For quite some time now, many users and developers of FOSS software have been encouraging it’s use by civil society, in social benefit, charity and intervention projects. One sad reality is that many of these projects do not hold the individual freedom that is the heart of the free software philosophy as the main reason to use it, opting instead to cite cost advantages and technical abilities allowing for greater scale of intervention as their major reasons.
While these reasons are good reasons, and important ones, they should not in my mind be held of higher virtue than freedom, which is the single most important reason you can have to do anything. Without freedom, all other noble values, even love must sooner or later be lost.
Thus it is inspiring to see that the free software foundation has decided to honour those projects which use free software in ways that are beneficial to a wider part of the social sphere. This is a subtle way to remind those projects just where this software came from. These projects bring benefit in a wider part of the social sphere, but they must remember that bringing freedom is a noble goal in itself and not be afraid to capitalise on it, even if we have come to live in a world that considers individual freedom a swearword – that makes it even more important for especially civil uplifted projects to hold it as a high virtue.
Read the original announcement
left: Marco Cianfanelli @ Gallery Momo.
Each sculpture shown is Untitled, 2005
Altho I could have done without his video piece (and the rest of his work could then have been spread out more, using the blocked out room), this is an absolutely stunning show of emotive and quirky sculptures and sculpture-like, um, thingers. It’s a Joburg must-see. From the Gallery Momo site:
Cianfanelli continues his exploration of computer aided design in the realisation of his work. He is exploring new ground in terms of exploiting that data to inform and understand new forms and meaning. Measurement has become a key instrument for the artist, who has come to the conclusion that the digital realm is merely an evolution of the first moment when humans started to measure the world around them. In addition digitally designed and precision laser cut form is no longer an end product but potentially a starting point to configuring work.
Over the past ten years, Cianfanelli has explored various possibilities for artistic intervention in the public and commercial realm. This activity has developed to the point that not only has the gap between gallery and project work narrowed but project work has reached a level of sophistication that it has started to inform and develop the artist’Äôs work produced purely for exhibition.
New/better image © Christo Doherty – thanks Christo!
Doina Kraal @ The Drill Hall, image © Christo Doherty. It’s Simon Gush’s fault that I don’t know the installation’s title. Be angry at him.
A small gathering of local artists, scholars and art appreciators showed up for Doina Kraal’s short-lived installation at the Drill Hall last night, at around eight PM. It only opened on Wednesday and closed last night (and my “source” – hee – doesn’t know the title), but I’m so glad I made the effort to visit (thanks, Christo, for the ride!).
My image, as usual, does no justice. There were basically six cut outs and six slide projections of trees, nearly matched up, and spread spaciously throughout the room. Wind, people, and anything effecting the air made both the suspended projections, and their similarly hung “screens,” move ever so slightly. And since I love Elizabeth Ermarth so much, I’ll quote her and say, “I swing therefore I am.”
Subtle and beautiful.