[spectre] transmediale @ Pariser Platz: Paik, Kempelen, DDR, Edition Edison
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Newsletter 2.1.2007
transmediale.07
unfinish!
January 31 - February 4, 2007
Akademie der Kuenste
Berlin, Hanseatenweg 10
transmediale @ Pariser Platz
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1. transmediale @ Pariser Platz
2. Nam June Paik: There is no rewind button for life
3. Kempelen - Zwei Maschinen
4. Media Art in the GDR?
5. Edition Edison
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1. transmediale @ Pariser Platz
The transmediale.07 programme includes a series of events that are being
presented outside the main festival venue of the Akademie der Kuenste on
Hanseatenweg. The new building of the Akademie der Kuenste on Pariser Platz is
an important second venue, where the festival week already begins a day before
the official opening, with an hommage to Nam June Paik who died exactly one
year ago.
Akademie der Kuenste, Pariser Platz 4, 10117 Berlin-Mitte
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2. Nam June Paik: There is no rewind button for life
Monday, January 29
Nam June Paik, the pioneer of Video Art, died on January 29th, 2006. Born in
Korea he came to study music in Germany in the late fifties, before he engaged
in the Fluxus movement as a visual artist. Although he left for New York in
1964 Germany remained to be his 'artistic homeland'. The Akademie der Kuenste
commemorates its prominent member.
18 h Traditional Korean music in the Foyer and other spaces
19 h Opening Klaus Staeck, followed by Paiks Kosmos. Introduction Wulf
Herzogenrath. Performances by Kunsu Shim, Gerhard Staebler und Mario Bertoncini
21 h Panel discussion with Mary Bauermeister, Pash Buzari, Anne-Marie Duguet,
Wulf Herzogenrath, Ira Schneider, Emmett Williams (invited). Moderation Manfred
Eichel
23 h Music performance by John Cage, played by Mario Bertoncini. Followed by
falling piano.
18 h - 24 h Video works by Nam June Paik: 'A Tribute to John Cage' (1973),
'Global Groove' (1973), 'Allan 'n' Allen's Complaint' (1982), 'Documenta 6
Satellite Telecast' (1977), 'Good Morning Mr. Orwell' (1984), 'Merce by Merce
by Paik' (1978), 'Stockhausen's Originale: Doubletakes' (1964-94), 'A Tribute
to Nam June Paik' (1982).
Installations by Nam June Paik ('Mercury', 1991) and Toni Serra, winner of the
NJP Award for 2006
Admission 10 Euro, reduced 7 Euro
Ticket Hotline: +49-(0)30-20057-2000
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3. Kempelen - Zwei Maschinen / Two Machines
Saturday, February 3, 15 h
Wolfgang von Kempelen, scholar and administrator in the court of
Maria Theresia,
left many humble traces in history, the most memorable of which are his Talking
Machine and his chess-playing android. In 1769, Kempelen presented a mechanical
chess-player, dressed in an oriental costume. The 'Chess Turk' became
one of the
great technical sensations of the 18th century. However, only ostensibly had an
automaton taken control of rationality, for on the inside, a man was hidden. In
contrast, Kempelen's Talking Machine was based on the ideas of
enlightenment and
was supposed to give an audible voice to deaf people. The
construction resembled
the human apparatus of articulation, and Kempelen's 1791 publication about the
mechanism of human speech marked the beginnings of experimental acoustics.
The event mainly revolves around the presentation of the 'Kempelen Box' with
reconstructions of both machines, which were developed and built at the
University of Applied Art Vienna between 1999 and 2001.
Participants: Brigitte Felderer, Jakob Scheid, Ernst Strouhal
Presented by: Siegfried Zielinski
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4. Media Art in the GDR?
Independent Film and Media Art in the GDR between 1976-1989
Sunday, February 4
In the last years of the GDR there was a lively film subculture that existed
beside the official image factories in Babelsberg (DEFA movies) and Adlershof
(TV). Multiple cine-films were produced and shown in private spaces, churches,
galleries, concert halls and improvised festivals. The medium of 'Super-8 film'
was first discovered in the late 70s by painters who adopted the Soviet Quarz
camera. Multimedia activities by A.R. Penck in Dresden or Lutz Dammbeck in
Leipzig triggered a veritable wave of films by painters, which later also
reached East Berlin.
16 h Film programme 'Revision DDR' (with works by Lutz Dammbeck, Joerg Herold,
Else Gabriel, Via Lewandowsky, Yana Milev, Ulrich Polster)
18 h Discussion 'Media Art in the GDR?' (in German) with Lutz Dammbeck, Else
Gabriel, Claus Loeser, Helke Misselwitz, Klaus Staeck, Christoph Tannert,
Dieter Daniels
20 h Film programme 'Films by Painters in the GDR' with works by Lutz Dammbeck,
Helge Leiberg, Cornelia Schleime, Andreas Dress, Christine Schlegel, Juergen
Boettcher, A. R. Penck. Film programme curated by Claus Loeser, Archiv
ex.oriente.lux
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5. Edition Edison
Workshop Installation: February 1 - 3
[spectre] n0name newsletter #100
|-- Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 --| n0name newsletter #100 Mo., 28.12.2006 00:13 CET *Inhalt/Contents* 1. Rezension von Sabine Nuss. _Copyright Copyriot_ 6 2. Nick. _Roman_ (Fortsetzungsroman) Teil 64 9 KB, ca. 4 DIN A4-Seiten 1. Rezension von Sabine Nuss. _Copyright Copyriot_ 6 Fuer wen machen wir uns diese Arbeit, wo wir doch nicht einmal mit 10 Fingern tippen koennen? Warum schenken wir diese optische Wahrnehmung und Interpretation der Zeichenketten? Was ist es, das dieses Pathos der Aneignung macht, diese Lust am Unterminieren, die Freude an der kleinen Subversion? Wie geht die uneigentliche Kritik des propagandistischen Kults am juridischen CC Lizensismus und der Hoffnung, die Gesellschaft von Innen heraus, quasi wie im Wochenendguerillakino veraendern zu wollen? In Ihrer Einleitung schreibt Sabine Nuss in _Copyright Copyriot: Aneignungskonflikte um geistiges Eigentum im informationellen Kapitalismus_. Muenster: Westfaelisches Dampboot, 2006. 269 S. - EURO 19,90. Erschienen: Oktober 2006: In den letzten Jahrzehnten haben sich die Informations- und Kommunikations-technologien in bislang ungekannter Geschwindigkeit entwickelt. Die weite Ver-breitung dieser Technologien hat in den industrialisierten Gesellschaften zu tief-greifenden Veränderungen geführt. Häufig wird dieser Prozess als fundamentaler Wandel der Gesellschaft wahrgenommen, was sich bereits in der Terminologie widerspiegelt, mit der diese Veränderungen charakterisiert werden: So ist von der „informationstechnischen Revolution (Seitz 1999) oder der „digitalen Revoluti-on (WSIS 2004) die Rede, und es ist mittlerweile ein Allgemeinplatz, dass die „Industriegesellschaft des 20. Jahrhunderts im Begriff ist, von einer „Wissens-gesellschaft oder „Informationsgesellschaft abgelöst zu werden. und Tatsächlich hat die Verbreitung der neuen Technologien, deren populärstes Element das Internet darstellt, Auswirkungen in allen Lebens- und Arbeitsbereichen. So machen die Informations- und Kommunikationstechnologien neue, flexible Arbeitsformen wie etwa Telearbeit möglich, die sowohl das Arbeits- als auch das Privatleben der Produzenten erheblich verändern. Auch ist die weltweite Verlage- rung von Produktionsstätten - ganz oder in Teilen - zwar nicht grundsätzlich neu, unter den informationstechnologisch gestützten Produktionsbedingungen finden sie aber in einer ganz anderen Qualität statt. Und schließlich wären die ohne nennenswerte Zeitverzögerung interagierenden Finanzmärkte ohne die neuen Technologien nicht möglich. Womit, nebenbei, Klischees der neuen oekonomischen Gesellschaft - auch dem grob globalisierungskritischen Schema entsprechend - aufgezaehlt waeren, einschlieszlich der Gewalt Eigendynamik von Medientechnik selbst auf die Erweiterung der Warenwelt in den Maerkten: Der moderne Kapitalismus benutzt die neuen Technologien aber nicht nur als Hilfsmittel für bereits vorhandene Verwertungsprozesse, die neuen mit der digita-len elektronischen Datenverarbeitung entstandenen Produkte und die „virtuellen Welten des Internet werden selbst zu einer immer wichtigeren Anlagesphäre von Kapital. Allerdings geht der Wandel hin zu einem „informationellen Kapitalis-mus (Castells) nicht friktionsfrei vonstatten, sondern ist überzogen von vielfäl- tigen sozialen Verwerfungen und gesellschaftlichen Konflikten. Ein zentraler Konflikt dreht sich um eigentumsrechtliche Fragen: Eine der Voraussetzungen erfolgreicher Kapitalverwertung sind gesicherte Eigentumsrechte. Gerade bei jenen digitalen Informationsartefakten, die erst mit der Entwicklung der elektronischen Datenverarbeitung entstanden sind, ist die Sicherung und Durchsetzung dieser Eigentumsrechte zu einem ernsten Problem geworden. Alle nur denk-, hör- und sehbaren, nicht haptisch-fassbaren Inhalte können in die elek-tronische Datenverarbeitung überführt werden, wobei dank des Internet und sei-ner sich zunehmend verbessernden Übertragungsleitungen die Transferzeit dieser digital-elektronisch repräsentierten Schöpfungen geistiger Arbeit extrem kurz ge-worden ist und die Übertragung soweit reicht wie das Netz - global. Dateien verschiedensten Inhaltes können so ohne Qualitätsverlust millionenfach kopiert 13 und verbreitet werden. Das Internet wird vor diesem Hintergrund auch als „gigan-tische, unkontrollierbare Kopiermaschine (Shapiro/Varian 1999) bezeichnet. Die Etablierung von „digitalem Eigentum soll nun diese Kopiermaschine kontrollierbar, d.h. für die Verwertung des Werts verfügbar machen. Mit anderen Worten: Die ubiquitär verfügbaren Inhalte müssen künstlich verknappt werden, da Knappheit eine Voraussetzung für die Verwertung darstellt. Das alles vor dem Hintergrund einer gigantischen Ueberproduktion, auch von allem moeglichen virtuellen Scheiss, der Verknuepfungen eingeht mit alten T.A.Z.- und Rhizom-Hoffnungen:
[spectre] CFP Artivistic07 :: un.occupied spaces
[ please distribute widely ] http://artivistic.omweb.org/modules/wakka/CFP2007 A r t i v i s t i c 2 0 0 7 [ October :: Montreal ] CALL FOR PARTICIPATION [ [ [ un.occupied spaces ] ] ] We are infiltrating all levels of society. Artists, activists, academics, architects, bureaucrats, the homeless, anarchists, first nations, immigrants, doctors, geeks, lawyers, teachers, witches, philosophers, clowns. Artivistic does not only provide a platform for political artists and artistic activists, but partakes in the very movements that work for change. In the pursuit of temporary moments of pleasure, we move towards freedom, for resistance is perpetual and oppression, ever-changing. We oppose the progression of monolithic thought and work for the development of new and dynamic forms of knowledge, exchange, representation and practices of everyday life. We aim to stimulate the mind, the imagination, and the body. We seek alternative models, portals unto un.occupied spaces. Artistivic moves beyond the moment, becoming a process of contamination through interpersonal dialogue that exceeds the event. Building on the 2005 generation, Artivistic in 2007 will continue to ask questions that do not leave us thinking we have resolved the issues. We strongly suggest that you answer one, or all, of our questions with a question of your own. Please submit your proposal for participation related (but not restricted) to the following : what is indigenous ? The very use of the term “indigenous” presupposes a claim to the existence of rights. The right to land. The right of return. The right to self-determination. The right to a life with dignity. In what context does indigenous mean something and how is it represented today? What is the relationship between identity based on place, the land and/or territories and the right to resources? What is indigenous in the context of globalisation, migrations and mobility? (Perhaps the question is not what is indigenous but how is indigenous?) what is a natural space ? The environment is in a pretty bad shape. Yet, does not typical environmentalism often propose “solutions” which alienate the very people that could make a difference by using a false dichotomy (natural/human-made, natural/artificial, nature/culture) and by perpetuating the myth of a pristine nature? Current strategies often make use of fear and guilt to provoke action, yet will we not be helping our environment in a more efficient way once we let go of our arrogance as humans and start living with and in the world rather than of, and alienated from, the world? what is (there) to occupy ? The term “occupation” often inspires images of invasion, enclosure and rape. How are spaces and bodies ruled over? What is public space, ultimately? Why do reserves exist? To ask what is occupation is in fact to ask what is left to occupy for occupation is more pervasive than it first appears. At the same time, occupation echoes resistance when it comes to certain forms of appropriation. So how does one occupy appropriation or how can one appropriate occupation? Your abstract or project description should be no longer than 250 words, your bio 75 words (seriously, we will stop reading after that). Please also include 50 words on how you will stimulate audience participation (sorry, NO paper reading). We welcome proposals for : roundtables, workshops, expeditions walks, interventions, performance, projections, show-and-tells, broadcasts, games, visual arts, media technology arts, street arts, informal arts, experimental arts, is-it-art arts, etc. and any combination of the above. We also welcome proposals having to do with personal experience, lessons learned, or future projects that could include other participants of Artivistic (this is a good place to start organising and collaborating). Deadline : 15 February 2007 Please send your proposals to : [EMAIL PROTECTED] The Autonomous Conference Artivistic also includes an open-source component. Participants will be able to sign up on the day-of to hold an ad-hoc session that is not in the official program but is fully part of the event. You can prepare in advance, but you don’t need to submit anything. Co-presentations Artivistic cannot fulfil its networking and pluralist agenda without collaborating with existing organisations of overlapping mandates. If you are an organisation interested in mutual aid in the context of event planning, please contact us (considerably in advance) with your idea for an event that you would like to organise and present with us : [EMAIL PROTECTED] Volunteers If you want to help us before, during and/or after the event, that would be really nice of you! We need a lot of extra hands with promotion, billeting, set-up, facilitation, cooking, tech, time-keeping, documenting, wrap-up, etc. Please email us at : [EMAIL PROTECTED] Travel funding Unfortunately, we are
