This article was part of an edited anthology developed to accompany the Arcadia_Missa Open Office Programme which ran from June to December 2012. The Open-Office Programme was an attempt, through its research and curatorial programme, to address precarity as experienced by immaterial labourers working today. AM-OO made explicit ways in which post-Fordist ideological formations such as neoliberalism, democracy as consumer choice, and ‘instant’ communication have come to define the ways in which we work and create (or ‘playbour’), under the rubric of globalized capitalism. The Anthology offers a record of AM-OO and an attempt to propose new conditions for cultural production, specifically those avoiding the fetishization of the objects and social relations of precarity itself. It hopes for a reclamation of representation from the cynical and recursive circulation of images within capitalist realism, and its conceptions of the body in vectored space. More information about the Open Office Programme can be found here
Bringing together a range of seemingly disparate references, from Yayoi Kusama to John Lawrence and Edouard Manet to LuckyPDF, this article explored metaphors of fluidity and theories of movement in relation to recent art practice which responds to Web2.0 technology. It makes the claim for an increasing emphasis on the context in which images, ideas and practices are circulating, rather than the images, practices or ideas themselves, and considers how this unfolds onto broader disciplinary and discursive frames.
Title: ‘Frames and Liquids: Rebottling the (Infinity) Net’
Journal or Book Title: Open Office Anthology
Publisher: Arcadia_Missa Publications