might be generally discussed as part of developments in networking areas. Due to the obvious relevance of arts in modern societies, artistic perspectives on the changing demands from the arts - and vice versa - can gain certain results to be estimated as valuable input to ongoing discussions on translocal networking and arising new models of participation and resource development in a global share of resources.

Digitally based networking art did not only bring a new paradigm to traditional art itself. While highly interdisciplinary it also offers a new relationship between artists and society. Artists can step out of their roles as aesthetical jesters and can offer models with relevancy for a lot of fields. Artistic networking connected with artistic research offers if not answers then elaborate questions which have a meaning on how society in general and its subsystems will organize itself in their digital future. In the following we sketch some of travellab's ideas on the arts of networking and artistic research. They are to be precised by researched examples by our own and other groups' practices. We want to provide insight in these deliberations, which are work in progress. Especially we offer artistic research on :

• environmental conception
• resource management and economies
• touching questions of design of the research
• methodology
• vocabulary
• resources
• evaluation
• publication

within the shared development of a network collaboration.

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> artistic research

... might be discussed as part of developments in networking areas. The (obvious) relevance of arts in modernity will back up the evaluation of artistic perspectives on changing and probably new demands from the arts, as a valuable input to contemporary discussions on new models of resource development and participation.

A first and necessary step is to estimate what the artistic of a research covers. We are concerned about artistic modes, behaviour and participation, leading to a framework for evaluable access to a generative networking experiment with practical impacts on crosscultural and n-disciplinary communication. Referring to a loose new media concept of a cross mix real time rendering of discourses and material by engaged entrepreneurs, the evaluation of research as part of an artistic gesture might generate a communicational feedback, triggered by active design of perception and distribution of compatible artistic identities and artistic workflows and just update the globalized discussion. Thematically there are various fields to look at from an artistic point of view on networking and engagement. One might search for impacts on the development of new methods in knowledge distribution and cultural exchange. Driven by an open minded discussion and a post-chauvinist-colonialist gesture in communication. Artists - and of course not only artists do so - live and experiment on the level of an intermediate relation between practices and theories, sometimes concerned about being in the world as a shared resource.

The arts of tomorrow still will have to be about experience, invention and creation of environments and workflows. The participation in development of dedicated methods, tools and vocabulary to generate flows between knowledge, models of thought, design and strategies for participation with evaluable impacts on networking environments, should gain adequate perception and attention of artistic creation.

Thus the travellab associates engage in the arts of networking. Starting with a temporary experimental setup. To trace definitions to be rendered and evaluate dispositions, to search and create tools for collaboration and communication, engage in crosscultural and transdisciplinary workflows, thus to give an overview and create a tangible and transforming matrix of knowledge and design, fitting to the purposes of an updated discussion on arts, aesthetics, knowledge, socio-economics, and interrelated topics. Do resource management and environmental conception show artistic input as relevant to the discursive discussion? The development of socio-topological spheres, where artistic workflow and standard exchanges emerge, gives an experimental and valuable input to networking areas. Thus to research, one must elaborate and demonstrate artistic ways of performance and practice by handling the environmental structures according to the needs of cooperative sets. By definition artistic research should not be obliged to use certain models and to produce final results. Intellectually and aesthetically it deals in a broader sense with the questions about modes of active participation in networking within an artistic perspective. This might trigger an open-minded discussion on environments and cross-referential concepts. An intermediate goal would be to sketch redundant activities in communication within a distribution of artistic identity. This can be done through analyzing the structural development of connectivity, the standard of dependencies, the differentiation of roles and models, as well as the necessities of automated environmental deliverance.

First of all it is necessary to define what artistic research would cover. Second approaches will be framed concerned about artistic modes, behaviour and participation, leading to a framework of access to cross-cultural and transdisciplinary communication. Evaluating research as part of an artistic gesture might generate a feedback into societies, triggered by active design of perception and distribution of artistic identity and artistic work as updates to a globalized discussion.

Thematically there are various fields to engage from an artistic point of view, evaluating impacts on the development of new methods of knowledge distribution and cultural exchange. Driven by an open minded discussion and a post-chauvinist/colonialists gesture. Artists live and experiment on the level of an intermediate relation between practices and theories, concerned about being in the world as shared resource. The arts of tomorrow will be concerned about experience, invention and creation of environments and workflow and the aim to create dedicated methods, tools and vocabulary to achieve the artistic task of generating flows between knowledge, models of thought, design and strategies for participating in solutions with evaluable impacts on societies, leading to an adequate perception and attention to artistic creation.

Thus the travellab_associates engage in researching the arts of networking. Starting with an experimental setup, tracing definitions to be rendered and evaluated, searching and creating tools for design and communication, engaging in cross-cultural and transdisciplinary workflow, thus to give an overview and create a matrix of knowledge and design fitting the purposes of an updated discussion on arts, aesthetics, knowledge, socieo-economics, and interrelated topics.

Resource management and environmental conception show artistic input as relevant to the discursive discussion. The development of socio-topological spheres, where artistic workflow and standard exchanges emerge, give an experimental and valuable input to networking areas. Thus to research, one must elaborate and demonstrate artistic ways of performance by handling the environmental structures according to the needs of cooperative sets. By definition artistic research is not obliged to use certain models and to produce final results. Intellectually and aesthetically it deals in a broader sense with the question of non-explicit knowledge, thus providing a topological map concerned about modes of active participation within an artistic perspective. This might trigger an open-minded discussion on environments and cross-referential concepts.

An intermediate goal would be to sketch redundant activities in communication within a distribution of artistic identity. This can be done through analyzing the structural development of connectivity, the standard of dependencies, the differentiation of roles and models, as well as the necessities of automated environmental deliverance.

> fields of research :

artistic environments, artistic laboratories - in search of roles and models for active artistic participation in societies changing demands from the arts, environmental and communicative tools have to be defined according to the artistic challenges made up by the necessites of deliverance. An artistic environment implemented in dislocated networking and collaboration of a 21st century is able to connect trans-locally and provide the necesseary links to communicative and reproductive resources, to host an elaborated artistic workflow, where independency shifts to the definition and selection of specific dependencies according to the topology of a hosted project.

> economical systems and artistic interchange :

there is a vault of acknowledgment to the basics of human behaviour dealing with economical forces. every move has got certain topological inherance due to the acknowledgment of materia and energy as life sources. fundamendalism usually declares a certain reality as the only one to exist or at least to work properly. within in its own existance by itself through the neccessity of origin. moderate thought finds differenciation and various principles amongst common and specific rules of performance.

> axiomatic :

as a matter of fact the usual primary situation for various artistic projects is depending on the fields of actual production with in societies interlinked ressources and environmental situations. Conceptual awarenes of artistic interests as well as those of a managment exists in a certain flow of a communicational setup. Artists have to define the content of their managed art. We are concerned with networking as social and economical relation, that makes it possible to work in a flexible way to be able to communicate with highly integrated (institutionalized/corporate) domains. We are confronted with a discussion on a fundamentalist globalized antimarket situation where scenarios of creating nonlinear economics becomes a crucial task in overriding obsolete systems of thought. By tracing selforganisation and nonlinear sciences, we understand, that societies are a heterogenous collection of processes.

> tactical enterprises :

If it comes to artistic participation in the spheres of flow (that can be considered as the integrated global network, where the self (as identity based realization of image) and the net are two gravitational forces in a dynamic interplay, the physical space becomes interfaced via the design, that is undoubtly component of the internal logics and structures. If its about installing environments and knowledge based economy we cant forget about a design, that guarantees access in creating feasable sketches and scenarios. as far as it is about economy and corporate identity, where identiy is based on the logics of certain econmies, identity may be defined as the process of construction of meaning on the basis of a cultural attribute, or related sets of cultural attribute, that is/are given priority over other sources of meaning. The corporate as structure incorporating internal and external flow with in and out put relations, (we can say according to its interfacial design), is defined through its identity, based on the work done in the process of design. under networking conditions it needs a compatible one, even if its an artistic.

> networked space / on networks :

Self-organizing networked social systems generate a social intelligence or knowledge that is shared, not individualized.

> knowledge as a process :

a constructive activity that is attained collectively and emerges through a network interaction. Expansive order - situated and distributed knowledge production in network space (based on ideas/concepts of self-organization)

> the concept of the ongoing conversation :

Based on an autopoietic model knowledge generation is constructed through languaging that takes place between structurally coupled individuals within the consensual domain of a self-organizing networked social system: the ongoing "conversation". Maturana has developed a description of languaging modeled on the idea of a conversation, which is defined as an ongoing coordination of actions of a group of structurally coupled individuals or observers.

> idea networks / conscious ideation / uncertainty :

The word idea is a placeholder for something like an increment of consciousness. And network is an attempt to imagine a model where consciousness is a continuous complex interactive dynamic structure.

> aesthetic conditions in art :

within a network and conceptual implementations (subject of discourse - not declaration?) - network semiotic - the affirmation of identity as the source of meaning in networked systems/identity is much more reflective then it is given credit for. - adaptive learning - strategic operations - environmental analysis/environmental hermeneutics - what is entailment as an art strategy - ontology of simulacra on networks - emergence and scale - spacing. researching the privilege of some groups to change the borders of different spaces; the point of view based on cultural techniques of difference as techniques of power .. - interrelations of art and hacking - social hacks - documentation. It is the only tangible, somewhat-static byproduct of some new media art practices. networked space / on curation_ - New art forms, that take radical departures both in terms of form, and content, and, to a certain extent, context, call for a rethinking of how we evaluate things, how we appreciate them, how we comprehend them, etc. - New models of curation, which do not exclusively restrict themselves to the network but are certainly born of its influence, recognize elements of collaboration in both the selection process and distribution of art. - Artists have shifted from being loners, secluded from the world, creating in a studio, to cultural producers, very much engaged with the course of our time, and creating social and cultural comments in collaboration, and borrowing from all kinds of models, ranging from film to philosophy, to advertising, to science, and so on. -We probably will not escape the need to re-examine criteria used to understand what is a valid art form, and what is not. networked space / on collaboration_ a research of collaboration strategies. - "In that collaborations are systems of knowledge production they provide the terrain for colliding sensibilities, paradigms and theoretical conceptions." - Due to an increased emphasis on collaboration the cultural production and consumption of art has forever changed. A different attitude towards collaboration, one that is less confident in the linearity and inevitability of fact, may be necessary. - In the economy of attention where ideas are product, collaboration is media. institutional interaction. - Whereas, conceptualist models first introduced the collaboration as media in the direct exploration of administration, bureaucracy, partnership, business, the corporation and family organization, (new)media artists have extended these models to incorporate distributed participation, interactive processes and social networks. The very nature of creativity, labor and communications will continue to transform as cultural sensibilities shift with regard to these new mechanisms of human interaction and experience. However, it is the unexpected consequences of collaboration that catalyze critical analysis of political, ethical and cultural issues. - In that collaborations are systems of knowledge production they provide the terrain for colliding sensibilities, paradigms and theoretical conceptions. Collaborations function semiologically. Critical investigation into how new models can be reconciled with the social, economic and political consequences of their implementation is essential? Therefore, research into the epistemic function of collaboration/exchange by artists/curators will assist in the framing questions that serve to direct experimentation and development of new models. How does collaboration change the conception of authorial intentionality and responsibility? By decentralizing authorship, how do we consider information property? - How can a social network of cultural production be an artwork? What about the fading distinction between author and audience? Are such terms obsolete? - New models favor emergence, embedded, entailment, parasite, inferencing and prehension as terms that more effectively describe the associative factors and function of the collaboration as a system. - How does this shift in the taxonomic character effect the expectations of performance? Are these models of collaboration actually emergent systems more so than a traditional cooperative arrangement? If knowledge is the product how is it evidenced? What are the aesthetics of distributed participation and social networks?

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