Author: Thomas Dreher  
Posted: 20.08.2002; 01:07:59
Topic: Question 7
Msg #: 575 (in response to 430)
Enclosure:
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Reads: 66767

Concerning Michael Corris´ answer 7/4:
1.) The travesty, the parody, the fake...All these terms were usually related to Bakhtin´s "dialogism". His reconstructions of a grotesque conception of the body (in Rabelais´ Gargantua and Pantagruel) and his reconstructions of relations between the carneval and the church in the middle ages as hybrid relations (f. e. the grotesque conception of the body) imply methodological ways to deal with the politics of transgressions of performance art, especially of the Vienna Actionism (Hermann Nitsch, Otto Mühl).
2.) The fake corporations and other fake strategies in net.art (RTmark http://www.rtmark.com/, etoy http://www.etoy.com/, fake websites: vaticano.org http://www.0100101110101101.org/home/vaticano.org/) parody the self representations of corporations. They present travesties and parodies in a new field which is determined by tensions between a free information exchange within (and between) communities and the corporative organized commercializations of copyright.
Communities imply a Copyleft Attitude: Copyright contradicts any open development of a research project. So the Copyleft Attitude was the adequate answer (http://artlibre.org/licence.php/lalgb.html).
3.) The self parodying fakes of Baldwin/Ramsden in "Homes for Homes" (documented on their CD-ROM "too dark to read", Musée d´Art Moderne de Lille Métropole, Villeneuve d´Ascq, February 2002)imply the production of plagiarisms by every one who wants to produce fakes/doubles/variations of former A & L products without regard of copyright. The next step within this process will be, as projected by Baldwin/Ramsden, a double opportunity for participations within the plagiarist/copyleft project on the net and in an installation. The installation offers opportunities for the production of plagiarisms, modifications and transgressions of models or patterns presented by A & L (for example as doubles of their earlier work). Computers within or beside the installation present a website which presents digital files for transformations. Participation is open for every user. Participants can place their transformed files in an archive/digital gallery. The website adds a digital plagiarism to the the material plagiarism of the installation. Material and digital plagiarism can be combined within the same exhibition space (or, via webcam, within a website). The consequences of this opening of the project of A & L for a public participation will be a practice which implies transformations of conceptions which relate originality, copyright and art: nonreproductive individuality against reproductions and transformations within collaborative projects. Thomas Dreher (TDreher@onlinehome.de)

 



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