Eleonore

Some remarks on digital art, autonomy, and the labour of others (Eleonore, part III)

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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.

Eleonore, part 2: Mobile Desires

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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.

Eleonore: a really existing non-utopian social sculpture

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(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.

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