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Introductory Resources

Introductory Articles

  1. Net Art and Pro-Commons Activism. By Juan Martín Prada.
  2. How networked culture differs from postmodernism. Kazys Varnelis [2]
  3. DIWO: Do It With Others – No Ecology without Social Ecology. By Marc Garrett, Ruth Catlow - Furtherfield, 26/01/2013 [3]

Special Project

  • Collaboration and Freedom – The World of Free and Open Source Art: This is a collection of artworks, texts and resources about freedom and openness in the arts, in the age of the Internet. Freedom to collaborate – to use, modify and redistribute ideas, artworks, experiences, media and tools.

Our favourite p2p-oriented art and culture groups

Visit friends of the P2P Foundation

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  • RIXC, The Center for New Media Culture, in Riga, Latvia

Creating livelihoods around shared art and culture

Seven Main Business Models for Open Culture

1. Crowdfunding: pre-financing cultural production by fans, with commitment to keep cultural work open; ex. Kickstarter Ulule KissKissBankBank

2. Crowdsourcing: i.e. opening up contributions to the public

3. Disintermediation strategies: shortening the supply chain between production and consumption; example BandCamp for music

4. Double diffusion: free digital works , but sale of physical works (ex. Cory Doctorow)

5. Freemium: basic version free, added-value versions for sale

6. Models based on commercial restrictions, but free to share non-commercially (CC non-commercial, Copyfair, FairlyShare

7. Gift Economy models, 'pay-what-you-want'; example Humble Bundle for games


"What is to be shared through equalitarian and expanding commoning is redefined and perhaps reinvented in the process. "Commons" are not actually "things," "goods," etc., but socially meaningful entities that are shaped in relations established through commoning. In this prospect, art may indeed be considered as a field of human production and interaction that can be potentially shaped by commoning relations. Artistic practices and objects are normally being defined as such through processes connected to the development of hegemonic values and dominant ideas. If, however, we consider art as a prominent field for developing counter-hegemonic aspirations and counter-dominant visions for society, then art should be re-appropriated as a crucial field of commoning. It is not a matter of sharing what is already recognized as art but of choosing to rethink, to reevaluate and to perhaps remake what is taken and appreciated as art. This is how artistic work may gesture toward the discovering of new ways of being in common. If art may be a field of experimentations that expand and challenge established patterns of feeling and thinking, then the practice of art-as-commoning can possibly explore patterns of feeling and thinking shaped in common.

— Stavros Stavrides

Source: via the Casco Art Institute: "Emancipatory Commoning," uit de reeks Commonist Aesthetics, gepubliceerd door Casco en Open! Platform for Art, Culture & the Public Domain (2016).


Art Collectives

  • Jubilee Collective in Belgium:


"Starting from the practice of this core group of artists based in Brussels and The Hague, JUBILEE aims to set up an organizational structure that optimizes the output of its members through joining efforts and equally distributing its collective assets and resources (economic, artistic and social). We wish to explore the resulting specific micro-economy and its potential for extension towards other individuals, organizations and structures – both locally and internationally. Based on the idea of open source practice, redistribution of accumulated value within a mutual economical system and stimulating the exchange of knowledge – both on an artistic level as well as business administration – JUBILEE researches the challenging trajectories for change towards a new economy, also for the arts."


  • Dark Matter: Art and Politics in the Age of Enterprise Culture, Gregory Sholette, Pluto Press, 2010 : "Radical Social Production and the Missing Mass of the Contemporary Art World :"The premise of this book is that the formal economy of contemporary art is dependent upon a previously suppressed sphere of informal, non-market, social production involving systems of gift exchange, cooperative networks, distributed knowledge, and collective activities, which is becoming increasingly visible and potentially threatening to the symbolic and fiscal cohesion of high culture, especially in its most politicized form as interventionist art. [4]

See also:

  2. 3er Inclusiva-net Meeting: (second epoch). The Evolution of Artistic Creation in the Net-system, Buenos Aires, Argentina, March 2009
  3. 1er Inclusiva-net Meeting: New Art Dynamics in Web 2 mode


  1. Aesthetic Commons and the Enclosures of Instituting Autonomies. By Jordi Claramonte. [5]
  2. Commons-Based Peer Production and Artistic Expression in Greece ; Kostakis, V. & Drechsler, W.

Mailing lists

  2. IDC -
  5. Nettime -

New Media Art Web Zines and Blogs



See also: Hacklabs ; Hackspace Foundation ; List of Hacker Spaces

Media Labs

Media labs that explore collaboration between art, science and technology

  1. Ars Electronica FutureLab: Ars Electronica's focus has been on the tension and interplay at the nexus of art, technology and society. Formulating and implementing the future manifestations of this interaction is the chosen mission of the Ars Electronica Futurelab.
  2. Media Lab Prado -
  3. Eyebeam -


Galleries that have a particular interest in openess and art.

Pages in category "Art"

The following 200 pages are in this category, out of 271 total.

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Media in category "Art"

The following 2 files are in this category, out of 2 total.