n.e.w.s. is a collective online platform for the analysis and development of art-related activity, drawing upon contributions from around the globe, bringing together different voices, accents and outlooks from the North, East, West and South. | Read more..


09/03/2009 - 15/03/2009 (tz: Europe/Amsterdam)



Networks, how they work and function. Geert Lovink from INC asked us at the beginning of Wintercamp 'why organise networks- what does it mean to organise networks?' And 'what does it mean to invent new constitutional forms?'

My Creativity

n.e.w.s. was invited by Bas van Heur to take part in MyCreativity, which was started-up in 2006. Contributors Prayas Abhinav, Branka Curcic and I were able to attend the camp. Finding the PDF I was curious to quickly catch-up on the discourse produced so far. Much quoted and inherent to the discussion is Richard Florida's book: The Rise of the Creative Class, Cities and the Creative Class, and The Flight of the Creative Class. What these ‘city reporters’ agreed on was that Richard Florida’s ‘creative class’ is – if anything – ‘a parasitic simulacrum of social creativity’ (Matteo Pasquinelli). The question then becomes how one actually determines real or authentic social creativity, if it does exist at all. Transformation of the structural conditions of production in such a way that ‘creativity’ (the reference here is to ‘individual creativity, skill and talent’) can be channeled into regimes of property. However, as Ned Rossiter stresses, in order to address the political dimension of (Sebastian Olma) 'If, on the one hand, post-autonomous thought represents a systematic attempt at grasping creativity while, on the other hand, the creative industries are a method of exploiting creativity, then the former should offer a potentially rich perspective for the exploration of the latter. Thus, before returning to an explicit discussion of the creative industries issue, a brief look at some post-autonomist approaches to creativity in contemporary capitalism is on order.