{"id":128,"date":"2005-10-16T09:08:43","date_gmt":"2005-10-16T07:08:43","guid":{"rendered":"http:\/\/news.constantvzw.org\/?p=128"},"modified":"2005-10-16T09:08:43","modified_gmt":"2005-10-16T07:08:43","slug":"structure-1610","status":"publish","type":"post","link":"https:\/\/news.constantvzw.org\/structure-1610\/","title":{"rendered":"Structure 16\/10"},"content":{"rendered":"

1. At the beginning <\/b>
\n“Perhaps this installation aims to be just that kind of altar: the sheer exposure to film magic, free from anecdote or direct emotions, where the viewer may hang around, pick something of the perpetual flame, brood over these adventures of black-and-white, change perhaps my images against his or hers, replace Catherine Belkhodja’s beautiful face by a closer and dearer face, and go away with an imaginary picture unrolling within his\/her deep inner screening room with that untranslatable feeling we Germans call Sehnsucht, and we Brazilians saudade, and the rest is silence.” Silent Movie<\/i>, Chris Marker
\nSelected Memories<\/a>
\n
\n2. Deconstruction 1\/Opening the tools <\/b>
\n-the inside of a digital work
\n\u00e2\u20ac\u0153The very condition of a deconstruction may be at work in the work, within the system to be deconstructed. It may already be located there, already at work. Not at the center, but in an eccentric center, in a corner whose eccentricity assures the solid concentration of the system, participating in the construction of what it, at the same time, threatens to deconstruct. One might then be inclined to reach this conclusion: deconstruction is not an operation that supervenes afterwards, from the outside, one fine day. It is always already at work in the work. Since the destructive force of Deconstruction is always already contained within the
\nvery architecture of the work, all one would finally have to do to be able to deconstruct, given this always already, is to do memory work. Yet since I want neither to accept nor to reject a conclusion formulated in precisely these terms, let us leave this question suspended for the moment.”M\u00c3\u00a9moires, pour Paul De Man<\/i> Jacques Derrida<\/p>\n

\"DSCN5869.jpg\"
\nVJ2<\/a><\/p>\n

3. Deconstruction 2 \/ Frameworks and beings.
\n–Copy Cult<\/a>
\n–Cyberfeminist working days<\/a><\/p>\n

“As Florian Cramer (Open Licences Guide, PZI) points out, the word “licence” comes from the verb licere meaning to authorise. In order to authorise the additional uses of a production, one needs to be its owner. And in the field of intellectual property, this means being the author (or possessing rights equivalent to those of the author). These additional rights are attributed with one sole condition: that the same freedom is guaranteed with copyleft for any work deriving from it. One cannot place a work under copyleft if one does not own the rights (a work cannot be “laundered”) and one cannot restrict the usage authorisations which have been awarded to a free work, either for that specific work or for the consequent works.
\nThat which is free is condemned to live on the basis of this paradox, because it is based on the author’s right to transform the practice. In effect, this danger\/temptation is always present given that the users of the GPL must recreate, from original materials, creations that stand at the beginning of a chain. The GPL takes to heart the idea of a new genealogy of works, encouraging the re-appropriation and transformation of free materials. Copyleft obliges the user to maintain the genealogy of these creations. Copyleft has not arisen out of the paradigm of copyright, it reinterprets it.” Creative Commons in situation <\/i>, Nicolas Malev\u00c3\u00a9, Zehar 55<\/p>\n

4. Producing & investigating tools, contexts, digital art users
\n– Rollmops<\/a>
\n– Digitales<\/a><\/p>\n

\u00e2\u20ac\u0153Five years after the birth of my feminist consciousness, I still have to question every assumption, every reaction I have in order to examine them for signs of preconditioning. Some changes came across fast. In the winter of 1970, I went to a great many women\u00e2\u20ac\u2122s studios and my preconceptions were jolted daily. I thought serious artists had to have big, professional-looking spaces. I found women in corners of men\u00e2\u20ac\u2122s studios, in bedrooms and children\u00e2\u20ac\u2122s rooms, even in kitchens, working away. I thought important art was large. I found women working small, both out of inclination and necessity.\u00e2\u20ac\u009d The Pink Glass Swan<\/i>, Lucy Lippard
\n
\n– Cuisine interne Keuken<\/a><\/p>\n

5. Where do we work?<\/b>
\n–VJ6<\/a>
\n–Digitales<\/a>
\n–Stitch&Split – FAT, Barcelona<\/a>
\n-Zehar – Cahiers Marxistes + Femke Snelting research on copyleft logos
\n\"DSCN5867.jpg\"
\nWe consider Constant as a tool of deconstruction of the cultural practices.
\nDefine cultural practices: interstices, in betweens, community building, relationships between one’s traditions and other’s, places of memories, objects of memories, collections, contexts, processes, devices, tools
\nWeblogs<\/a>
\n–Stitch&Split Datamap<\/a>
\n\"datamap\"
\n“On peut dire que pour nous l’art n’est pas un but en soi – cela demanderait une na\u00c3\u00afvet\u00c3\u00a9 moins \u00c3\u00a9corch\u00c3\u00a9e – mais nous y voyons l’occasion de formuler des critiques \u00c3 l’\u00c3\u00a9gard de notre temps et de d\u00c3\u00a9velopper une v\u00c3\u00a9ritable sensibilit\u00c3\u00a9 pour cette \u00c3\u00a9poque, conditions pr\u00c3\u00a9alables pour un style anodin et typique. (…). Pour cela, l’art ne nous fournit qu’une occasion, qu’une m\u00c3\u00a9thode.”Flight out of time<\/i>, Hugo Ball<\/p>\n","protected":false},"excerpt":{"rendered":"

1. At the beginning “Perhaps this installation aims to be just that kind of altar: the sheer exposure to film magic, free from anecdote or direct emotions, where the viewer may hang around, pick something of the perpetual flame, brood over these adventures of black-and-white, change perhaps my images against his or hers, replace Catherine […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"_links":{"self":[{"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/posts\/128"}],"collection":[{"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/comments?post=128"}],"version-history":[{"count":0,"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/posts\/128\/revisions"}],"wp:attachment":[{"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/media?parent=128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/categories?post=128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/news.constantvzw.org\/wp-json\/wp\/v2\/tags?post=128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}