# Performance aan de Laan #1, The Autobiographical

with Heyer Thurnheer, Gj Derook, Toine Horvers, PQI (Patricia Qi Pluijmers), Marcus Bergner, Kathrin Wolkowicz & Rachel Carey. Programmed by Kathrin Wolkowicz, hosted by Gerwin Luijendijk, Johanna Monk & Vanita Monk - my video:

vimeo.com/298894586

IBM buys RedHat for $30 billion. This value was mostly created by the labor of volunteer, un- or underpaid developers of Free/Libre/Open Source software who will not see a dime of IBM's money. There need to be discussions of economic flaws in the FLOSS development/distribution model.

my video of WORM Pirate Bay performed at WORM’s Slash Gallery, Rotterdam, Netherlands.
with The WORM Pirate Bay Zine Club, Re#sister (Zeynep, Oyo, Mariette, Tarik), Tarik Speelman, Owen Storni Hoogenboezem + Victor Suy Bio:

vimeo.com/297271523

transmediale looks for a new artistic director:

(For potential applicants: The salary is on German public service tariff E14, equivalent to the Dutch art school/HBO salary level 12. To prevent all myths that people get rich working on these jobs.)

transmediale.de/content/announ

fcr boosted

Blackmagic Pocket Cinema (v1) Survival Guide

Just wrote a hands-on guide for users of the first-generation Blackmagic Pocket Cinema Camera (1080p), summing up 5 years of practical experience with the camera. The focus is on practical tips & tricks and the things that one should know when working with the camera:

data.pleintekst.nl/Blackmagic_

Topics covered:

HDMI port
Infrared pollution
Moiré
Mic & pre-amp
Storage media
Power
Which format & color space?
Which lenses?
Which system?
Which focal lengths?
Exposure
Pulling focus
Stabilizing the camera
Which computer for editing?’
Getting good color:
Method 1: LUTs
Method 2: Color Space Transform with Tone Mapping
Method 3: Color Chart
Method 4: RAW control sliders
Method 5: Hybrid
Note on Styling LUTs

Stewart Home's and my joint presentation on fascist undercurrents in counter-cultural and avant-garde movements is online:
youtube.com/watch?v=gBSLrwTdJz

-right -culture

fcr boosted
fcr boosted

@fcr I agree with you. It seems that Ulrich's argument is quite weak. On this topic I found immensely interesting the work of Francesco Poli "Il sistema dell'arte comtemporanea". lafeltrinelli.it/libri/frances Unfortunately it is only in italian.... However, in it he offers historical details for explaining why the contemporary art world is what it is ....while also debunking popular myths such as the one that the success of an artist is due to the fact that his/her work is liked by the mass (in fact more often than not it is the opposite : a few galleries decide what it is to be liked and (then) wanted/valued by the mass)
...
btw what do you have in mind when you say that contemporary art "will split up into two entirely separate, largely unrelated disciplines and practices"? what are they?

Political scientist Werner Bonefeld on radical chic as commercialized scholarschip:

"The terms fordism and post-fordism were part of the academic Zeitgeist. The Zeitgeist had moved on from the terms affluent society and corporatism. After post-fordism it moved on to globalization, then neoliberalism, and now I hear post-neoliberalism and/or ordoliberalism is the phrase of the time. Zeitgeist thinking is commercialized scholarship. […]

The Zeitgeist is all too willing to find scapegoats. The Zeitgeist does not ask about the conditions of social reproduction, from the form of social wealth and the production of this wealth to the state as the political form of capitalistically organized social relations. It does not look into the eye of the storm. It looks on the bright site and puffs itself up with moral rectitude. The Zeitgeist agrees that nobody should go hungry again. Yet, it does not dare to spell out that the abolition of hunger requires a change in the mode of production. The Zeitgeist offers scapegoats and easy solutions. In this manner it mocks those who struggle to make ends meet."

cominsitu.wordpress.com/2018/0

Art as luxury merchandise -

my comment on art historian Wolfgang Ulrich's essay on the weaponization of copyright as a means of controlling the contemporary art market.

Ulrich was denied quality reproductions of art works, because the copyright holders - the gallery and the heir of artists - were not interested in any coverage that (a) they could not control and (b) that occurred outside the high-end international art market.

Quote:
"It could be called a reversal of the Ready Made principle. [...] just like the art audiences of the past had learned to perceive objects that didn’t originate as art, as art works, we now have to learn to perceive art as luxury commodities."

Full comment here:
pod.thing.org/posts/d88ff6f09c

my video of Dutch sound/visual poet Hans Clavin's last performance (2014, at De Player, Rotterdam), now on PeerTube:
peertube.social/videos/watch/c

forthcoming:

Clemens Apprich, Wendy Hui Kyong Chun, Florian Cramer, Hito Steyerl

Pattern Discrimination

University of Minnesota Press / Meson Press (Open Access)

Algorithmic identity politics reinstate old forms of social segregation — in a digital world, identity politics is pattern discrimination. It is by recognizing patterns in input data that Artificial Intelligence algorithms create bias and practice racial exclusions thereby inscribing power relations into media. How can we filter information out of data without reinserting
racist, sexist, and classist beliefs?

ISBN 978-1-51790-645-0

# tENTATIVELY, a bRAIN sCAN

first editing rushes from the film 'The Brain Storm', shot with Dick Turner, tENTATIVELY, a cONVENIENCE & Mariette Groot in the home of tENTATIVELY, a cONVENIENCE & in front of Pittsburgh Filmmakers (on the weekend of its shutdown).

This clip shows tENTATIVELY's brain a.k.a. library, archive and music rooms:
vimeo.com/287838785

NET Manifesto, 1971:

"NET

- a NET is open and uncommercial
- points of the NET are: private homes, studios and any other places, where art proposition are articulated
- these propositions are presented to persons interested in them
- propositions may be accompanied by editions in form of prints, tapes, slides, photographs, catalogues, books, films, handbills, letters, manuscripts etc.
- NET has no central point and any coordination
- points of NET can be anywhere
- all points of NET are in contact among themselves and exchange concepts, propositions, projects and other forms of articulation.
- the idea of NET is not new in this moment it stops to be an authorized idea
- NET can be arbitrarily developed and copied

Jarosław Kostołowski
Andrzej Kostołowski"

(via Karin de Jong, PrintRoom)

Mixed Business no. 14: Underappreciated Moviemakers

photo journal of the Underappreciated Moviemakers Festival in Pittsburgh, with tENTATIVELY, a cONVENIENCE, Dick Turner, dzum, Skizz Cyzyk, Jen Talbert & myself.

mixedbusiness.pleintekst.nl/00

Download (50 MB, self-contained HTML file): mixedbusiness.pleintekst.nl/00

Will talk at Ulises Books, Philadelphia, on the legacy of Ulises Carrión in Artists' Books and DIY Publishing in the Netherlands, July 29th 2pm: facebook.com/events/4429208095

"A Lathala is a low-fidelity publication, halfway between a zine and an artists’ book, often produced collaboratively. A lathala maker is called malathala. In the Western definition, for a zine to be a zine, it must be DIY-produced by the artist(s)--with little to no participation of for-hire labor--and it must not be sold for a profit. [...] According to developing world frameworks, this concept of zinedom excludes local actors and ignores their precarious context. Not all malathala have access to a reliable print machine and the expensive ink required for publishing multiples. Because of the higher impact of Philippine lifestyle (e.g., traffic, homework-heavy schooling, long commutes to school/work, low minimum wage), malathala don't have as much leisure time for DIY projects. So they print and often bind at small copy shops, contributing to rather than competing with the cottage-industry print economy. [...] Barter does happen, of course, but most lathalas are sold at a profit directly by the makers themselves, consigned at small stores, or at "zine" fairs. [...] To deem them simply artists’ books would lump these unique publications within a practice of gritless, mainstream cultural publishing to which they should not belong."

[Clara Lobregat Balaguer]

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