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<div class="moz-cite-prefix">dear wouter, dear all, <br>
<br>
i will arrive on may 8th <br>
<br>
whom i have to ask for press tickets for performances at the
kunstenfestival?<br>
on may 8th for milo rau for example<br>
do you know that?<br>
<br>
also i need y hotel.<br>
were do you all stay?<br>
<br>
looking forward to meeting you!<br>
<br>
esther<br>
<br>
<br>
<br>
<br>
Alphabetville schrieb:<br>
</div>
<blockquote type="cite"
cite="mid:1738572087.6731.1523270521410.JavaMail.www@wwinf1j22">
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<p>Dear all,</p>
<p>It is so interesting.</p>
<p>I agree to join, and if you want to include Alphabetville
<a class="moz-txt-link-abbreviated" href="http://www.alphabetville.org">www.alphabetville.org</a>, based in Marseille, France, that is a
space for new critical and theoretical approaches of art and
culture related to the digital environment.</p>
<p>Thanks a lot,</p>
<p>Colette</p>
<p> </p>
<p> </p>
<p> </p>
<p> </p>
<blockquote>> Message du 21/03/18 12:03<br>
> De : "zsuzsa laszlo" <a class="moz-txt-link-rfc2396E" href="mailto:laszlozsuzsi@gmail.com"><laszlozsuzsi@gmail.com></a><br>
> A : "Leonieke van Dipten"
<a class="moz-txt-link-rfc2396E" href="mailto:leonieke@networkcultures.org"><leonieke@networkcultures.org></a>, "hegyi Dora"
<a class="moz-txt-link-rfc2396E" href="mailto:hegyidora39@gmail.com"><hegyidora39@gmail.com></a>, "Eszter Szakacs"
<a class="moz-txt-link-rfc2396E" href="mailto:Eszter.v.szakacs@gmail.com"><Eszter.v.szakacs@gmail.com></a><br>
> Copie à : <a class="moz-txt-link-abbreviated" href="mailto:artofcriticism@listcultures.org">artofcriticism@listcultures.org</a><br>
> Objet : Re: [Art_of_Criticism] EU COST Action Network | Art
of Criticism<br>
> <br>
>
<div dir="ltr">Dear Leonieke,
<div><br>
></div>
<div>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 <a
href="http://mezosfera.org" moz-do-not-send="true">mezosfera.org</a>
- tranzit/hu. Could give us more info on what administrative
steps or contribution you need from us for the application?</div>
<div><br>
></div>
<div>Thanks, best wishes,</div>
<div>Zsuzsa</div>
</div>
<div class="gmail_extra"><br>
>
<div class="gmail_quote">On Thu, Mar 15, 2018 at 1:09 PM,
Leonieke van Dipten <span><<a
href="mailto:leonieke@networkcultures.org"
target="_blank" moz-do-not-send="true">leonieke@networkcultures.org</a>></span>
wrote:<br>
>
<blockquote class="gmail_quote">
<div>
<div>Dear all,</div>
<div><br>
></div>
<div>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. </div>
<div><br>
></div>
<div>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. </div>
<div><strong> </strong></div>
<div>Please read our proposal below and let us know if
you are interested to participate in this
application. </div>
<div><br>
></div>
<div>Best,</div>
<div>Leonieke</div>
<div><br>
></div>
<div>——— </div>
<div><strong><span>Technologies for an Art of Criticism:
Tending Resilient and Inclusive Societies</span></strong></div>
<p><strong><span>TACTRIS</span></strong></p>
<div><span> </span></div>
<p><strong><span>Preliminary proposal for a COST-action
network, by the Institute of Network Cultures</span></strong></p>
<p><span>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 </span><span><a
href="mailto:leonieke@networkcultures.org"
target="_blank" moz-do-not-send="true">leonieke@networkcultures.org</a></span><span>;
if you want more information on the mission of the
network and the aim of the proposal, contact Miriam
Rasch on </span><span><a
href="mailto:miriam@networkcultures.org"
target="_blank" moz-do-not-send="true">miriam@networkcultures.org</a></span><span>. </span></p>
<div><span> </span></div>
<p><strong><span>About the aim of the proposal</span></strong></p>
<p><span>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. </span></p>
<p><span> 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’. </span></p>
<p><span> 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. </span></p>
<p><span> 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.</span></p>
<span></span>
<p><strong><span> </span></strong></p>
<p><strong><span>WG1-INCLUSIVITY. Advocating
inclusiveness of minorities and underrepresented
groups in the critical debate</span></strong></p>
<p><span>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.</span></p>
<p><strong><span> </span></strong></p>
<p><strong><span>WG2-REVENUES. Innovations in revenue
models and finances catered to small and/or
independent businesses in the arts and cultural
publishing sector</span></strong></p>
<p><span>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)?</span></p>
<div><span> </span></div>
<p><strong><span>WG3-POSTINTERNET. Post-digital
aesthetics and work modes in the context of the
fourth industrial revolution</span></strong></p>
<p><span>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. </span></p>
<div><span> </span></div>
<p><strong><span>WG4-EDITORIAL. Designing editorial
processes for a new generation</span></strong></p>
<p><span>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.</span></p>
<div> </div>
<div>
<div>
<div>
<div><br>
> ---<br>
> Leonieke van Dipten<br>
> Institute of Network Cultures<br>
> Amsterdam University of Applied Sciences |
HvA<br>
> room 04A09<br>
> Rhijnspoorplein 1<br>
> NL-1091 GC Amsterdam<br>
> t: +31 6 11 84 84 00<br>
> <a
href="mailto:Leonieke@networkcultures.org"
target="_blank" moz-do-not-send="true">Leonieke@networkcultures.org</a><br>
> <a href="http://www.networkcultures.org"
target="_blank" moz-do-not-send="true">www.networkcultures.org</a><br>
> @INCAmsterdam<br>
> <br>
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href="http://networkcultures.org/newsletter/"
target="_blank" moz-do-not-send="true">Sign up</a> for
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