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GALLERY 2010/2011

mobilization

Art Operating Systems
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Description of campaign/project


Art Operating Systems inquires in the communication inside cultural and social structure it operates within. AOS structurally is loosely based on the principles of open art laboratory with process orientated research. Core group (researchers, performers, actors, VJs, etc) create an open communication and interactive environment in order to transcend the usual social parameters of an cultural event.
A role playing game is the basis for AOS: participants are taking active role in event by communicating their thoughts trough the eyes of the other. Also, they are urged to utilize artwork and ideas of the event in the other context, bringing complex relations of AOS to visibility.

A drive of AOS art-lab is encounter, meeting, dialogue, mutuality and exchange. All data brought by participants are shown visually in a VJing-like fashion, interviews are conducted and accessible as pod-cast and radio transmission, both on-line and FM.


Dialogue, negotiation and consensus.


AOS is striving for:
1. critical self- and social-reflexivity;
2. interactivity;
3. interdependence;
4. distributed creativity;
5. non-authorship;
6. participation.


I have learned that both individual artistic process and group process are important in today's society to create art of importance.

Curators comments More info on Curators & Editors ›

The Art Operating Systems, as a role playing communication model, works for me. Very refreshing because of its simple but sympathetic mode of functioning, it doesn't so much propose new forms of visuals, but rather attempts to question our perspective of visuals, or art.

It is engaging and conducive to fun dialogues about people's understanding of art. I have curated this work because it manages to think outside the box. It negotiates sense, it opens up to many meanings, multiple approaches to art.

If well applied, the AOS seems to work nicely, even reaching a point, with critical mass, where the VJing mixed in with the dialogues and the pirate radio broadcasting turns into a piece of art of its own. This collective patchwork induced by the role playing is highly participatory and challenges conventions of market-based communication.

The theory behind the AOS revolves around collective communication, which seems to me like a logical starting point. But I'm wondering if the authors of the AOS could reinforce the theoretical background of their initiative. I find that the individual vs team, in the process of creation, could be further developed and explained. As much from a purely theoretical standing, as from the application of the AOS in different contexts. What is the team? The main authors or also the participants, the pirate radio listeners and the artists whose work is being contemplated? What's the impact of segmenting the roles of the authors (ie. why have a lead experimenter, assisted by a second experimenter, etc)? Could the theory benefit from the publics vs counter-publics theory, game theory, role theory?

This being said, I'm convinced that role playing is one of the most powerful ways to challenge preconceptions and self-reflexivity. I therefore believe that the social impact of such a project is relatively high. People taking part in the team of authors, but also people playing roles have got the chance to adopt other points of view, thereby moving out of the comfort zone.

If there was something I could suggest, I would focus on radio. I'm not exactly 100% sure what the motivation was to put the whole conversation out there on the FM dial. I understand it offers some "publicity" to the experiment, it makes it fun and live. But I'm not sure up to what point the authors try to make use of this highly interactive medium. Radio and pirate radio in particular, as an autonomous form of media, could be used to connect with people outside the exposition venue, even internationally, via the internet. Wouldn't it be audacious to have people on the outside taking part in the experiment? People on the outside, "wearing" other roles, might want to comment on the dialogue on the inside, thereby creating multipolar interactivity. I don't want to change the AOS, I'm just thinking outloud about ways to make full use of radio technology.

Congratulations to the AOS!

View other works commented by Frédéric Dubois  ››

Other comments

gentlejunk
7 years, 7 months ago

I wish to thank you Frédéric for precious comments. Especially those that opened new horizons with AOS. They fit completely to open/chaotic/fluent/adjustable system that AOS aspires to.
Truly, to bring outside participants to a gallery/museum via internet, incorporating their relation to artwork into the "big picture" would be a good next step for AOS.
Also, I guess radio can be better interpreted, as in Berlin case it was more of an invitation tool (FM), but of course also a medium that challenges role players to interact in interview like fashion they have been accustomed to by everyday media.
Questions you pose on what is a team, individual vs. group, and other theoretical questions behind AOS are pertinent too.
There was an hones try to explain here:
http://gentlejunk.net/art01/about-art01/


Curators comments

This work has been commented by 1 curator(s):
Frédéric Dubois go to comments ›

Entry details

Title

Art Operating Systems


Headline

"how to" in autonomous art (metadata)


Concept author(s)

Kruno Jost


Concept author year(s) of birth

1973


Concept author(s) contribution

Creation of idea, method research, organization of collaboration, mediator in negotiating process between core group artists.


Country

Croatia


Designer(s)

Marian Potocar


Designer(s) contribution

Using FOSS to design of cards and game.


Country

Slovakia


Other author(s)

Barbara Huber (Au), Maria Karagianni (Gr-Nl), Pod Fyvolent (USA), Pedro Zaz (Pt)


Other author(s) contribution

Barbara Huber (Au) works with FOSS applications, radio and on-line radio, recently published Crisis Mania on world crisis and mania that surround it; Maria Karagianni (Gr-Nl) is working on interactive performances that involve the public in a creative frame from where reflections on social structures derive; Marian Potocar (Sk) is FOSS advocate and graphic designer, Pod Fyvolent (USA) is artist and activist researching media saturation, Pedro Zaz (Pt) is VJ working with multidimensional projections


Competition category

mobilization


Competition field

nonacademic


Competition subfield

artist


Subfield description

Artistic work of Kruno Jošt is conceptually a research in Art Operating Systems, term introduced by art theorist Thomas Wulffen. AOS can best be explained by comparison to computer operating systems - they both work trough interdependent system components that are forming an integrated whole. This integration can be run and thus explained (or represented) trough certain algorithms. Reflecting on Jack Burham's Systems Esthetics, Jost is more interested in how things are done, than things themselves. AOS's are analyzed, often in trans-disciplinary and cooperative manner where group interaction is primary creative function used to achieve referential deviation over standard positions of producer-consumer. Works are convergence of art, science, technology and consciousness research that is communicated trough networking, interaction and feed-backing. Art systems which seek autonomy from market or the State influences tends to gravitate towards collaborative, cooperative and process orientated practices, whose aim is not necessarily the production of object itself, but creation of systems where dialogue and negotiation arises. In such groups, individual and signature orientated art work is substituted with group and participative work.