The BBC are going to help digitize the UK’s public art collection and make it available online. This will be brilliant as long as the executive in charge doesn’t get bought by Microsoft or Adobe-
OKFN’s microfacts is cool-
The History Commons is NonCommercial, which needs fixing, but otherwise cool-
The old Philip Greenspun illustration project for Wikipedia, a good example of sponsorship/patronage in design-
A good post on how the (overreaching) copyright claims of employers may interact with the virtual creations of employees-
A good list of free culture image repositories courtesy of OKFN-
echo -n "sorry for ><,"
while true; do
echo -n " please >>"
What does Free and Open Source software (FLOSS) provide to artists and
designers – beyond just free alternatives to established tools from
Photoshop to Final Cut?
"FLOSS+Art" is the first book to answer this question. It shows how the
value of Free Software lies in its differences and creative challenges,
as opposed to out-of-the-box and off-the-shelf solutions; how it allows
to work and collaborate differently with computers, and therefore enable
different kinds of art and design.
The Internet – whose infrastructure is based on free software and open
standards – is an obvious example of such an adaptable, collaborative
artistic medium. "FLOSS+Art" also covers more traditional artistic
domains such as graphic and audiovisual design, and how they shift from
customer-centric to community-driven work.
FLOSS+Art critically reflects on the growing relationship between Free
Software philosophy, open content and digital art. It provides
first-hand insight into its social, political and economic myths and
With contributions by: Fabianne Balvedi, Florian Cramer, Sher Doruff,
Nancy Mauro Flude, Olga Goriunova, Dave Griffiths, Ross Harley, Martin
Howse, Shahee Ilyas, Ricardo Lafuente, Ivan Monroy Lopez, Thor
Magnusson, Alex McLean, Rob Myers, Alejandra Maria Perez Nuñez, Eleonora
Oreggia, oRx-qX, Julien Ottavi, Michael van Schaik, Femke Snelting,
Pedro Soler, Hans Christoph Steiner, Prodromos Tsiavos, Simon Yuill.
Compiled and edited by Aymeric Mansoux and Marloes de Valk.
With the support of the University of Huddersfield and the Willem de
Kooning Academy Rotterdam University.
FLOSS+Art is triple licensed GNU GPL, GNU FDL and Free Art License.
Rather than just providing a "free" PDF, FLOSS+Art.v1.1.eBook-GOTO10
is also available and contains all the Fonts, Images, PDF and Scribus
source files that were used to make the book.
Feel free to branch a translation or fork the chapters! 😉
On the 11th of February, 19:30-21:30 the book will officially be
launched with a public presentation in the Willem de Kooning Academy
Rotterdam, one of the sponsors of the publication. This event is
featured in the framework of the new research program "Communication in
a Digital Age" of the Piet Zwart Institute, Willem de Kooning Academy
The editors Aymeric Mansoux and Marloes de Valk will give an overall
presentation of the book, along with several of the contributing authors
who will briefly introduce into its more specific subjects and chapters.
Full program and details to be announced later, stay tuned!
Subscribe to Mute and get a FREE copy of FLOSS+Art – limited offer
Subscribe to Mute and guarantee to be first in line for our quarterly
collection of provocative articles on culture, politics, and technology.
What’s even better, for a limited time receive a free copy of GOTO10’s
new book FLOSS+Art with your subscription.
Quarterly, critical, and cheap, Mute is a concrete jumble of all that’s
still grunting in the inter-finessing hyper-barrios of culture,
politics, and technology 2.0. As capitalism yawns towards the apocalypse
we match it issue by issue with a sustained critique of everything
existing, from exo prole-bashing and shanty chic to academic aut-onanist
or phone the Mute office: +44 (0)20 7377 6949
New work from 2007 –
Photos of salt cellars (and a pill bottle) with diamond dust.
This developed from the ideas presented here –
The salt cellars are a reference to Duchamp and to cocaine. The diamond dust is a reference to Warhol and Hirst. In real life rather than on a screen print diamond dust is a disappointing grey powder, a worthless industrial scouring agent. It’s the gap between its real and imagined value and its real and imagined aesthetic impact (as well as how it does sparkle when you dust a print with it) that makes it interesting, critically speaking.
The actor Patrick McGoohan has died, he was 80 years old. He appeared in everything from “Ice Station Zebra” to “Braveheart” but he was best known for his 1960s TV series “The Prisoner”, which
followed his starring role in the long-running spy drama “Danger Man”.
I would not hesitate to describe the best episodes of “The Prisoner” as art. McGoohan took his personal situation as a TV star trapped in a famous role and escaped it by holding a mirror up to the mid-20th Century global village. Largely concerned with the issue of personal freedom in a mediatised surveillance society, the series has only grown in relevance. DVDs of the series are easy to find, and if you can’t watch any others then at least watch “Free For All” (which satirises the media and the electoral process) and “Once Upon A Time” (which is a classic two-characters-in-a-room drama).
Over at Locus, Cory has a good article on how to write a novel a year despite the joys of the internet and looking after a baby.
The point of my (abandoned) “agile art” series was to apply geek productivity techniques to some aspects of art production. And several of my recent projects have been structured to be produced as many small, quickly produced works. You can’t do every project that way, and the projects I couldn’t structure in that way have tended not to get finished.
Cory’s observation that you can write a page in 20 minutes and you can always find 20 minutes a day has some bearing on drawing and blogging. So I’m going to make sure I find 20 minutes a day for them…
the new pure:dyne GNU/Linux leek&potato released!
,---. --.,--.--.--.,---. --.,-' |--. ,--.--,--, ,---. *
| .-. | || | .--' .-. :--' .-. |\ ' / \ .-. : *
| '-' ' '' ' | --.--. `-' | \ ' | || | --. .
| -' `----' --' `----'--'`---' -' / `--''--'`----'
`--' http://puredyne.goto10.org `---' *
pure:dyne is an operating system developed to provide media artists with
a complete set of tools for realtime audio and video processing.
pure:dyne is a live distribution, you don't need to install anything.
Simply boot your computer using the liveCD/DVD or liveUSB and you're
ready to start using software such as Pure Data, Supercollider, Icecast,
Csound, Fluxus, Processing, Arduino and much much more.
pure:dyne will work on any x86 PC laptop, desktop, and single-board
computers, including the intel-based Mac, Asus' Eee PC, and any x86
Get pure:dyne now!!!
(CD/DVD ISO, liveUSB, Debian packages, etc)
Each pure:dyne release come with a Free/Libre and Open Source Soup
(FLOSS). This time we hope you will enjoy our leek and potato flavor :)
Depends: Leek, Potato, Milk, Salt, Oil, Pumpkin oil
Suggests: Thyme, Sage, Pepper, Parsley, Crème fraiche
Build-Depends: Cookpot, BlenderkMasher, Frypan, Bowl
make: default: serving
tender potato: potato cookpot salt water 20min
tasty leek: leek oil frypan 5min
puree: tender potato tasty leek blender
soup: puree milk herbs cookpot 5min
herbs: thyme sage pepper serving: soup bowl
parsely pumpkin oil crème fraiche
for more details:
echo "deb http://debian.goto10.org/debian/ lenny main" >> \
/etc/apt/sources.list && apt-get install souprecipe
pure:dyne is a GOTO10 project, developed by Rob Canning, Heather
Corcoran, Antonios Galanopoulos, Karsten Gebbert, Claude Heiland-Allen,
Chun Lee, Aymeric Mansoux, Marloes de Valk and with the contribution of
Robert Atwood (Openlab) and Jof Thibaut (Labomedia).
pure:dyne is supported by Arts Council England and powered by GNU/Linux
Debian, debian-multimedia.org and the great Debian Live project.
We would like to thank bob the pbuilder and all the pure:dyne users for
their ongoing feedback, suggestions and testing!
When I’m at an art show I’m going to review, or as soon as possible after leaving it, I take notes. These may be taken in low-light conditions, on the last train of the night, under the influence of complimentary alcohol, or in otherwise sub-optimal conditions. But they tend to have an immediacy that the finished review replaces with more in-depth reflection. So as an experiment here are scans of the notes for my review of “Neurotic and the PVCs” at the ICA and “SwanQuake: House” at v22. Excuse my scrawl.