Waterman, TL; Catlow, R; (2016) Dining at a Distance. P-E-R-F-O-R-M-A-N-C-E , 3 (1-2) , Article Spring/Fall.

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Text Dining at a Distance: Performing the Commons Across Time and Space | p-e-r-f-o-r-m-a-n-c-e.pdf - Published Version Download (4MB) | Preview

Abstract

The negotiation of the commons is now taking place at full swing in two distinct realms that are increasingly reaching into and shaping one another: the long history of the landscape commons both in cities and in the countryside and in digital networks. In both realms we find the continued project of the Enclosures, appropriating forms of collectively created use value and converting it, wherever possible, into exchange value. Dining at a Distance: Performing the Commons Across Time an... http://www.p-e-r-f-o-r-m-a-n-c-e.org/?p=2668 1 of 16 26/03/2019, 09:46 Creative practices under capitalism have long contained elements of both creation and resistance (or defence), and now these actions, both positive and negative, take place across the digital and situated realms as well as what might now be termed the ‘situated digital’. A number of artists associated with the London-based activist digital arts collective Furtherfeld have sought to embody, emplace, and perform ideas, people, and interactions that are at a distance or distributed across space and/or time as well as revealing the social relations that are produced by infrastructures for distribution and connection, including communication and information networks. Furtherfeld’s Do-It-With-Others (DIWO) ethos has always ensured that, although its primary expressions are digital and networked, that coming together at table over food and/or drink – commensality and propinquity – have been essential to ensure big steps forward in collective endeavour. It became a project to increase opportunities for this international ‘rich networking’ by seeking ways to reach into global ideas and associations by creating, through digital means, commensality without propinquity. This paper will explore the political and theoretical grounding of these eforts using case studies from projects of Furtherfeld-associated artists involving networked food distribution and dining, including Pollie Barden’s ‘Telematic Dinner Parties’, Sophie Hope’s ‘1984’, and Kate Rich’s ‘Feral Trade Café’.

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