[spectre] CFP: Locative Media Summer Conference (Siegen, 3-5 Sep 07 )
From: Tristan Thielmann [EMAIL PROTECTED] Date: 12 Mar 2007 Subject: CFP: Locative Media Summer Conference Locative Media Summer Conference at the Research Center Media Upheavals September 3-5, 2007 University of Siegen, Germany Everything is related to everything else, but closer things are more closely related (Waldo Tobler's First Law of Geography, 1970) Nowadays everything in the media world gets tracked, tagged and mapped. Cell phones become location-aware, computer games move outside, the web is tagged with geospatial information, and geobrowsers like Google Earth are thought of as an entirely new genre of media. Spatial representations have been inflected by electronic technologies (radar, sonar, GPS, WLAN, Bluetooth, RFID etc.) traditionally used in mapping, navigation, wayfinding, or location and proximity sensing. We are seeing the rise of a new generation that is location-aware. This generation is becoming familiar with the fact that wherever we are on the planet corresponds with a latitude/longitude coordinate. The term Locative Media, initially coined in 2003 by Karlis Kalnins and the 2006 topic of a special issue of the Leonardo Electronic Almanac, seems to be appropriate for digital media applying to real places, communication media bound to a location and thus triggering real social interactions. Locative Media works on locations and yet many of its applications are still location- independent in a technical sense. As in the case of digital media, where the medium itself is not digital but the content is digital, in Locative Media the medium itself might not be location-oriented, whereas the content is location-oriented. Can Locative Media like digital media thus be understood as an upheaval in the media evolution? This is one question we want to discuss at the Locative Media Summer Conference in Germany. Locative Media can now be categorized under one of two types of mapping, either annotative (virtually tagging the world) or phenomenological (tracing the action of the subject in the world). Where annotative projects seek to demystify (see all the Google Earth Hacks), tracing-based projects typically seek to use high technology methods to stimulate dying everyday practices such as walking or occupying public space. The Japanese mobile phone culture, in particular, embraces location-dependent information and context- awareness. It is thus projected that in the near future Locative Media will emerge as the third great wave of modern digital technology. The combination of mobile devices with positioning technologies is opening up a manifold of different ways in which geographical space can be encountered and drawn. It thereby presents a frame through which a wide range of spatial practices that have emerged since Walter Benjamin's urban flaneur may be looked at anew. Or are Locative Media only a new site for old discussions about the relationship of consciousness to place and other people? In the early days of sea travel, it was only the navigator who held such awareness of his exact position on Earth. What would it mean for us to have as accurate an awareness of space as we have of time? In the same way that clocks and watches tell us the exact second, portable GPS devices help us pinpoint our exact location on Earth. As we dig a bit deeper into how particular Locative Media projects negotiate local and global spaces, we see the increasing technologisation and commodification of urban and public spaces. Are Locative Media the avant-garde of the society of control? If this kind of media practice resides in pure code (tracklogs), what is the difference between Locative Media and software development? Or is the recent rise of Locative Media just a response to the disappearance of net art? In reaching beyond art, many of us are becoming familiar with GPS units, such as navigation systems. GPS technologies now appear in mobile, location-aware computing games such as Mogi or Tiger Telematics Gizmondo which utilize GPS to enable players to see each other's locations. Most of the location-based games nowadays seem to emphasize collecting, trading and meeting over combat. Does this indicate a social trend in mobile entertainment? Do Locative Media generate more accessible than aggressive play plots? Can we say that the numerous distributed geotagging projects (Flickr, Geocaching etc.) unleashed have given rise to a new genre of collaborative geocommunities? Could these geolocated spatio-temporal web portals become a dynamic visualization matrix for all scales, from nano to astro, and incorporate interoperability standards for the biological sciences, the geosciences, history, economics, and other social sciences? And finally, are Locative Media a kind of manifestation of what Bruno Latour means by the Internet of Things ? By geotagging objects instead of people, and having these objects tell us their stories, do we
[spectre] MAP, Mobile Art Production, opening in Stockholm
From: Magdalena Malm [EMAIL PROTECTED] Date: 12 March 2007 9:55:21 AM To: [EMAIL PROTECTED], [EMAIL PROTECTED] Subject: MAP, Mobile Art Production, opening in Stockholm Inauguration of MAP, Mobile Art Production Loulou Cherinet: The Allegory of the Cock Third track, Slussen, Stockholm March 8th – April 1st, opening hours, Thu, Fri 12 - 6pm, Sat, Sun 12 - 4pm. MAP, Mobile Art Production, opens with a video installation by Loulou Cherinet. The Allegory of the Cock was filmed in Addis Abeba in Ethiopia, and deals with the retelling of a tall tale about a blind man, a wedding and a cock. The work will be exhibited in the tunnel that was built, but never used, for the third rail track under Slussen in Stockholm. MAP, Mobile Art Production, is a new art producer that invites artists to create unique projects. In dialogue with the artists, MAP locates the most suitable places, situations, and moments to produce and exhibit art. Magdalena Malm, artistic director for MAP, describes the institution: “The idea behind MAP is to create an alternative to traditional art institutions. Instead of departing in the gallery space, MAP departs from the artistic process. The goal is to create projects that are specific to a certain site or situation and thereby become relevant both to an initiated art audience as well as to a wider public.” MAP opens with a video installation by the Swedish artist Loulou Cherinet. In a seemingly endless sequence of scenes, a story about a blind man, a wedding and a cock is told between different men. The listener and the storyteller appear separate on two large screens in a double projection. The speech is translated from Amharinja and dubbed into Swedish. Somewhere in the gap between language, image, and the story itself reality is playfully mistaken for appearance. Cherinet was educated in Ethiopia and Stockholm, and her work has recently been exhibited at the Modern Museum in Stockholm and at the Biennale in Sao Paulo. www.mobileartproduction.se MAP is supported by Framtidens Kultur. The Allegory of the Cock was produced for the Sao Paulo Biennale, with the support of the Modern Museum, Stockholm. We would also like to extend our gratitude to Banverket and Showlighters as well as Minja Smajic/jobbajobba for his work with MAP’s website and graphic profile. For more information, interviews, or press images - please contact Magdalena Malm 0708-49 13 74, [EMAIL PROTECTED] __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Turbulence Artist's Studio: Continuum. by Michael Takeo Magruder
March 13, 2007 Turbulence Artist's Studio: Continuum. by Michael Takeo Magruder http://www.turbulence.org/studios/takeo/index.htm Needs Flash Player 8+ plugin and stereo audio Continuum. reflects upon the evolution of our collective history through the real-time analysis of global news information networks. As no event transpires in isolation, each moment of our existence is defined by the sum of an infinite number of interconnected occurrences. Given that no individual can absorb and process the totality of this information, how can we obtain an informed notion of the present? Continuum. was commissioned by Oog online (http://volkskrant.nl/oog/), a commentary and opinion platform for the online edition of De Volkskrant (http://www.volkskrant.nl/) a major Dutch daily national newspaper. BIOGRAPHY Michael Takeo Magruder is an American artist based in the UK deploying New and Technological Media within Contemporary Art contexts. He is a long-standing member of King's Visualization Lab located in the Centre for Computing in the Humanities, King's College London. His artworks have been showcased in over 150 exhibitions and 30 countries. Artistically, his interests concern the simultaneous utilization and dissection of new technology as a means to explore the formal structures and conceptual paradigms of the digital realm. He seeks to create artworks in which there are no divisions between technologies, aesthetics, and concepts. For more Turbulence Artists' Studios, please visit http://turbulence.org/studios Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 . Boston: 617.522.3856 Turbulence: http://turbulence.org New American Radio: http://somewhere.org Networked_Performance Blog: http://turbulence.org/blog Upgrade! Boston: http://turbulence.org/upgrade __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] [propaganda] Deambulatorios de una jornada.../Wanderings of a journey...
///scrolldown for english Deambulatorios de una jornada, en el principio y el proyecto Tindaya Una producción del Centro de Arte Juan Ismael, Puerto del Rosario (Fuerteventura) Comisario: Nilo Casares Coordinación Técnica: Mari Carmen Rodríguez Artistas: Fernando Casás Juan Castillo Eduardo Chillida Christo and Jean Claude Santiago Cirugeda Corporación Cultural Amereida (Concomisarada por Claudia Zaldívar y Pablo Brugnoli) Darko Fritz Hamish Fulton Nancy Holt Eva Franco Mattes, alias 0100101110101101.ORG Fernando Lagreca Brian Mackern Óscar Mora Francis Naranjo Luigi Pagliarini Robert Smithson algunas imágenes: http://comisario.net/imagenes.zip descripción Se inaugura durante el día 16 de marzo de 2007 en la isla de Fuerteventura con salida y llegada en el Centro de Arte Juan Ismael, hasta el 14 de abril de 2007. Para profundizar en las relaciones entre el arte y la Naturaleza se propone esta exposición en dos partes bien diferenciadas, una histórica y otra activa, bajo el título Deambulatorios de una jornada, en el principio y el proyecto Tindaya. El principio de la exposición radica en el Centro Juan Ismael donde están expuestas obras cumbre del movimiento artístico consolidado a través de distintos earthworks del Land-Art y cuyo culmen expositivo es el proyecto de intervención de la montaña Tindaya elaborado por Chillida. Aquí contamos, además de con la descripción de la intervención sobre Tindaya de Eduardo Chillida, con obras señeras realizadas por el grupo chileno Corporación Cultural Amereida (Travesía Amereida de 1965), Fernando Casás (Projeto Errante/Entrada na natureza Christo Jeanne-Claude (Wrapped Coast, Valley Curtain, Running Fence, Surrounded Islands, The Gate), Robert Smithson (Spiral Jetty), Nancy Holt (Sun Tunnels), Hamish Fulton (Walking, Walking y Un año -Lanzarote-)... Todas expuestas de manera documental, ya que nos encontramos con arte localizado sobre un territorio muy concreto que no puede ser movido de su emplazamiento original, así que más que expuesto, es evocado a través de los distintos medios previstos por los artistas de este movimiento para trasladar los sitios naturales al nonsite del espacio expositivo. Los Deambulatorios de una jornada son resultado de invitar a varios artistas a realizar intervenciones concebidas para ser accesibles a menos de un día del Centro Juan Ismael. Los artistas invitados son ajenos al Land-Art, aunque con una obra habituada a los espacios públicos, así contamos con The Communication Graveyard, de Luigi Pagliarini (artista italiano que intervendrá en Los Estancos), Metallic, de Francis Naranjo (artista español que lo hará en La Oliva), Fantasma urbano, de Santiago Cirugeda (artista español que irrumpirá sobre El Cotillo), Wir arbeiten für Sie, de Óscar Mora (artista español situado en Costa Calma), Tu imagen, de Juan Castillo (artista chileno que habitará Tiscamanita), 204_NO_CONTENT, de Darko Fritz (artista croata que se asentará sobre El Efeque) y Reenactment of Beuys' 7000 Oaks, de Eva Franco Mattes, alias 0100101110101101.ORG, (artistas europeos que ocuparán el propio Centro de Arte Juan Ismael). Además, y como elemento de continuidad, contamos con la composición sonora Trayectos_sonoros.ftv, obra de los uruguayos Brian Mackern y Fernando LaGreca, que unirá las distintas intervenciones sobre el territorio. El hilo conductor de las intervenciones sobre el territorio es la presencia de lo residual, natural o humano, ya que partimos del proyecto Tindaya de Eduardo Chillida, surgido del aprovechamiento de los residuos minerales extraídos para ahuecar la montaña, residuos aprovechados comercialmente y a resultas de cuya explotación nace la obra de Eduardo Chillida. Siguiendo esta inevitable presencia residual, todas las intervenciones sobre el territorio se realizan sobre zonas residuales, unas generadas por la propia naturaleza, como es el caso, bastante contradictorio ya que un aparente detritus acoge un vergel inesperado, del malpaís tan característico a toda la isla, único caso en que nos ubicaríamos sobre un residuo natural, pues el resto es de raíz antrópica, casos de las huellas dejadas por la excavación para el aprovechamiento de la tierra como lindes viarias y las inscripciones con pequeñas piedras dejadas por las lomas de la isla con distinta intención cultual, que conforman una presencia antrópica débil. Pero también nos encontramos con una presencia antrópica más fuerte en el aeropuerto abandonado, las calles dejadas 'a campo' por la interrupción de un plan urbanístico en El Cotillo o la transformación de los arenales para la explotación turística. De esta manera, los distintos artistas, y siguiendo la pauta de intervenir sobre territorios ya contaminados, pues la Naturaleza pura no existe, característica del mismo proyecto Tindaya
[spectre] Breakfast At Pavilion
BREAKFAST AT PAVILION(A PROJECT INITIATED BY PAVILION MAGAZINE IN THE FRAME OF BUCHAREST BIENNALE)http://blogs.pavilionmagazine.org WHAT`S BREAKFAST The breakfast is the most important meal of the day. Breakfast means reading the newspapers. What if we could get not just mere information but also reactions to those events, could we react ourselves and would we have the opportunity to find new means of interference-different to the usual ones? BREAKFAST seeks to transcend the traditional borders between research, education and presentation and looks for new ways of expression and communication trying to find new answers to some old questions related to politics, aesthetics and content and to reevaluate the conventions of everyday life. Considering all these, BREAKFAST investigates subjects like rhetoric, populism, technology, humanism, politics, relativism, solidarity, post colonialism or inclusion by means of curatorial, artistic and educational projects. BREAKFAST is a platform of debates on contemporary issues that involves proposals, debates, analyses of the contemporary art scene and the international context in which it operates, almost like analytic-(re)productive foucaultian dublet. The project encourages communication, consulting and different forms of collaboration between artists, curators and theoreticians involved in this process by exchanging knowledge and practices about the production of knowledge. INSTRUMENTS BREAKFAST (online) is a series of blogs kept by theoreticians, political analysts, anthropologists, artists and curators. BREAKFAST online series explores on a theoretical level the political and social mission of artistic practice with its necessity of being contextualized. The blogs are written in English or Romanian depending on each participant`s option. The project has also a live form that includes public debates and conferences on the same issues within social political and aesthetic discourses as discussed online. The bloggers The first bloggers involved in BREAKFAST are Catalin Avramescu (Professor of Political Science, journalist and political analist), Eugen Radescu (theoretician, curator and co-director of Bucharest Biennale), Felix Vogel (theoretician and curator) and Razvan Ion (theoretician, artist and co-editor of PAVILION magazine).PAVILION magazine is developing its own blog as an informative platform/structure. The project director of BREAKFAST is Andreea Manolache and the online version is technical designed by Alexandru Enachioaie ([EMAIL PROTECTED])453F,453F,453F.4C46,4C46,4C46Blogs available at http://blogs.pavilionmagazine.org WHAT IS PAVILION PAVILION is an international contemporary art culture magazine whose name alludes to the relative temporary structure of contemporary art.PAVILION`s content varies from articles to essays, interviews and projects` presentations. It is not just a descriptive magazine, its mission is to intervene in cultural and socio-political life. PAVILION is the producer of BUCHAREST BIENNALE. www.bucharestbiennale.orgwww.pavilionmagazine.org __ PAVILION, BUCHAREST BIENNALE BREAKFAST are projects of artphoto asc.office: +4 031 103 4131mobile: +4 0726 789 426 | 0723 033 330ym: artphotoroskype: artphotoroaddress: PO Box 26-0390 Bucharest 14800 Romania ___ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Video Vortex: Responses to YouTube (event discussion list)
Video Vortex Conference: November 30 and December 1 2007, Amsterdam (NL) Organized by the Institute of Network Cultures First announcement, March 15, 2007 Event: http://www.networkcultures.org/videovortex/ List info: http://listcultures.org/mailman/listinfo/videovortex_listcultures.org In response to the increasing potential for video to become a significant form of personal media on the Internet, this conference examines the key issues that are emerging around the independent production and distribution of online video content. What are artists and activists responses to the popularity of ‘user-generated content’ websites? Is corporate backlash eminent? After years of talk about digital conversions and crossmedia platforms we are now witnessing the merger of the Internet and television at a pace that no one predicted. For the baby boom generation, that currently forms the film and television establishment, the media organisations and conglomerates, this unfolds as a complete nightmare. Not only because of copyright issues but increasingly due to the shift of audience to vlogging and video-sharing websites as part of the development of a broader participatory culture. The opening night will feature live acts, performances and lectures under the banner of video slamming. We will trace the history from short film to one-minute videos to the first experiments with streaming media and online video, along with exploring the way VJs and media artists are accessing and using online archives. The Video Vortex conference aims to contextualize these latest developments through presenting continuities and discontinuities in the artistic, activist and mainstream perspective of the last few decades. Unlike the way online video presents itself as the latest and greatest, there are long threads to be woven into the history of visual art, cinema and documentary production. The rise of the database as the dominant form of storing and accessing cultural artifacts has a rich tradition that still needs to be explored. The conference aims to raise the following questions: - How are people utilising the potential to independently produce and distribute independent video content on the Internet? - What are the alternatives to the proprietary standards currently being developed? - What are the commercial objectives that mass media is imposing on user-generated content and video-sharing databases? - What is the underlying economics of online video in the age of unlimited uploads? - How autonomous are vloggers within the broader domain of mass media? - How are cinema, television and video art being affected by the development of a ubiquitous online video practice? - What type of aesthetic and narrative issues does the database pose for online video practice? Conference themes: Viral Video critique Vlogging Critique Participatory Culture, Participatory Video Real World Tools and Technologies Theory History of the Database Narrative and the Cinematic Database Taxonomy and Navigation Internet Video: Art, Activism, and Public Media Evening Programme / Exhibition Viral Video critique YouTube made 2006 the year of Internet video. The video content produced bottom-up, with an emphasis on participation, sharing and community networking. But inevitably like Flickr being consumed by Yahoo, Google purchased YouTube. What is the future for the production and distribution of independent online video content? How can a participatory culture achieve a certain degree of autonomy and diversity outside mass media? What other motives does Google have for Internet video in terms of searching and advertising? After the purchase of YouTube, Google was asked to remove a number of clips that breached copyright laws. What comparisons can be made between the Napster incident with audio and video-sharing websites? Vlogging Critique This section will deal with vlogging criticism. Is video blogging a form of text-based blogging with other means? How can we develop a form of criticism, and a critical practice, that is not derogative and yet surpasses the anecdotal diary level? Is vlogging the next stage of ego boosting of the blogger, who wants to raise his or her ranking status? What is a video diary and how can this emerging genre be shaped? Can there be sophistication in ‘vlogging’? How can we overcome the evangelical that stresses the possibilities of gadget features? And how can we overcome the amateurish aesthetics of this new genre? Participatory Culture, Participatory Video The Web 2.0 holds the promise to create a participatory culture that can renew the stagnated democracies in the West. In this utopian approach, the user has the historical task to overcome the old regime of top down broadcast media and create decentralised dialogues. To what extent can user-generated video content be energized by presenting the material as citizen journalism? Is the increased user
[spectre] Integrated Circuit aka Chip (Punkdrillard is dead)
Integrated Circuit aka Chip (Punkdrillard is dead) (38317) 2x: Let's make leftist wordplay Let's play KOOL Paris, Rio, Tokyo and ... (1) are real because of Hyperland The death (of exchange) and the girl (2) I don't understand a word Me and the machines are Integrated Circuit aka Chip The prosthesis is my head (1) Punkdrillard is deaaa...d Punkdrillard is dead (2) Lacanon is dead Fearilio is dead Apocalypse is dead The symbol and the whirl (1) Is this an end? Good buy, buy good Blue Chip (Punkdrillard is dead (2) Lacanon is dead Fearilio is dead Deloes is dead Derridada is ...) (c) Guitar 1, 2 etc. = Finger 0 = String x = Don't play @ = al gusto (1) (2) e |---|---|[EMAIL PROTECTED]|0e |---|[EMAIL PROTECTED]|[EMAIL PROTECTED]|0 H |---|-3-|[EMAIL PROTECTED]| H |---|[EMAIL PROTECTED]|[EMAIL PROTECTED]|0 G |-2-|---|---| G |-1-|---|---| D |-1-|---|---| D |---|-2-|---| A |---|---|---|xA |---|-3-|---| E |---|---|---|xE |---|---|---|0 IV III (((+))) O /|\ /\ www.radi0.tv @ globalRADIO So., 18.03.2007 20:00 Uhr. ca. 60 Min. Requiem fuer den Baudrillard. globalRADIO + radi0.tv live aus dem Raum in Berlin, Schwedenstr. 16. Im Dschungel der Zeichen ist auch ein improvisierter Nachruf ueber einen Siemens-Professor nicht sicher vor dem toten Marx. Punkdrillard is dead / Lacanon is dead / Fearilio is dead / Apocalypse is dead. Su., 18.03.2007 20:00 h. approx. 60 Min. Requiem for the Baudrillard. globalRADIO + radi0.tv live from the Room in Berlin, Schwedenstr. 16. In the jungle of signs even an improvised memorial to a Siemens-Professor is not safe before the dead Marx. Punkdrillard is dead / Lacanon is dead / Fearilio is dead / Apocalypse is dead. Audiowebstream http://www.gradio.org:7998/listen.pls __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
