The P2P foundation have recently been discussing alternative, cooperative models for food production and distribution and one of their contributors highlighted Kate Rich's Feral Trade project. Furtherfield hosted the first exhibition of Feral Trade as a working cafe, at HTTP Gallery in North London in 2009. (This page gives links to photos and a short video about the show. Watch out for the charismatic suppliers of locally made cake; )
the call for the 101010 UpStage Festival closed on 31 march, & over the last few weeks vicki, dan & i have been going over the proposals received. every year we get more, & again there is a fascinating variety in ideas and content, & plenty that promises to be great. but also this year, we've noticed an increase in proposals from people who have assumed either that UpStage is a web-casting platform, or that the festival is for web-cast performances using any software.
Trending Culture: You Can't Do it All
I was thinking about waves of expansion of creative discourse in parallel with the exponential increase of the production of information in media (Internet, etc). While I do not have quantitative data, my observations seem to sugggest we are undergoing another burst in the development of technological tools of production that challenges practitioners to keep up. Let me illustrate what I'm trying to get at through a historical observation.
This is one square mile in South Shanghai, close to Shanghai South Railway Station and Bus Station. There are other artists in other countries working with their own square miles in India, Bangladesh, UK, Teheran and South Africa. This one's mine. There's also a local sound artist involved, Yin Yi, and Shanghai eArts. They're my host organisation. They're based in this square mile and they chose it, before I arrived.
We're all "mapping the biodiversity, cultural diversity, and aesthetic diversity of our local neighbourhoods."
On Thursday morning I'm gutted that (due to the extra time taken by my overland travel plans) that I can't stay for the whole of /ETC which ends on Sunday. I'm also nervous about making the solo trip home. When I arrive at Haymatlos I am told that last night's storms have damaged the international rail lines out of Turkey so badly that trains are not expected to run for at least the next 15 days. So I am super grateful when Begum quickly finds and books me a cheap, alternative route to Sophia by bus that will allow me to catch my reserved train connection in Bucharest.
Rob met us at Linz station on Sunday afternoon, a few minutes before our train for Vienna was due to leave. Peter took a photo of us standing on the platform. We all shared a bottle of wine in the restaurant car and enjoyed the view of the lush, green Austrian landscape. A few hours later at Vienna we changed for the Sophia train. Aileen and I shared a sleeper with three bunks and a sink covered by a hinged table top. Rob had his own compartment a few doors down.
One thing I hadn't really resolved before undertaking this overland trek (as an experimental realisation of our We Wont Fly For Art pledge) was how to keep in regular contact without buying shiny new connective consumer technology. I am carrying a recycled laptop with a battery life of about 10 minutes and a year old mobile phone with camera and video and feel that should be enough. So I have worked out a couple of techniques:-
I left at 7.15am yesterday morning. Making the journey to Linz alone (London to Brussels to Frankfurt to Linz at 9.43pm with 45 minute breaks). On arrival at St Pancras my main preoccupation was food; breakfast, lunch and dinner for the 12hr journey ahead of me. For the last week I had it in the back of my mind to pack and prepare food from our local Turkish shops, just as I had been wondering about an imaginative and harmless source of new luggage. In both cases, in the end, I turned to big brand emporiums because they catered to my poor planning. hmmm.
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