MutaMorphosis: Examining Networks of Power stream today

I am an “attractor” for a stream of interest at a conference that is happening this weekend in Prague. There are thought-provoking presentations lined-up. Check it out if you are nearby.

Examining Networks of Power
Attractor: Owen Mundy (US)

Addressing the Future: The Tactics of Uncertainty
Attractor: Claudia Westermann (AT)

MutaMorphosis: Tribute To Uncertainty
Saturday, December 8, 2012
13:30-15:30 | Academy 2

Marc Garrett (UK) | Revisiting the Curious World of Art & Hacktivism
Diane Derr (QA) | Morphological Mapping of the Arab Spring through an Ecological Lens
Daphne Dragona (GR) The power of counterpower
Katerina Karoussos (UK) | LUMEN HILARE – The (bio)photonic emission of a church and its metabolism in human consciousness

Owen Mundy: This thread intends to examine representations of contemporary control structures and discuss whether or not an image, particularly network graphs depicting power relationships, information flows, economic activity, etc. have the ability to reverse trends of concentrated power. Does depicting power lead to greater democratization of said power or are we merely creating beautiful images that detract from their original intent—to reveal, examine, and act. To what effect does mapping complex data depicting influential actors, institutions, moments in time, finance systems, mapped onto a two-dimensional surface unravel the power they represent by distributing that power? Methodology: We’ll begin the discussion by looking at historical examples of communication that intend to affect power structures. We’ll examine works by artists and cultural practitioners such as Hans Haacke, Mark Lombardi, Josh On (, Bureau d’études, and more. We’ll consider Manual Castells‘ “Network Theory of Power” within these context(s). Then we’ll discuss visual components of network graphs, asking in particular; what data and
representational forms help make a graph speak to as many people as possible. Finally we’ll work in groups to extend the discussion into possible solutions and various statements and recommendations for such representations.

Claudia Westermann: More than 30 years ago, Michel de Certeau suggested that a shift in methodologies was necessary from strategies that operate on the basis of planning and prediction to tactics that operate on the basis of appropriation. Within this context, competition for the best prediction is substituted for a search for authorities that create the places that give space. This stream of interest with the title ‘Addressing the Future – The Tactics of Uncertainty’ suggests that even though Utopia has not been valued recently, it is nevertheless the actual turn towards the future – this radical uncertainty – that allows for a profound re- questioning of our methodologies. How do the sciences and the arts address the future? Can we speak to it, and in doing so, can we create openings in the present? Methodology: The main intention of this suggested stream of interest is to provide for a ‘good’ start question from which the theme of uncertainty could be addressed in a rather radical way. I am interested in viewpoints from all areas of the sciences and arts. In addition to presentations, there could be conversational panels and workshops. The latter could also be contextualized within the city of Prague. Which inclination this theme takes also depends on the other streams of interest and should be discussed.


DATAPOLIS Art | Science | Tech Biennale

Give Me My Data will be included in the upcoming exhibition curated by Pavel Sedlák at DATAPOLIS Art | Science | Tech Biennale in Prague.

Exhibition of the 5th International Art | Science | Technology Biennale Prague ENTER

DATAPOLIS is a one evening and three days of full-size experiment in art and technology. The exhibition addresses interactions of media technologies, novel visualization practices and urban realities. Exhibiting artists from all over the world discover moods and rhythms of our cities, bodies and planet. They innovatively mash both visible and invisible data that re-present individual and collective lives and actions. Keywords: data, city, communities, mapping, social, geographical, economical, political, sentient, ambient, mobile, ubiquitous, embedded intelligence, architecture, fashion, quantified selves, body & environment monitoring, robotic systems, trash, transport, pollution, open innovation & design.

Exhibition Opening: Thursday, April 14, 2011, 18:00
Exhibition dates: April 15 – April 17, 2011 (Limited version of the exhibition will run until Sunday, April 24, 2011)
Location: National Technical Library (NTK)
Address: Technická 6,160 80 Praha 6 – Dejvice,

Curatorr: Pavel Sedlák (CZ)
Co-curator: Andrej Boleslavský (SK/CZ)

ENTER website:

Artists in the exhibition:

Alessandro Ludovico, Paolo Cirio (IT): Face to Facebook
Mark Shepard (USA): Sentient City Survival Kit
Mark Shepard (USA): Serendipitor
Varvara Guljajeva (EST) & Mar Canet(ES): The Rhythm Of The City
James George(US), Alexander Porter(US): DepthEditorDebug
Eric Conrad (USA): Palbable City
Eric Conrad (USA): Bark Rubbings
Teresa Almeida (PT/SG): Modes for Urban Moods: Space Dress
Jenny Chowdhury (USA): 802.11 Apparel – Wifi Jacket
MIT SENSEable City Lab (USA): Trash Track
Secret Cooks Club (SG): FoodMatch
Dušan Barok (SK/NL): FaceLeaks
Owen Mundy (USA/DE): Give Me My Data
Jaro Dufek (CZ): Reality Ends Here
Aram Bartholl (DE) & Ivan Floreš (CZ): Dead Drops
Niki Passath (AT): Zoe
Dardex Mort2Faim (FR): Machine 2 Fish
Saša Spačal (SLO): 7K: New Life Form
Marie Polakova (CZ) & Jonathan Cremieux (FI/FR): Mimodek
Scott Hessels (USA/HK) & Gabriel Dunne (USA): Celestial Mechanics
Pedro Cruz (PT): The Morphing City


The Difference Between Then and Now


TINA-B Festival
Nostic Palace, Czech Ministry of Culture, Prague
October 7-24th, 2010

In the October 2010 TINA-B Contemporary Art Festival in Prague, Owen Mundy and Joelle Dietrick will re-stage their 2006 project The Darkest Hour is Just Before Dawn. Originally developed in York, Alabama, USA, Owen Mundy and Joelle Dietrick borrowed lamps from the residents and installed them in an abandoned grocery store. Each lamp was set to turn on every night, and because of the inexactitude of the timers chosen, did so in an organic fashion, one by one, reflecting not only the participants in the community, but also the history of Alabama’s social movements. In an area where a nearby hazardous waste landfill caused the water undrinkable, the artists and the community collectively revived the vacant commercial space, removing roomfuls of damaged post-Katrina FEMA water boxes and transforming the downtown with the lamps, pulsing at their own pace, human in the imperfections and variety, and more powerful as a collection.


As if a scientific study with controls, the re-staging of the project in Prague and Venice studies the nature of site-specific and community-based art. Both cities provide unusual cross-cultural comparisons about domestic settings and the cultural, geographical and political structures that affect private space. The 2006 installation developed before the U.S. housing crisis, and these 2010 installations will develop as the global economy still recovers from the impact of the current economic downturn. In this context, the simple gesture of gathering of everyday objects and spaces can yield unusual insights into common assumptions about micro-macros shifts—the individual and the state, private spaces and public concerns, local and global.

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