label
references
Linked to 11 items
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from: Clusterduck (chapter)
09:56 I definitely feel a very strong bond with the referencesNetArt community, so all the work that was in the scene of the early 2000s in Italy where we’re based. That’s probably something that came up earlier, but Clusterduck is a transnational collective, the five co-founders are based in Germany and Italy, but of course, we collaborate with a much broader community of creators all around Europe and in some cases also outside of Europe.
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from: Clusterduck (chapter)
10:40 I would say my main reference before starting working with Clusterduck were of course referencesSalvatore Iaconesi and Oriana Persico and Les Liens Invisibles, all the kinds of cross-mailing list, cross-platform communities in Italy at the time, but through Clusterduck we collaborated with referencesFranco Neva Mattes, a lot of other artists that were part of a common network when we started, but I’m sure any one of us had different kinds of connection and bonds to different scenes of the Internet. One of the things that brought us together was indeed to research and look at these different clusters of the web how they connected and overlapped sometimes and in which spaces were taking place. The matter of publishing or going public and the connection that this creates was a big part of our references at the beginning. I don’t know if Noel or Silvia want to add to that.
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from: Clusterduck (chapter)
10:40 I would say my main reference before starting working with Clusterduck were of course referencesSalvatore Iaconesi and Oriana Persico and Les Liens Invisibles, all the kinds of cross-mailing list, cross-platform communities in Italy at the time, but through Clusterduck we collaborated with referencesFranco Neva Mattes, a lot of other artists that were part of a common network when we started, but I’m sure any one of us had different kinds of connection and bonds to different scenes of the Internet. One of the things that brought us together was indeed to research and look at these different clusters of the web how they connected and overlapped sometimes and in which spaces were taking place. The matter of publishing or going public and the connection that this creates was a big part of our references at the beginning. I don’t know if Noel or Silvia want to add to that.
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from: Clusterduck (chapter)
12:06 I think an important reference is certain communities and bubbles that we were part of when we started as a collective. So that would be, for example, in the early 2010s what came to be called the references"Weird Facebook" community. What we found interesting about it was that those people (and us too) were using those platforms in a way that was completely the opposite of what Zuckerberg and their founders were hoping you to do with them. For example, anonymity, posting content that would go against the guidelines, and repeatedly opening up new profiles all the time. Trying to somehow go around this very stark surveillance and rules that were put in place on those platforms. And somehow these communities were able to create something very meaningful and precious to us and to many people that lived through it at the time. And I think if one traces this back to the topic of publishing, maybe one could even go as far as to say that this goes back to certain communitarian practices, like self-published zines in the referencespunk communities or political communities. This DIY ethos of just doing your thing and not caring about what the rules and consequences are.
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from: Clusterduck (chapter)
12:06 I think an important reference is certain communities and bubbles that we were part of when we started as a collective. So that would be, for example, in the early 2010s what came to be called the references"Weird Facebook" community. What we found interesting about it was that those people (and us too) were using those platforms in a way that was completely the opposite of what Zuckerberg and their founders were hoping you to do with them. For example, anonymity, posting content that would go against the guidelines, and repeatedly opening up new profiles all the time. Trying to somehow go around this very stark surveillance and rules that were put in place on those platforms. And somehow these communities were able to create something very meaningful and precious to us and to many people that lived through it at the time. And I think if one traces this back to the topic of publishing, maybe one could even go as far as to say that this goes back to certain communitarian practices, like self-published zines in the referencespunk communities or political communities. This DIY ethos of just doing your thing and not caring about what the rules and consequences are.
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from: Clusterduck (chapter)
30:54 It’s about finding a method to survive all this content, survive all this rhythm that somehow we are imposing onto us. The people thoat work in culture are doing it a lot. You are self-exploiting the enthusiasm that you and your peers have, while we should find a way to protect ourselves from these so that we don’t exhaust all the energies that we have. Our last work, which is called references"Deep Fried Feels” (https://clusterduck.space/deepfriedfeels) and that we haven’t presented, is also about that, about our feelings and how the media and communications together are kind of destructive.
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from: Clusterduck (chapter)
39:55 The community is very diverse. Every time that we go places, we invite people as a follow-up to join our Telegram chats. communityAnd then there is a network of people who we collaborate with in our jobs. And so during the years, every time that we wanted to do something, and we wanted to collaborate, for example, with a developer or with a designer, people were adding up to the cluster family. For example, the collaboration with referencesJules Duran, who is a very good designer and type designer, was very precious in the work on Meme Manifesto. There are some others, like developers, referencesPietro Arial Parisi, Super Internet, and Gregorio Macini, that are helping us with the development of the many websites that we did, but also intervening in other ways, because all of our collaborators are very interested in a lot of things.
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from: Clusterduck (chapter)
39:55 The community is very diverse. Every time that we go places, we invite people as a follow-up to join our Telegram chats. communityAnd then there is a network of people who we collaborate with in our jobs. And so during the years, every time that we wanted to do something, and we wanted to collaborate, for example, with a developer or with a designer, people were adding up to the cluster family. For example, the collaboration with referencesJules Duran, who is a very good designer and type designer, was very precious in the work on Meme Manifesto. There are some others, like developers, referencesPietro Arial Parisi, Super Internet, and Gregorio Macini, that are helping us with the development of the many websites that we did, but also intervening in other ways, because all of our collaborators are very interested in a lot of things.
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from: Clusterduck (chapter)
1:15:21 referencesFanzines are an imaginary we refer a lot to. Many times they are in their printed shape and they are very local, very specific projects that do not tend to cross borders and arrive at very different places and times in the world. With the internet, you can bridge this gap and make ends meet. So, I would say to think about the node of diffusion and distribution also in a cross-media environment such as the one that we live in.
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from: Dušan Barok (chapter)
07:40 Hello everyone, it’s a big pleasure to be part of this. To briefly introduce my background: I studied Information Technologies back in Slovakia where I grew up. Parallel to my studies, I was involved in the local culture scene, mostly between art and technology, as part of the non-profit sector. printed objectsIn the late 90s, I started a small culture magazine, but then we lost the funding for printing. A friend introduced me to HTML and I realised that it could be a better solution than paper because, at that time, people already had access to the web. So it became quite exciting, and that’s how I discovered web publishing. We would redesign the first website, called referencesKoridor, every few months. digital objectsIt was so exciting to discover the ways websites could be organised and designed. We would use the word “portal” at the time. I was still living in Bratislava when I was part of this collective. The idea of setting up a new website that would document our work emerged, which then became Monoskop, two or three years after Wikipedia entered the market. toolsSuddenly, there was this exciting software where people could put stuff online without understanding programming, FTP and all the kind of nerdy things only accessible to a few. This was before content management systems, and already parallel to blogging. At the time, people still struggled to publish online, so we got quite excited. This MediaWiki installation is still there and operating.
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from: Kenneth Goldsmith (chapter)
Now, the second part of that is maybe my retreat. I’ve just been spending this year reading like mad because I’m offline. I always read a lot, but this year, I’ve actually had the time and the space to dig and to read extraordinarily deeply. I read on a Kobo because I can’t, in Croatia, I’m not going to get too many English books. I like the Kobo. I love the Kobo, and (Marcell Mars) [https://monoskop.org/Marcell_Mars] runs references(Memory of the World) [https://memoryoftheworld.org/] and LibGen and everything’s available. So that’s fun. I’m doing a lot of reading this year.