Is DYI DIWO the solution to art science collaboration ?

colleagues

 

here is a fifth SEAD thought = maybe existing institunions will never react to the opportunities

of art science collaboration- the only feasible approach is with the DYI, DIWO and other hacker

and make movements ?

Roger Malina

 
DIWO (DO-IT-WITH-OTHERS): ARTISTIC CO-CREATION AS A DECENTRALIZED METHOD OF PEER EMPOWERMENT IN TODAY’S MULTITUDE.DIWO (DO-IT-WITH-OTHERS)

Marc Garrett

 
FULL PAPER AVAILABLE AT :

http://seadnetwork.wordpress.com/white-paper-abstracts/final-white-papers/diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-peer-empowerment-in-todays-multitude-diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-pe/

Introduction.

Furtherfield originally created the term DIWO in 2006, to represent and reflect its own involvement in a series of grass root explorations. These critical engagements shift curatorial and thematic power away from top-down initiations into co-produced, networked artistic activities; it is now an international movement and it has grown into something much larger than we imagined.
The practice of DIWO allows space for an openness where a rich mixing of components from different sources crossover and build a hybrid experience. It challenges and renegotiates the power roles between artists and curators. It brings all actors to the fore, artists become co-curators alongside the curators, and the curators themselves can also be co-creators. The ‘source’ materials are open to all; to remix, re-edit and redistribute, either within a particular DIWO event or project, or elsewhere. The process is as important as the outcome, forming relationally aware peer enactments. It is a living art, exploiting contemporary forms of digital and physical networks as a mode of open praxis, as in the Greek word for doing, and as in, doing it with others.

This study investigates why these critically engaged activities were (and are) thought of as essential nourishment not only for ‘individual’ artists, but also as an effective form of artistic collaboration with others, and to a wider culture. It explores the differences between ‘collaborative’ trends initiated by established art (mainstream art) and design institutions, the creative industries, corporations, and independent projects. It examines the grey areas of creative (idea) control, the nuances of power exchange and what this means for independent thinking artists and collectives working within collaborative contexts, socially, culturally and ethically. It also asks, whether new forms of DIWO can act as an inclusive commons. Whereby it consists of methods and values relating to ethical and ecological processes, as part of its artistic co-creation; whilst maintaining its original intentions as a decentralized method of peer empowerment in today’s multitude?

 
Full Paper at :

http://seadnetwork.wordpress.com/white-paper-abstracts/final-white-papers/diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-peer-empowerment-in-todays-multitude-diwo-do-it-with-others-artistic-co-creation-as-a-decentralized-method-of-pe/

 

 

As part of the NSF SEAD Study on how to enhance collaboration between arts/design/humanities with

science/engineering we are posting abstracts of the 100 white papers received. We solicit comment

and feedback which will be fed back to the authors of the white papers. Send comments to rmalina(at)alum.mit.edu

or post on this blog.

 

The SEAD white papers can be found at

 

http://seadnetwork.wordpress.com/white-paper-abstracts/final-white-papers/

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