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utopian collectivecroatialondon design biennale2016
utopijski kolektivhrvatskalondonsko bijenale dizajna2016.
London Design Biennale 2016 ‘Utopia by Design’, Somerset House, Croatian presentation Londonsko bijenale dizajna 2016 ‘Utopija po dizajnu’, Somerset House, hrvatsko predstavljanje
commisioned by Ministry of Culture of the Republic of Croatia
Organized by OrganizacijaMinistry of Culture of the Republic of Croatia Ministarstvo kulture Republike Hrvatske, Croatian Designers Association Hrvatsko dizajnersko društvo, Embassy of the Republic of Croatia in the United Kingdom Veleposlanstvo Republike Hrvatske u Ujedinjenoj Kraljevini Velike Britanije i Sjeverne Irske
Curatorial Concept Kustoski konceptMaša Milovac
Producer ProducentMorana Matković
Design Team Tim dizajnera Maja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić
Production Team Produkcijski tim Martina Granić, Morana Matković, Jan Pavlović, Ana Labudović
workshops radionicemartina granić, sarah baron brljević
graphic design grafičko oblikovanjejan pavlović
web design oblikovanje web straniceana labudović
Sound Editing Montaža zvukaMiroslav Piškulić
Voice artist Vokal Ana Buljan
Special thanks to Posebna zahvalaCroatian Designers Association Hrvatsko dizajnersko društvo,Croatia House Fundation Zaklada Hrvatska kuća,Carpentry Bedenic Stolarija Bedenic,Saga Saga Rugs Saga Saga tepisi, Igepa
Plana Papers Igepa Plana papiri,Lauba – People and Art House Lauba – Kuća za ljude i umjetnost, Vizkultura, Yammat radio, Museum of contemporary art Zagreb Muzej suvremene umjetnosti Zagreb
Credits zahvaleMirjana Jakušić, Nevena Tudor Perković, Marko Golub, Dejan Kršić, Doris Kurtov, Kristina Juričić, Ana Buljan, Nenad Sinkauz, Alen Sinkauz, Miroslav
Piškulić, Ivica Mitrović, Nikola Zelmanović, Tihomir Milovac, Saša Fistrić, Oleg Morović, Mario Lončarić, Damir Žižić, Laura Snoad, Igor Mihajlović, Alen Balen
supported by uz podrškuMinistry of Culture of the Republic of Croatia Ministarstvo kulture Republike Hrvatske, Croatia House Fundation Zaklada Hrvatska kuća
Utopian Collective Utopijski kolektivImpressum
Publisher Izdavač Croatian Designers AssociationHrvatsko dizajnersko društvo
For the publisher Za izdavača Ivana Borovnjak
Edited by Urednica kataloga Maša Milovac
Texts Tekstovi Utopian Collective (Maja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić), Hrvoje Hiršl, Maša Milovac
collaborative text edited by Urednice kolaborativnog tekstaMartina Granić, Maja Kolar, Maša Poljanec
English translation Prijevod na engleski jezik Domagoj Živčić
Proofreading Lektura Morana Matković, Domagoj Živčić
visuals by autori vizualaMaja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić
Photographs Fotografije Marko Milovac (C47 Productions), Maša Milovac
graphic design oblikovanjeJan Pavlović
Typeface pismoMote (Hrvoje Živčić, Typonine)
Print Tisak Stega tisak
Copies Naklada 500
The catalogue has been published to accompany the exhibition of Croatian presentation ‘Utopian Collective’ on inaugural London Design Biennale in Somerset House, in September 2016 Katalog je izdan povodom izložbe hrvatskog predstavljanja pod nazivom ‘Utopijski kolektiv’ na premijernom londonskom bijenalu dizajna u Somerset House galeriji , u rujnu 2016. godine
Printed in Croatia, August 2016 Tiskano u Hrvatskoj, kolovoz 2016.
ISBN 978-953-6778-19-5
CIP zapis je dostupan u računalnome katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 000941233.
utopiancollective.com
1/ Forming, 2/ Storming 3/ Re-forming 4/ Performing 5/ Mourning
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What is utopian in a collective?
Što je utopijsko u kolektivu? Maša Milovac
Biografies Biografije
Entropia, prototopia, polytopia
Entropia, prototopia, politopiaHrvoje Hiršl
Collaborative text Kolaborativni tekstMaja Čule, Mauricio Ferlin, Hrvoje Hiršl, Maja Kolar, Mauro Massarotto, Maša Poljanec, Oleg Šuran, Hrvoje Živčić
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48
78
119
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What is utopian in a collective?
maša milovac
For it is only longings, desires and indefinable wishes that can now be genuinely collective…’Boris Groys, Ilya Kabakov: The Man Who Flew into Space from His Apartment, Afterall Books 2006.
The contemporary design scene, under the influence of the media exposure of ‘superstar’ designers from Western Europe, produces similar short-term stories about original work by designers. Such stories are very often presented out of context and out of place, which emphasizes a distorted image of designers as supremely re-sourceful individuals who, thanks to their talent and unique crea-tivity, occupy a certain position in the market. Being a part of such (global) surroundings is influential on the perception of design and its role in society. With the goal of stimulating interaction, but also a desire to negate the author as an alienated individual, exclusive winner and a necessary factor of success, this project was con-ceived as a series of dialogues, workshops and debates between the invited designers.
The questions that we must ask ourselves are: is it possible to learn from these kinds of projects, i.e. is it possible to critically examine the creative output and modern design production and present that very attitude; to what degree is utopia a positive term, and when, or better yet, why does it transform into fear and impossibility; and
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cal Art Ensemble. Contextually closest to us, Croatian groups from the early second half of the 20th century Exat 51 and Gorgona, and more recently the Slovenian group Irwin, have convincingly and inspirationally developed forms of collectivism. Today this form of collaboration is being taken over by many interdisciplinary studies, e.g. a group of contemporary artists, curators, practitioners and re-searchers Raqs Media Collective, who critically examine modes of presentation in new media, in which they themselves participate, and they substantiate that with theoretical and philosophical re-search. On the other hand, collaborative, joint work and work based on exchange open up new hybrid models of art and design creations that fit today’s open and technologically supported environment.
At first it seems easiest to understand the concept of a utopia as an ideal social and spatial composition in a non-existent place, but things become more complex once all the metamorphoses of the term are revealed: utopia as an ideal place, non-place, perfect sys-tem, Garden of Eden, El Dorado, isola bella, etc. Furthermore, it is indicative that utopia has recently been a popular subject of artistic, designer and architectural interpretations.
Individual Utopias (Lala Raščić, Museum of Contemporary Art of Vojvodina, Novi Sad, 2010); Low-Budget Utopias (an exhibition by the Museum of Contemporary Art, Ljubljana, 2016), Anti-Utopias (anti-utopias.com), Utopian Bodies – Fashion Looks Forward (an exhi-bition in Liljevalchs konsthall, Stockholm, 2015)
how is that comparable to the design process? How to approach differently the issue of the future in a time of obvious global instabil-ity, i.e. can these exact types of utopian notions resolve our current dilemmas and settle issues directly concerning individual as well as collective freedoms?
‘For those who grew up in postwar Europe, notions of group work were embedded in educational systems. From preschool ‘play-groups’ through the organizing structures of management, with group discussion and teamwork, we find a set of social models that carry complex implications for people who think they can create something using a related, if semiautonomous, methodology.’e-flux journal redux: Liam Gillick,
‘Maybe it Would be Better if we Worked in Groups of Three? Part 2 of 2: The Experimental Factory’
In everyday language the notion of a collective signifies a free form of like-minded individuals coming together with the purpose of accomplishing a common goal. In societal histories the collective has had different roles and meanings. In art history the greatest marks have been left by collectives such as those coming out of the international movement Fluxus, the English architectural group Archigram or, for example, the American new media group Criti-
Author’s note: In undemocratic social systems (let us remember the former Eastern Eu-ropean social systems) the collective had substituted the notion of joint production, but also the responsibility of managing production. It occupied one of the most dominant ways in work processes, superior to individual members of society. However, the collective, as a form of joining into work processes, is also present in democratic societies of the free mar-ket, but almost always as a form of collectivism, a method of resistance to the (neo)liberal economy and political ideology.
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I interpreted and linked the subject of ‘utopias in design’ to a vision of a utopian collective on several levels. The first is perhaps the most obvious and it corresponds with the fact that utopia as a concept of an ideal society and order concerns the collective as well, i.e. the group of people that can form and consummate such a society in the first place. This was described in a similar way by Thomas More in his Utopia, citing models upon which ideal communities were based, a series of rules and patterns of behaviour that form the basis of a ‘utopian society’. Furthermore, the idea of forming a utopia, or its designing, raises a number of questions that start with the role of the designer and end with the application of that ‘design solution’. Where did we even get the right to proclaim design a discipline that can solve such problems? First of all, it is important to act ethically, transdisciplinarily and humanely. Would some future utopian world be capable of tolerating all the different opinions and positions and enable them to act? Or would ‘utopian’ mean a structured, ‘ordered’ society? It has to be made clear that there is no right answer, but rather, there is a series of still unposed questions that can be excep-tionally interesting from a designer’s point of view. Only if we are freed from the meaning that encompasses the concept of utopia can we understand that it is primarily a philosophical task given
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with the goal of advancing and changing the current state. Maybe a similar character is shared with the process of designing, through which we go through daily in order to offer ‘the best solution’. This led me to the conclusion that design as a practice and utopia as a permanent re-examination touch on the very subject of proces-suality. And the collective as a sum of different reflexions, multiple perspectives and opposing contributions represents perhaps the most apt model for researching the concept of utopia.
‘The phenomenon of the artists’ group is both paradoxical and dynamic. On the one hand it is a negation of the romantic idea of the individual genius, but on the other hand, the art group is not simply the sum of its individual parts, but draws its character from the creative possibilities of different interactions and synergies.’ What, How & for Whom, Collective Creativity, 2005
The results of such a research method are far from the fact that the process of preparing the project for the London Design Biennale was pleasant and simple. The climb to the mountain called ‘utopia’ was quite a difficult one, full of turmoil, perhaps even with a few wrong turns. How productive or effective are unity and obedience, what conditions produce the most interesting discoveries, and is the point in the very notion of ‘paradessence’, which enters the work process almost at the very beginning as a designer reaction to the phrase ‘utopian collective’ and is based on opposites?
Inspired by Steven Shaviro’s text laid out in his re-view of the novel ‘The Savage Girl’ by Alex Shakar, www.shaviro.com
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it encourage constant dialogue that sharpens the focus as well as influence personal presentation?
The work process on this project was not predictable, nor structured beforehand with clearly set tasks, but with the idea of observing the process and consequently the results, which makes a valued attempt of integrating different positions into a collective work. The Biennale project that I have named ‘Utopian Collective’ in fact consists of observing the work of a new collective and specific sit-uations in which authors, members of the collective, influence the result of each of the phases of work. This opened the spaces of per-sonal and collective freedom of action, the process of sharing, even yielding responsibility, abandoning the safe zone of individualism, today’s dominant form of the ‘designer’ work method. Designers strived toward a concrete task from the very beginning, but also simultaneously very thoroughly conceptualized the subject of the collective and utopia, and from completely different angles and for entirely different needs. Because, the personal experience of design-ers needed to be steered toward a common vision and direction in which the collective was moving. Besides the interest in conceptual clarity of the ‘Utopian Collective’, it is interesting how the designers very quickly ‘shaped’ the space of the presentation verbally as well as anticipated the audience’s perception and their possible idea about ‘design’ as a discipline.
The work developed for the London Biennale became a medium, a material documentation of the process used to communicate the totality of the process we went through. Looking for an adequate model of presentation, the material documentation of the process imposed the concept of an exhibition and it became a medium in and of itself; a medium that conveys the key moments of the pro-cess. The resulting environment is possible to interpret on several levels that refer to the notion of the collective, collective action, ex-amination and identification. The act of creation formed the ‘final product’.
Is it not entirely logical that for the ‘Utopian Collective’ the very result is an obstacle to cooperation, which imposes a new behav-ioural rule in the form of affirmation of processes and means, but not goals? My interpretation of the subject influenced primarily the observation of the work process, but also the tendency of eluci-dating the notions of success, quality and excellence in design. I was interested if avoiding a clearly imposed structure can keep the process free, without the designer losing focus and searching for the task. I wonder where this conditioned need for a task comes from and why should it always have the same format? Can trust replace this need and provide space for thought connection, sharing and synergy? It appears the need to cooperate is somewhere much deeper than the basic and practical division of labour, responsibil-ities and expenses, perhaps in the very place where the feelings of trust and respect of others are.
A collective is a justifiable tool if there is a need for it. Is an indi-vidual designer more successful than a collective? Except for the symptomatic situations in which designers associate in order to better collaborate and expand their field of action, the question is why does the phenomenon of associating in design collectives oc-cur? Or, did collective work in that sense become a safe zone for exploring one’s own interests, processes and methods, and does
Authors note: This fact, apart from pointing to interdisciplinary association in order to improve work quality, speaks of the fact that designers, except perhaps while studying, do not have space (time and resources) provided to them to develop an original approach to design.
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In the exhibition space we witness several different layers of ‘read-ing’ that are the direct consequence of the development phases of the work process. The first element, basic in character, represents ‘common ground’, shaped as a proto-idea of the world, a two-di-mensional ‘globe’, the unifying idea of a circle. The second layer con-sists of three-dimensional objects, ‘keepers of emptiness’, certain vessels originating from the development process of the collective’s expression language. The third element of the whole is the sound that gives this environment a time dimension and through the spo-ken word coveys key elements of synergy, but also the specificities of the individuals’ attitudes, a narrative resulting from the dialogue between designers, the members of the ‘Utopian Collective’.
Objects exhibited in the space are vessels for what is not there. From the perspective of the design profession, that can seem as a mere attempt because every object carries a specific shape and it is to be expected that the interior holds concrete materialized objects. Why can the audience not see them? Why are they not displayed?
‘Collaborations are one of the most meaningful ways of arriving to sufficiently unexpected solutions because in the conflict of learned settings of everyone involved it is possible to create new stories. It is in no way an escape into anonymity, but an essential need for dialogue.’ Damir Gamulin, Design and Independent Culture
In the beginnings of joint work we agreed upon a way of collaborat-ing and the direction of the process that emerged from the analysis of the concepts that the designers drew from their work and that could be a link to collective action and the notion of utopia. Likewise, the first interaction of the designers, their getting to know each oth-er, was prompted by body movement, physical contacts, and only later by contemplative reflections.
Adopting forms and methods of behaviour unfamiliar to the design profession, but that belong to other expressive (artistic) disciplines, they removed themselves from their own stereotypical behaviour by looking at themselves through somebody else’s eyes. Can thoughts shared through conversation be carried over into space? By jointly writing and shaping the text, the designers created a new format of sharing and the physical space of the gallery offered a place for its multi-layered interpretation. By searching for a new medium with which they have had no experience yet, they decided on a carpet as a realistic life prop, but also a format from the design practice. It became that ‘place’, a common design territory composed of dis-tinctive motifs and symbols (human interactions, personal symbols, a reinterpretation of traditional motifs, a visual interpretation of the process in the collective).
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To an observer, these kinds of objects remain an unknown and as such are the driving force of imaginative processes with the audi-ence, an attempt to imagine the content, idealizing the shape and content. These objects and their emptiness represent processes of that understanding, which is hinted at in his texts by the artist Nils Norman, who considers utopia an analytical and critical tool of understanding that which is not there. And Josip Vaništa would call a search in such processes ‘…a right to a mistake, to a contradic-tion, to a metamorphosis, to an emptiness that needed to be trans-formed into a living space’. The ‘Utopian Collective’ affirmed itself through a process of making room for struggling with an ideal. The notion of the collective, the way we experienced it, rose to a ‘higher’ level and it speaks critically on the subjects of utopia, collaboration and unity. What would it actually mean to ‘design nothing’? When there is nothing, everything is present.
‘We will place utopia in some new forms, seal it and leave it for doubt and imagination to run wild with. The essence of utopia is to wonder, to anticipate. The collective that gives back to the individual also strengthens him.’Utopian Collective
Vaništa, J. (2001). Knjiga zapisa. Zagreb: Kratis, p. 308.
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collaborative text utopian collective
this
par
ticul
ar d
isco
urse
is h
eadi
ng to
. Is
our a
rtifi
cial
uto
pian
fam
ily v
igor
ous
enou
gh to
pro
vide
a s
uffici
ent e
xper
imen
t? W
e ho
pe it
is.
If a
utop
ian
colle
ctiv
e is
the
answ
er, w
hat w
as th
e qu
estio
n? T
he u
topi
an c
ol-
lect
ive
will
be
our p
erpe
tual
mot
ion
mac
hine
, a p
erfe
ctly
func
tioni
ng m
achi
ne
mad
e of
diff
eren
t par
ts, a
ll w
orki
ng to
geth
er to
war
ds a
uni
fied
goal
; im
poss
ible
an
d un
reac
habl
e, li
ke th
e as
ympt
ote;
a c
olle
ctiv
e nu
isan
ce o
n co
llabo
ratio
n in
w
hich
des
igne
rs s
eek
an e
asy
way
out
… o
ne th
at s
triv
es to
be
bett
er th
an a
n in
divi
dual
resu
lt. W
e ca
n us
e th
e co
llect
ive
to h
ide
our i
ndiv
idua
l wea
knes
ses.
NO
HO
WLe
t us
imag
ine
that
we
can
com
mun
icat
e be
neat
h th
e su
rfac
e. W
e ca
n al
l st
art t
oget
her a
s on
e, fr
om a
bio
logi
cal p
ersp
ectiv
e –
like
a rh
izom
e, w
here
w
e im
agin
e ou
rsel
ves
as ro
ots
in a
fore
st, n
etw
orki
ng w
ith e
ach
othe
r usi
ng
plan
t int
ellig
ence
and
dee
p un
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rrel
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e ca
n, th
ereb
y, fo
rm
an o
rgan
ism
that
use
s em
phat
ic s
olut
ions
, fac
ilita
ting
effici
ent i
ntel
ligen
ce,
ener
gy s
ourc
es a
nd c
onsu
mpt
ion.
RIS
KY
SAFE
TYCa
n w
e co
nnec
t with
eac
h ot
her e
ffort
less
ly a
nd d
evel
op a
s a
grou
p su
ffici
ently
LOV
E YO
UR
EN
EMY
We
are
asse
mbl
ed h
ere
as a
gro
up o
f ind
ivid
uals
, who
mor
e or
less
did
not
co
llabo
rate
with
eac
h ot
her i
n th
e pa
st, w
ith th
e ai
m o
f pre
sent
ing
a m
ater
ial
repr
esen
tatio
n of
a p
roce
ss, o
f eph
emer
al a
spira
tions
of u
topi
a, p
oten
tially
a
colle
ctiv
e de
sign
, sup
er c
ool d
esig
ner i
deas
and
thou
ghts
, sup
er s
omet
hing
…
How
do
we
feel
abo
ut th
at?
We
can
call
this
idea
par
ades
senc
e, a
term
for s
omet
hing
that
sat
isfie
s tw
o co
ntra
dict
ory
desi
res.
Lik
e ho
w c
offee
is s
uppo
sed
to b
oth
wak
e yo
u up
and
ca
lm y
ou d
own.
To im
agin
e ut
opia
we
can
mak
e hu
ge g
ener
al a
ssum
ptio
ns a
bout
it. B
ut w
e ca
n al
so m
ake
ours
elve
s a
smal
l-sca
le u
topi
an c
olle
ctiv
e an
d tr
y to
exp
lore
whe
re
3938
collaborative text utopian collective
into
spe
cific
com
mon
term
s. L
et u
s th
en m
ake
a co
llect
ive
map
, a s
yste
m o
f ha
rmon
izin
g ev
eryo
ne’s
str
eam
s, im
ages
, tex
ts a
nd s
ampl
es, a
nd fi
nally
, mak
e an
imag
e ou
t of t
hat.
An im
age
that
we
can
furt
her m
odify
, a p
rese
ntat
ion
that
w
ill e
vent
ually
dis
solv
e in
to a
n in
tros
pect
ive
writ
ing
jour
ney.
Afte
r a lo
ng ti
me
of e
xpos
ing
ours
elve
s to
the
prac
tices
of c
once
ivin
g lif
e an
d w
ork
in a
col
lect
ive
whi
le th
inki
ng a
bout
uto
pia,
we
foun
d ou
rsel
ves
a bi
t afra
id
of th
is w
ord.
We
wer
e no
t sca
red
of id
eas
or m
eani
ngs t
hat i
t may
con
tain
, but
of
the
appl
ied
perf
ectio
n it
proc
laim
ed. I
t is
fine
whe
n it
is s
till a
thou
ght,
an
idea
, a v
isio
n. B
ut w
hen
it is
spo
ken?
Whe
n it
trie
s to
bec
ome
esta
blis
hed?
In
the
esta
blis
hing
of u
topi
an id
eas,
ther
e is
alw
ays
hidd
en a
con
tem
pt fo
r the
w
eakn
ess
of m
an.
We
bare
ly s
urvi
ved
a sl
eepl
ess
nigh
t cau
sed
by o
ur o
wn
new
-bor
n ch
ild, a
trut
h ab
out o
urse
lves
told
by
a be
nevo
lent
frie
nd o
r a d
og p
issi
ng o
n ou
r new
sho
e.
I thi
nk u
topi
a ha
s its
orig
ins
mor
e in
que
stio
ning
tim
e th
an p
lace
. Sin
ce it
is a
no
-pla
ce...
or r
athe
r, an
ete
rnity
, an
issu
e of
the
inst
anta
neity
of t
ime.
Or i
f we
thin
k in
term
s of
the
theo
ry o
f rel
ativ
ity, i
t is
a no
-pla
ce b
ecau
se it
has
no-
time.
Like
sym
bols
.
to m
ake
one
final
cho
ice?
Can
we
iden
tify
tool
s an
d st
rate
gies
for m
akin
g it
poss
ible
? W
hat w
ill fi
nally
turn
out
to b
e ou
r str
ateg
ies
of c
reat
ion?
Are
the
mat
eria
l mat
ters
real
ly im
port
ant h
ere?
Som
e pa
rtic
ular
con
cern
s w
ere
obvi
ous
amon
gst t
he n
ewly
wed
uto
pian
col
-le
ctiv
e’s
plan
s. S
ome
of th
e fir
st a
gend
as th
at c
ame
up: w
hat s
ort o
f aes
thet
ic
expr
essi
on d
o w
e w
ant v
s. th
e qu
ality
of t
he p
roce
ss th
at w
e ar
e go
ing
thro
ugh,
or
wha
t sor
t of a
soc
ial p
rogr
am a
re w
e pr
omot
ing.
And
if a
uto
pian
col
lect
ive
is th
e an
swer
, wha
t was
the
ques
tion?
Is th
is w
hole
thin
g ju
st a
n en
dles
s lo
op
of re
inca
rnat
ion,
with
out o
ne d
efini
te e
nd?
Doe
s it
striv
e to
be
bett
er th
an a
n in
divi
dual
resu
lt? C
ould
ther
e be
an
equi
vale
nt o
f a c
olle
ctiv
e un
cons
ciou
snes
s (C
. G. J
ung)
, but
onl
y fo
r our
col
lect
ive?
FREE
DO
M O
F O
RD
ERW
e ca
n be
gin
our d
ialo
gue
thro
ugh
the
pris
m o
f our
per
sona
l exp
erie
nces
, our
pa
sts,
with
diff
eren
t cor
rela
tions
of w
orki
ng in
all
kind
s of
gro
ups,
as
desi
gner
du
os, t
rios,
as
wel
l as
solo
s. O
ur lo
ng p
ast e
xper
ienc
es a
re w
hat w
e no
w w
ish
to p
ursu
e so
that
we
can
begi
n th
e st
ory
of o
ur n
ewly
mad
e co
llect
ive.
Let u
s ex
haus
t thi
s su
bjec
t mat
ter a
nd m
ake
a m
ood
boar
d to
see
whe
re w
e st
and,
to fo
llow
the
flow
of t
he s
tory
line.
Let
us
conv
ert o
ur in
divi
dual
thou
ghts
4342
collaborative text utopian collective
We
did
not p
lan
to im
pose
str
ict p
aram
eter
s on
our
selv
es.
A pr
ojec
t ass
ignm
ent i
s no
t nec
essa
rily
a de
sign
er ta
sk, b
ut m
ore
a ph
ilo-
soph
ical
one
, and
any
thin
g ca
n co
ntrib
ute
to it
s re
aliz
atio
n. If
we
defin
e th
e fr
amew
ork,
we
deny
it fr
om th
e ve
ry b
egin
ning
. To
mak
e it
happ
en, i
t is
good
to
hav
e a
basi
c st
ruct
ure,
so
that
we
can
argu
e ab
out i
t and
bre
ak d
own
its
stan
dpoi
nts.
And
som
ehow
, the
big
gest
task
is to
elim
inat
e th
e eg
o, b
ut a
t th
e sa
me
time
mai
ntai
n pe
rson
al v
irtue
s an
d co
llabo
rate
. May
be th
en it
will
be
pos
sibl
e –
in a
n id
eal s
ense
– to
per
sona
lize
your
self.
As in
divi
dual
s w
e w
ill tr
y to
mak
e sa
crifi
ces,
com
prom
ise
and
acce
pt o
ther
s fo
r the
sak
e of
the
colle
ctiv
e, fo
r the
sak
e of
cre
atin
g so
met
hing
big
ger a
nd
bett
er. A
fam
ily. A
soc
iety
. For
the
sake
of b
elon
ging
. For
the
sake
of e
xcha
nge.
W
e ar
e op
en s
yste
ms.
We
die
with
out e
xcha
nge…
in te
rms
of n
atur
e, a
ir, fo
od,
sex,
love
, rel
igio
n… S
o w
hat a
bout
our
per
sona
l uto
pia
if w
e ar
e no
t alo
ne a
nd
som
eone
und
erst
ands
and
acc
epts
us?
Can
we
see
the
colle
ctiv
e as
an
ongo
ing
gene
rativ
e pr
actic
e? A
des
ign
of m
ul-
titud
es. D
esig
n as
a p
ract
ice
has
alw
ays
been
an
act o
f sha
ring
and
colla
bo-
ratin
g in
stea
d of
str
ictly
focu
sing
on
one’
s ow
n pr
ojec
t. Su
bmis
sion
and
taki
ng
Nev
er ti
me.
Slo
wne
ss a
s a
prec
ondi
tion
for p
rodu
cing
mor
e pr
ofou
nd q
ualit
ies.
Uto
pias
are
just
cur
ator
ial p
roje
cts.
Uto
pias
are
tota
lly p
ositi
ve p
roje
cts.
Wha
t are
the
tool
s th
at m
anki
nd c
an u
se to
est
ablis
h pe
rfect
ion?
Is it
pos
sibl
e to
bui
ld a
per
fect
soc
iety
, a te
rrene
hea
ven
wov
en fr
om c
olle
ctiv
e as
pira
tions
, bu
t gui
ded
and
shap
ed th
roug
h fr
agile
hum
an m
echa
nism
s? H
ow to
man
age
utop
ia? W
ith la
ws?
With
dut
y? W
ith fr
eedo
m?
Is th
ere
a ni
che
for u
s w
here
uto
pia
coul
d fo
rm, e
xist
and
dev
elop
with
out
cont
radi
ctio
ns th
at w
ould
cau
se it
to d
isin
tegr
ate
befo
re it
is e
ven
imag
ined
? Is
ther
e a
plac
e so
mew
here
whe
re w
e ca
n st
art t
he im
plem
enta
tion
of s
uch
a co
ncep
t?
A G
OO
D D
ESIG
NER
ALW
AYS
HA
S SO
MET
HIN
G E
LSE
TO D
OVe
ry q
uick
ly w
e ov
erca
me
our i
ndiv
idua
l ego
s in
a s
ince
re d
esire
to c
reat
e th
e co
ncei
ved
colle
ctiv
e, to
try
to s
ee if
our
gro
up is
uto
pian
eno
ugh
and
wha
t it
mea
ns to
cre
ate
new
life
toge
ther
, eve
n if
it is
an
artifi
cial
one
.
4948
što je to utopijsko u kolektivu?
maša milovac
‘Jer samo čežnje, žudnje i neodredive želje mogu danas biti istinski kolektivne…’ Boris Groys, Ilya Kabakov: The Man Who Flew into Space from His Apartment, Afterall Books 2006.
Suvremena dizajnerska scena pod utjecajem medijske eksponira-nosti ‘superstar’ dizajnera zapadne Europe producira slične krat-kotrajne priče o autorskom radu dizajnera. Takve su priče često prezentirane van konteksta i ambijenta, što potencira iskrivljenu sliku dizajnera kao vrhunski snalažljivih pojedinaca koji zahvaljuju-ći talentu i svojem jedinstvenom stvaralaštvu zauzimaju određenu poziciju na tržištu. Biti dijelom takvog (globalnog) okruženja utječe na percepciju dizajna i njegove uloge u društvu. S ciljem poticanja interakcije, ali i težnje za negacijom autora kao otuđenog individu-alca, isključivog pobjednika i nužnog faktora uspjeha, ovaj je pro-jekt osmišljen kao niz dijaloga, radionica te sučeljavanja pozvanih dizajnera.
Pitanja koja smo si dužni postaviti su: može li se iz ovakvih projekata naučiti, odnosno možemo li kritički sagledati stvaralaštvo i suvre-menu dizajnersku produkciju te izložiti upravo taj stav; do koje mjere je utopija pozitivan pojam, a kada, ili još bolje, zašto se transformira u strah i nemogućnost; kako je to usporedivo s dizajnerskim proce-som? Kako drugačije pristupiti pitanju budućnosti u vrijeme vidne
Will you be able to refurbish this part of the floor with the water stain?
5150
globalne nestabilnosti? Odnosno, mogu li upravo takva utopijska zamišljanja razriješiti naše današnje nedoumice i zatvoriti pitanja koja se direktno tiču individualnih, ali i kolektivnih sloboda?
‘Za one koji su odrasli u poslijeratnoj Europi, pojam grupnog rada ugrađen je u obrazovni sustav. Od predškolskih ‘ igraonica’ preko organiziranog upravljanja, grupne rasprave i timskog rada, nailazimo niz socijalnih modela koji nose složene posljedice za pojedince koji misle da mogu stvoriti nešto pomoću srodnih, polu-autonomnih metodologija.’ e-flux journal redux: Liam Gillick, ‘Maybe it would be better if we worked in groups of three? Part 2 of 2: The Experimental Factory’
U svakodnevnom jeziku pojam kolektiva označava slobodnu for-mu okupljanja istomišljenika u svrhu postizanja zajedničkog cilja. U povijestima društava kolektiv je imao različite uloge i značenja. U povijest umjetnosti najveće tragove ostavili su kolektivi poput onih proizašlih iz međunarodnog pokreta Fluxus, engleska arhitek-tonska grupa Archigram ili na primjer novomedijska američka grupa Critical Art Ensemble. Nama kontekstualno najbliže hrvatske grupe s početka druge polovice 20. stoljeća Exat 51 i Gorgona, te u novije vri-jeme iskustvo slovenske grupe Irwin, na uvjerljiv i inspirativan način razvijale su oblike kolektivizma. Danas taj oblik suradnje preuzimaju
op.a. U nedemokratskim društvenim uređenjima, prisjetimo se bivših istočnoeuropskih društve-nih uređenja, kolektiv je supstituirao pojam zajedničke proizvodnje, ali i odgovornosti pri upravlja-nju proizvodnjom, zauzimao je jedan od najdominantnijih načina u radnim procesima, nadređen individualnim članovima društava. Međutim, kolektiv je kao oblik udruživanja u radne procese prisutan i u demokratskim društvima slobodnog tržišta, ali gotovo uvijek kao oblik kolektivizma, načina otpora (neo)liberalnoj ekonomiji i političkoj ideologiji.
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mnogi interdisciplinarni studiji, primjerice grupa suvremenih umjet-nika, kustosa, praktičara i istraživača – Raqs Media Collective – koji kritički propituju novomedijske načine prezentacije, u kojima i sami sudjeluju, te ih potkrijepljuju teorijskim i filozofskim istraživanjima. Suradnički, zajednički rad te rad koji se temelji na razmjeni, s druge strane, otvaraju nove hibridne modele umjetničkih i dizajnerskih ostvarenja koja odgovaraju današnjem otvorenom i tehnološki pot-pomognutom okruženju.
Na prvu nam se čini najlakše shvatiti pojam utopije kao idealnu društveno – prostornu kompoziciju na nepostojećem mjestu, no stvari postaju kompleksnije kada se otkriju sve metamorfoze poj-ma – utopija kao idealno mjesto, ne-mjesto, savršen sustav, rajski vrt, isola bella, eldorado itd. Osim toga, znakovita je i činjenica da je u posljednje vrijeme upravo utopija popularna tema umjetničkih, dizajnerskih i arhitektonskih interpretacija.
Temu ‘utopije u dizajnu’ interpretirala sam i povezala s vizijom o utopijskom kolektivu na nekoliko razina. Prva je možda najočiti-ja, a korespondira s činjenicom da se utopija, kao pojam idealnog društva i poretka, tiče i kolektiva, odnosno skupine ljudi koja takvo društvo uopće može formirati i konzumirati. Sličan opis ponudio je i Thomas Moore u svojoj ‘Utopiji’, navodeći modele prema kojima su se oblikovale idealne zajednice, odnosno niz pravila i obrazaca ponašanja na kojima se temelji ‘utopijsko društvo’. Nadalje, pojam oblikovanja utopije, odnosno njezinog projektiranja, nameće čitav niz pitanja koji počinje s ulogom projektanta, a završava s primje-nom tog ‘idejnog rješenja’. Odakle nam uopće pravo da se dizajn proglašava disciplinom koja takve probleme može riješiti? Prije sve-ga, važno je djelovati etično, transdiciplinarno i humano. Bi li neki budući utopijski svijet bio u stanju tolerirati sva različita mišljenja
Individualne utopije (Lala Raščić, Muzej savremene umetnosti Vojvodine, Novi Sad, 2010.); Low-Budget Utopias (izložba Muzeja suvremene umjetnosti, Ljubljana, 2016.), Anti-Utopias (an-ti-utopias.com), Utopian Bodies - Fashion Looks Forward (izložba u Liljevalchs konsthall, Stoc-kholm, 2015.)
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i stavove, te istima omogućio djelovanje? Ili bi ‘utopijski’ značilo ustrojeno, odnosno ‘uređeno’ društvo? Treba osvijestiti da ne po-stoji točan odgovor, već postoji niz još uvijek nepostavljenih pitanja koja, iz pozicije dizajnera, mogu biti izuzetno zanimljivo postavljena. Tek ako se oslobodimo značenja koje obuhvaća pojam utopije, mo-žemo shvatiti da je ona prvenstveno filozofski zadatak postavljen s ciljem napretka i promjene stanja. Možda je sličnog karaktera i proces dizajniranja kroz koji svakodnevno prolazimo kako bismo po-nudili ‘najbolje rješenje’. To me dovelo ka zaključku da se dizajn kao praksa i utopija te kao permanentno promišljanje dodiruju upravo na temi procesualnosti, a kolektiv kao zbir različitih refleksija, više-strukih perspektiva i suprotstavljenih doprinosa predstavlja možda najprikladniji model za istraživanje pojma utopije.
‘Fenomen umjetničkih grupa je ujedno paradoksalan i dinamičan. S jedne strane, negira romantičnu ideju pojedinca kao genija, dok s druge strane, umjetnička grupa nije jednostavno zbroj svih njezinih dijelova, već crpi karakter iz kreativnih mogućnosti različitih interakcija i sinergija.’ What, How & for Whom, Collective Creativity, 2005.
Rezultati takvog istraživačkog postupka daleko su od činjenice da je proces pripreme projekta za londonsko bijenale dizajna bio ugodan i jednostavan. Uspon na planinu zvanu ‘utopija’ bio je prilično težak postupak pun previranja, možda čak i s nekoliko krivih skretanja. Koliko je složnost i poslušnost produktivna ili efektivna, u kakvim uvjetima nastaju najzanimljivija otkrića, te je li poanta upravo u poj-mu paradessence koji se u proces rada uključuje gotovo na samom početku kao dizajnerska reakcija na sintagmu ‘utopijski kolektiv’, a bazira se na suprotnostima?
inspirirano tekstom Stevena Shavira iznesenim u kritici romana “The Savage Girl, Alex Shakar”, www.shaviro.com
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za zadatkom, te zašto bi on uvijek trebao biti u istom formatu? Može li povjerenje zamijeniti tu potrebu i osigurati prostor misaonoj po-vezanosti, dijeljenju i sinergiji? Čini se da je potreba za suradnjom negdje puno dublje od bazične i praktične raspodjele posla, odgo-vornosti i troškova. Možda baš tamo negdje gdje se nalaze osjećaji povjerenja i poštivanja drugog.
Kolektiv je opravdan alat ukoliko postoji potreba za njim. Je li diza-jner pojedinac uspješniji od kolektiva? Osim simptomatičnih situ-acija u kojima se dizajneri povezuju u svrhu bolje suradnje i širenja polja djelovanja, pitanje je zašto se javlja fenomen povezivanja u dizajnerske kolektive? Je li kolektivni rad u tom smislu postao si-gurna zona za istraživanje vlastitih interesa, procesa i metoda, te potiče li na stalni dijalog koji izoštrava fokus i utječe li na osobno predstavljanje?
Proces rada na ovom projektu nije bio predvidiv, niti prethodno strukturiran jasno definiranim zadacima, već se vodio idejom o promatranju procesa, te posljedično i rezultata, što ga čini vrijed-nim pokušajem integracije različitih stavova u kolektivni rad. Pro-jekt za bijenale kojeg sam nazvala ‘Utopijski kolektiv’ zapravo je bio promatranje rada novog kolektiva i specifične situacije u kojoj autori, članovi kolektiva, utječu na rezultat svake od faza rada. To je otvorilo prostore osobne i kolektivne slobode djelovanja, postupaka dijeljenja, pa i prepuštanja odgovornosti, napuštanja sigurne zone individualizma – danas dominantnog oblika ‘dizajnerskog’ načina rada. Dizajneri su od samog početka težili konkretnom zadatku, no istovremeno su vrlo iscrpno konceptualizirali temu kolektiva i uto-pije, i to iz potpuno različitih kuteva i iz sasvim drugačijih potreba jer trebalo je osobno iskustvo dizajnera usmjeriti prema zajedničkoj viziji i smjeru u kojem se projekt kretao. Osim interesa za konceptu-
Zar nije potpuno logično da je za ‘Utopijski kolektiv’ sam rezultat prepreka suradnje, čime se nameće novo pravilo ponašanja u vidu afirmacije procesa i sredstava, a ne ciljeva? Moja interpretacija teme utjecala je prvenstveno na promatranje procesa rada, ali i na ten-denciju rasvjetljavanja pojmova uspješnosti, kvalitete i izvrsnosti u dizajnu. Zanimalo me može li se izbjegavanjem jasno nametnute strukture održati proces slobodnim, bez gubljenja fokusa kod diza-jnera i bez traženja zadatka. Pitam se odakle ta uvjetovana potreba
op. a. Ta činjenica, osim što ukazuje na interdisciplinarno povezivanje u svrhu poboljšanja kva-litete rada, govori i o tome da dizajneri, osim možda za vrijeme studija, nemaju osiguran prostor (vrijeme i sredstva) za razvoj autorskog pristupa dizajnu.
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zajneri su stvorili novi format dijeljenja, a fizički prostor galerije po-nudio je mjesto njegove višeslojne interpretacije. Tražeći novi medij u kojemu se do sada nisu imali prilike izraziti, odlučili su se za tepih kao realistički životni rekvizit, ali i format iz dizajnerske prakse. On je postao to ‘mjesto’, odnosno zajednički dizajnerski teritorij sastavljen od svojstvenih motiva i simbola (ljudski međuodnosi, osobni sim-boli, reinterpretacija tradicionalnih motiva, vizualna interpretacija procesa u kolektivu).
alnom jasnoćom ‘Utopijskog kolektiva’, zanimljivo je kako su dizaj-neri vrlo brzo verbalno ‘oblikovali’ prostor prezentacije, te predviđali percepciju publike i njihovu moguću ideju o ‘dizajnu’ kao disciplini.
Rad osmišljen za londonsko bijenale postao je medij, odnosno ma-terijalna dokumentacija procesa s kojom komuniciramo ukupnost procesa kroz koji smo prošli. Traženjem odgovarajućeg modela pre-zentacije, materijalna dokumentacija procesa naložila je koncept izložbe te je ona postala medij sama po sebi, medij koji prenosi ključne momente procesa. Nastali ambijent moguće je tumačiti na nekoliko razina koje se referiraju na pojam kolektiva, kolektivnog djelovanja, promišljanje i identifikaciju. Čin stvaranja oblikovao je ‘finalni proizvod’.
‘Suradnje su jedan od najsmislenijih načina dolaska do dovoljno neočekivanog rješenja jer je u sukobu naučenih postavki svih uključenih moguće stvarati nove priče. To nikako nije bijeg u anonimnost već neophodna potreba za dijalogom.’Damir Gamulin, Dizajn i Nezavisna Kultura
U počecima zajedničkog rada dogovorili smo način suradnje i smjer procesa koji je proizišao iz analize pojmova koje su dizajneri crpili iz svog rada, a mogli su biti veza sa djelovanjem kolektiva i pojmom utopije. Tako je i prva interakcija dizajnera, njihovo međusobno upoznavanje, potaknuta pokretima tijela i fizičkim kontaktima, a tek potom misaonim refleksijama.
Preuzimajući oblike i postupke ponašanja koji nisu bliski dizajnerskoj struci, a pripadaju drugim izražajnim (umjetničkim) disciplinama, izmaknuli su se iz vlastitog stereotipa ponašanja gledajući se nekim ili nečijim drugim očima. Mogu li se misli koje dijelimo razgovorom prenijeti u prostor? Zajedničkim pisanjem i oblikovanjem teksta di-
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daje vremensku dimenziju i kroz živo izgovorenu riječ prenosi ključ-ne elemente sinergije, ali i specifičnosti stavova pojedinaca, narativ proizašao iz dijaloga dizajnera, članova ‘Utopijskog kolektiva’.
Objekti izloženi u prostoru spremnici su onoga čega nema. Iz per-spektive dizajnerske struke to može djelovati tek kao pokušaj jer svaki objekt nosi specifičan oblik i za očekivati je da su u njegovoj unutrašnjosti konkretni materijalizirani predmeti. Zašto ih publika ne može vidjeti? Zašto nisu predočeni? Za promatrača ovakvi objekti ostaju nepoznanica, te su kao takvi pokretači imaginativnih proce-sa kod publike, pokušaji zamišljanja sadržaja, idealiziranje oblika i sadržaja. Ovi objekti i njihova praznina reprezentiraju procese te spoznaje, što u svojim tekstovima naslućuje i umjetnik Nils Norman koji utopiju smatra analitičkim i kritičkim alatom spoznaje onoga čega nema. Josip Vaništa bi potragu u takvim procesima nazvao ‘…pravom na pogrešku, na kontradikciju, na metamorfozu, na prazninu koju je trebalo preobraziti u živi prostor’.
Do you plan to remove the doors, to open the pathway for people to circulate freely?
Could you give us exact measures of the flooring and its decoration / we need to know total dimensions of the outline of the decor in the parquet.
x=? y=?
U izložbenom prostoru svjedočimo nekolicini različitih slojeva ‘čita-nja’ koji su direktna posljedica razvojnih faza radnog procesa. Prvi, po karakteru bazičan element, predstavlja ‘zajedničko tlo’ i uobličen je kao praideja svijeta, dvodimenzionalni ‘globus’, odnosno ujedi-njujuća ideja kruga. Drugi sloj čine trodimenzionalni objekti, ‘čuvari praznine’, stanoviti spremnici proizašli iz procesa razvoja izražajnog jezika kolektiva. Treći je element cjeline zvuk koji ovom ambijentu Knjiga Zapisa, 2001. Zagreb, izdavač Kratis, str. 308.
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collaborative text utopian collective
I cou
ld n
ot fi
nd a
righ
t pla
ce to
sta
rt w
ith th
is n
o-pl
ace.
THE
WEA
KN
ESS
OF
STR
ENG
THC
ompr
omis
es a
ll th
e w
ay th
roug
h; o
pini
ons,
bel
iefs
, jud
gmen
ts, t
houg
hts,
vi
ewpo
ints
, out
look
s, a
ttitu
des,
per
spec
tives
, sta
ndpo
ints
, vis
ions
, con
fu-
sion
s, d
isbe
liefs
.
Wha
t is t
he c
urre
ncy
of e
xcha
nge
of o
ur u
topi
an c
olle
ctiv
e? M
aybe
the
curre
n-cy
of e
xcha
nge
can
be k
now
ledg
e an
d id
eas?
To h
ave
the
oppo
rtun
ity to
lear
n fr
om a
nd to
teac
h ea
ch o
ther
thro
ugh
ongo
ing
conv
ersa
tion,
in w
hich
eve
ry
stat
emen
t is
com
men
ted
on a
nd re
view
ed b
y w
hom
ever
in th
e co
llect
ive
feel
s lik
e do
ing
so?
Wha
t if t
he u
topi
an c
olle
ctiv
e do
es n
ot e
xist
now
, but
we
imag
ine
that
the
show
we
are
build
ing
is a
retr
ospe
ctiv
e of
this
uto
pian
col
lect
ive
that
use
d to
ex
ist?
If w
e do
not
hav
e fa
ith in
this
uto
pian
col
lect
ive,
why
do
we
do it
?
Wha
t are
the
tool
s th
at m
anki
nd c
an u
se to
est
ablis
h pe
rfect
ion?
Is it
pos
sibl
e to
bui
ld a
per
fect
soc
iety
, a te
rrene
hea
ven
wov
en fr
om c
olle
ctiv
e as
pira
tions
, bu
t gui
ded
and
shap
ed th
roug
h fr
agile
hum
an m
echa
nism
s?
char
ge, t
rust
, sur
rend
er a
nd tr
ust.
An in
divi
dual
is re
spon
sibl
e to
them
selv
es a
nd to
the
colle
ctiv
e. C
an w
e sa
y th
at n
egat
ive
liber
ty is
free
dom
nec
essa
rily
linke
d to
the
freed
om o
f ano
ther
?
The
first
com
mon
gro
und
we
foun
d w
as th
e ol
d-fa
shio
ned
– e
xpre
ssio
n m
e-di
um –
text
; the
lyric
al e
mbo
dim
ent i
n po
etry
, art
icul
atin
g ou
r opi
nion
s or
our
la
ck o
f im
pres
sion
s. T
houg
hts,
quo
tes,
term
s, a
ssoc
iatio
ns…
ass
embl
ing
a pa
th o
ut o
f our
insc
ribed
vis
ions
. We
circ
le a
roun
d th
em, w
e ne
glec
t the
m,
we
surp
ass
them
, mak
ing
this
col
lect
ive
mor
e an
d m
ore
the
one
that
we
can
call
our o
wn.
(A q
uote
.) So
meh
ow it
mig
ht b
e po
ssib
le to
brin
g to
geth
er a
sm
all g
roup
and
cr
eate
tem
pora
ry, s
uspe
nded
, sem
i-aut
onom
ous
fram
ewor
ks. W
e m
ay h
ave
reac
hed
a m
omen
t of c
onst
ant r
eocc
upat
ion,
recu
pera
tion,
and
aim
less
ren-
ovat
ion.
Yes.
In c
onte
mpl
atio
n. C
ontr
adic
tions
bet
wee
n ou
r fra
gile
real
ity a
nd h
igh
aspi
-ra
tions
can
co-
exis
t in
that
fiel
d. T
here
we
can
enco
unte
r our
obl
igat
ion
tow
ards
ev
ery
hum
an b
eing
unc
ondi
tiona
lly. O
ne c
ould
find
one
self
ther
e w
ith o
ne’s
w
eakn
ess.
A s
tart
ing
poin
t. M
any
star
ting
poin
ts d
efine
d by
diff
eren
t peo
ple.
6968
‘Utopijski kolektiv’ potvrdio se kroz proces davanja prostora borbi s idealom. Pojam kolektiva kako smo ga proživjeli izdigao se na ‘višu’ razinu, i o temi utopije, suradnje i zajedništva govori kritički. Što bi zapravo značilo ‘dizajnirati ništa’? Kada ničega nema, pristuno je sve.
‘Utopiju ćemo smjestiti u neke nove oblike, zapečatiti i ostaviti slutnji i mašti na volju. Suština utopije je pitati se, naslućivati. Kolektiv koji vraća pojedincu, i jača ga.’ Utopijski kolektiv
7372
collaborative text utopian collective
of th
e id
entit
ies
of p
eopl
e w
ho ta
ke p
art.
Cou
ld it
be
a pl
ace
of c
onte
mpl
atio
n –
an
idea
spa
ce h
as n
o bo
unda
ries
and
is th
eore
tical
ly in
finite
. May
be o
ur e
nviro
nmen
t can
be
disp
laye
d lik
e a
min
d m
ap, a
n in
fogr
aphi
c of
all
the
diffe
rent
kin
ds o
f dire
ctio
ns w
e ha
ve b
een
talk
ing
abou
t?
Is it
a ru
g? A
dis
play
? A
floor
relie
f? C
once
ptua
l wea
ving
? A
fabr
ic?
And
from
th
at it
is c
lear
that
it h
as a
func
tion
of a
mes
sage
car
rier,
it is
a s
uppo
rtin
g st
ruc-
ture
, a c
onta
iner
– th
eref
ore,
it is
not
real
ly ju
st a
n ob
ject
, but
als
o a
med
ium
.
A pl
ace
that
will
be
com
plet
ed b
y th
e pr
esen
ce o
f peo
ple
– w
ill th
ey d
efine
th
e pl
ace?
Is th
e en
viro
nmen
t of t
he n
ew c
olle
ctiv
e on
mid
dle
grou
nd?
Is it
goi
ng to
be
a po
sitio
n or
a s
et o
f opi
nion
s th
at is
acc
epta
ble
to m
any
dif-
fere
nt p
eopl
e? A
sta
ndpo
int o
r are
a m
idw
ay b
etw
een
extr
eme
or o
ppos
ing
posi
tions
, opt
ions
, or o
bjec
tives
?
Is th
e m
ater
ialit
y re
ally
impo
rtan
t her
e? A
floo
r rel
ief,
a fla
t scu
lptu
re?
Wha
t doe
s ut
opia
hel
p us
see
? Fi
ctio
n ra
ther
than
pos
sibi
lity.
A s
elf-
orga
nize
d so
lidar
ity m
ovem
ent?
Wha
t is
utop
ia m
ade
of?
How
to m
anag
e ut
opia
? With
law
s? W
ith d
uty?
With
fre
edom
?
So, i
s the
re a
nic
he fo
r me
whe
re u
topi
a co
uld
form
, exi
st a
nd d
evel
op w
ithou
t co
ntra
dict
ions
that
wou
ld c
ause
it to
dis
inte
grat
e be
fore
it is
eve
n im
agin
ed?
Is th
ere
a pl
ace
som
ewhe
re w
here
we
can
star
t the
impl
emen
tatio
n of
suc
h a
conc
ept?
May
be w
e sh
ould
ask
our
selv
es h
ow w
e en
visi
on th
is e
nviro
nmen
t. D
igita
l, ph
ysic
al, s
et o
f rul
es, s
et o
f situ
atio
ns, d
o yo
u se
e ob
ject
s in
that
env
ironm
ent,
in m
any
plac
es –
spa
ces
at th
e sa
me
time?
Is it
a n
o-pl
ace?
Rea
l or s
urre
al?
DEF
INE
AB
SEN
T O
R S
OM
ETH
ING
SPE
CIA
LW
e ag
reed
that
this
acc
epta
nce
shou
ld n
ot b
e co
nfus
ed w
ith th
e cr
eatio
n of
so
met
hing
with
onl
y a
mid
dlin
g va
lue;
med
ian,
ave
rage
, med
iocr
e, c
omm
on o
r st
anda
rd q
ualit
ies.
Cre
atin
g a
spac
e ra
ther
than
a p
lace
, in
our m
ind,
com
pris
ed
7574
collaborative text utopian collective
– H
onou
r vs.
Pun
ishm
ent
– F
reed
om o
f Opi
nion
– S
ecur
ity v
s. R
isk
– P
rivat
e Pr
oper
ty v
s. C
olle
ctiv
e Pr
oper
ty–
Tru
th
CO
MM
ON
GRO
UN
D(A
quo
te.)
The
text
was
the
key
even
t, th
e ke
y m
omen
t, th
e id
ea c
arrie
r as w
ell
as th
e co
llect
ive
proj
ect i
tsel
f.
The
mos
t mea
ning
ful t
erm
s, d
efini
tions
and
quo
tes,
impl
emen
ted
in th
e fin
al
inst
alla
tion
and
the
over
all p
roce
ss, w
hen
play
ing
the
utop
ian
colle
ctiv
e, w
ere
read
out
loud
and
list
ed, f
orm
ing
a cl
osin
g ch
apte
r of a
dia
ry.
The
idea
cal
led
para
dess
ence
– a
term
for s
omet
hing
that
sat
isfie
s tw
o co
n-tr
adic
tory
des
ires
– li
ke h
ow c
offee
is s
uppo
sed
to b
oth
wak
e yo
u up
and
cal
m
you
dow
n.A
plac
e of
con
tem
plat
ion
– a
n id
ea s
pace
that
has
no
boun
darie
s an
d is
the-
oret
ical
ly in
finite
.
Is it
ok
that
we
call
the
spac
e in
box
es a
neg
ativ
e sp
ace?
If s
o, w
hat n
egat
ive
char
acte
ristic
s do
es th
at s
pace
hav
e? A
str
essf
ul s
pace
? A b
orin
g on
e? A
terr
i-bl
e on
e? Is
it p
ossi
ble
to tr
ansf
er a
ll th
is n
egat
ive
spac
e to
the
exhi
bitio
n ar
ea?
Will
it b
e po
ssib
le to
reac
h al
l the
neg
ativ
e sp
ace
insi
de th
ese
boxe
s?
Is th
e ut
opia
n co
llect
ive
mor
e irr
espo
nsib
le th
an a
n in
divi
dual
? A
s on
e ca
n hi
de b
ehin
d th
e co
llect
ive.
Or m
ore
resp
onsi
ble
than
an
indi
vidu
al b
ecau
se it
is
resp
onsi
ble
to a
nd fo
r the
col
lect
ive?
And
for a
long
tim
e th
ere
wer
e no
gre
at n
ews
in o
ur c
olle
ctiv
e be
havi
our.
(A q
uote
.) An
d no
one
pou
rs n
ew w
ine
into
old
win
eski
ns. O
ther
wis
e, th
e w
ine
will
bur
st th
e sk
ins,
and
bot
h th
e w
ine
and
the
win
eski
ns w
ill b
e ru
ined
. No,
th
ey p
our n
ew w
ine
into
new
win
eski
ns.
Test
uto
pia
on y
ours
elf.
For s
tart
ers,
her
e is
a li
st o
f Sim
one
Wei
l’s N
eeds
of t
he
Soul
that
cou
ld b
e a
star
ting
poin
t for
con
tem
plat
ing
our c
arpe
t:
– O
rder
vs.
Lib
erty
– O
bedi
ence
vs.
Res
pons
ibili
ty–
Equ
ality
vs.
Hie
rarc
hism
7978
designers dizajneri
maja čule
mauricio ferlin
HRVOJE HIRŠL
MAJA KOLAR
MAURO MASSAROTTO
MAŠA POLJANEC
OLEG ŠURAN
HRVOJE ŽIVČIĆ
8180
MAURIcIO FERLIN
Born in 1971 in Pula (Croatia). He graduated in 1996 from the School of Design at the Faculty of Architecture in Zagreb. He works as a set design-er, graphic designer and visual artist. In the last decade his work is mostly oriented to design of exhibitions and scengraphy. Lives and works in Pula (Croatia).
Rođen 1971. u Puli. Diplomirao 1996. na Studiju dizajna u Zagrebu. Radi kao scenograf, grafički dizajner i li-kovni umjetnik. U zadnjih desetak godina njegov rad je uglavnom ori-jentiran na dizajn izložbi i scenogra-fije. Živi i radi u Puli.
MAJA ČULE
Born in 1984 in Rijeka (Croatia). In her video and photography works, Čule explores social relations scenar-ios from which the image is formed, encompassing both performance and image production. Čule partic-ipated in group exhibitions at the Mini Goethe Institute (New York), Andreas Huber Gallery (Vienna), Hessel Museum (New York), Palazzo Peckham at the 55th Venice Biennale and Arcadia Missa (London). Lives and works in New York (USA).
Rođena 1984. u Rijeci. U svojim fo-tografskim i video radovima, Čule istražuje sisteme socijalnih odno-sa koji stvaraju slike, njezini radovi obuhvaćaju perfromativne i vizualne elemente slike. Sudjelovala na izlož-bama u Mini Goethe Institutu (New York), Galeriji Andreas Huber (Beč), Muzeju Hessel (New York), palači Peckham na 55. Venecijanskom bije-nalu te u galeriji Arcadia Missa (Lon-don). Živi i radi u New Yorku (SAD).
page 36 / str. 36 page 54, 70 / str. 54, 70
8382
MAJA KOLAR
Born in 1988 in Zagreb (Croatia). Working transdiciplinary through various design-led research projects and collaborations, her practice is best characterized as thematic in-vestigation resulting in realms of service, commercial and critical product. Often involved in collabo-rative processes her work tends to develop different design methodolo-gies using innovative and contextual approach as well as system-oriented principles. Engaged in both self- initi-ated and commisioned projects, she operates within the fields of Product design, Visual communications and Graphic Design, Interior Architecture and Spatial Interventions, Research Design, Social Design, Service De-sign, Exhibition and Set Design, Pro-ject Management, Design Strategies, Creative Direction and Concept, Re-search Perspectives, Critical Thinking and Writing, and Design Education. Since 2013 co-founder and member collective Oaza. Lives and works in Zagreb.
Rođena 1988. u Zagrebu. S obzirom na interdisciplinarnost njezinog rada, praksu joj najbolje možemo opisati kao tematska istraživanja bazirana na dizajnerskom radu. Često se uk-ljučuje u suradničke projekte u koji-ma nastoji razviti različite dizajnerske metodologije pomoću inovativnog i kontekstualnog pristupa, kao i načela sustava. Kroz samoinicirane i naruče-ne projekte, djeluje unutar područja produkt dizajna, vizualnih komunika-cija i grafičkog dizajna, dizajna inte-rijera i prostornih intervencija, istra-živanja dizajna, socijalnog dizajna, dizajna izložbi i postava, projektnog menadžmenta, razvoja dizajnerskih strategija, kritičkog mišljenja i pisa-nja te edukacije u dizajnu. Od 2013. suosnivačica i članica kolektiva Oaza. Živi i radi u Zagrebu.
HRVOJE HIRŠL
Born in 1982 in Dubrovnik (Croatia). His art projects exist at the crossing of contemporary art and media art discourse. His main themes range from materiality of the art object, deconstruction of its aura and the limitations of the medium to com-plex systems and cybernetics and their influence on the art move-ments emerging from the period of 50/60s – minimalist and conceptual art. In the last two years his interests gradually shifted into structures, automation and cybernetics, which in a sense is again a search for the supporting structure (medium). His work encompasses: sound installa-tions, video installations, interactive installations, prints, etc. He is a part of AR.S (algoresearch.systems) re-search collective and the founder of I’MM_ Media Lab in Zagreb. Lives and works in Zagreb (Croatia).
Rođen 1982. u Dubrovniku. Njegovi su umjetnički projekti spoj suvreme-ne umjetnosti i diskursa medijske umjetnosti, a raspon glavnih tema kreće se od istraživanja materijal-nosti umjetničkog objekta i njegove dekonstrukcije, istraživanja ograniče-nja medija te kompleksnih sustava i kibernetike, kao i njihovog utjecaja na umjetničke pokrete nastale na nasljeđu '50-ih i '60-ih godina. Za-dnjih je godina interes usmjerio na istraživanje struktura, automatizacije i kibernetike. Njegov opus obuhvaća zvučne i video instalacije, interaktiv-ne instalacije, grafike itd. Dio je AR.S (algoresearch.systems) kolektiva za istraživanje i osnivač I'MM_ Media Lab-a u Zagrebu. Živi i radi u Zagrebu.
page 110 / str. 110 page 112 / str. 112
8584
MAŠA POLJANEC
Maša Poljanec is designer based in Zagreb. Works in the domain of visual communications and prod-uct design, exhibition design and self initiated concepts and research projects and uses design primarily as a means of producing content from cultural and non-governmental or-ganisations. Devoted to teamwork and interdisciplinary approach, since 2013 she is co-founder of the art and design collective Oaza whose au-thors share a research approach to work, as well as continual engage-ment in projects for the independent culture scene, individually as well as in smaller teams. Through projects, lectures, workshops and presenta-tions Maša is trying to contribute to the production and presentations of design in new ways. She works on experiments, projects about shar-ing and connecting the stories and knowledge, and one that are trying to analyze the already existing resourc-es and to use them to build new val-ues. She is interested in work with field of social design practice and in working on the borders of tradition-ally defined disciplines removing the borders between them.
Rođena 1983. u Zagrebu. Kontinui-rano radi u domeni vizualnih komu-nikacija i produkt dizajna, te dizajna izložbi i samoiniciranih istraživačkih projekata. Dizajn koristi prije svega kao sredstvo za proizvodnju sadrža-ja kulturnih i nevladinih organizaci-ja. Od 2013. suosnivačica kolektiva Oaza čije članice dijele interes za istraživački pristup radu te se konti-nuirano uključuju u projekte nezavi-sne umjetničke scene, pojedinačno i u manjim timovima. Projektima, predavanjima, radionicama i pre-zentacijama aktivno doprinosi pro-dukciji i prezentaciji dizajna na nove načine. Radeći na eksperimentalnim projektima koji uključuju dijeljenje i povezivanje priča i znanja te onima koji pokušavaju analizirati već posto-jeće resurse te ih iskoristiti kako bi se stekle nove vrijednosti, njezino polje interesa možemo smjestiti između socijalnog dizajna i rada na granica-ma tradicionalno definiranih discipli-na kojima pokušava iste izbrisati. Živi i radi u Zagrebu.
MAURO MASSAROTTO
Rovinj born, Florence educated, he worked in Milan and Barcelona be-fore founding his Sheriff & Cherry design studio in 2004 where he was working for Ecco, Modular People, Colette, Liberty London, Ellesse, La-coste, Ghetaldus, Havaianas among others. Mauro was responsible for redesign and rebranding Startas, the first Yugoslavian sneaker from the 70’s to the world, and reinvigoration the cult label Ellesse Heritage where he designed and creative directed the rebranding of the italian brand. In 2010. he launched the Sheriff&Cher-ry eyewear brand. Mauro lives and works between Zagreb, Barcelona and London.
Rođen u Rovinju, školovao se u Firen-ci, te prije osnivanja svojeg dizajner-skog studija Sheriff & Cherry 2004. radio u Milanu i Barceloni za Ecco, Modular People, Colette, Liberty London, Ellesse, Lacoste, Ghetal-dus, Havaianas. Odgovoran je za redizajn i rebranding branda Startas, prve jugoslavenske tenisice iz '70-ih namijenjene za svjetsko tržište, te za ponovno oživljavanje kultnog branda Ellesse Heritage gdje je kao dizajner i kreativni direktor radio na rebran-dingu. Godine 2010. pokrenuo brand naočala Sheriff & Cherry. Živi i radi u Zagrebu, Barceloni i Londonu.
page 12 / str. 12 page 8 / str. 8
8786
HRVOJE ŽIVČIĆ
Born in 1986 in Zagreb (Croatia). He studied visual communications at School of Design, University of Za-greb and earned his master degree in 2010. In 2011 he was selected, together with Dario Dević, as one of the best New Visual Artists under 30 by New York’s Print Magazine. In 2012 he earned a master degree from Type and Media course at the Royal Academy of Art (KABK) in the Hague. He had two solo exhibitions in Croatian Design Association Gal-lery (2010, 2014) and took part in numerous local and international exhibitions (Germany, UK, Spain, Serbia, Slovenia). Hrvoje works on custom and retail type design pro-jects and has worked for Typonine, Typotheque and Commercial Type in production of typefaces. In graph-ic design, his interests lie in editorial and book design. Since 2013 he is teaching typography at School of Design in Zagreb. Lives and works in Zagreb (Croatia).
Rođen 1986. u Zagrebu. Magistri-rao je dizajn vizualnih komunikacija 2010. na Studiju dizajna u Zagrebu te 2012. završava postdiplomski studij oblikovanja pisma na Kraljevskoj akademiji umjetnosti u Den Haagu (Nizozemska). Zajedno s Darijem Devićem, 2011. bio je na popisu naj-boljih mladih vizualnih umjetnika ispod 30 godina starosti u časopisu New York’s Print Magazine. Dosad je imao dvije samostalne izložbe u Hrvatskom dizajnerskom društvu (2010. i 2014.) te je sudjelovao na brojnim internacionalnim izložbama U Njemačkoj, Velikoj Britaniji, Špa-njolskoj, Srbiji i Sloveniji. Primarni interesi su mu dizajn digitalnih pi-sama, dizajn publikacija i tipografija općenito. Radio je za Typonine, Typo-theque i Commercial Type. Od 2013. predaje tipografiju na Studiju dizajna u Zagrebu. Živi i radi u Zagrebu.
OLEG ŠURAN
Designer based in Pula, graduated at the Arts Academy in Split (UMAS) with BA in visual communications design (2009) and MA in new media design (2011). Takes part of the inter-action Design Workshops organised by the Department of Visual Com-munications Design (UMAS). With Ivica Mitrović, he is an active part of the Interakcije educational plat-form. Exhibited in numerous group and solo exhibitions in Croatia and abroad. Amongst a number of pro-fessional awards and recognitions the Award for Best Professional De-sign in Visual Communications (Cro-atian Design Exhibition organized by Croatian Design Society “1112”, 2012) stands out. Alongside freelance de-sign, he works as an external ex-pert associate at the Department of Visual Communications Design (UMAS). With Andi Pekica and Oleg Morović, he runs the poetry ma-gasine Polet, art organisation Fazan, and web portal nakonjusmo.net. Lives and works in Pula (Croatia).
Rođen 1988. godine u Puli. Radi kao freelance dizajner i vanjski stručni suradnik na Odsjeku za dizajn vizu-alnih komunikacija na Umjetničkoj akademiji u Splitu. Zajedno s Ivicom Mitrovićem, aktivni je član edukacij-ske platforme Interakcije te organizi-ra i vodi radionice iz dizajna vizualnih komunikacija, novih medija i tipogra-fije. Izlagao na brojnim izložbama u Hrvatskoj i inozemstvu. Među broj-nim nagradama i priznanjima ističe se nagrada za najbolji rad dizajna vi-zualnih komunikacija Hrvatskog di-zajnerskog društva na izložbi “1112” 2012. S Olegom Morovićem i Andi-jem Pekicom vodi časopis za poeziju Polet, umjetničku organizaciju Fazan i portal nakonjusmo.net. Živi i radi u Puli.
page 63, 76 / str. 63, 76 page 2 / str. 2
9392
collaborative text utopian collective
plea
sure
gar
den,
frui
t, fe
rtili
ty, E
den,
flor
a an
d fa
una,
bird
s, g
enea
logi
cal t
ree,
th
e tr
ee o
f kno
wle
dge,
tree
of g
ood
and
evil,
the
tree
of l
ife, c
osm
ic tr
ee, s
nake
, ce
met
ery,
wat
er, m
irror
, sou
rce,
four
rive
rs, a
fire
, the
Gol
den
Age
of A
tlant
is,
Arca
dia,
Uto
pia.
The
term
s wer
e m
ore
or le
ss ta
ken
from
the
page
s of
the
book
‘M
an a
nd th
e Tr
ee’, w
ritte
n by
Nik
ola
Visk
ović
.
Mor
e Fo
ucau
lt on
the
Rug.
(A q
uote
.) H
eter
otop
ia c
an b
e a
sing
le re
al p
lace
th
at ju
xtap
oses
sev
eral
spa
ces.
A g
arde
n ca
n be
a h
eter
otop
ia, i
f it i
s a
real
sp
ace
mea
nt to
be
a m
icro
cosm
of d
iffer
ent e
nviro
nmen
ts, w
ith p
lant
s fr
om
arou
nd th
e w
orld
. ‘H
eter
otop
ias
of ri
tual
or p
urifi
catio
n’ a
re s
pace
s th
at a
re
isol
ated
and
pen
etra
ble,
yet
not
free
ly a
cces
sibl
e lik
e a
publ
ic p
lace
. To
get
in, o
ne m
ust h
ave
perm
issi
on a
nd m
ake
cert
ain
gest
ures
suc
h as
in a
sau
na.
Het
erot
opia
has
a fu
nctio
n in
rela
tion
to a
ll of
the
rem
aini
ng s
pace
s. T
he tw
o fu
nctio
ns a
re: h
eter
otop
ia o
f illu
sion
cre
ates
a s
pace
of i
llusi
on th
at e
xpos
es
ever
y re
al s
pace
, and
the
hete
roto
pia
of c
ompe
nsat
ion
crea
tes
a re
al s
pace
– a
sp
ace
that
is o
ther
.
Ephe
mer
opte
ræ —
refe
rrin
g to
spe
cies
that
live
for o
nly
a br
ief m
omen
t, a
fle
etin
g oc
curr
ence
of a
per
form
ance
of s
ingu
lar a
nd tr
uly
rem
arka
ble
voic
es
perfo
rmin
g an
d ch
oreo
grap
hing
spo
ken
expr
essi
ons.
Het
erot
opia
– p
lace
s an
d sp
aces
that
func
tion
in n
on-h
egem
onic
con
ditio
ns.
Spac
es o
f oth
erne
ss, w
hich
are
nei
ther
her
e no
r the
re, t
hat a
re s
imul
tane
ousl
y ph
ysic
al a
nd m
enta
l, su
ch a
s th
e sp
ace
of a
pho
ne c
all o
r the
mom
ent w
hen
you
see
your
self
in th
e m
irror
.
(A q
uote
.) Fo
ucau
lt us
es th
e te
rm ‘h
eter
otop
ia’ (
Fren
ch: h
étér
otop
ie) t
o de
-sc
ribe
spac
es th
at h
ave
mor
e la
yers
of m
eani
ng o
r rel
atio
nshi
ps to
oth
er
plac
es th
an im
med
iate
ly m
eet t
he e
ye. I
n ge
nera
l, he
tero
topi
a is
a p
hysi
cal
repr
esen
tatio
n or
app
roxi
mat
ion
of a
uto
pia,
or a
par
alle
l spa
ce th
at c
onta
ins
unde
sira
ble
bodi
es to
mak
e a
real
uto
pian
spa
ce p
ossi
ble.
He
uses
the
idea
of a
m
irror
as
a m
etap
hor f
or d
ualit
y an
d co
ntra
dict
ion,
the
real
ity a
nd th
e un
real
ity
of u
topi
an p
roje
cts.
A m
irror
is a
met
apho
r for
uto
pia
beca
use
the
imag
e th
at
you
see
in it
doe
s no
t exi
st, b
ut it
is a
lso
a he
tero
topi
a be
caus
e th
e m
irror
is a
re
al o
bjec
t tha
t sha
pes
the
way
you
rela
te to
you
r ow
n im
age.
Com
mon
gro
und
– th
e fir
st im
ager
y th
at w
e sa
w fr
om th
e fir
st ro
undu
p re
pre-
sent
ing
the
arch
etyp
e of
a u
topi
an g
arde
n sp
ace.
All
the
whi
le, w
e ne
ver a
ban-
done
d th
e co
mm
on g
roun
d vi
sion
that
ser
ved
as o
ur s
tart
ing
poin
t. C
omm
on
hum
anity
on
com
mon
gro
und,
the
carp
et is
see
n ge
nera
lly a
s a
hete
roto
pian
ga
rden
; a v
eget
atio
n m
yth,
a p
rimor
dial
gar
den,
a w
orld
of t
he fi
nest
bea
uty,
an
idea
lized
nat
ure,
hap
pine
ss a
nd im
mor
talit
y, e
verla
stin
g sp
ring,
ete
rnal
blis
s,
9594
C2C2
C2 C2
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A1A1
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A1A1 A1
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BOJEA – indigo plava 242B – petrolej plava 152C – prljavo bijela 001
OBRADA / DULJINA1 – boucle (najniže, cca 10mm)2 – šišano kraće (5mm više od bouclea)3 – šišano dulje (15mm više od bouclea)
BOJEA – indigo plava 242B – petrolej plava 152C – prljavo bijela 001
OBRADA / DULJINA1 – boucle (najniže, cca 10mm)2 – šišano kraće (5mm više od bouclea)3 – šišano dulje (15mm više od bouclea)
C2C2
C2 C2
C3
C3
C3
C3
C3
A1B1
B1
B1B1
B1
B1
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B1B3
B3
B3B3
B3
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B3
B3
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B3
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A1A1
A1
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A1A1 A1
A1A1
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A3
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IZGLED TEPIHAindigo plava 242– svijetliji dio je boucle– tamniji dio je šišan da bude cca
15mm viši od bouclea
107106
collaborative text utopian collective
a co
nsis
tent
str
uctu
re o
f sim
ple
mov
emen
ts in
thei
r tog
ethe
rnes
s.
A ru
g –
laye
rs a
nd m
otifs
col
lect
ed th
roug
hout
the
proc
ess
whe
re s
ome
of
them
inte
rpre
t the
mea
ning
of t
he c
olle
ctiv
e in
a d
iffer
ent w
ay –
thro
ugh
the
imag
ery
of a
fam
ily, h
uman
rela
tions
, a m
eetin
g po
int,
com
mon
gro
und.
A
sym
bolic
ally
des
igne
d re
inte
rpre
tatio
n of
gra
phic
ele
men
ts a
nd s
hape
s fo
und
in th
e hi
stor
y of
orn
amen
ts a
nd d
ecor
atio
ns p
lace
d on
the
rug
and
used
as
a m
etap
hor f
or a
‘gar
den’
, a p
lace
of ‘
hete
roto
pia’
in re
latio
n to
‘uto
pia’.
Uto
pian
obj
ects
– p
hysi
cal o
bjec
ts p
lace
d on
the
rug
as a
resu
lt of
acc
epta
nce,
re
spec
t and
dev
elop
men
t of a
col
lect
ive
lang
uage
, for
min
g a
‘mat
eria
lized
’ st
atem
ent.
A se
t of a
typi
cal p
lace
-hol
ders
, em
pty
but n
ot m
eani
ngle
ss, s
et
to tr
ansf
er th
e sp
ace
of d
esig
ners
’ ide
as, o
ne o
r man
y th
ey w
ould
like
to s
hare
w
ith o
ther
s, a
s op
pose
d to
nee
dles
s pr
oduc
tion.
Text
s –
the
final
‘lay
er’ a
nd th
e st
artin
g po
int i
n co
mm
unic
atin
g id
eas.
The
one
w
hich
add
s na
rrat
ion,
a c
onte
xt, d
eriv
ed fr
om a
dia
logu
e in
whi
ch e
lem
ents
of
syn
ergy
took
pla
ce, m
eant
to re
shap
e a
plac
e of
‘sta
te’ i
nto
a pl
ace
of c
on-
tem
plat
ion,
whe
re v
isito
rs a
re in
vite
d to
sta
y an
d ob
serv
e, e
ven
sit d
own
on
the
rug,
in o
rder
to c
hang
e th
eir p
ersp
ectiv
es.
(Dig
ress
ion.
) In
Philo
soph
ical
Inve
stig
atio
ns, W
ittge
nste
in d
iscu
sses
the
lim-
itatio
ns o
f wor
ds h
avin
g a
fixed
mea
ning
. The
phi
loso
pher
sub
stitu
tes
this
re
stric
ting
conc
ept o
f lan
guag
e w
ith a
n es
sent
ially
flue
nt a
nd e
ver-
chan
ging
‘li
ved
real
ity’, w
here
in w
ords
are
not
defi
ned
by th
eir r
efer
ence
to th
ings
, but
by
thei
r use
. Gam
e Pi
ece
is s
ituat
ed in
the
spac
e be
twee
n th
eory
and
pra
ctic
e,
conc
ept a
nd a
ctio
n, b
ut a
lso
betw
een
grap
hics
and
text
. Eric
k Be
ltrán
’s a
rtis
tic
prac
tice
anal
yses
and
refle
cts
on d
isco
urse
con
stru
ctio
ns a
nd tr
ans-
hist
oric
al
know
ledg
e fo
rmat
s. T
he a
rtis
t inv
estig
ates
the
pow
er th
at d
iffer
ent g
raph
ic
syst
ems
exer
t on
thei
r inf
orm
atio
n di
strib
utio
n, a
s w
ell a
s ex
plic
it tr
eatm
ent
on d
iffer
ent c
ondu
cts
and
valu
es.
An a
sym
ptot
e –
a s
trai
ght l
ine
that
con
tinua
lly a
ppro
ache
s a
give
n cu
rve
but
does
not
mee
t it a
t any
fini
te d
ista
nce.
Emer
genc
e –
the
emer
genc
e of
som
ethi
ng la
rger
than
the
sum
of i
ts p
arts
, an
inex
plic
able
forc
e, th
e su
m o
f ind
ivid
uals
, life
, con
scio
usne
ss, p
atte
rns
in
natu
re, i
ce c
ryst
als,
tige
rs…
In p
hilo
soph
y, s
yste
m th
eory
, sci
ence
and
art
, em
erge
nce
is a
cen
tral
theo
ry o
f int
egra
tive
leve
ls a
nd o
f com
plex
sys
tem
s.
Swar
m in
telli
genc
e –
sim
ple
rule
s whe
re th
e w
hole
syst
em is
con
solid
ated
and
st
abili
zed
like
a flo
ck o
f bird
s or
par
amet
ers.
Fol
low
ing
thes
e ru
les
they
cre
ate
109108
collaborative text utopian collective
http
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ux.c
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ourn
al/m
aybe
-it-w
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bett
er-if
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wor
ked-
in-
grou
ps-o
f-th
ree-
part
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f-2-
the-
disc
ursi
ve/
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eb.m
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u/al
lanm
c/w
ww
/fou
caul
t1.p
df
http
s://a
rchi
ve.o
rg/d
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ls/W
eilS
imon
eThe
Nee
dFor
Root
sPre
lude
ToAD
ecla
ra-
tionO
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iesT
owar
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anki
nd
http
://su
perc
omm
unity
.e-fl
ux.c
om/
http
://w
ww
.sha
viro
.com
/Blo
g/?p
=394
http
://w
ww
.ono
mat
opee
.net
/bac
koffi
ce/d
ocs/
pres
s_re
leas
e_O
MP_
75.1.
Enthropy(Death)
I ConsciousnessSyntropy(Life)
Autopoiesis Feedback loopEnthropy(Death)
I ConsciousnessSyntropy(Life)
Autopoiesis Feedback loop
119118
Throughout the history utopia seemed so close and yet so far away, like a fatamorgana that you can see but is still not quite there yet. We had visions of utopia from the previous century that failed dis-astrously, where decisions made by the few ruled over many. Its biggest problem is how to harmonize the structure with the individ-ual freedom. Any system needs order to operate but forced order limits the development of the system. It is just a question of time when it will self regulate and overthrow the imposed structure. This phenomenon of adapting the structure to personal needs in urban planning is called desire path1. It is associated with the erosion caused by people, animals or vehicles in a spontaneous attempt to find the shortest route between two points and not following the constructed path by urban planners.
Our reality revolves around certain natural laws. If you impose a structure that doesn’t follow these laws eventually the system will fall apart. In nature nothing is permanent, everything is in constant flux, the possibility of change and adaptation enables the system to survive. Technology uses and exploits these laws but it can’t change them. It can only follow them. If it could change them, then it would be magic, not technology.
1 https://en.wikipedia.org/wiki/Desire_path
entropia, prototopia, polytopiamultiplicity of an idea
hrvoje hiršl
123122
In this text I will try to outline potential problems (entropia), oppor-tunities (polytopia) and recent historical sources of utopian ideas (prototopia) that came out of distributed networks, rapid techno-logical advancement and collective authorship. Francis Fukuyama said that we live at the end of history2, in a time without alternatives. Lately we noticed that things have actually changed faster3 than expected and we are at the verge of the new beginning. This new era that we are entering is not something that we willingly decided, it was defined by a string of decisions and technological determinism. The only thing that we can do is to jump on to this technological wagon and catch the momentum that will propel us. They say that the history repeats itself but this is a prece-dent and we have nothing to compare it with. This is a leap into the void where exponential growth will cause a rupture (technological singularity)4 in the fabric of space and time and start a new history, the beginning of the posthuman5 stage. Possibly it will not even be written by us but by machines. Maybe there is an opportunity in this big leap into the unknown to reconsider and revive an idea that seems impossible. The process of searching for it could yield some food for thought. We know that over the course of history things that seemed impossible at one point became possible at another. We know that there is no limit for human ambition and curiosity. Of course this comes with a risk, an existential one6. There is a term for it, a Great Filter7, a hypothetical threshold in the advancement of a civilisation, with a high probability of self-destruction.
2 Francis Fukuyama – The End of History, 19893 The Acceleration of Acceleration: How The Future Is Arriving Far Faster Than Expectedhttp://www.forbes.com/sites/stevenkotler/2015/02/06/the-acceleration-of-accelera-tion-how-the-future-is-arriving-far-faster-than-expected/#6c8e54da69204 Ray Kurzweil – http://www.kurzweilai.net/the-law-of-accelerating-returns (accessed 8.8.2016.)5 Hayles, N. Katherine – How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. University Of Chicago Press. (1999). 6 Nick Bostrom – Existential Risks – Analyzing Human Extinction Scenarios and Related Haz-ards, http://www.nickbostrom.com/existential/risks.html7 https://en.wikipedia.org/wiki/Great_Filter
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free postage. Even the infrastructure for such an operation is an engineering endeavor for itself. The profit margins are accounted to shear number of transactions and money circulation. This is a real example of economical alchemy, how to make money somewhere where others can’t. The other important factor for the revival and reconceptualization of the old idea is the unsustainability of the existing economic system that is coming to an end of its progress. Neoliberal capitalism is based on ever expanding competitive market. There is a limit to the growth10, a breaking point when the constant strive for optimiza-tion and cost-cutting reaches a point where the whole process gets automated and substituted by machines. The race for ever-cheaper goods and labor will result in lack of human jobs11 and the old free market paradigm of money circulating in the economy stops to function. Without consumers, the whole system fails. It is becom-ing obvious that we need to resolve a near future problem, how the lack of labor will influence the future economy and how to improve the human condition. What happens when the constant growth and progress stops, when work becomes unnecessary and scarcity is not a question. We are entering a postcapitalist12 era.
Prototopia (Proto + Utopia)The new tools of this immaterial economy are the smart contracts13, decentralized currencies14, and asset ownership in blockchain. DAO (Decentralized Autonomous Organization)15 corporations are the
10 Club of Rome – Limits to Growth, 197211 Self-Driving Trucks May Hit the Road Before Google’s Cars https://www.technologyreview.com/s/601476/self-driving-trucks-may-hit-the-road-before-googles-cars/12 The end of capitalism has begunhttps://www.theguardian.com/books/2015/jul/17/postcapitalism-end-of-capitalism-begun13 https://www.ethereum.org/14 https://bitcoin.org/en/15 The Tao of ‘The DAO’ or: How the autonomous corporation is already herehttps://techcrunch.com/2016/05/16/the-tao-of-the-dao-or-how-the-autonomous-corpora-tion-is-already-here/
Entropia (Entropy + Utopia)Utopia is explained as society of great personal liberty and wellbe-ing. Utopia sounds good on paper but in reality it wasn’t applicable. The idea served as inspiration for different political systems that always ended as dystopian. The same often applies to modernist architecture. The city of Brasilia, the federal capital of Brazil, was a majestic vision that should have probably stayed on the sketch-board. Built in the 60s, they constructed a city that was outside of the human scale, a city monument. A personal grandeur vision of the architects and politicians projected on the inhabitants of the city. The city was build in a way that doesn’t account for the fact that someone will live in it. The restrictive framework of the project is what caused the friction in the system. For a project to succeed there should be some adaptive possibility, an open framework, a set of parameters from which the city will emerge.
The search for utopia is similar to a search for a perpetuum mobile, the hypothetical machine that can run forever with the energy that it produces. In perpetuum mobile you always lose more energy than you get from it, which is due to friction. In utopia there is too much friction between individual spheres and the collective one that holds them together. For it to really function everyone should have its own custom made ‘society’. That is why these projects had never lasted long before they failed. In recent discourse there is an image of technological emergence that will cause complete automation8 of all processes, a post scarcity economy without labor.
The herald of this new economy is China9 where more and more production is steared to automation, where even the cheapest labor forces are not any more cheap enough. The webshops like Alibaba, Banggood, Dealextreme sell cheap electrical goods with
8 Why Everyone Must Get Ready For The 4th Industrial Revolution http://www.forbes.com/sites/bernardmarr/2016/04/05/why-everyone-must-get-ready-for-4th-industrial-revolu-tion/#198a6b4979c99 China’s Manufacturers Are Shifting Towards Zero-Labor Factorieshttp://io9.gizmodo.com/chinas-manufacturers-are-shifting-towards-zero-labor-fa-1702000971
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future. We are all legal entities, individual companies, and corpo-rations of one. We are traded on the market, based on our personal belongings, creditworthiness of our social profiles, the net worth of our data spheres.
In today’s economy speculating became the new production. This is the new capital and gossip is the new currency. Generating capital based on whim, a temporary trend, misinformation, social network-ing16... The capital is not any more generated by physical production. Physical products are only the byproduct of speculation. The real economy is based on belief, it is a construct, a personal projection made by participants. As long as you believe in it, it exists.
We generate content – the world of big data that is being mined, sold and bought, traded and protected. Most of the discourse of the last several years is around privacy17 and who is collecting what. In the same time our personal spheres have closed in one way (filter bubble)18 and disappeared in another (social networks and data mining19)20. The information is the ore of today. The more you have it the richer you are. You just need to know how to use it. Anything can be valuable. It only depends of your abilities to interpret it. With this knowledge you can predict trends, see hidden patterns, natural laws that no one noticed before, your personal ‘weather’ forecast. These things are the World Wild West for the digital opportunists, for the ones that want to harvest as much of the e-gold as possible before the others even notice it is gold. It is becoming clear that in this post-work society there is no prob-lem if there is no work. In speculative belief based economy the
16 How Does One Fake Tweet Cause a Stock Market Crash?http://business.time.com/2013/04/24/how-does-one-fake-tweet-cause-a-stock-market-crash/17 https://en.wikipedia.org/wiki/Utah_Data_Center18 https://en.wikipedia.org/wiki/Filter_bubble19 Top 10 data mining algorithms in plain Rhttps://rayli.net/blog/data/top-10-data-mining-algorithms-in-plain-r/#.VZf2lJJ127k.twitter20 https://en.wikipedia.org/wiki/Social_media_mining
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flow of assets is the same as production. Businesses already rise and fall in milliseconds based on speculation or a technical glitch21. This is the paradigm of the future. The majority of money is made on speculation, not production. High frequency trading (HFT) es-tablished these rules some time ago. HFT uses supercomputers and algorithms to collect data and autonomously buy and sell stocks. Different companies compete between each others in speed and algorithm sophistication to gain advantage and make more money. These systems are completely autonomous.
Your browsing habits, your facebook post, your instagram pictures influence the global economy but the real enlightenment will come when we get rid of work all together. In the near future all of us will be participants in this jobless economy. Just by existing you are a market entity.
Can Utopia be collectively imagined and builtas a collaborative political project?22
As a byproduct of this decentralization and new collectiveness, we have a number of theoretical and radical political think tanks that work on the edge of reason, anonymity and on the opposite poles of the political discourse. Radical ideas of Post-scarcity economy like Fully Automated Luxury Communism23 and Universal Basic Income24 (UBI) don’t sound any more that far fetched.
21 Error by Knight Capital rips through stock markethttp://www.reuters.com/article/us-usa-nyse-tradinghalts-idUSBRE8701BN20120801$617 Billion in Japan Stock Orders Scrapped After Errorhttp://www.bloomberg.com/news/articles/2014–1.–01/oops-possible-617-billion-trading-er-ror-in-japan22 Stephen Duncombe – Thomas More Open Utopia, Minor Compositions, 201223 Fully automated luxury communism (https://www.theguardian.com/sustainable-busi-ness/2015/mar/18/fully-automated-luxury-communism-robots-employment?CMP=share_btn_tw)24 After Robots Take Our Jobs, This Is What the Economy Will Look Likehttps://mic.com/articles/119896/after-robots-take-our-jobs-basic-income-is-the-best-solu-tion#.f4UohNbhE
CybersinOne of the early examples of such a project is Project Cybersin25, short for cybernetics synergy. In Chile from 1971–1973 Stafford Beer, prominent cybernetician worked for the government of Chile on the project of the first algorithmic city, the predecessor of the big data, that was supposed to collect real-time feed data from facto-ries around the country and display them in the operational control center for coordination and production. It was imagined as distrib-uted decision system. The project never fully came to life and was destroyed after the military coup.
The Dark EnlightenmentThe Dark Enlightenment26 movement, alt-right, a cluster of internet based political thinkers, asks for the new feudalism, for the return to
25 https://en.wikipedia.org/wiki/Project_Cybersyn26 http://www.thedarkenlightenment.com/the-dark-enlightenment-by-nick-land/
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monarchy, wants to reverse the enlightenment into the pre-liberal democracy, to the ‘good old days’. Anarcho-capitalismAnarcho-capitalism27 advocates the elimination of the state and prioritizes the freedom of the individual, private property and the free market. They believe that without the state the system will self regulate and achieve equilibrium. Because of the primacy of private property and of ‘I’, this political constitution is the highest realization of self over collective. Transhumanists/ ExtropistsTranshumanists or their older sibling Extropists desire to prolong their lifespan to a near-immortal state and exist in a world where artificial intelligence and robotics have made work irrelevant. Their purpose of life is to increase the overall happiness of all creatures on Earth through cooperation.28 In that sense it could be perceived as very utopian. The extropists are fighting entropy by technology, trying to defy death and project humans into the new realm of post-human, where we are free from our bodily limitations as a species.
Polytopia (Poly + Utopia)Maybe the realization of a personal utopia will appear soonest in the form of Virtual Reality. Virtual reality is not limited by the laws of physics and can be customized on individual preference. It is a perfect polygon for realization of the personal utopia. By definition the word utopia comes from the Greek: οὐ (’not’) and τόπος (’place’) and means ‘no-place’. What is more a non-place than VR, better yet a UR – (You)Utopian Reality, a space of absolute personal freedom, without any limitations or concerns for others, a space of You, an ultimate realization of the Ego.
27 http://rationalwiki.org/wiki/Anarcho-capitalism28 Nick Bostrom – A History of Transhumanist Thought, 2005
Extropy vs EntropyExtropy is the opposite of entropy. Extropy is life, entropy is decay. Life is organization, collectiveness. Society organizes individual spheres in a collective machine through a set of rules organized in a system. An individual is a part of the collective but not above it. A fixed set of rules in the world of exponential change is not sustaina-ble. The pure utopia could only be if there was a complete freedom of any individual of the collective. When in our body one of the cells starts to follow its own path and starts to multiply, we call it cancer. The paradox with utopia is that it is only possible through a system. But in order to really become polytopian it has to be divided into autonomous individual cells. The friction of the personal spheres decomposes it and transforms it into entropy. It has to decompose to realize itself in full, and yet, to decompose means to die.
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Utopija se kroz povijest uvijek doimala tako blizu, a opet tako dale-ko, poput fatamorgane koja se vidi, ali ipak nije stvarna. U proteklom smo stoljeću imali vizije utopije koje su završile katastrofalno, u koji-ma su odluke šačice malobrojnih vladale većinom. Najveći problem utopije jest kako uskladiti strukturu s osobnom slobodom. Svaki su-stav treba red kako bi funkcionirao, no prisilni red ograničava razvoj sustava. Samo je pitanje vremena kada će se sustav samoregulirati i zbaciti nametnutu strukturu. Taj se fenomen prilagođavanja struk-ture osobnim potrebama u urbanističkom planiranju naziva željeni put1. Povezuje se s erozijom koju su prouzrokovali ljudi, životinje ili vozila u spontanom pokušaju da nađu najkraći pravac između dvije točke umjesto da slijede izgrađene urbanističke puteve.
Naša se stvarnost temelji na određenim prirodnim zakonima. Ako se nametne struktura koja ne slijedi te zakone, sustav će se s vre-menom raspasti. U prirodi ništa nije trajno, sve se stalno mijenja. Mogućnost da se promjeni i prilagodi omogućava sustavu da preživi. Tehnologija primjenjuje i iskorištava te zakone, ali ne može ih mije-njati. Može ih samo slijediti. Kada bi ih mogla mijenjati, to bi onda bila magija, a ne tehnologija.
U ovome tekstu pokušat ću dati kratak pregled problema (entropia), prilika (politopia) te novijih povijesnih izvora utopijskih ideja (proto-
1 https://en.wikipedia.org/wiki/Desire_path
Entropia, prototopia, politopiaMnogostrukost jedne ideje
hrvoje hiršl
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topia) koje su proizašle iz distribuiranih mreža, brzog tehnološkog napretka te kolektivnog autorstva.
Francis Fukuyama rekao je da živimo na kraju povijesti2, u vremenu bez alternativa. U zadnje vrijeme primijetili smo da su se stvari mi-jenjale brže3 negoli smo očekivali te se sada nalazimo pred novim početkom. Za to novo doba u koje ulazimo nismo se sami odlučili, ono je bilo definirano nizom odluka i tehnološkim determinizmom. Preostaje nam jedino da uskočimo na taj tehnološki vlak i uhvatimo zamah koji će nas pogurati. Kažu da se povijest ponavlja, ali ovo je presedan i nemamo ga s čime usporediti. Ovo je skok u bezdan u
2 Francis Fukuyama – The End of History, 19893 The Acceleration of Acceleration: How The Future Is Arriving Far Faster Than Expectedhttp://www.forbes.com/sites/stevenkotler/2015/02/06/the-acceleration-of-accelera-tion-how-the-future-is-arriving-far-faster-than-expected/#6c8e54da6920
kojemu će eksponencijalni rast stvoriti pukotinu (tehnološku singu-larnost)4 u strukturi prostora i vremena te započeti novu povijest, početak posthumanističke5 etape. Moguće je da o njoj nećemo pi-sati sami, nego će to činiti strojevi. Možda u tom velikom skoku u nepoznato leži prilika da ponovno razmotrimo i oživimo ideju koja se čini nemogućom. Proces potrage za njom mogao bi nam dati mi-sliti. Znamo da su kroz povijest stvari koje su se u jednome trenutku činile nemogućima u drugome postale moguće. Znamo da ljudska ambicija i znatiželja nemaju granice. Naravno, uz to ide i rizik, i to egzistencijalni6. To se zove Veliki filter7, hipotetski prag u napretku civilizacije s velikom vjerojatnošću samouništenja.
Entropia (Entropija + Utopija)Definicija utopije jest društvo velike osobne slobode i blagostanja. Utopija zvuči dobro u teoriji, ali u praksi se njezino ostvarenje po-kazalo nemogućim. Ta je ideja bila inspiracija različitim političkim sustavima koji su završili kao distopijski. Isto često vrijedi i za mo-dernističku arhitekturu. Grad Brasilia, prijestolnica Brazila, bio je ve-ličanstvena vizija koja je vjerojatno trebala ostati na nacrtima. Grad je sagrađen 60-ih godina, no projektiran je izvan ljudskog mjerila, poput grada spomenika. Bila je to vizija osobne veličine arhitekata i političara projicirana na stanovnike grada. Grad je sagrađen na način koji ne uzima u obzir da će netko živjeti u njemu. Trenje u sustavu uzrokovao je restriktivan okvir projekta. Da bi projekt uspio, mora postojati mogućnost prilagođavanja, otvoren okvir, skup parametara iz kojih će se izdići grad.
4 Ray Kurzweil – http://www.kurzweilai.net/the-law-of-accelerating-returns (accessed 8.8.2016.)5 Hayles, N. Katherine – How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. University Of Chicago Press. (1999). 6 Nick Bostrom – Existential Risks – Analyzing Human Extinction Scenarios and Related Haz-ards, http://www.nickbostrom.com/existential/risks.html7 https://en.wikipedia.org/wiki/Great_Filter
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Potraga za utopijom slična je potrazi za perpetuum mobileom, hi-potetskim strojem koji radi vječno, pogonjen energijom koju sam proizvodi. Kod perpetuum mobilea uvijek se izgubi više energije nego što je on proizvede, a to se događa zbog trenja. U utopiji se javlja previše trenja između osobnih sfera i kolektivne sfere koja ih sve obuhvaća. Da bi doista funkcionirala, svi bi trebali imati svoje vla-stito ‘društvo’ po mjeri. Zato svi ti projekti nisu dugo potrajali prije nego što su propali. U novijem diskursu javlja se slika tehnološke pojave koja će dovesti do potpune automatizacije8 svih procesa, postoskudična ekonomija bez rada.
Glasnik te nove ekonomije jest Kina9, gdje proizvodnja sve više ide prema automatizaciji, gdje čak ni najjeftinija radna snaga više nije dovoljno jeftina. Internetske trgovine poput Alibabe, Banggooda ili Dealextremea prodaju jeftinu elektronsku robu s besplatnom pošta-rinom. Čak je i infrastruktura za takvo poslovanje golem inženjerski pothvat sam za sebe. Zarada dolazi od pukog broja transakcija i cir-kulacije novca. To je pravi primjer ekonomske alkemije, kako zaraditi gdje drugi ne mogu.
Drugi bitan čimbenik za oživljavanje i ponovno promišljanje stare ideje jest neodrživost postojećeg ekonomskog sustava koji se pri-bližava kraju svoga napretka. Neoliberalni kapitalizam temelji se na trajnom rastu konkurentnog tržišta. Taj rast10 ima svoju granicu, prijelomnu točku kad stalna težnja za optimizacijom i rezanjem troš-kova dosegne točku gdje čitav proces postane automatiziran i zami-jenjen strojevima. Utrka za sve jeftinijom robom i radnom snagom rezultirat će manjkom posla za ljude11, a stara paradigma slobodnog
8 Why Everyone Must Get Ready For The 4th Industrial Revolution http://www.forbes.com/sites/bernardmarr/2016/04/05/why-everyone-must-get-ready-for-4th-industrial-revolu-tion/#198a6b4979c99 China’s Manufacturers Are Shifting Towards Zero-Labor Factorieshttp://io9.gizmodo.com/chinas-manufacturers-are-shifting-towards-zero-labor-fa-170200097110 Club of Rome – Limits to Growth, 197211 Self-Driving Trucks May Hit the Road Before Google’s Cars https://www.technologyreview.com/s/601476/self-driving-trucks-may-hit-the-road-before-googles-cars/
tržišta gdje novac cirkulira gospodarstvom prestat će funkcionirati. Bez potrošača cijeli se sustav urušava. Postaje očito da moramo riješiti problem bliske budućnosti, kako će manjak rada utjecati na buduću ekonomiju te kako poboljšati ljudski život. Što će biti kada trajni rast i napredak stanu, kada rad postane nepotreban, a oskud-nost više ne bude problem? Ulazimo u postkapitalističko12 doba.
Prototopia (Proto + Utopija)Novi alati te nematerijalne ekonomije jesu pametni ugovori13, de-centralizirane valute14 te vlasništvo imovine u lancu blokova. Buduć-nost su korporacije tipa DAO (decentralizirana autonomna organiza-cija)15. Svi smo mi pravni subjekti, zasebne tvrtke te korporacije od jednog čovjeka. Nama se trguje na tržištu na temelju naših osobnih stvari, boniteta naših socijalnih profila te neto vrijednosti naših po-datkovnih sfera.
12 The end of capitalism has begunhttps://www.theguardian.com/books/2015/jul/17/postcapitalism-end-of-capitalism-begun13 https://www.ethereum.org/14 https://bitcoin.org/en/15 The Tao of ‘The DAO’ or: How the autonomous corporation is already herehttps://techcrunch.com/2016/05/16/the-tao-of-the-dao-or-how-the-autonomous-corpora-tion-is-already-here/
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U današnjoj ekonomiji špekuliranje je zamijenilo proizvodnju. To je novi kapital, a trač je nova valuta. Stvaranje kapitala temeljeno na hiru, privremenom trendu, dezinformacijama, društvenim mreža-ma16… Kapital se više ne stvara fizičkom proizvodnjom. Fizički pro-izvodi su tek nusproizvod špekuliranja. Prava ekonomija temelji se na vjerovanju, ona je konstrukt, osobna projekcija sudionika. Dokle god vjerujete u nju, ona postoji.
Mi stvaramo sadržaj – svijet velikih podataka koji se prikupljaju, kupuju i prodaju, razmjenjuju i štite. Većina diskursa posljednjih
16 How Does One Fake Tweet Cause a Stock Market Crash?http://business.time.com/2013/04/24/how-does-one-fake-tweet-cause-a-stock-market-crash/
nekoliko godina vrti se oko privatnosti17 te toga tko prikuplja što. Istovremeno, na jedan su se način naše osobne sfere zatvorile (fil-terski mjehur)18, a na drugi nestale (društvene mreže i prikupljanje podataka19).20 Informacije su rude današnjice. Što ih više imate, to ste bogatiji. Samo morate znati kako ih upotrijebiti. Bilo što može biti dragocjeno. To samo ovisi o vašim sposobnostima da to inter-pretirate. S tim znanjem možete predviđati trendove, vidjeti skri-vene obrasce, prirodne zakone koje nitko prije nije primijetio, imati osobnu ‘vremensku’ prognozu. Te su stvari svjetski Divlji zapad za digitalne oportuniste, za one koji žele prikupiti što više e-zlata prije negoli ostali uopće shvate da je to zlato.
Postaje jasno da u tom postradnom društvu nepostojanje rada nije problem. U špekulativnoj ekonomiji temeljenoj na vjerovanju pro-tok imovine jednak je proizvodnji. Poduzeća se već uzdižu i padaju u milisekundama na bazi špekulacija ili tehničkih grešaka21. To je paradigma budućnosti. Većina novca zarađuje se špekuliranjem, ne proizvodnjom. Visokofrekventno trgovanje (VFT) ustanovilo je ta pravila već prije nekog vremena. VFT rabi superračunala i algori-tme za prikupljanje podataka i samostalno kupovanje i prodavanje dionica. Različite tvrtke natječu se međusobno u brzini i složenosti algoritama kako bi stekle prednost i više zaradile. Ti su sustavi pot-puno samostalni.
Vaše navike pregledavanja Interneta, postovi na Facebooku te slike na Instagramu utječu na globalnu ekonomiju, no pravo će prosvjet-
17 https://en.wikipedia.org/wiki/Utah_Data_Center18 https://en.wikipedia.org/wiki/Filter_bubble19 Top 10 data mining algorithms in plain Rhttps://rayli.net/blog/data/top-10-data-mining-algorithms-in-plain-r/#.VZf2lJJ127k.twitter20 https://en.wikipedia.org/wiki/Social_media_mining21 Error by Knight Capital rips through stock markethttp://www.reuters.com/article/us-usa-nyse-tradinghalts-idUSBRE8701BN20120801$617 Billion in Japan Stock Orders Scrapped After Errorhttp://www.bloomberg.com/news/articles/2014–1.–01/oops-possible-617-billion-trading-er-ror-in-japan
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ljenje doći kad se potpuno riješimo rada. U bliskoj budućnosti svi ćemo mi biti sudionici u toj ekonomiji bez poslova. Bit ćete tržišni subjekt samim svojim postojanjem.
Može li se utopija zajednički zamisliti i izgraditi kao kolaborativni politički projekt?22
Kao nusprodukt te decentralizacije i novog zajedništva, imamo mnoštvo teoretskih i radikalnih političkih trustova mozgova koji dje-luju na rubu razuma, anonimnosti te suprotnim polovima političkog diskursa. Radikalne ideje postoskudične ekonomije poput potpuno automatiziranog luksuznog komunizma23 i univerzalnog osnovnog do-hotka24 (UOD) više ne zvuče toliko nevjerojatno.
KibersinJedan od ranih primjera takvog projekta bio je projekt Kibersin25, skraćeno od kibernetička sinergija. Ugledni kibernetičar Stafford Beer radio je za čileansku vladu od 1971–1973 na projektu prvoga algoritamskoga grada, preteče velikih podataka, koji je trebao u stvarnom vremenu prikupljati podatke iz tvornica diljem zemlje te ih prikazivati u operativnom kontrolnom centru za koordinaciju i proizvodnju. Bio je zamišljen kao distribuirani sustav odlučivanja. Projekt nikada nije potpuno zaživio te je bio uništen nakon vojnoga puča.
22 Stephen Duncombe – Thomas More Open Utopia, Minor Compositions, 201223 Fully automated luxury communism (https://www.theguardian.com/sustainable-busi-ness/2015/mar/18/fully-automated-luxury-communism-robots-employment?CMP=share_btn_tw)24 After Robots Take Our Jobs, This Is What the Economy Will Look Likehttps://mic.com/articles/119896/after-robots-take-our-jobs-basic-income-is-the-best-solu-tion#.f4UohNbhE25 https://en.wikipedia.org/wiki/Project_Cybersyn
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Mračno prosvjetiteljstvoPokret Mračno prosvjetiteljstvo26, skup internetskih političkih misli-laca alternativne desnice, zalaže se za novi feudalizam, za povratak na monarhiju. Oni žele poništiti prosvjetiteljstvo i vratiti se u doba prije liberalne demokracije, u ‘dobra stara vremena’.
AnarhokapitalizamAnarhokapitalizam27 zagovara ukidanje države i daje prioritet slobodi pojedinca, privatnom vlasništvu te slobodnom tržištu. Njegovi pri-stalice vjeruju da bi se bez države sustav samoregulirao i postigao ravnotežu. Zbog primata privatnog vlasništva i ‘ja’, to političko ure-đenje najveće je ostvarenje jastva nad kolektivom.
Transhumanisti / EkstropistiTranshumanisti ili njihova starija braća ekstropisti žele produžiti svoj životni vijek do gotovo besmrtnog stanja i živjeti u svijetu gdje su umjetna inteligencija i robotika učinile rad nebitnim. Njihova je svrha u životu povećati ukupnu sreću svih stvorenja na Zemlji kroz suradnju.28 U tom bi se smislu ona mogla smatrati vrlo utopistič-kom. Ekstropisti se bore protiv entropije tehnologijom te pokušavaju prkositi smrti i odvesti ljude u novo područje posthumanizma, gdje bismo kao vrsta bili slobodni od svojih tjelesnih ograničenja.
Politopia (Poli + Utopija)Možda će se ostvarenje osobne utopije najprije pojaviti u obliku virtualne stvarnosti. Virtualna stvarnost nije ograničena zakonima fizike i može se prilagođavati pojedinačnim sklonostima. Ona je sa-vršeni poligon za ostvarenje osobne utopije. Riječ utopija dolazi od grčkog οὐ (’ne’) i τόπος (’mjesto’), a znači ‘ne-mjesto’. Što je više ne-mjesto od VS, ili još bolje, US – utopijske stvarnosti, prostor pot-
26 http://www.thedarkenlightenment.com/the-dark-enlightenment-by-nick-land/27 http://rationalwiki.org/wiki/Anarcho-capitalism28 Nick Bostrom – A History of Transhumanist Thought, 2005
pune osobne slobode, bez ograničenja ili brige za druge, prostor za Tebe, vrhunsko ostvarenje Ega.
Ekstropija i entropijaEkstropija je suprotnost entropije. Ekstropija je život, entropija je propadanje. Život je organizacija, zajedništvo. Društvo organizira osobne sfere u kolektivni stroj putem skupa pravila organiziranih u sustav. Pojedinac je dio kolektiva, ali nije iznad njega. Nepromjenjiv skup pravila u svijetu eksponencijalne promjene nije održiv. Čista utopija mogla bi postojati samo kad bi svi pojedinci u kolektivu imali potpunu slobodu. Kad jedna od stanica u našemu tijelu počne sli-jediti vlastiti put i počne se množiti, nazivamo je rakom. Paradoks utopije jest da je moguća samo kroz sustav. No da bi doista postala politopijska, mora se razdijeliti na autonomne zasebne stanice. Tre-nje osobnih sfera razgrađuje ju i pretvara u entropiju. Mora se ras-pasti da bi se u potpunosti ostvarila, a opet, raspadanje znači smrt.
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