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What do a feminist server, an art space located in a public park in North London, a 'pirate' library of high cultural value yet dubious legal status, and an art school that emphasizes collectivity have in common? They all demonstrate that art can play an important role in imagining and producing a real quite different from what is currently hegemonic; that art has the possibility to not only envision or proclaim ideas in theory, but also to realize them materially.
Aesthetics of the Commons examines a series of artistic and cultural projects-drawn from what can loosely be called the
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Produktbeschreibung
What do a feminist server, an art space located in a public park in North London, a 'pirate' library of high cultural value yet dubious legal status, and an art school that emphasizes collectivity have in common? They all demonstrate that art can play an important role in imagining and producing a real quite different from what is currently hegemonic; that art has the possibility to not only envision or proclaim ideas in theory, but also to realize them materially.

Aesthetics of the Commons examines a series of artistic and cultural projects-drawn from what can loosely be called the (post)digital-that take up this challenge in different ways. What unites them, however, is that they all have a 'double character.' They are art in the sense that they place themselves in relation to (Western) cultural and art systems, developing discursive and aesthetic positions, but, at the same time, they are 'operational' in that they create recursive environments and freely available resources whose uses exceed these systems. The first aspect raises questions about the kind of aesthetics that are being embodied, the second creates a relation to the larger concept of the 'commons.' In Aesthetics of the Commons, the commons are understood not as a fixed set of principles that need to be adhered to in order to fit a definition, but instead as a 'thinking tool'-in other words, the book's interest lies in what can be made visible by applying the framework of the commons as a heuristic device.
Autorenporträt
Felix Stalder ist Professor für Digitale Kultur und Theorien der Vernetzung und forscht zum Wechselverhältnis von Gesellschaft, Kultur und Technologien. Er leitet das Forschungsprojekt »Creating Commons«, das künstlerische Projekte untersucht, die freie Ressourcen generieren, ist Gründungsmitglied der künstlerischen Forschungsplattform »Technopolitics« und im Vorstand des World Information Institutes, beides in Wien. felix.openflows.com

Shusha Niederberger is an artist and educator who has been active in the field of media art, autonomous technological practice, and education since 2000. Since 2014, she is directing the art education department of HeK (House of electronic arts Basel), devising new strategies for technological practice as a cultural/aesthetic practice. She has conceived new institutional formats of critical technological practice (Critical Make Festival, Basel 2015), and explored the gendered aspects of technology in publications, workshops, performative lectures, talks, and a festival she co-curated (Electronnes, Zurich 2017). She is a lecturer for contemporary net cultures at F+F Schule für Kunst und Gestaltung Zurich, and currently is a research associate at the Zurich University of the Arts for the project Creating Commons.