[Art_of_Criticism] EU COST Action Network | Art of Criticism
Esther Slevogt
slevogt at nachtkritik.de
Mon Apr 9 12:56:00 CEST 2018
dear wouter, dear all,
i will arrive on may 8th
whom i have to ask for press tickets for performances at the
kunstenfestival?
on may 8th for milo rau for example
do you know that?
also i need y hotel.
were do you all stay?
looking forward to meeting you!
esther
Alphabetville schrieb:
>
> Dear all,
>
> It is so interesting.
>
> I agree to join, and if you want to include Alphabetville
> www.alphabetville.org, based in Marseille, France, that is
> a space for new critical and theoretical approaches of art
> and culture related to the digital environment.
>
> Thanks a lot,
>
> Colette
>
> > Message du 21/03/18 12:03
> > De : "zsuzsa laszlo" <laszlozsuzsi at gmail.com>
> > A : "Leonieke van Dipten"
> <leonieke at networkcultures.org>, "hegyi Dora"
> <hegyidora39 at gmail.com>, "Eszter Szakacs"
> <Eszter.v.szakacs at gmail.com>
> > Copie à : artofcriticism at listcultures.org
> > Objet : Re: [Art_of_Criticism] EU COST Action
> Network | Art of Criticism
> >
> >
> Dear Leonieke,
>
> >
> Great to hear from you and about this opportunity. We
> discussed your proposal and found it relevant for our
> mission and work, so we are interested to join as
> mezosfera.org <http://mezosfera.org> - tranzit/hu.
> Could give us more info on what administrative steps
> or contribution you need from us for the application?
>
> >
> Thanks, best wishes,
> Zsuzsa
>
> >
> On Thu, Mar 15, 2018 at 1:09 PM, Leonieke van Dipten
> <leonieke at networkcultures.org
> <mailto:leonieke at networkcultures.org>> wrote:
> >
>
> Dear all,
>
> >
> After our meet-up in November we’ve been busy with
> funding opportunities for the network. With a
> small group we’ve been looking into / working on a
> COST Action grant.
>
> >
> COST is a EU-fuding programme to set-up and
> strengthen research networks. The grant would
> enable us to organise meetings, conferences,
> training schools, research exchanges and other
> network activities. COST is an open network,
> meaning everyone can join, both academic and
> non-academic. Becoming a COST members is easy as
> there are no financial or other commitments that
> have to be made.
> **
> Please read our proposal below and let us know if
> you are interested to participate in this
> application.
>
> >
> Best,
> Leonieke
>
> >
> ———
> *Technologies for an Art of Criticism: Tending
> Resilient and Inclusive Societies*
>
> *TACTRIS*
>
> *Preliminary proposal for a COST-action network,
> by the Institute of Network Cultures*
>
> A growing international network of researchers,
> practitioners and organisers within the field of
> art and cultural criticism is forming. The aim of
> this COST-application is to further develop and
> strengthen this network across Europe and to help
> establish a multiplicity of critical cultures in
> Europe. During four years the network will
> exchange best practices and experiences, develop
> theoretical knowledge, make interventions in the
> field, and produce publications, workshops and
> conferences. The proposal is coordinated by the
> Institute of Network Cultures and is open to all
> interested parties, both academic and
> non-academic. Participation is in the proposal is
> easy: there are no financial or other commitments
> that have to be made. If the grant is received,
> the programme will start in 2019. For more
> information on how to become a member of the
> network, contact Leonieke van Dipten on
> leonieke at networkcultures.org
> <mailto:leonieke at networkcultures.org>; if you want
> more information on the mission of the network and
> the aim of the proposal, contact Miriam Rasch on
> miriam at networkcultures.org
> <mailto:miriam at networkcultures.org>.
>
> *About the aim of the proposal*
>
> Technological, economical and aesthetic
> developments in the fourth industrial revolution
> have put considerable strain on public critical
> reflection, and art criticism specifically. The
> accelerated nature of the internet, the decimation
> of revenues online, the severe budget cuts in the
> cultural domain, and shifting political
> perceptions of the role of arts and culture have
> put the field in a tough spot.
>
> Why is that a problem? Critically
> assessing artistic and cultural productions in an
> open and inclusive media sphere is a prerequisite
> for a reflective society. Europe especially has a
> long history, at least since the Enlightenment and
> running up to this day, of appreciating reflection
> on art and cultural productions in this way. It
> offers a platform to formulate both ethically and
> aesthetically what it means to be human (together)
> in a given time and place; to critically evaluate
> the desirability of the status quo; and to
> envision possible (other) futures. In this way,
> art criticism is connected to the establishment of
> a critical culture, which can be seen as essential
> to a strong democratic culture. Unfortunately,
> parallel to a decline in appreciation of
> democratic values across Europe, this cultural
> heritage of a reflective tradition is in risk of
> diminishment. The need for such critical cultures,
> which should be open and inclusive to multiple
> groups in society, and which is called for both on
> the local and on the inter-local or international
> level, is obvious and at the heart of the European
> Challenge for ‘Inclusive, innovative and
> reflective societies’.
>
> Digital technology, which may have
> caused a large part of the uproar, can also play a
> significant role in stimulating and renewing
> critical cultures. Technological advances present
> opportunities to open up to new audiences and to
> directly involve target groups, and as such to
> cater to more inclusive and diverse critical
> cultures. Next to that, digital technology offers
> innovative possibilities to generate revenue.
> However, possible affordances are not to be taken
> for granted. Existing tools and media are often
> US-based, closed-in and not very transparent (like
> Facebook, Google and Amazon). Their influence on
> the European field of art and culture criticism
> cannot be overstated, but it is not immediately
> obvious how such platforms can be used to the
> benefit of the specific field of criticality, arts
> and culture.
>
> It is therefore necessary to actively
> pursue, investigate and stimulate ways in which
> strong critical cultures can profit from digital
> technology. To this aim, TACTRIS brings together
> researchers, practitioners and institutions.
> Ultimately, this will contribute to the European
> Challenge ‘Inclusive, innovative and reflective
> societies’ and to a stronger democratic Europe in
> general. How these affordances can help
> reinvigorate and strengthen critical practices
> within a broad societal context is worked out in
> more detail in the four Working Groups below.
>
> **
>
> *WG1-INCLUSIVITY. Advocating inclusiveness of
> minorities and underrepresented groups in the
> critical debate*
>
> How can technology be used to stimulate a critical
> culture with different voices, in terms of gender,
> age and ethnic background? How to make the role of
> the public more prominent, using a bottom-up
> approach? Collaboration with different audiences
> calls for a local focus, which then feeds
> exchanges on a broader regional, national or
> international level. New audiences also call for
> new editorial processes (WG4) and are a possible
> entry gate to new revenue models (WG2).
> Interventions in the local critical debate (and in
> the local language) are exchanged on an
> inter-local level.
>
> **
>
> *WG2-REVENUES. Innovations in revenue models and
> finances catered to small and/or independent
> businesses in the arts and cultural publishing sector*
>
> The financial organization of critical practices
> has come under a lot of pressure in the past
> decade. State funding has been cut across Europe,
> while in many countries (for example experiencing
> political tensions), using state money can mean a
> compromise to begin with. The free market raises
> its own issues, for example in the shift of the
> advertising landscape to Facebook and Google. How
> can a viable critical culture remain transparent
> and ethical? What innovations are there beyond
> models reliant on donation, crowdfunding, and
> online subscription, and that take into account
> the wish and need to reach different audiences
> (WG1)? How can the critical field reduce its
> dependence on existing media monopolies, or use
> them to a more sustainable benefit, applying and
> bending the possibilities of data mining and other
> ‘post-digital’ practices (WG3)?
>
> *WG3-POSTINTERNET. Post-digital aesthetics and
> work modes in the context of the fourth industrial
> revolution*
>
> An inclusive and technologically minded art
> criticism should have attention for inclusive and
> technologically minded arts (WG1). What do
> contemporary art practices demand from critical
> assessments, when it comes to concepts, formats,
> methods (WG4)? How do post-internet art and
> post-digital aesthetics - in which the offline and
> the online have become indistinguishable and the
> roles between artist, curator, public and critic
> have blurred - interrelate with the technological
> developments of the fourth industrial revolution?
> Data manipulation, automation and fragmentation
> take on their specific shape in the critical
> domain, where they have the appearance of for
> example fake reviews or bots polluting the public
> debate, deserving attention from both a technical
> and from an aesthetic perspective.
>
> *WG4-EDITORIAL. Designing editorial processes for
> a new generation*
>
> A sustainable critical domain needs to organise
> itself so that it can cater to the call of
> inclusivity (WG1) and making revenue (WG2), while
> at the same time functioning as a breeding ground
> for the next generation of (professional) critics
> and cultural and artistic forms (WG3). This calls
> for editorial processes that work in open, lean,
> flexible and technologically minded ways. What
> kind of digital tools are needed to shape a
> critical culture that is inclusive and resilient?
> Existing forms and strategies and promising
> concepts for a ‘fourth industrial revolution
> criticism’ will be evaluated and new formats and
> methodologies will be developed into concrete,
> easy to use products for researchers, editors and
> critics. Thus, this WG will have a high impact
> measure.
>
>
> > ---
> > Leonieke van Dipten
> > Institute of Network Cultures
> > Amsterdam University of Applied Sciences | HvA
> > room 04A09
> > Rhijnspoorplein 1
> > NL-1091 GC Amsterdam
> > t: +31 6 11 84 84 00
> > Leonieke at networkcultures.org
> <mailto:Leonieke at networkcultures.org>
> > www.networkcultures.org
> <http://www.networkcultures.org>
> > @INCAmsterdam
> >
> > Sign up
> <http://networkcultures.org/newsletter/> for
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> and events
>
> >
>
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