ideas:wendy_ellentriek
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| ideas:wendy_ellentriek [2008/07/18 17:13] – wendy | ideas:wendy_ellentriek [2017/02/09 13:23] (current) – external edit 127.0.0.1 | ||
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| “It is worth noting that almost nobody teaches their daughters to solder. The stupidity of the dog barking circuit kits, paired with a generally patriarchal electronics culture, has so far made electronics a largely non-female pursuit even as other areas like fashion and fabric crafts moves further towards the customised and the self-made. In fact the process of crafting fabrics is remarkably similar to the building of circuits. Like other forms of crafts, making your own technology can be seen as a sculptural process of allowing objects to be formed in your hands and as such it is an almost primal process of discovery and recognition. As an object slowly takes form on the table in front of us, we can begin to develop intuitions about its capabilities and behaviour. Maybe in an extrapolation of Hayes' 'naive physics' | “It is worth noting that almost nobody teaches their daughters to solder. The stupidity of the dog barking circuit kits, paired with a generally patriarchal electronics culture, has so far made electronics a largely non-female pursuit even as other areas like fashion and fabric crafts moves further towards the customised and the self-made. In fact the process of crafting fabrics is remarkably similar to the building of circuits. Like other forms of crafts, making your own technology can be seen as a sculptural process of allowing objects to be formed in your hands and as such it is an almost primal process of discovery and recognition. As an object slowly takes form on the table in front of us, we can begin to develop intuitions about its capabilities and behaviour. Maybe in an extrapolation of Hayes' 'naive physics' | ||
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| Like the Free Software projects of today, these groups, [the Black Arts Group of St Louis & Scratch Orchestra] sought to distribute the knowledge and skills of production as an integral part of what they produced, but they also sought to explore and expose the social relations through which people worked. They deliberately challenged the notion of artistic authorship as the exclusive act of a single, socially disengaged, individual - one which still dominates the artworld today - as well as being critically aware of issues of power and hierarchy within collective practise. It is not just the distribution of knowledge, but also the distribution of access and power that these groups engaged with and faced up to. After several years of productive activity, the Scratch Orchestra fell apart due to internal tensions. Cardew put this down to a lack of sufficient self-criticism amongst its members, while others attributed it to one group seeking to exert its influence unfairly over the Orchestra as a whole [60]. Ultimately these are issues which any form of collaborative development needs to address and be critically aware of in some form, for, as the Scratch Orchestra discovered, working with others is not always an easy or inherently egalitarian process [61]. The success of any such project rests, not only in its ability to create something through collaboration, | Like the Free Software projects of today, these groups, [the Black Arts Group of St Louis & Scratch Orchestra] sought to distribute the knowledge and skills of production as an integral part of what they produced, but they also sought to explore and expose the social relations through which people worked. They deliberately challenged the notion of artistic authorship as the exclusive act of a single, socially disengaged, individual - one which still dominates the artworld today - as well as being critically aware of issues of power and hierarchy within collective practise. It is not just the distribution of knowledge, but also the distribution of access and power that these groups engaged with and faced up to. After several years of productive activity, the Scratch Orchestra fell apart due to internal tensions. Cardew put this down to a lack of sufficient self-criticism amongst its members, while others attributed it to one group seeking to exert its influence unfairly over the Orchestra as a whole [60]. Ultimately these are issues which any form of collaborative development needs to address and be critically aware of in some form, for, as the Scratch Orchestra discovered, working with others is not always an easy or inherently egalitarian process [61]. The success of any such project rests, not only in its ability to create something through collaboration, | ||
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| Ellentriek | Ellentriek | ||
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| Tekst van Lotte | Tekst van Lotte | ||
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| Ellentriek is een experimenteel, | Ellentriek is een experimenteel, | ||
| Het ellentrieken traject startte in 2006 onder de vorm van een workshop rond de relatie kunst en elektriciteit. Na deze meer dan geslaagde spannende sessie, besloten, KWP De Pianofabriek en Ladda vzw samen met Constant vzw als nieuwe partner, dit traject verder uit te bouwen. | Het ellentrieken traject startte in 2006 onder de vorm van een workshop rond de relatie kunst en elektriciteit. Na deze meer dan geslaagde spannende sessie, besloten, KWP De Pianofabriek en Ladda vzw samen met Constant vzw als nieuwe partner, dit traject verder uit te bouwen. | ||
ideas/wendy_ellentriek.1216401196.txt.gz · Last modified: 2017/02/09 13:23 (external edit)