All Problems of Notation Will be Solved by the Masses, Simon Yuil: Difference between revisions
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''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.'' | ''Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.'' | ||
=The Commodification of Collaboration and the Contradiction of Collaboration in Art= | ===The Commodification of Collaboration and the Contradiction of Collaboration in Art=== | ||
Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodified and used as a tool for generating revenue or enhancing corporate productivity. While originally intended to foster critical and liberatory relationships, collaboration in art risks being reduced to a commercial strategy, losing its intrinsic value and becoming a means to serve capitalist interests. | Collaboration in art, as described in ''Nicolas Bourriaud's Relational Aesthetics'', is often commodified and used as a tool for generating revenue or enhancing corporate productivity. While originally intended to foster critical and liberatory relationships, collaboration in art risks being reduced to a commercial strategy, losing its intrinsic value and becoming a means to serve capitalist interests. | ||
=FLOSS and Artistic Practice: From Collaboration to Distribution= | ===FLOSS and Artistic Practice: From Collaboration to Distribution=== | ||
Comparing current FLOSS-related art practices with earlier similar artistic forms clarifies the relationship between symbolic production and distributive practices. <u>FLOSS-related art goes beyond mere collaboration by presenting a new distributive model that decentralizes production and enables self-directed creation by others.</u> This suggests that the code-based production methods of FLOSS can influence artistic practices, promoting more autonomous and decentralized forms of creation. The true potential of FLOSS-linked art lies not just in collaboration or legal frameworks, but in expanding the principles of symbolic production into distributive practices, opening up new possibilities for creation. Reinterpreting the FLOSS model as one of autonomous creation through distribution rather than just collaboration can pave the way for new artistic horizons. | Comparing current FLOSS-related art practices with earlier similar artistic forms clarifies the relationship between symbolic production and distributive practices. <u>FLOSS-related art goes beyond mere collaboration by presenting a new distributive model that decentralizes production and enables self-directed creation by others.</u> This suggests that the code-based production methods of FLOSS can influence artistic practices, promoting more autonomous and decentralized forms of creation. The true potential of FLOSS-linked art lies not just in collaboration or legal frameworks, but in expanding the principles of symbolic production into distributive practices, opening up new possibilities for creation. Reinterpreting the FLOSS model as one of autonomous creation through distribution rather than just collaboration can pave the way for new artistic horizons. | ||
=Live Coding, Hacklab= | ===Live Coding, Hacklab=== | ||
If live coding is one of the most emblematic artistic expressions of FLOSS, then the hacklab represents its most iconic social form. While these two forms do not occupy the same trajectory, they overlap and complement each other in many significant ways. At their core is the shared principle of '''"enabling production by others."''' This is not merely an issue of distribution at the level of software as a product, but a matter of practice. '''The practice itself is inherently distributive, integrating the dissemination of knowledge about production into the process of production itself. This opens up the possibility for collaborative production, but it is distinct from collaboration.''' While collaborative practice gathers the efforts of many towards a single goal and directs the distribution of their labor, distributive practice enables others to direct their own labor in their own way. This is realized not only as code that creates products but also as an output that serves as a notation with ongoing vitality beyond its initial implementation. | If live coding is one of the most emblematic artistic expressions of FLOSS, then the hacklab represents its most iconic social form. While these two forms do not occupy the same trajectory, they overlap and complement each other in many significant ways. At their core is the shared principle of '''"enabling production by others."''' This is not merely an issue of distribution at the level of software as a product, but a matter of practice. '''The practice itself is inherently distributive, integrating the dissemination of knowledge about production into the process of production itself. This opens up the possibility for collaborative production, but it is distinct from collaboration.''' While collaborative practice gathers the efforts of many towards a single goal and directs the distribution of their labor, distributive practice enables others to direct their own labor in their own way. This is realized not only as code that creates products but also as an output that serves as a notation with ongoing vitality beyond its initial implementation. | ||
=Notational Production 기보법적 생산= | ===Notational Production 기보법적 생산=== | ||
Revision as of 22:06, 22 September 2024
Musicians in the 1960s and 70s devised innovative notation systems and protocols to break away from aesthetic and social conventions. Today, Simon Yuill argues that digital users passionate about code-based production and improvisation are continuing this tradition.
The Commodification of Collaboration and the Contradiction of Collaboration in Art
Collaboration in art, as described in Nicolas Bourriaud's Relational Aesthetics, is often commodified and used as a tool for generating revenue or enhancing corporate productivity. While originally intended to foster critical and liberatory relationships, collaboration in art risks being reduced to a commercial strategy, losing its intrinsic value and becoming a means to serve capitalist interests.
FLOSS and Artistic Practice: From Collaboration to Distribution
Comparing current FLOSS-related art practices with earlier similar artistic forms clarifies the relationship between symbolic production and distributive practices. FLOSS-related art goes beyond mere collaboration by presenting a new distributive model that decentralizes production and enables self-directed creation by others. This suggests that the code-based production methods of FLOSS can influence artistic practices, promoting more autonomous and decentralized forms of creation. The true potential of FLOSS-linked art lies not just in collaboration or legal frameworks, but in expanding the principles of symbolic production into distributive practices, opening up new possibilities for creation. Reinterpreting the FLOSS model as one of autonomous creation through distribution rather than just collaboration can pave the way for new artistic horizons.
Live Coding, Hacklab
If live coding is one of the most emblematic artistic expressions of FLOSS, then the hacklab represents its most iconic social form. While these two forms do not occupy the same trajectory, they overlap and complement each other in many significant ways. At their core is the shared principle of "enabling production by others." This is not merely an issue of distribution at the level of software as a product, but a matter of practice. The practice itself is inherently distributive, integrating the dissemination of knowledge about production into the process of production itself. This opens up the possibility for collaborative production, but it is distinct from collaboration. While collaborative practice gathers the efforts of many towards a single goal and directs the distribution of their labor, distributive practice enables others to direct their own labor in their own way. This is realized not only as code that creates products but also as an output that serves as a notation with ongoing vitality beyond its initial implementation.