onlinecollabration

Collaboration
A loaded term implicitly linked to formations and formulations of communities, of people together within a work/labour environment. Collaboration has become a strategy and/or style in art, culture and networked structures. There is an assumption that collaboration (in the sense of being more than one making something, more than one working on something) is the preferred working method in order to be properly, truly political and more socially engaged. However, it has been noted, for example, by Maria Lind and Brian Holmes, that there is no non-collaboration in art/culture as such. Rather than generalizing about collaboration, the more salient question would be to singularize collaborative projects and formations, and make clear their specific place, context and potential force in the cultural-political sphere. In parallel, one can then be more explicit about the particular politics at play there. Adopting a kind of radical specificity expands “collaboration” into recurring and urgent questions of the local, the localized, the multicultural, and the side effects, and in return opens out to further analysis, discourse and action.

First Things First
Information technology informs and structures the language of networked collaboration. Terms like “sharing”, “openness”, “user generated content” and “participation” have become so ubiquitous that too often they tend to be conflated and misused. In attempt avoid this misuse with the term “collaboration” we will try to examine what constitutes collaboration in digital networks and how it maps to our previous understanding of the term.

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GOTO10 is a collective of international artists and programmers, dedicated to Free/Libre/Open Source Software (FLOSS) and digital arts. GOTO10 aims to support and grow digital art projects and tools for artistic creation, located on the blurry line between software programming and art.

GOTO10 lives on servers, IRC channels, lists and streams. We don’t have any static physical meeting place. We organize events throughout Europe, independently and in collaboration with like-minded organizations. Our aim is to live within this network of machines, people and places, to develop and teach new and existing tools, to produce, experiment and play.

All of GOTO10′s projects are based on 100% Free/Libre Open Source Software.

Deptford TV is research into media and communication. It is practice-based experimentation, not a community media project. It’s about getting lost into collectives. Deptford TV started in 2005 with the notion of urban change. The community media angle was strong in the beginning. We started with a group of MA documentary students at Goldsmiths and began documenting urban change. We did this by creating and developing database filmmaking. Soon, there was a shift to art practice and participatory media through methods such as video sniffing. Deptford.TV serves as an open and collaborative platform for artists and filmmakers to store, share and re-edit the documentation of the urban change of South East London.

Deptford TV is hosted byDeckspace which is like a hack space with subscription fees for members. Deckspace has an open wireless network, hosts servers and experiments with networkactivities. As it is very difficult to host these activities within the institutional context of universities, one often needs to step out in order to undertake this research. The open and collaborative aspect of the project is of particular importance as it manifests in two ways: a) audiences can become producers by submitting their own footage and b) audiences interact with each other through the database. Deptford TV makes use of licenses such as the Free Art License, the Creative Commons SA-BY license, and the GNU General Public license to allow and enhance this politics of sharing.

Deptford.TV is accessible publically but you need to come to the workshops to be allowed into the database and to get to play around with the database and clips. Deptford TV is research into arts production that engages with those who are interested. It aims to develop methods to enable this. The process is similar to the development of free and open source software. It is about thinking around collectives and collaboration. Up until now the focus has been on postproduction methods. There is potential to focus on distribution: immediate file sharing and live TV. Recently we produced Ali Kebab Live on Air. We experimented by broadcasting live CCTV footage from a local kebab shop. The same material, shown in Linz at the 2011 Linux Wochen Linz, was also shown on monitors 200 metres away from the shop in a gallery.

Dziga Vertov's Man With A Movie Camera is considered one of the most innovative and influential films of the silent era.
Startlingly modern, this film utilizes a groundbreaking style of rapid editing and incorporates innumerable other cinematic effects to create a work of amazing power and energy.
Film pioneer Dziga Vertov uses all the cinematic techniques available at the time - dissolves, split screen, slow motion and freeze frames.