Josephine Berry Slater

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PublisherAutonomedia2005
Social change does not simply result from resistance to the existing set of conditions but from adapting and transforming the technical apparatus itself. Walter Benjamin in his essay ‘The Author as Producer’, written in 1934, recommends that the ‘cultural producer’ intervene in the production process in the manner of an engineer. The term ‘engineer’ is to be taken broadly to refer to technical and cultural activity, through the application of knowledge for the management, control and use of power. To act as an engineer in this sense, is to use power productively to bring about change and for public utility. ...
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PublisherAutonomedia2006
The site of curatorial production has been expanded to include the space of the Internet and the focus of curatorial attention has been extended from the object to processes to dynamic network systems. As a result, curatorial work has become more widely distributed between multiple agents, including technological networks and software. This upgraded ‘operating system’ of art presents new possibilities of online curating that is collective and distributed – even to the extreme of a self-organising system that curates itself. The curator is part of this entire system but not central to it. The subtitle of the book makes reference ...
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PublisherMute2014
Rejecting the dichotomy of centralism and horizontalism that has deeply marked millennial politics, Rodrigo Nunes’ close analysis of network systems demonstrates how organising within contemporary social and political movements exists somewhere between – or beyond – the two. Rather than the party or chaos, the one or the multitude, he discovers a ‘bestiary’ of hybrid organisational forms and practices that render such disjunctives false. The resulting picture shows how social and technical networks can and do facilitate strategic action and fluid distributions of power at the same time. It is by developing the strategic potentials that are already immanent to ...
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What is the correlation among the creative industries, creative industry policies, new media paradigms and capitalism as colonial relations of dominance? What is the role of these industries in the prioritization of the interests of capital at the expense of those of society and how can these paradigms be criticized in the context of the actual, neoliberal, flexible regime of reproduction of capital? To what measure is this regime ‘flexible’ and to what measure it is just an extension of rigid, feudal and racial logics that underline (post)modern representational discourses? To what measure do the concepts of creativity, transparency, openness ...
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