Suchergebnisse

Inspired by the carrier bag theory of fiction let us look for alternate ways to do our work. We do this by worlding: by attuning to and melting into the subject(s) of our research; gathering and gaining situated knowledges, interwoven with multiple threads of imagination and desire. But then gathering and gaining is based on collecting: data, objects, subjects, situations, relations; submitted into an order of things, shifted into storages, from time to time put on display. Imagination and desire are stripped off in this process and stored separately, if at all. That's why we need a different mind-set, a different set of methods, and a different set of tools. For our findings and our creations, for our research and our inspiration we will build a wunderkammer. Not the old cabinet of curiosities based on items taken away from others, other places, stolen from life. But a new structure for our wild-at-heart pluriverse; one that is our workshop and our toolbox rather than a storage. One that is probably closer to an assembly, a parliament, a party, a network, a collaboratory for all kinds of agencies and for agencies of all kinds.

VERENA KUNI Yo Logo! Net Artists and Branding PoliciesThis paper examines the changes in the strategies adopted by net artists critically engaging with branding policies in the age of global branding. Discussion focuses on two examples whose contents and aesthetics are concerned with textiles. First, Cat Mazza's Nike Blanket, a net project that campaigns for fair working conditions at Nike's manufacturing facilities; second, Stephanie Syjuco's Counterfeit Crochet Project, which calls for making hand-made copies of well-known luxury bags. By demanding a return to traditional women's handicraft, both projects subvert the desire for luxury goods, which is stimulated by the large fashion and textile companies and greeted with a flood of industrially manufactured counterfeits. Like these corporations, the projects use the Internet to extend their scope of action and reflection. This contribution offers a critical discussion on how far the existing primacy of singular artistic authorship (curtailing the involvement of project participants to legwork) preserves existing hierarchies or indeed enables cooperative labour. It also explores the political effectiveness of these projects which, it is worth remembering, are ultimately situated within the sheltered space of (virtual) art.