Leonardo: New Utopias in Data Capitalism

Red Art: New Utopias in Data Capitalism, Leonardo Electronic Almanac, Volume 20 Issue 1

ISBN: 978-1-906897-28-4 ISSN: 1071-4391 Date of Publication: January 15, 2014 Number of Pages: 250

Volume Editors: Lanfranco Aceti, Susanne Jaschko and Julian Stallabrass Editor: Bill Balaskas

The print issue of LEA Volume 20 Issue 1 Red Art: New Utopias in Data Capitalism is available on Amazon.

The publication investigates the relevance of socialist utopianism to the current dispositions of New Media Art, through the contributions of renowned and emerging academic researchers, critical theorists, curators and artists.

From the early stages of its development, New Media Art readily adopted a variety of means of artistic engagement and expression that aim at serving modes of utopian social being: from multi-modal collaboration to unrestricted public participation and from open software applications to hacktivism, the germs of leftist political thought seem to abound in the art of the Digital Age. Prompted by the economic crisis, New Media Art appears to increasingly employ the tools provided by new technologies in order to penetrate all aspects of global social living and assert the need for socioeconomic change. New Media artworks and art projects have gradually formed a common practice whose objectives allude to utopian theories of social organization lying closer to certain visions of communism, direct democracy and anarchism, rather than to the realities of neoliberal capitalism within which new media are produced and predominantly operate.

Red Art: New Utopias in Data Capitalism explores this multifaceted context in an attempt to demystify whether and to what extent the art of the Digital Age could be the result of the seemingly paradox combination of capitalism’s products and communism’s visions.

The Leonardo Electronic Almanac is a collaborative effort supported by New York University, Steinhardt School of Culture, Education and Human Development; OCR, Operational and Curatorial Research; Leonardo; Sabanci University and Goldsmiths, University of London.

TABLE OF CONTENTS

Commonist Red Art: Blood, Bones, Utopia and Kittens

Introduction by Lanfranco Aceti
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Changing the Game: Towards an ‘Internet of Praxis’

Introduction by Bill Balaskas
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Suggestions for Art That Could Be Called Red

Introduction by Susanne Jaschko
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Why Digital Art Is Red

Introduction by Julian Stallabrass

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Grounds for the Political Aesthetics of Cultural Commons in the Post-Medium Condition: The Open Source Cultural Object

by Boris Čučković
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