Constant

Fourchette #3 - Cuisine Interne Keuken/At Work

An — 2009-03-30T12:32:34Z

Cuisine Interne Keuken est le projet audio de Constant. CIK rend visible l'organisation interne de l'industrie culturelle. En interviewant des artistes sur leur pratiques et leurs attitudes vis-à-vis des lois écrites et non-écrites, les systèmes de valeurs et les processus de décision, cette base de données offre un aperçu de la cuisine interne des pratiques culturelles.

Récemment la base de données et le code de ce projet ont été mis à disposition et ont été installé sur d'autres serveurs.

Le 3e projet dérivé de CIK sera mis en place pour le festival de Micronomics à Bruxelles ce 1er mai. L'équipe de Citymined & Z33 utilisera une variation de CIK pour une série d'interviews sur les conditions de travail en général.

View online : CIK Micronomics

Vork #3 - Cuisine Interne Keuken/At Work

An — 2009-03-30T12:23:51Z

Cuisine Interne Keuken is een audio-project van Constant vzw dat de interne organisatie van de culturele industrie zichtbaar maakt. Door kunstenaars te vragen hoe zij omgaan met geschreven en ongeschreven wetten, waardensystemen en besluitvormingsprocessen, krijg je een beeld van de interne keuken van culturele praktijken.

Sinds kort zijn de onderliggende databank en code van dit project opengesteld en geïnstalleerd op andere servers.

De derde afgeleide/vork van CIK wordt opgezet voor Micronomics tijdens hun festival op 1 mei. De ploeg van Citymined & Z33 gebruikt een variatie op het CIK-project voor een reeks interviews over werkpraktijken en -condities.

View online : CIK Micronomics

Fork #3: Cuisine Interne Keuken/At Work

An — 2009-03-30T12:13:10Z

Cuisine Interne Keuken is the audio-project of Constant making visible the internal organisation of the cultural industry. By interviewing artists on their practises of dealing with written and unwritten laws, systems of values and processes of decision making, this database offers an insight into the internal kitchen of cultural practices.

Recently the underlying database and code of this project have been made available and has been installed on other servers.

The 3rd derived project of CIK has been set up for Micronomics on the 1st May. The team of Citymined & Z33 will be using a different questionnaire of CIK interviewing people on work practises.

View online : CIK Micronomics

CIK on stage

An — 2008-10-09T19:41:47Z

Wendy Van Wynsberghe stelde My Cuisine Interne Keuken voor, een
interview-databank & software over de voorwaarden van cultureel werk, tijdens het Eclectic Tech Carnival, georganiseerd door Genderchangers en EYFA.

Tijdens de daaropvolgende week organiseerde bolwerK een serie 'MyCIK' interviews.

View online : Eclectic Tech Carnival

CIK on stage

An — 2008-10-09T19:39:07Z

Wendy Van Wynsberghe présentera le dimanche 25 mai, "My Cuisine Interne
Keuken", une base de données et un outil d'interviews sur les conditions
de travail dans le cadre de l'Eclectic Tech Carnival, organisé par les
Genderchangers et EYFA. A l'aide de cet outil, l'artiste bolwerK poursuivra toute la semaine les interviews.

View online : Eclectic Tech Carnival

CIK on stage

An — 2008-10-09T19:35:01Z

Wendy Van Wynsberghe introduces My Cuisine Interne Keuken, an
interview database & tool on the conditions of work, on Sunday 25 may
during the Eclectic Tech Carnival, organized by the Genderchangers and
EYFA.

During the week that follows, bolwerK will follow up by conducting a
series of interviews.

View online : Eclectic Tech Carnival

Cuisine Interne Keuken demo

An — 2008-10-09T16:19:52Z

Une courte démonstration de 'My Cuisine Interne Keuken' par Wendy Van
Wynsberghe, suivie de la réalisation d'une série d'interviews au premier
étage du Laboureur, à l'aide d'un script en Python très adaptable.

View online : Micronomics

Cuisine Interne Keuken demo

An — 2008-10-09T16:12:33Z

Een mini-demo van 'My Cuisine Interne Keuken' door Wendy Van Wynsberghe, gevolgd door een serie interviews uitgevoerd via een flexibel Python script, op de eerste verdieping van de Laboureur.

View online : Micronomics

Cuisine Interne Keuken demo

An — 2008-10-09T16:01:42Z

A mini demo of 'My Cuisine Interne Keuken' by Wendy Van Wynsberghe,
followed by interviews on the first floor of The Laboureur, done with a
flexible Python interviewing script.

Â¿Qué coño tiene que ver la música, con la industria y el feminismo (en un centro de arte)?

Laurence Rassel — 2007-07-03T14:14:48Z

A series of meetings, debates, interviews and a documentation room on the process of music production and its relationship with feminist practices.
In collaboration with Montse Romani (Barcelona)
Within the frame of AUDIO, a sound program curated by Oscar Abril Ascaso at the Centre dâ€™Art Santa MÃ²nica, Barcelona.

As early as 1997, Terre Thaemlitz (transgender multimedia producer) questioned the subversive quality of electronic music and of transgender surgery, both of which use the latest technological tools as a means of representation and, consequently, often end up perverting them and reinforcing stereotypes. ( Couture Cosmetique) The same means, moreover, help to deconstruct the processes of creation and of representation and make it possible to explore their interstices, those of genre (whether of sex or music) (Interstices 2000). This deconstruction, and the consciousness or the occupation of these interstices, also allows the representation of tensions and contradictions which arise both from the desire and the resistance towards occupying the musical stage or gender, both defined up until now in subjugation to and perpetuation of dominant patriarchal socio-economic systems.

We accept that sexual/gendered bodies are historical sites of political, cultural, scientific and technological renegociation; the same applies to the electronic media, the musical stage. As Anna Friz (sound and pirate radio artist) wrote in 2004 (Heard but Unscene; women in electronic music), although one may be fed up with identity debates, the coming of new hardware and software does not erase questions of access, economics and representation. According to her, the very discourse on liberalization of the means of production and of creation, limits and stigmatises the discourse on representation and access to the stage.

If electronic music, and the raise of technology in general, could be thought up and used to call into question the structures at the time of the celebration of the rhizomes and other networked societies, the laptop gender, digital creation, alternative rock scene have become conventions unto themselves, the aesthetics of which are often normalised, enclosed by the very formats and aesthetics of the software or the performance itself. And yet technology allows transparency, transmission and highjacking of the code, of other forms of distribution, and of the relation to creation, to ownership, to the author, to the public "¦

Recently, various cultural spaces and music festivals in Barcelona and in Spain hosted debates and workshops on the meeting ground of digital, musical and feminist practices. In 2003, the Santa Monica Centre invited Christiane Erharter's project "XX01/2003 Infotainment" on women's representation and its place in the history of popular and punk music of the 20th century.

In October 2005, the Santa Monica Centre, continuing to feature a range of stories and experiences, invited Constant, an art and media association run by artists active in gender issues, networks, open source, recycled technology, working conditions, etc, and which develops projects in different spaces such as the field of code and standards/norms of the digital medium, to make a presentation. The project QUÉ C*** ? explored various strategies of production, of creation, of curating, of performances, of representation, by organising public, open and streamed interviews, debates, meetings, an information room and a party, on the following questions, among others:
– What is it about the theoretical undercurrents and the networking mechanisms in the music scene(s) that impede women artists from being seen and heard? Is this question still relevant?
– Has the alternative scene become a standard as a result of the formats of dominant technologies and the reproduction of stereotypes? Or does it remain a place of possible détournement / displacement, and a place of experimentation in technologies or gender stereotypes ?
– What are the economic strategies and practices built by indepent groups, labels, press to assure a visibility and practice to feminist or at least gender minded musical scene?
– How to produce a feminist song wihtout killing the ratings?
– Is there a connection to feminist history as a critique of the systems of representation, economy and access to technology of production and distribution?

View online : http://santa-monica.constantvzw.org/

Oscar Abril Ascaso, Montse Romani, Ana Bofill, Io Casino, Luis CerverÃ³, Dj+Nurse+, Dj UX, Christiane Erharter, Les Fatales, Maquina de Turing, Silvia MartÃnez, Marta Millet, Alex Murray-Leslie, Enric Palau, Maria Ruido, Laura Sales, Sonido Comadre, Sybil Vane, R23.cc, Radiopaca,
GenÃs Segarra (Astrud), Bruno Sokolowicz (Scanner FM), Terre Thaemlitz.