NOTES DAY 1
Bas intro
intro rounds
discussion how to structure this whole week
::::collating urgent questions::::
Sebastian: spaces of creativity and their structural ambivalence: moving away from structured ways of working, from the factory, fordism – we can do what we want today, as long as this produces some income for us – all that linked with revolutionary discourse around flatness, interactivity, etc… what do we do with that? how does one move in this field as an agent? (we need to lvie – diapers cost money!) what are new possibilities of world creation and agency that may be derived from this context? eg- city space, organizational spaces, what does it mean if creativity (or innovation or whatever) becomes the most important phrase in business etc…? …ambivalence and critique how do we creatively deal with cooptation and appropriation (which we know takes place)?
Daniela: is there a space beyond guilt and paranoia? can we really shape our environment? what role is given to us and what role do we play? what alliances can we make outside of our own sector?
Manuela: addressing ambivalence, beyond guilt and shame – how do we create a culture of that? what form could this take – a support network? How can we grasp how we are actually working and living today, and what kinds of microeconomic strategies and support strategies (and networks/platforms/blabla) can be derived from that?
Birgit: how do we lie in bed with the enemy without getting fucked? How can we make things sustainable whilst always being trapped in short term projects?
Maria: how do we work (precarity and collaboration)? what are we working for? (answer/maria: to reshape capitalist economy) how can we politicize that? (now that neoliberal models have led us to depoliticize everything?) How do we deal with the heterogeneity that exists in the creative sector – those who are comfortable working within it, those wanting to contest / change it…? How do we interface with private institutions, now that public culture is going down the drain? What can our politics be in relation to privatized (or public-private) spaces? If we are using alternative business models, how do we make sure we keep in mind what we wanted in the first place, to what extent do we let ourselves be coopted?
Bas: What alternatives can we come up with in the CI (beyond critque)? How do we create sustainable networks? What is economic action, what counts as part of the economy? What links between local specifity and transnational transferability could be made?
Michael: What do we have in common between the different brachens of CI, and the different processes that go on (gentrification, …)? What is the purpose of an urban/neighbourhood network and what is the purpose of an international one? How does local and virtual work come together?
Anthony: What (the fuck) is the ‘real economy’? How to mend or completely break distinctions between real economies and other economies (…)? How can we connect the critique of CI those developed around the refusal of work? (potentially drawing a genealogy: critiques of self-management from 30s, 70s, etc…) How might we link critiques of self-management from different fields (anarcho-syndicalism, Marxism, etc…)
Pryas: What autonomous funding models can we develop for institutions/projects that are off the grid? Can we think of MyCI as a network of networks, a pool for sharing resources? How can we avoid funding? Proposal: database of business models (along the lines of openbusiness.cc)
Branka: How can we have/make more sustainable platforms? What examples of projects can we come up with for people that are good with negotiating with institutions, local councils (perhaps even policy makers)? What are the possibilities of critical alternative spaces in different contexts, are those still valuable and promising today? How do we work with cultural workers around understanding our own conditions, pracariousness, …? How do we share these questions and make them visible (outside our fields? linking them with other struggles?)?
→ temporariness and sustainability (temporary autonomous zones?) → links with other struggles and fields –> engagement with business models
links: http://openbusiness.cc/
discussion about business models and appropriating models from the field of consultancy, business, management P: perhaps we could have poisonous business models? Bas: we can decontextualise models, there’s no point refusing them entirely P: models that are not built to scale up are not interested for capitalist/larger scale/expansive appropriation…… small risk generates small profit A: the history of recuperation is like a catholic sin, cultural workers need to losse the guilt attached to that – either find ways to stop making value or stop value? we need a different value system altogether if we want to get out of this, not like CC which still operates in a legalist framework, etc… M: cooperatives? P: ‘business’ models include cooperative, non-profit models etc, but we should drop the guilt attached to making money M: seems a good idea to extend that business model B: public funding probably won’t disappear anytime soon, we still do need it actually, what we need is decentralized/distributed networks for giving out funding, different models for distributing funding, the decision making process needs to be shifted to the level of networks and towards the logic of networks …reform or revolution?? M: example of such a reform (of failure) could be the public netbase in Austria
Developing Questions and Projects
Sebastian: How do we behave? we want to do other stuff…not labour as an agent how do you move? resistance and revolution? what are these problems.. what are the new spaces of agency?
what does it mean to use the term creativity
talking about space
Daniela: is there a space beyond guilt and paranoia?
Manuela- transforming guilt into public sphere
How to survive?
How to repoliticise creative labour, how do we work and for what?
Maria: why neoliberals depolitize, refuse to use the word politics
Bas: creating sustainability, what does this mean? creativity is being coopted by neoliberals, rethinking of economic action
Michael; potential of networks something that creates difference, not marketing project space-site specific how do they really work
Anthony?
the real economy? what is it? distinction b/w real immaterial economies issue of self management- (Sebastian- refusal to work?)
Open Source Urbanism - Best Practices and Potential Projects
Presentations by Anthony Iles, Merijn Oudenampsen and Michael Lafond
Lessons learned / best practices:
- link up with alternative banking sector
- self-organized housing
- withdraw property from circulation of capital
- open source planning as normative ideal
- questioning architecture's role in collapsing work/leisure distinction
- …
Possible MyCreativity projects through which these best practices can be realized and/or promoted?
- publication on different juridical/organizational models of creative housing
- influencing policy decision mechanisms
- research link between open source tools and institutional specificities
- …
Blogger Notes Open Source Urbanism Wednesday
Dear the MyCreativity Group,
Thanks for letting me sit in on your discussion yesterday afternoon. I posted to the blog late last night and didn't have time to put it on this wiki: http://networkcultures.org/wpmu/wintercamp/2009/03/05/mycreativity-open-source-urbanism/
If one person would like to contact me regarding edits, my gmail account is castig[at]. I won't be at the conference on Thursday (as I have class), but I am available to talk in person either Friday or Saturday.
Thanks! Chris Castiglione
Blogger Notes Collaboration / Translation Thursday 05-03-2008
1. Presentation: Birgit - Secret service, an artist collective, problems with wages, and regular payments
Missed the presentation: No notes!
Questions: How can we get the salary/earnings flow regular and stabalized (through contracts)? - Issues around precarity
- Talking about defintions in contracts
- talking about earnings (1300 euros a month was menitioned)
- In the group People don't know what other people earn, they were even quit surprised (interesting fact)
- One member told that she didn't know when she would receive her earnings because the exhibityion had to be financedc first
- Solution: Asking for a contract (Lot of times people don't, a lot of times they are working with friends and are shy?? to ask)
- Using standardized contracts
- www.ownterms.org was mentioned (Creative Commons-licensed legal templates, free for use and remixing.)
- transparency is an issue: how much money are we earning?
- gender diffrence comes up, you have to negotiate you're own contract, asking works (sometimes)
- 'If you would refuse the job, would the jobs go'?? No, other people are in the line
- Problem of cultural capital - You're portfolia maybe allows you to get a job at 40
- someone suggested an income cloud! (Brutos: €640-2500 - instable, €3000 stable uni, then it stopped!)
2. Presentation: Daniela Swarovsky presents her projects - dealing with gentrification (collaboration) and the creative industries:
Location: North of rotterdam - Large Migrant community, very much frictions between people of the community
p1: MAde her base an Morroccan tea house (Al Hoceima) in the north of Rotterdam. Used it organize events, artist were invited.
p2: Vacationa_Destination>home (Loundry room - same street as tea house) - Peole take material from their home and show it in the 'Wasserette'
p3: Zwaanshals in motion (a two-year community art project) - used all the empty houses and shops. Creative people were invited to work. Radio station was started
p4: Ad Creative city: 'Gentrification' and the role of art in urban renewal areas. Shopkeepers union was invited (30 shops)- These are mostly the ones that are kicked out during urban renewal.
p5: ZiM Debates: Artists were invites to talk about exp. and strategies
p6: Zim Atelier and residency: Artist come live in the street and do a site-specific project
p7: ZiM cultureel: A space dedicated to the street
p8: Ad_trans migratie: From teahouse Al Hoceima to Bistro Jasmine (Teahouse was upgraded to a restaurant) - This was a failure. Housing corporations wanted to take the concept in there own hand, there own architects etc. This was the reason for failure.
p9: Foto tentoonstelling: Van Gastarbeider tot Allochtoon
–> some more projects, not written down
- Issue: The involvement with the neighbourhood is zero within the community itself
- Daniela is looking for strategies to tackle gentrification. Everybody takes their money but don't care about the neighbourhood. Lot of artist that come from the local Art school are the ones drawing people in the projects. The fear of risking good personal relationships, everybody wants to make there money. Question is: How to come around this issue? Governement was allowing the projects, but Daniela didn't get enough funding to make the projects sustainable.
- core issue is time, these projects are succesful but just take a lot of time
- gentrification has worked because a lot of artists are there, but for the housing corporations and government the work was difficult to understand
- Question: Are the government and housing corp. sensitive to the topic of gentrification, or only interested in upgrading the neighbourhood? Answer: Government says, second generation migrants also want better houses, so it isn't such a black and white issue.
- Daniela's projects illustrates very radical the way of thinking of the government: Asking a foreign artist, who doesn't speak Dutch to do these projects
- 'open-source urbanism' was mentioned as a term covering government policy. Governments think in the short term fix. But, real changes (in the streets) takes 15 to 20 years.
3. The Future Archive (Excersise)
Method for having conversations: project yourself in a desirable future, while remembering the present
- Audio recording the duscussion for the Saturday session
- Issues to discuss: Finance and precarity, collaborations,
- Idea: Projecting yourself in the future, 2080 (wide perspective), 2010 (concrete perspective)
Topic: Finance and precarity:
Remembrances: - Money was never secured
- sustainability question was a huge issue (The project framework). Often no money was got for the projects
- Remembrances: She is remembering how she got her money in those days at Winter Camp; No appartment (saving money), no stable job (teaching gigs, workshops) –> this model didn't look quit sustainable.
- Other remembrances of Winter Camp times: Juggling between unemployment and small projects (Location: Bask Country, Spain). Have some jobs, then unemployement, some jobs, etc. This makes it posible to do the jobs she wanted to do. Eg. Teaching at a Spain University, gigs (talks, workshops), innovation thinktank (unpaid). Now she move to Berlin (A question of rent). Now (Future), no more uncertainty, nice appartment.
- 'Women dominate today' (future)
- In India, in those days, women were everywhere, women getting more jobs than men, getting paid well. 'All managing jobs in India were taken by woman'.
- Feminized labour was a key issue in those days
- In India, 'Masculinity has become extinct now'
- Women had a better network strategy in those days. They grew a network of support in there direct locality
Key notion: In those days women were more open, took a collaborative approach
- Bas: Went trough a process of learning, for which he took a very individual focus (hunting for a long CV)
- Competition was always there (Hunting for the cv), developing networks to get there career going. Freedom in developing was not there, because the funding issue was always in mind
- Contradictons were always there
- Renee: Communication was still through computers, and also face to face contact. Now telepatic communication is possible, a collective unconscience. A system in which people had a shared income, collectives, distribution models that emancipated themselves from multinationals. The Internet put all of this in place, the Grid.
- We evolved in autonomous creatures. Standing in sun to charge ourselves. In those days we got paid to talk.
- Open CV was developed, thinking it would help the competition amongst cultural people. But it didn't happen.(Eg.http://www.bioswop.net/)
- Back then, a sustainable organised manner prevailed through the years. Eg. The British councel prevailed the industries.
- there was a huge need to learn from each other. Learned how they could help each other out in fakeing there cv's
- Then they decided that it didn't matter if someone was legally in charge. Lots of compromises were made to perform solidarity amongst the group members.
- Just after WC, speaking about wages/earnings, and how much we worked, we could allocate were the money was. And then money started spreading,
- We have come to an undertsanding of the Arts and culture as something that is supporting the way of life (Beyond Capitalism). Artists have a central place in for example education
Collaboration / Translation / Future Projection - Best Practices and Potential Projects
- Developing new ways of collective resource distribution (starting with small groups)
- Collaborative networks as trust networks
- Develop standardized contracts (cc contract, also see ownterms.org) in order to make minimal requirements visible
- need for alternative institution building so that expertise on writing financial plans, knowledge on dealing with local governments, etc. is saved and transmitted beyond the life of the single individual or network. Same model as current offices in art academies that try to train the individual artist for an entrepreneurial life (business skills etc., but more radical
- Long-term projects needed to enable collaboration between creative networks and other communities/networks (such as local urban communities) i.e. collaboration beyond one's own peer group
- Collective money, collective resources
- …
MyCreativity: future scenario - open source urbanism
the financial, social, ecological crises crashing in on European cities are asking us to look again at alternatives… an option is open source urbanism, a toolbox integrating online networks and communities of place. networks are not the end goal but a tool for working achieving sustainability
the network approach means a moving away from single, sectoral, isolated development models, and toward a variety of approaches and site and time-specific strategies we encourage a learning and open city… sharing methods and experiences, on and offline… an experimental city, working with civil-society-based reasearch and development this means an extension of the rights to the city / rights to expression and participation, a sharing of the responsibilities in shaping, influencing, managing the city … in the direction direct democracy… real participation and power with this in mind we envision an open source urbanism including the following building blocks:1.cultural centers as stable but creative nodes in sustainable urban networks and neighborhoods these are centers of art, creativity, self-organisation including mixed-use projects…. Re-embedding culture into everday life, into neighborhoods… neighborhood centers, accessible and open, transgenerational, places of memory, Meeting places… this calls for long-term commitment to place, to development… not only short-term
2. New funding and business models… more than just a creative marketing and image strategy, more than simple growth strategies, this means a just distribution of resources… an addressing of the prekariat encouraging innovation while minimizing stress and short-term funding and project limitations… Anti speculation… self-use, self-organisation, less profit motivation Developing links with alternative banking sector, foundations, alternative credit… Accessible and more cooperative financing systems, revolving funds advances on public-private parternships… emphasis on civil society
3. New combinations of on and offline networks and groups Cultural centers as offline real places / as nodes and sharing of information through online platforms, emphasizing communuication… transferring information, sharing, bartering, supporting each other, learning structures Repositiories of experience, methods, strategies…. Databases, blogs, libraries, journals… Complementing the cultural centers Meeting places…
disucssion of variations among local on and offline networks / communities compelements among on and offline, short- and long-term networks creative associations diversity, for establishing networks and centers mobilisation of resources… energies, creativity centers as havens for nertworks and communities… can be temporary plural, diversity, mobilising resources
There is a pressing need to move beyond the urban tactics currently prevalent within many cultural scenes and to start thinking strategically about the role of the built environment in contributing to the sustainability of creative networks. Sustaining the networks is not the end goal but sustaining the community, the city, neighborhood
Experimental models of living and working together A learning city… experiments with economic models, environmental technologies, social sturctures and ways of being organized Strategies can be learned from, copied,
How can we develop a decentralized architecture that better matches the interests and passions of creative networks than the overhyped and overfunded creative clusters and cultural districts?
open source urbanism meaning of networks and collaborations creative associations | new governance models for buildings criticism of creative industries and goin g beyond that
civil society initiated, participative, involving local people with their culture and art, time and place specific
sustainable urban democratizations
PRECARITY AND COLLABORATION
Both collaboration and precarity are key terms in the description and analysis of creative networks, but how are they linked? What are the translations taking place between different kinds of precarious actors, both within and without the creative industries? What are the conditions of possibility for the various collaborative networks and how can we make visible this constitutive outside? How does the reflexive engagement with the heterogeneity of precarious subject positions enable mutual learning?
collaboration / precarity: idea for a comprehensive database around the CI
potential name of chaotic database to-be: ‘We are the creative industries’
WHO ARE WE?
Do Creative Industries really exist? What are we talking about? Are we an homogeneous group? If not, how do we deal with our heterogeneity? Is this a handicap for common ground actions? How do we identify, self-represent ourselves? How do we deal with external representations of Creative Industries (by policy makers)? Do we understand what/who we are?
-narratives / confessions Inspired by Future Archive (exchange of personal stories during the camp). To collect information from a private, subjective, personal point of view. Change also methodologies to extract information can help to obtain different kind of information. Also implement a culture of talking about personal stuff (how do we organize our lives, how do we earn money…).
-better futures How do we imagine a better future for creative industries? What are our goals and desires?
-questionnaire To collect more concrete precise information among creative workers: facts and figures. What questions should we ask?
COLLECTING EXISTING RESSOURCES
Ressources already exist but are mainly produced from and for neoliberal perspective, economic implementation. How to use them in another direction?
-existing collectives, associations, unions, etc
-existing campaigns
-text and other media resources: –policy –critical –management
-struggles in education
-microstrategies: –swapping base –reference letters – CVs - tips for everyday survival
-economy and labour: –models –templates for contracts and taxes, social security, alternative business models -funding and finance - resources for freelancers -
- advice forum
Intangible Negotiation: http://sites.google.com/site/intangiblenegotiation/
Own Terms: http://www.ownterms.org
POLICY REGULATION
How can we develop more sustainable policy mechanisms beyond creativity as capital accumulation? What are possible strategies for shaping policy from below? How might transversality be pushed in concrete ways?
collaboration / precarity: idea for a comprehensive database around the CI
potential name of chaotic database to-be: ‘We are the creative industries’
-narratives / confessions
-better futures
-questionnaire
-existing collectives, associations, unions, etc
-existing campaigns
-text and other media resources: –policy –critical –management
-struggles in education
-microstrategies: –swapping base –reference letters – CVs
-economy and labour: –models –templates for contracts and taxes, social security, alternative business models -funding and finance
- advice forum
Ideas about Collaboration and Precarity II
Who are WE? What are the creative industries?
Create a research project/online web2.0 platform on working conditions including facts and stories
- How to develop : small and let it grow organically oder set up big?
- How do we get people to insert information»exchange inserting and getting out info to have an argument, payment?
Collect different funding strategies
- getting payed to develop projects, even though there is the possibily to fail
- ideas, guide of ethical funding?»salary standards, separate bankaccounts, ask for collaboration, ask for sustainablity
Collect existing resources and make them available for freelancers
- portal
- eg. Legal and tax advice
- contracts and ethical guidelines
Ideas for Contracts/Ethical Guidelines for Collaborations of Freelancers with Institutions or Funders
- getting payed to develop projects, even though there is the possibility to fail
- getting payed for projects that “fail”, as they create knowledge
- Payed time for writing reports
- Payment for fundraising, even though it fails
- Agreement on the right to go on leave
- Agreement that the freelancer only has to do the work that is mentioned in the contract and that any other work that comes up during the process of the project, needs to be separately negotiated. And that asking for that is ok.
- Minimum wage
- The collaborator has to make sure that project money is not used to finance other projects while the freelancer is not being payed on the dates fixed in the contracts.
- The freelancer is allowed to freely and publicly talk about his/her salary.
- Equality in salaries for people of all genders
- Equality in salaries of comparable positions.
- Payment of travel expenses, when you have to commute longer distances to do the job
- Payment of moving expenses if you move to do the job.
Intangible Negotiation
http://sites.google.com/site/intangiblenegotiation/
A public tool kit for practitioners of imaginative labour. Templates of common contracts, mechanisms for the exchange and pooling of resources and other projects get enabled here.
Questions
Prayas
- How do we pursue the sparks of the collective energies we have ignited?
- How can we tacticaly appropriate the “creative industries” vocabulary?
===== Renée ===== answers
- organise meeting up online, continuing our shared resources, possibly mailing list
- change this vocabulary and create something new
N.E.W.S. northeastwestsouth.net
- One liners go here
Notes Mycreativity - Third day afternoon
MyCreativity - Presentation NEWS by Renée Ridgway
NEWS: http://northeastwestsouth.net/site/
- Renée is co-initiator (w/Sannetje van Haarst) of n.e.w.s. website, research started in 2007, launch was July 28,2008 - Renée was on board of Gate Foundation (migrant artists; archive, database) –> an exhibiton space for foreigners, whom in these days weren't shown - Then funding for Gate Foundation stopped, because they weren't unique anymore in showing international art and minister wanted to set up her own platform (Kosmopolis) - Thought about making the Gate digital, they eventually decided to begin something new. Name (northeastwestsouth) comes from Sebastian Lopez, former director of Gate. - Gate Foundation closed down; left 3000 books, and artists' archive. Books were wanted by the Stedelijk, but nobody wanted the artist archive. Except Van Abbe Museum. Eventually, and library was given to Van Abbe museum - Question asked: How to best make digital platform to discuss issues of an international, discursive platform for contemporary art and new media? - On NEWS, content is paid for –> discussions went on to make a model in which people were paid to contribute - On July 28th (2008) it was launched during ISEA in Singapore
Website
- Renée explains the site; books (research archive); on the bottom the here is a poll (Should we be able to have our “cultural diversity cake” and eat it too?) (No 52%, Yes 48%) Used to be 60-40 against having cake and eating. - Most contributors are curators (loose term) See list of curators on the site. Branka Curcic is also a contributor. - Prayas Abhinav joined in NEWS during ISEA - In November NEWS won a prize (Competition of Ideas) http://northeastwestsouth.net/site/node/288 - Mondriaan funded pilot project, that's it, so far. They matched funds through in-kind. - Renée makes a living as an artist, she gets honoraria, etc. as an artist, and addtionally funds the creation of NEWS with the money received through her artistic profession. (So up until now NEWS she does for free) But the original contributors were paid for the first three months with Mondriaan budget. - Contributing to NEWS is open for anybody. - The moderation part is important consideration for participants to take part. NEWS is always testing ways to work, forums are this way. - Stephen Wright does the Cutting Slack forum: http://northeastwestsouth.net/site/node/307
Prayas talking about Shaping NEWS: http://northeastwestsouth.net/site/node/202
- exploring other ways of contribution/practition, in a lab form - funds are brought in from different contexts - They try to have an open-development model. People are not participating as openly as in technical networks. - Collaboration doesn't just happen, not as easy as the 'Geeks' do. Its more formal. - They strive for participation/collaboration that is more diverse - Example: roadmap is developed - Document 'shaping news was made', list some possible directions, for funds, collaborations - There are mash-ups of delicious databases from artists - Progressive model: people sign up, doing things, each contribution increasing the level of trust, building up the network.
Sum up: NEWS a developing participatory platform for artistic and curatorial projects in an open-developing web, spurring different kinds of collaborations, and contributions to the site
- Does paying contributors work? Renée: Its more starting out as a premise (in the context of precarity) to see if it works. Renée: It's worth taking this risk of paying contributors, especially in the current status of the economy.
- Renée: You are paid, but not in the context of a reputational economy - NEWS is exploring the different business models of payment, a mash-up of aggregated sources - Cash distribution is contribution based
- Sebastion: Did you put up any guidelines for contribution? - Renee: No, for content no. - Renee: (Ways of communication) They send a mailing (4000+ people), they have forums
- Why contribute on NEWS, and not Google groups? There is a pool of regular visitors (Guests, lurkers), and the site is indexed pretty fast by Google - Multilinguality of the site will be developed
- Bas: Lets say they get a shit load of money, this would be distributed. amongst the contributers? - Prayas: The amount of contributions that is commited to, yes
- Bas: WHo decides if money if invested in events, or for getting the contributors paid? - Renee: At this moment: Prayas, Renée, Stephen
- General funding functioning: attempting to work with funding institutions to get what you want, satisfy their criteria w/o compromising the content but at the same time take the freedom to change the system, if need be, so that you dont have to pay back at the end.
- Renée talking about the Cutting Slack forum. Cutting Slack forum is moderated, anybody can join in; people received general text, list was made for invitation, they did mailing, people responded. - WHAT IS AUTHENTIC SLACKING? Performing Laziness. Several questions, see on site. Questioning the over-productivism now going on in art.
- Michael: Does NEWS relate itself to specific topics? - Renee: No, it's open. People decide what they want, not directly responsible for content. She does not edit other's content. - Prayas: Not a neutral platform, it's run by humans who take an interest. Its not as neutral as Google groups who allows any topic.
- They are trying to get another system inside NEWS, to gather some resisting sounds
- Bas: How do you relate the 'Cutting slack' to the Wintercamp coming together? - Renée: Doing something because you see it as fun. It's about not doing too much unnecessarily, being productive because you have to produce. You get funding for some task, but you can negotiate with these funds, doing other things for which the funding was'nt originaly meant.
Excerpts from the intro: paradoxes (from the everlasting Sunday) of 'performing laziness'
1. Why is authentic slacking different than performing mere laziness? a specific way of being in the world; Performative in both senses of the word: an ostentatious display of inactivity (as opposed to passivity), and in this case, of something not given to display.
2. slacking’s political ontology. performative double bind akin to the famous “I am a liar” that had the Greeks stumped. Slackers don’t “just” slack off; they go at it full-tilt. obstruct the reifying logic of “creativity” and “artistic research projects”
3. as Randall Szott has asked, are communities formed by slack not bound by slack, that is, entropic collapse under the weight of their own logic? martial arts-style, lackadasically harness the surplus force of the productivist adversary? Are slackers, like hackers, more inclined to untie than to unite, as Ken Wark has argued?
“Slackers have to do two things at once: abstain from any voluntary servitude to productivism and foreground that abstinence so that it is at once visible for what it is and what it isn’t, thereby (hopefully) inspiring emulation. This is what gives slackerdom a double ontological status: both what it is, and a proposition of the same.”
Prayas Abhinav: So the process of Buddhist meditation (which I used to practise but don't anymore) might be really a training programme for slacking. The world is kept in balance through a mix of opposing energies and one of those if this huge mass of people who choose to close their eyes and watch their breath instead of watching television or shopping.
- The talked about creating a website, mailing list, the wiki (already there) - What about the title MyCreativity, maybe OurCreativity, or NoCreativity is better. NoCreativity seems to come out as the winner. - NoCreativity.net is available. - What does NoCreativity signify? Prayas: they dont have to fit any kind of agenda - Name NoCreativity is discussed, by which they go on with the issue if the MyCreativity network should be further organized - Their term MyCreative also doesn't represent this network, it's somebody elses. (reveals that 'Mycreativity' isn't an organized network yet, but trying to find itself) - Mailinglist seems to fill the purpose -Nocreativity.net is bought as a domain