Research Journal of Armin Medosch

Dieser Artikel präsentiert in geraffter Form die sogenannte quantitative Revolution des Finanzwesens und dessen Crashs, aber auch dessen Widersprüche und Defizite als System. Anstatt Informationsgesellschaft sollten wir eigentlich Zeitalter des informationstechnisch gestützen Finanzkapitalismus sagen. Die paradigmatischen Leittechnologien - im technopolitischen Sinn - sind die Finanzmärkte und ihre Tools - Formeln, Bildschirme, Netzwerke, Computer. Diese "Revolution" ist begründet auf Finanzmathematik und die Computerisierung und Vernetzung der Börsen; ideologisch vollzog sie sich gleichzeitig mit dem Aufstieg des Neoliberalismus.

No one who suggests to do work under the title Fields should be surprised if it turns out to be fertile. Or maybe even too fertile, where the naming of the one concept, field, generates a multiplicity of connections with other things nearby, fields, whose interconnections can be thought of as pathways, channels, tracks, boundaries, trees-structures, rhizomes, lines of flight, trajectories, networks ...

Information in the terms of information theory is the likelihood of the selection of messages in relation to all possible messages. Thus, if a selection is made from a number of possibilities which are all equally likely or unlikely, the information is high. The mathematical theory of information is linked to the concept of entropy and the second law of thermodynamics. This says that the available degree of ordering of matter - and thereby the energy contained in it - is decreasing.

The student demonstrations against the rise of tuition fees, the fourth of which took place yesterday, 9 December 2010 signals the return of King Mob to the streets of London.

This final piece in the Eleonore series sums up some more theoretic and political thoughts about the relationships between digital art, autonomy and the division of labour. It comes to the conclusion that the least digital artists can do is to use free software, strive for egalitarian types of working relationships and to name all their collaborators as co-creators of work, regardless of the usual social valuations of types of work and the institutional pressure they come under if their work joins the art circuit.

In my last article, I described Eleonore as a conceptual art work, a non-utopian 'social sculpture'. It carries a proposal for the role of artists in society, working out alternative routes for social-artistic-technological development. It does so without the universalistic-totalitarian notions inscribed into previous avant-garde projects. Yet still, it contains 'future' - therefore its' characterisation as non-utopian. It is real and realistic: small, cheap, livable and as far as possible, environmentally friendly. After spending one week here, I try to summarise my insights.

(notes, Artist in Residency, Day 2) Yesterday I arrived at the Eleonore in Linz. Already before leaving I had the first insight. I was packing and couldn't find any suitable string to tie together my Yoga map. So I took a Cat 5 ethernet cable because I thought I might need that as well. And then I thought what connects Linux with Yoga? That both can show up, sometimes painfully, the limitations of the human being, especially in my case.