaceful political and social realities. The organizers received more than 500 concepts from 31 countries. The actual exibition discord was divided into six thematic zones focussing on control (security/insecurity), news services (disinformation), everyday (alienation), border politics (walking the tightrope), state machineries (law, discipline, repression), science fiction & economy (the administration of the future) and included an international selection of 34 artistic works most of which were premiered in the exhibition, and 26 additional artistic concepts from 18 countries.

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