The Internet has produced new behaviours, subjectivities and institutions linked to another way of being and doing. This seminar debates how these changes throw established categories of art, the author and the circulation of unique work off balance, whilst also forming profound contradictions – from creativity as an economic value to indistinct work time. Is considering another artistic ecosystem possible from these ambiguities?
The assumption was that a transition from the author's text to hypertext would make the funeral of these modern notions possible, replacing them with a new contemporary language. With the arrival and expansion of the net, these predictions, which decades earlier were nothing more than academic speculations, could be found in the right condition to overcome the logic of individual authorship and originality, in practice. However, these desires, which had to be validated by technological displacement in the modes of producing knowledge and generating subjectivity, are today being answered in the survival and statism of a model that ignores the challenges and powers of the net. With the aim of defending the author and their originality, in some cases in a space of resistance, access, production and the circulation of knowledge in digital media, including those the museum participates in, are restricted.
There do not seem to be any doubts about the place taken up by intellectual property in the new productive environment. It also seems to be increasingly more difficult to revert the fact that symbolic production, and with it artistic production, is today part of the so-called creative industries, and which must, therefore, work under strict market logic. Nevertheless, culture and knowledge in the digital environment continue to manifest qualities that had not been characteristic of consumer goods: they are not scarce, do not run out with use and cannot be possessed exclusively. At this point a whole series of fractions arise between legal regulations, financial capitalization and the practices of access and free circulation this seminar looks to unravel. In this complex framework, there is a need to track how the work of the artist is inscribed in the environment of new digital production, to see what the regulations of authorship are after the net, how to defend the singularity of art in the face of the expansion of the creative economy and how to bring about the so-called digital commons in a new form of shared learning.
Daniel G. Andújar. Visual artist, long-time member of irational.org and a reference point in net.art. In 1996 he founded the platform Technologies To The People. He has exhibited internationally and set up other public sphere projects on the Internet, such as e-barcelona.org o e-valencia.org. Furthermore, he has run workshops with artists and social collectives and actively participated in the debate on the artist’s status in the immaterial economy. The Museo Reina Sofía recently presented his work in the solo exhibition Daniel G. Andújar. Operating System (21 January - 4 May, 2015).
Alberto López Cuenca. Professor at the Universidad de las Américas Puebla. He has co-edited the books Propiedad intelectual, nuevas tecnologías y libre acceso a la cultura (Intellectual Property, New technologies and Free Access to Cultures) (Universidad de las Américas Puebla and Centro Cultural de España in Mexico, 2008) and ¿Desea guardar los cambios? Propiedad intelectual y tecnologías digitales: hacia un nuevo pacto social (Do you Want to Save the Changes? Intellectual Property and Digital Technologies: Towards a New Social Pact (Centro Cultural España-Córdoba, 2009). His articles have featured in international publications such as ARTnews, Lápiz, Curare, Afterall and Revista de Occidente.
Geert Lovink. Professor at the European Graduate School in Saas-Fee, Switzerland and the University of Amsterdam, where he founded the Institute of Network Cultures. He was also a founding member of ADILKNO (Foundation for the Advancement of Illegal Knowledge). He is the author of Dark Fiber: Tracking Critical Internet Culture (MIT Press, 2002), My First Recession: Critical Internet Culture in Transition (NAi Publishers, 2003) and Tactical Media, the Second Decade (Brazilian Submidialogia, 2005), as well as numerous other essays.
Marcell Mars (Nenad Romić). A cultural researcher, artist and hacker, he is one of the founders of the open repository on shared knowledge Public Library and co-creator of Multimedia Institut [mi2] in Zagreb.
Margarita Padilla. Computer engineer and activist. Co-founder of the space Sindominio.net and the free radio Radiopwd from her operations in hacklabs. She has published several articles such as Agujeros negros en la red (2002) in the magazine Archipiélago and Penélope, tejiendo y destejiendo la red en el libro Ciberguerrilla de la comunicación (Virus, 2000). She is also the author of El kit de la lucha en Internet (Traficantes de Sueños, 2013).
Felix Stalder. Professor at the University of the Arts, in Zurich, where he co-directs the Media Arts programme, and researcher at the Institute for New Culture Technologies, Vienna. Since 1995 he has participated as a moderator of the encounters of Nettime, a space for debate and critique. He is the author of the books Open Cultures and the Nature of Networks (New Media Center_ kuda.org , Deep Search: The Politics of Search Beyond Google (Transaction Publishers, 2009) and Digital Solidarity (PML Mute, 2014).