DIY – Do It Yourself It’s important not to be phased by the apparent top-down soverignty of the old order. In contrast to the vast global networks of DIY culture, it has relatively little support for it’s authority. Much of culture sinks of swims on gild systems or bonds of connection.
Whole Earth Catalogue est. 1969 The Poster Workshop was set up in London in the summer of 1968 and closed in 1971. It was inspired by the Atelier Populaire, set up in the École des Beaux Arts, Paris, in May 1968.
1985 – The WELL is a cherished and acclaimed destination for conversation and discussion. It is widely known as the primordial ooze where the online community movement was born — where Howard Rheingold first coined the term &quot;virtual community.&quot; Since long before the public Internet was unleashed, it has quietly captivated some accomplished and imaginative people.
CALIFORNIAN IDEOLOGY – SOME KEY IDEAS Neoliberal – mainly in West Coast USA FREE Freeconomic cultures are strong because they are cellular organisations, they exemplify their respective communities. They survive on reputation alone – people will give their time to a freeconomy if they feel it’s worth investing in. People have strong emotional bonds to these activities – this makes them cultural in the true sense of the word. People have always got together in this way – it’s just easier to do so now as time and geography are no longer constraints.
CALIFORNIAN IDEOLOGY – SOME KEY IDEAS Anthony Giddens - ‘People become their own structures’ – European Third Way Charles Leadbeater and DEMOS - Living on thin air Proam revolution?
Therefore there are two broad ways in which the Cultural Economy reproduces itself: Pre-industrial Post-industrial
How can new media and the Internet be used to add to critical debate on art without the production design or necessary costs incurred with publishing? New media is publishing. We are living in the era of the Social Web and of publish-on-demand. The Guttenberg Era is well and truly over. People no longer need to have access to capital or public subsidy to publish. Y o u don’t have to find advertisers, public sponsors or peer reviewers. You can do what you like. The long tail allows us to produce things that are published in extremely small editions without incurring the high costs of artist’s books, catalogues or magazines.
Production of modular customised discourse – printed on demand. This means it can be used by small specialist interest groups. If you want to reach a global audience it’s simple - if you have access to the internet, you can be a publisher. The tricky bit is getting your stuff noticed. You can network all you like, but if you produce rubbish nobody will read it. (blogs are full of spam) It’s also a question of who reads it – there’s, arguably, little point in it being read by people who are not interested in what you’re doing or have no intention of investing in it on a cultural level. Narrowcasting is essential here. It’s better to reach three of the right people than three million randoms.
Social Nature of Creativity You need the strong artistic creative (nodes) to foster the dialogue (ties) – a virus can’t exist without a host, just like software needs hardware to run. There needs to be a critical mass in order to have something ‘sovereign’, something of value to trade or exchange. People notice groups more than individuals – this is why the silo auteurist myth has been replaced with the network model of creativity. The aim of having a critical mass is to build up something that’s going to enable exchanges to happen and for the bar to be raised transnationally. I’d say a critical mass is 6 people. You need at least 6 people to sustain a community and establish a division of labour that can do bigger things more efficiently. In trying to involve players, it might be worth asking the question – why focus so much on sustainability? Things are in a constant state of transformation. With the era of mass production over, there's no hope of manufacturing a unitary critical culture that will last; you simply have to encourage it and support it where it exists. It’s important to know when it’s time to mutate.
Rather than consumption , why not, then, use these technologies to enhance participation ? In order to reproduce and survive, capitalism has to shift from a focus on (profitable) function-oriented interaction to a focus on (sustainable) goal-oriented participation. This kind of ‘soft’ capitalism might help us to understand t he revival of interest in systems based approaches to culture on educational experience , live-ness a nd (the illusion of) participation. This is a means of managing culture in an ambient ecology. It co-exists alongside pre-industrial modes of production that are still dominant in the art (but largely not in design).
Silvercasting and Mass Customisation The audience is increasingly fragmented and specialist – the message is narrowcasted. The audience can find content that fits them rather than vice-versa. This is a form of Stigmergy Stigmergy is a mechanism of spontaneous, indirect coordination between agents or actions, where the trace left in the environment by an action stimulates the performance of a subsequent action, by the same or a different agent. Stigmergy is a form of self-organization . It produces complex, apparently intelligent structures, without need for any planning, control, or even communication between the agents. As such it supports efficient collaboration between extremely simple agents, who lack any memory, intelligence or even awareness of each other.
Objects vs. Experiences Things become knowledge – Media are particpatory – they are constantly rewritten Objects become important only in relation to the fields within which they are consumed (so they become ritualistic – they point to something else) Tendency towards dematerialisation – product is no longer ‘physical’. The product is produced through participation.
Creating The Creative Commons
From Counter Culture to Cyberculture: Creating the Creative Commons
From Mass Media to Participatory Media From Object to Field
Sculptural models printed by Anarkik 3D Printer (TACITUS rapid prototyping research) at Edinburgh College of Art
“ How might we design a world in which we rely less on ‘tech’ - and more on people?” “… ..design people back into situations.” Shift of focus in design towards services and experiences is a shift from objects to people: “ Use, not own”. http://www.thackara.com/ http://www.thackara.com/inthebubble/
Critical Design An Urban Post-it that could be easily removed and re-placed on any wall in the city to protect passersby from rain or sun.
Slides available at http://www.slideshare.net/CVCS and on ecaMoodle Licensed under a Creative Commons Attribution-Non-Commercial-Share Alike 2.5 UK: Scotland License.