[Art_of_Criticism] EU COST Action Network | Art of Criticism

[Pa Gobira]

Dear Leonieke;

I am a professor from Brazil, and as I said to Miriam Rasch this initiative
is amazing and I agree with the proposal. I am sure that it is going to be
well succeed. But I am working in Brazil right now so I think you all are
thinking in this first moment to go through inside Europe. If not, and if
you permit my participation, you can account with me!

Best regards;


--

*PABLO GOBIRA, B.el, Me., Dr.*
Full-time professor doctor (State University of Minas Gerais/UEMG)
Director of Lab|Front - Laboratory of Front Poetics (CNPq/UEMG)
Docent at Arts Graduate Program (UEMG)
Mailing Address: Rua Ascânio Burlamarque, 540 - Mangabeiras - Belo
Horizonte - MG
CEP: 30315-030 - Telefones na Escola Guignard: +55 (31) 3194-9300 - Fax:
+55 (31) 3194-9303
[Research group] http://labfront.weebly.com/
[Conference of art & technology] http://www.artesdigitais.art.br/
[Graduate Program] http://ppgartes.uemg.br/
[Blog] http://extensao.uemg.br/culturaearte/

2018-03-15 9:09 GMT-03:00 Leonieke van Dipten <leonieke at networkcultures.org>
:

> 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; 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.
>
>
> *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
> www.networkcultures.org
> @INCAmsterdam
>
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>
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