Proizvodi koje nudi „Technologies To The People“ (TTTP), kompanija koju je osnovao Danijel G. Anduhar, idu od „the Street Access Machine®“ (mašine za pristup ulici), preko „the Recovery Card®“ (kartice za oporavak) i „Internet Street Access Machine®“ (internet mašine za pristup ulici), sve do „The Personal Folkcomputer®“ (ličnog narodnog računara). Svi ovi (izmišljeni) proizvodi i tehnologije za cilj imaju da omoguće onima na nižoj društvenoj lestvici da učestvuju u nastalom informatičkom društvu. Dok „Street Access Machine®“ obećava „pristup za svakog”, „Street Access Machine®“ i „Recovery Card®“ omogućavaju prosjacima da primaju uplate putem kreditne kartice. Ovaj projekat razotkriva uverenje koje propagiraju oni koji proizvode srodne produkte (i po kalifornijskoj „ideologiji”), da je potencijal demokratizacije neodvojiv od tehnologije. Svet prikazan kroz TTTP na njihovim posterima i lecima nije ništa pravedniji zahvaljujući upotrebi novih tehnologija, niti je dostupan svima – uprkos tvrdnjama provajdera telekomunikacionih aplikacija. Čak i ako koriste najnovije info-društvene alatke, prosjaci ostaju prosjaci, društveno marginalizovani ostaju društveno marginalizovani. Tehnologije naginju jačanju,više nego menjanju društvenih struktura. Kada je projekat 1996. godine prikazan u Hamburgu, dobili su (pravi) i-mejl od Apple-a, u kojem se iskazuje zainteresovanost te kompanije za (izmišljeni) spektar proizvoda TTTP-a.

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Wealth of Nations is a part of the Cinema City festival and consists of an exhibition and a conference. The term ‘Wealth of Nations’ is the title of the seminal book by the Scottish economist Adam Smith, in which he establishes and defends the basics of Liberal Economic Policy. Liberal Economics experienced its peak in the 1990s after the concept of Real Socialism had failed and the global free market had been established. This economy, however, has entered a period of deep crisis in the past few months and it might, for a shorter or longer period, affect the stability of societies all over the planet. The topic of ‘Wealth of Nations’ this year will delve into the influences that the Economic and Financial sectors have on society and consequently, on cultural production.

It is interesting to see that the field of Finance is really an exclusive field which is well known only to a selected group, which, like priests or shamans, functions within the global banking system. Periodical financial crises over the last two centuries (the current global crisis is apparently the thirteenth) arouse our curiosity about the mechanisms, the structure and the rules of the global system. On the one hand, the Internet is there to help with the easy dissemination of information and, on the other hand, it adds tidal waves of various conspiracy and control theories, which act as disinformation when studying the nature and the control of the spirit and the flow of money.

This is what Marx wrote about money in his notes ‘Power of Money’: ‘If I have no money for travel, I have no need — that is, no real and realisable need — to travel. If I have the vocation to study but no money for it, I have no vocation to study — that is, no effective, no true vocation. On the other hand, if I have really no vocation to study but have the will and the money for it, I have an effective vocation for it.’According to Marx, money, in its role of the external universal medium, transforms the real and essential power of man and nature into an abstract concept, and thus into imperfect and disturbing visions. In the same way, money transforms the real imperfections and visions, essential powers that are impotent in reality and exist only in a person’s imagination, into true essential power and capability. In view of the above, money causes a general deformity of the characteristics of the subject and makes its own attributes appear contradictory. Simmel’s Philosophy is a fundamental criticism of Marx’s political economy although both authors agree that money has various functions (measure of value, medium of exchange and medium of capital accumulation). To Marx, money is the embodiment of abstract labour, and its value is determined by the conditions of production.

Marx believed that capitalist production, with its relationship between money, labour and capital, is responsible for the contradictions of the modern, industrial society. To Simmel, on the other hand, monetary economy as such is the reason for social relationships being soulless. Simmel criticises the ‘economisation’ of money, and places money into the wider concept of human experience. To him money is only loosely connected to a material basis and is, instead, a social phenomenon, a form of human interaction. As Poggi claims, to Simmel money is the central structure and symbol in the historical formation of the modern society.

Finance is simply the monetary activity of managing money. Finance is the production of monetary funds. Viewed like that, money constitutes both the means and the aim of Finance, a means that is an aim in itself and an aim without the means. Simmel believes that the ideal point of money, the same as of Law, is to be the measure of other things without measuring itself.

In his book, State of exception, Agamben analyses states of emergency and claims that the means are always independent of the aim they achieve. The means do not stand in relation to the aim, positioned, instead, in relation to their own mediality. Thus Finance becomes a means without purpose and they financialize only their own financialization. The latest research claims that 97% of the total amount of dollars in circulation is virtual, they only exist as numerical information and only 3% of dollars circulating in the world is real paper money, real cash.

Money as capital and capital as money operates easily within the concepts of commodification, gets integrated into life itself and slowly grows into the wider context of material, into nature and energy (ecocapitalism, energy politics). Marazzi claims that the sectors of accumulation of capital, such as Health, Education and Culture, are the ones which today generate the most revenue and create the most jobs. It is due to the fact that these services, which used to be state owned, are currently undergoing transition into the private sector. On top of that there is Ecology with its privatization and financialisation of nature.

The current situation reflects the new classes and satisfactions, among which is the class of priests, brahmans, who know the secrets, the laws and the processes of the financial world. How long this has been going on without change is clear from the latest researhes into money in Antiquity. William H. Desmonde writes about money bearing divine insignia that was made in temples. Rene Guenon speaks of the symbolic elements of druidic doctrines on Celtic money. The social system has two options in this situation: either the goods and monetary system will fundamentally change or the subjects will have to start learning about the basics of Economy and Finance. Therefore it is essential to build understanding of this complex field of Finance through educating and motivating those who are not privy to financial science and its applications. The question is whether the financial system would collapse if a critical mass of subjects got to understand financial laws, if they understood the system which is based on self-reference and the resulting mystification.

Kristian Lukić

Reference:
Simmel, Georg, The Philosophy of Money (1900) / Ed. by D.Frisby.- L., N.Y.: Routledge. 1995
Deflem, Mathieu ,“The Sociology of the Sociology of Money: Simmel and the Contemporary Battle of the Classics.” (2003) Journal of Classical Sociology 3(1): 67-96
Guénon, René, The Reign of Quantity and the Signs of the Times (1945), Sophia Perennis, 2001
Marazzi, Christian Measure and Finance (2007) / presented at ‘Measure for measure: a workshop on value from below’, Goodenough College, London, 21st September 2007
Agamben, Giorgio, State of Exception, (2005), University Of Chicago Press
Marx, Karl, Power of Money, (1844) http://www.marxists.org/archive/marx/works/1844/manuscripts/power.htm

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Wealth of Nations

LISTS OF THE PARTICIPANTS:

Izložba / Exhibition:

1.    Daniel Andujar / Street access machine *1996.
2.     Derivart / Hipotecadoria *2007.
3.     Heath Bunting / Skint, the internet beggar *1996.
4.    Heath Bunting / In a possession of the post office credit card
5.     Hempmen / Zaboravi money *2006.
6.     IRWIN (M. Abramović, B. Brecelj) / Namepickers *1988.
7.     Islamsko bankarstvo
8.   Kate Rich / Feral trade *od 2003.
9.     K Foundation / Burn a million quid *1994.
10.    Likvidirane krune
11.    Luchezar Boyadjiev / GastARTbeiter *2000.
12.    Max Kaiser / Hollywood Stock Rxchange *od 1996.
13.   Metahaven / Sealand identity project – Grey cards *2003–2004.
14.    Michael Aschauer / 0EURO *2009
15.     Mladen Stilinović / Kineska posla *2009.
16.    Natalie Jeremijenko and The Bureau of Inverse Technologies / Despodency index
17.    OlaPehrson / NASDAQ vocal index *2003–2004.
18.     Shu Lea Cheang / Agliomania
19.     Slavko Bogdanović / Porez na promet *1970.
20.     Vladimir Todorović / Nildegree *2008
21.    Zajam za privredni preporod Srbije *1989.

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INTERNATIONAL CONFERENCE “WEALTH OF NATIONS”
7 – 8 June, 11 am – 5 pm
SNP, Chamber Stage

Finances and monetary policy are mostly a matter of interest exclusively of a small circle of devotees. Even the social sciences, broadly speaking, avoided exploring the mutual relation between finances and other aspects of social activities. However, with the serious development of financial crisis some questions, which go behind the narrow sector of economy and finances, have been emerging.

Having experienced the Great Depression in the 30s of the 20th century, and its implications for the beginning of the Second World War, there are many of those who are worried about the further development of the present state of capitalism’s global crisis. The development of so called criticism of finances, is trying to explore other models of economies and relations which bypass the so called monetary ideology and praxis, as dominant form of economic conversion, within the context of symbolic trade.

Syntax “Wealth of Nations” (Adam Smith) is on one hand, an ironic theme for today’s state of liberal economy in crisis, and on the other hand, raises a serious question: what really constitutes value? Is it social interaction, beliefs and fears along with market indexes? To what extent is money nature or culture? Is money equivalent of goods, labour, or is it self-referential?

At the conference participants and speakers, including economists, sociologists, artists, activists, philosophers and culture theoreticians, will try to answer these questions and provoke a wider debate on finances, as the social praxis, and its wider implications in domain of rational and irrational.

June 7th, Sunday

11:00 – 13:00
MAN-DEATH-CREDIT

Slavko Bogdanovic
Stefan Heidenreich
Ralph Heidenreich

15:00 – 17:00
RESOURCES-WEALTH-PROPERTY

Konrad Becker
Matteo Pasquineli
Marko Rakic

June 8th, Monday

11:00 – 13:00
VALUE-ALGORITHM-MAGIC

Darko Pantelic
Felix Stalder

15:00 – 17:00
ART-INVESTMENT-INDEX

Luchezar Boyadziev
Mar Canet
Shu Lea Cheang

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WEALTH OF NATIONS – izložba i konferencija / exhibition and conference
(Bogatsvo naroda)

Programski direktori / Program directors:
Vladan Joler, Kristian Lukić

Kustosi / Curators: Vladan Joler, Kristian Lukić, Gordana Nikolić

Urednici konferencije / Conference editors: Kristian Lukić, Gordana Nikolić

Izvršni direktor / Executive director: Natali Beljanski

Produkcijski tim / Production team: Jana Katić, Igor Zarol

Koordinator / Coordinator : Ibis Ćerimagić

IT podrška / IT support: Predrag Tegeltija

Tehnička podrška / Technical support: Pajica Dejanović, Đorđe Popić

Stejdž menadžeri / Stage managers:
Anton Bereš, Ivan Dervišević, Kristina Kaćanski, Dušanka Stepanov

Produkcija / Production:
STATE OF EXIT & THE CREATURES, Novi Sad

Ko-produkcija / Co-production:
Muzej savremene umetnosti Vojvodine, Novi Sad / Museum of Contemporary Art of Vojvodina, Novi Sad www.msuv.org

Institut za fleksibilne kulture i tehnologije-NAPON, Novi Sad / Institute for flexible culture and technologies-NAPON, Novi Sad www.napon.org

Umetnička asocijacija-INBOX, Novi Sad / Art Association-INBOX, Novi Sad www.inbox.rs

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THE WONDERFUL WORLD OF IRATIONAL.ORG: Tools, Techniques and Events 1996-2006

Museum of Contemporary Art of Vojvodina
Dunavska 37, Novi Sad, Serbia

Curators: Inke Arns (Dortmund) and Jacob Lillemose (Kopenhagen)
Dates: 28. October – 27. November 2008. from 9-17h, during weekends from 9-14h; Museum is closed on Mondays.

Production:
New Media Center_kuda.org, Novi Sad, http://www.kuda.org
Hartware MedienKunstVerein, Dortmund, http://www.hmkv.de

Co-producers of the show:
Museum of Contemporary Art of Vojvodina, Novi Sad, http://www.msuv.org
Institute for Flexible Culture and Technologies – Napon, Novi Sad, http://www.napon.org

Generously supported by:
Province Ministry for Education and Culture
Ministry of Culture of Republic Serbia
Cultural Office of the City of Dortmund in the framework of the twin cities program Dortmund-Novi Sad

Go to the irational exhibition 2006 in the PHOENIX Halle Dortmund
xhibitions&…

Irational is a loose grouping of six international net and media artists who came together around the server irational.org, founded by the British net artist Heath Bunting in 1996, going on to make decisive contribution to early net art from the mid-1990s onward. They include Daniel Garcia Andújar / Technologies to the People (E), Rachel Baker (GB), Kayle Brandon (GB), Heath Bunting (GB), Minerva Cuevas / Mejor Vida Corporation (MEX) and Marcus Valentine (GB).

The exhibition in Novi Sad, Museum of Contemporary Art of Vojvodina, 2008.

With dry humor and minimal aesthetics, irational commented the Internet hype of the mid-to-late 1990s, competing with the commercialization-euphoria of the new market by developing its own pseudo-ventures. Net art was immediate during this period, neither needing nor enjoying the safety of a mediating space or instance. This is why irational often hit upon humorless trademark attorneys, who wanted to keep irational from using brand names such as 7-11, American Express, Sainsburys and Tesco. These encounters, which the exhibition documents extensively, were little more than a prelude to more recent developments on the field of copyright, intellectual property, and brand protection. Heath Bunting was the first net artist to retire in 1997, putting an end to his exclusive work in the net and turning back to more intensive work in public space, which the Internet has become such an important part of today. If the activities of irational during its “net phase” were dedicated to calling virtual boundaries into question, its members now experiment with interrogating and overcoming economic, political, and social boundaries in real space, producing a great deal of comic relief, among other things.

The exhibition in Novi Sad, Museum of Contemporary Art of Vojvodina, 2008.

The exhibition in Novi Sad is coming after shows in Glasgow and Dortmund. Never before have so many complex and relevant artworks from around irational.org been shown in such a comprehensive exhibition. Its goal is to use the media of a large-scale presentation, workshops, and a comprehensive documentation to make these artistic-activist pieces more accessible to a general public.

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kustosi:Inke Arns, Jakob Lilemoze (Jacob Lillemose)

Muzej savremene umetnosti Vojvodine, Novi Sad

Dunavska 37, Novi Sad

28. Oktobar – 27. Novembar 2008.

Otvaranje izložbe: Utorak 28. Oktobar, u 20:00 časova

Producent izložbe:

Muzej savremene umetnosti Vojvodine, Novi Sad

Koproducenti izložbe :

Hartware MedienKunstVerein, Dortmund

Centar za nove medije_kuda.org, Novi Sad

Institut za fleksibilne kulture i tehnologije – Napon, Novi Sad

Irational je neformalna grupa šest internacionalnih net i medijskih umetnika koji su se svojevremeno okupili oko servera irational.org, kojeg je osnovao britanski net umetnik Heath Bunting 1996. Članovi Irational.org su: Daniel G. Andujar (Valensija/Španija), Rachel Baker (London/Velika Britanija), Kayle Brandon (Bristol/Velika Britanija), Heath Bunting (Bristol/Velika Britanija), Minerva Cuevas (Mexico City/Meksiko), Marcus Valentine (Bristol/Velika Britanija)

Sa humorom i minimalnom estetikom Irational su sredinom devedesetih kritikovali Internet pomodarstvo, takmičeći se sa euforijom komercijalizacije ovog

novog tržišta razvijajući svoje sopstveno pseudo-preduzetništvo. Ovo je razlog zašto su irational često tuženi od strane brojnih advokata, zaštitnika različitih trejdmarkova i brendova, koji su pokušavali da spreče korišćenje brendova kao što su 7-11, American Express, Sainsburys i Tesco. Ove njihove akcije su bile svojevrsni uvod u današnju debatu o kopirajtu, intelektualnim pravima, zaštiti brendova. Heath Bunting je bio prvi umetnik koji se penzionisao 1997. stavljajući tačku na njegov rad na Internetu i vraćajući se intenzivnijem radu u javnom prostoru. Ako su aktivnosti irational.org tokom njihove net faze bile posvećene problematizaciji virtualnih granica, sada članovi irational.org eksperimentišu sa ekonomskim, političkim I društvenim granicama u realnom prostoru, često proizvodeći komične situacije, pored ostalog.

Ovo je prvi put da se radovi irational.org sistematizuju na jednoj ovakvoj izložbi. Izložba se sastoji od elemenata klasičnih izložbenih praksi (većih formata), radionica i analogne i digitalne dokumentacije koja će ove umetničko/aktivistička dela približiti široj publici.

BIOGRAFIJE

Irational.org 1995. godina.

IRATIONAL.ORG je međunarodni sistem za uspostavljanje „iracionalnih“ informacija, usluga i proizvoda za raseljene i lutajuće. IRATIONAL.ORG potpomaže nezavisne umetnike i organizacije koje treba da održe informativne sisteme od velike važnosti za misiju. Ovi „iracionalisti“ stvaraju rad koji pomera granice između korporativnih carstava biznisa, umetnosti i inženjeringa. Glavnih iracionalista trenutno ima šest i trenutno su u procesu konsolidacije naše sistemske strukture da bi postali efikasniji i dovoljni sami sebi kao mreža. Mi gradimo softverski snažan onlajn alat koji je brz, jeftin i prilagođava se potrebama korisnika. Mi želimo da pružimo naše resurse široj javnosti.

Danijel Garsija Anduhar (Daniel García Andújar)

*1966.

Danijel Garsija Anduhar radi pod banerom Tehnologija narodu (Technologies to The People (TTTP), i istražuje virtuelnost, autentičnost, prava na umnožavanje, sponzorstvo, medije i moć kao novu tehnologiju, zajedno sa pitanjima ko ima pristup tome svemu, taj to i širi po svetu. Umesto da se preda kvalitetu novih tehnologija koji podseća na fetiš, TTTP se fokusira na iznikla bojna polja. Umesto potpunog odbijanja, TTTP ima pragmatsku funkcionalnost kada se uzme u obzir šta se sve može desiti, a naše mogućnosti za akciju u društvu utopljenom u brzu fundamentalnu promenu. Trenje u radu TTTP leži u očiglednoj slobodi interneta, znanju koje ono sadrži i ko, zapravo, poseduje i širi to znanje kao sredstvo za razvoj moći.

Rejčel Bejker (Rachel Baker)

*1970.

“Od 1997. godine, radim kao umetnik, širim mrežu i na internetu i na internet radiju. Moja umetnička praksa istražuje tehnike koje se koriste u savremenom marketingu da bi se sakupili, istražili i distribuirali podaci, a moji osnovni motivi su vezani za mobilzaciju umreženih zajednica. Radio kombinovan sa internetom (net.radio) formirao je ključnu oblast aktivnosti, a onda tek intervencije putem SMS poruka sa mobilnog telefona. Poslednji projekat ticao se istraživanja putovanja vozom kao mesta za distribuciju umetničke prakse i javno i privatno. Vodila sam projekte irational.org gde se sakupljala društvena umetnost i spajale mreže sa tehnološkim mogućnostiima, ali to je propalo tokom poslednjih par godina. Trenutno radim na obradi dodeljivanja sredstava u Umetničkom savetu Engleske (Arts Council of England) kao koordinator za medijsku umetnost Londona, a potom pravim muziku sa Antifamilijom (Antifamily, veb sajt koji se nalazi na irational.org), jedan od nekoliko bendova pri nezavisnoj diskografskoj kući Difikult fan (Difficult Fun).”

Kejl Brendon (Kayle Brandon)

*1976.

“Mene zanimaju prostorno-socijalni odnosi koji upravljaju oblastima svakodnevnog života. Volim da učestvujem i da stvaram situacije koje dozvoljavaju hirperrealna iskustva sebe i kritički angažman na nivou ulice. Angažovana sam u fizičkoj inteligenciji i provokativnoj intervenciji, Hit Banting i ja smo tražili iskustva koja otelotvoruju interesovanje za avanturom, preživljavanjem, igranjem i istraživanjem. Često bismo organizovali hepeninge sa učestvovanjem publike: takvi hepeninzi kao da imaju organizacionu strukturu koja sama reaguje, sa najvažnijim subjektima koji potiču iz okoline i stečenim kolektivnim iskustvima koja se nose kući i pamte. Moji omiljeni alati nisu nešto naročito, oni su otvoreni i jednostavni. Primenjujem tehnike koje otelotvoruju sistem „uradi sam“, etiku samoupravljanja i odnose koji imaju smisla. Ja sam amater u životnim naukama: status amatera, nekog sa hobijem vam dozvoljava da nešto zajebete, eksperimentišete s nečim i da budete nekonvencionalni, što uveko dovodi do toga da vam je život malko zanimljiviji. Trenutni konteksti za rad: domaća infrastruktura, kućne laboratorije i seoski zanati.”

Hit Banting (Heath Bunting)

*1966.

Hit Banting se pojavio osamdesetih i posvećen je stvaranju otvorenih/demokratskih komunikacijskih sistema i društvenog konteksta. On je došao sa ulice, prolazio kroz sledeće faze: grafite, performanse, intervencije, piratski radio, faks/mejl umetnost i BBS sisteme, i vraćao se tim fazama, da bi, na kraju, postao aktivni učesnik u vremenu ekspanzije interneta . Producent je mnogih internet projekata, neki su veoma poznati, i pomogao je da se formira snažan kontekst za praksu net.art-a. Zašao je i u polje genetike proglasivši ga sledećim „novim medijumom“, i takođe razvija rad u oblasti performansa fizičke mreže. Njegova glavna ambicija jeste da nađe način da sve to napusti i da živi van toga kako je Bog i mislio da treba.

Minerva Kuevas (Minerva Cuevas)

*1975.

Minerva Kuevas je osnivač Korporacije Mehor Vida (Mejor Vida Corporation), neprofitne korporacije koja se zasniva na ekonomskim intervencijama, koje su rezultat nepoverenja institucionalizovanog kapitalističkog sistema. Razvijen oko specifičnih socijalnih i političkih konteksta, njen rad ispituje korporativno ponašanje. Veoma je zainteresovana za izmenu logotipa i stvaranje štampanih radova. Pošto je radio-amater, ona odobrava kulturnu intromisiju i sabotažu. Član je iracionalnog.org i espora.org.

Markus Valentajn (Marcus Valentine)

*1964.

Markusov prvi iracionalni projekat i , i dalje jedan od najpopularnijih (pored smata), jeste Kako biti radio pirat, kasnije je to ime promenjeno u Radio stanica zajednice, nakon što je privukla negativnu pažnju i pritisak od strane britanske države koja pritiska piratsku radijsku aktivnost. U početku je Kako biti radio stanica zajednice predstavljala i obnavljala tehničke i praktične informacije iz ozloglašene brošure Radio je moja bomba, objavljene 1987. godine. Godine 1999., u tražeći način da promeni stanište, negde oko rođenja prvog deteta, dok je razmišljao o porodici, Markus je napravio Upitnik za nefunkcionalnost. Markus je trenutno glavni član Orkestra kjuba (Orchestra Cube), kolektiva za improvizovanu muziku zasnovanog u Kjub mikropleksu u Bristolu u Britaniji.

Kustosi

Inke Arns

*1968 u Duisdorfu/Bon

Inke Arns radi od 1993.godine kao freelance kustos i pisac koja se specijalizovala za rad na medijskoj umetnosti, net kulturi i istočnoj Evropi. Ona je osnivač nekoliko medijsko-kulturnih inicijativa od 1996. godine do danas; radila je u više navrata kao predavač od 2000. do 2004. godine, a doktorirala 2004. godine na Humbolt univerzitetu u Berlinu. Umetnički je direktor Hartvare Medienkunstferajna (Hartware MedienKunstVerein) u Dortmundu od januara 2005. godine.

Jakob Lilemoze (Jacob Lillemose)

*1974

Jakob Lilemoze je freelance kustos i kritičar. On vodi organizaciju Artnod (artnode.org) u Kopenhagenu, postavlja izložbe, objavljuje publikacije i razgovore, i takođe predsedava odborom Overgaden instituta za savremenu umetnost u istoimenom gradu. Redovno šalje priloge i savete za Le mond diplomatik u Skandinaviji, pokušava da radi na pitanjima koja se tiču veza između konceptualne umetnosti, društvene kritike i kulture zasnovane na kompjuterima, a trenutno je zaokupljen „materijalnošću izvan objekta“.

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