weaving responses to the art of produsage

We advanced a lot this week thanks to the wealth of information that has been exchanged in you reflective responses to etivity 1: from production to produsage“.

The task was double or had 2 objectives:

1-the first was to comment on the feasibility of the produsage model to reflect on knowledge production in the post-industrial age;

2- the second was to reflect on its implications for artistic practice and the way artist-teachers-students can work together in academic setting.

The following points have been raised:

  1. -the narrowness of produsage’s theoretical scope, lacking the participatory characteristics of other theoretical projects, (counter example: Ethical Economy that uses a wiki to collect contributions) or the wider political scope of techno-based communities (ie, the free open software movement) [in produsage-a brief response]
  2. -the problems of generalising ideal produsage conditions, whilst most groups are struggling with the real-life conditions of working together (critical practice as an example of collaborative project within the artistic community) [in produsage-a brief response]
  3. -the revolutionary collaborative potential of the techno-social framework provided by the so called ‘web 2.0’ (in beyond utopia )
  4. -the implications of meritocracy for an artists’ practice within this techno-social environment (in beyond utopia )
  5. – the suggestion to separate the concepts of produsage and collaboration (comment 1)
  6. -the need to learn from situated open organisations on their resolution-making tactics, like the use of rough consensus by critical practice (comment 1)
  7. -a challenge to the meritocracy ethos, with the counter-suggestion that peripheral participation is as much valid as core contributions (comment 2)
  8. -the survival of the industrial model of knowledge production, that will continue to develop side by side with the produsage paradigm (comment 2)

The simple weaving of these ideas suggests that the conversation has already started and the “connective debate” is bringing the classroom well beyond the harrow campus! And still such an exciting journey ahead of us!

I leave with the link to Communities of practice a text that outines Jean Lave and Etienne Wenger’s model of situated learning. Their concepts of communities of practice and legitimate peripheral participation are very relevant not only to our debate but also to the way we are working together as part of a teaching and learning project.


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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