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32


Satisfying Donor and Non-Profit Objectives: The Quiet Revolution In Non-Profit Capacity Support
Jonathan Peizer

The economic downturn of the last three years once again served to highlight the tenuous institutional capacity most non-profits are forced to rely upon to survive in good times and bad. Many non-profits with exceptional programs had to consider closing because funding dried up and they had limited ability to support themselves. While the business environment is cyclical, capacity issues are a chronic problem for the lion’s share of non-profits globally. This will continue to be the case until the dynamics of traditional donor support and its detrimental impact on capacity funding is dealt with realistically. It’s time for the sector to embrace new paradigms that have evolved naturally and quietly over the last few years with the help of new technologies and a few visionary institutions.


 

Electronic Cruelty
Gordana Novakovic

The definition of interactivity and spectacularity significantly changes with the hypothesis that interactive installation can take a ritual form. The root of the word spectacle is in latin spectaculum or spectare: to watch. It is related to the art of theatre that originated in and gradually replaced the ancient rituals in Western culture. It refers nowadays to the blend of mass-media and the entertainment industry, reflected in all segments of contemporary life to the extent that it has become a paradigm for contemporary social relations. However it can be applied to a certain extent to ritual and interactive installation, this term is in opposition with the essence of both: the active participation of the audience is the conditio sine qua non, either in ritual or in interactive installation.


 

Understanding the Medium of Video Game
Dyske Suematsu

Shown on giant screens, in vivid color, and with surround audio, movies are capable of impressive realism. Often they make viewers identify with their characters. Literature too can feel so real that one starts crying. Some of those feelings too are passive and active. The reason why we hardly hear anyone complain about the disconnect between what they see and what they feel in movies or novels, is because many of them engender active emotions in us. This is the difference between art and entertainment; the former is an opportunity to find our genuine, active emotions, whereas the latter manipulates our sensory perceptions to artificially induce emotions in us. This is why true art makes consumers work hard, whereas a piece of entertainment is served on a sliver platter for easy consumption, essentially telling consumers how to feel.


 

Notes on the cultural dimensions of software and art
Andreas Broeckmann

When talking about software and art, we have to speak about aesthetics, that is engage the value systems that inform our experience of art, and our perceptions in general. References have been made to the traditions of Fluxus, Conceptual Art, or Net Art, each of which implies a set of assumptions about the ways in which to judge the artistic quality of artworks. Over the last 200 years, European culture has seen aesthetics of beauty, aesthetics of the sublime, aesthetics of ugliness, and aesthetics of formal order. But this history teaches us, that there are alternative ways of approaching software-based artworks than Max Bense’s extremely formalistic Generative Aesthetik which he formulated in the 1960s. [...] Just as an aside: I believe that it would also be interesting to revisit the debates about Realism vs Formalism between Lukacs and Brecht in the 1930s in this respect, if only to sharpen our perception for the level of critique that can be brought to significant artworks.


 

Report – Creative Labour and the Role of Intellectual Property
Ned Rossiter

This report is based on the survey I conducted for the fibrepower panel initiated by Kate Crawford and Esther Milne – ‘Intellectual Property-Intellectual Possibilities’ (Brisbane, July 2003). I wanted to explore in some empirical fashion the relationship between intellectual property and creative labour. Why? Largely because such a relationship is the basis for defining what is meant by creative industries, according to the seminal and much cited mapping document produced by Blair’s Creative Industries Task Force (CITF). Despite the role IP plays in defining and providing a financial and regulatory architecture for the creative and other informational or knowledge industries, there is remarkably little attention given by researchers and commentators to the implications of IP in further elaborating conceptual, political and economic models for the creative industries.



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