e1: from production to produsage

In session 1 we initated the debate around the model of art as knowledge production, and argued for the need for a flexible concept to account for the multiplicity of thinking practices that develop in the artist’s work (Cinzia’s response Mahkuzine #5 – some thoughts elaborates well on this need for multiplicity rather than standardised programmes). For session 2, we move the debate into the model of art as produsage. This concept is outlined by Axel Bruns in Produsage: Towards a Broader Framework for User-Led Content Creation (direct link to download the pdf ) and further developed in the site produsage.org, companion to the book Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage

Task:

read

produsage: a working definition

produsage: necessary preconditions

produsage: key principles

and return here to post your comments on the author’s argument that we need to shift our way of thinking about knowledge from an industrial age product-centred model, into an information age user-led model, characterised by collaborative content creation. Refer to the extract quoted below on Creative Practice to Introduce your point of view on how the concept of produsage as a model of collaborative artistic creation and thinking practice has implications for the way artists work. What are the implications for an artist working toward the MA degree? In academic terms, what are the implications of a produsage environment for artists-lecturers working with artists-participants in the MA in Art and Media Practice? Suggest word cont: from 250 w

“Creative Practice
Sites such as Flickr for images, YouTube, Jumpcut, and Revver for video, and ccMixter for audio, as well as a plethora of blogs and collaborative publishing environments for text, now provide a rich and diverse range of user-submitted creative content. Further, legal frameworks such as the Creative Commons suite of licenses allow for the re-use and remixing of existing content into new artworks which are then able to be further reworked by subsequent generations of users. This opens up new avenues for creative work and publication beyond the traditional media industries, as well as undermining romantic notions of the artist as individual genius.”
inAxel Bruns 2007 Produsage: Towards a Broader Framework for User-Led Content Creation (direct link to download the pdf )

Respond
In this blog, follow your classmates posts and choose one to leave a comment about what they said on the topic of produsage.

Timeline:
Monday, November 17th (task),
Tuesday, November 18th (respond).

also of interest (submitted on the 12th of nov 1990)
WorldWideWeb: Proposal for a HyperText Project

The environments of produsage- also described as social software or web 2.0- may be traced to the initial project of the world wide web as outlined by Tim Berners Lee and Robert Cailliau in WorldWideWeb: Proposal for a HyperText Project.The document describes Hypertext and mentions two phases ( under the heading Project phases): the first related to information access; the second (under the heading Phase 2 — Target: 6 months from start) allowing the users to add new material, namely

“The creation of new links and new material by readers. At this stage, authorship becomes universal.” And “The automatic notification of a reader when new material of interest to him/her has become available. This is essential for news articles, but is very useful for any other material.” And,
“The ability of readers to create links allows annotation by users of existing data, allows to add themselves and their documents to lists (mailing lists, indexes, etc). It should be possible for users to link public documents to (for example) bug reports, bug fixes, and other documents which the authors themselves might never have realised existed.This phase allows collaborative authorship. It provides a place to put any piece of information such that it can later be found. Making it easy to change the web is thus the key to avoiding obsolete information. “

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About paula roush

I am a Lisbon-born artist based in London, UK. I am the founder of msdm, a platform for art practices that are mobile-strategies-[of]-display-[and]- mediation. It is a platform for both individual and collaborative work, shown in the context of exhibitions, publications, conferences and teaching/seminars. I work with photography, archives, found material and performance through editing strategies that investigate notions of authorship, authenticity, history and memory. I am interested in publishing as artists’ practice and as platform to explore the intersections between the roles of artist, editor and curator. My current projects look at ideas of (re) production in the work of art, resulting in publications in several formats that encompass the hand-made, the print on demand and the ebook.
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