[spectre] n0name newsletter #119
|-- Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 --| n0name newsletter #119 Xx., XX.XX.2007 XX:XX CET unvollstaendig! baUstelle *Inhalt/Contents* 1. Nick. _Roman_ (Fortsetzungsroman) Teil 79 2. Kritische Kunstgruppe Critical Art Ensemble. _Elektronischer Widerstand_ 3. Rezension von Sabine Nuss. _Copyright Copyriot_ 23 4. Naive Olive Oil (for the 21st Century) / Naives Olivenoel (fuer das 21. Jahrhundert) 5. ### ### 6. ###Polytechnic kurzer bericht### 31 KB, ca. X DIN A4-Seiten 1. Nick. _Roman_ (Fortsetzungsroman) Teil 79 Baeehb -- baeehb ... Stille. Ein Walzer, dann das Gefuehl von Erhabenheit. Teil 80 im n0name newsletter #120 2. Kritische Kunstgruppe G A D G Ich frage mich was eBay's Fehleinkauf von YouTube mit dem Critical Art G A D etc. Ensemble zu tun hat, wenn Résistance nunmehr elektronisch sei soll Das Diktum lautet Nomadische Macht und Verfluessigung der Zustaende Ist es der alte antimarxistische Postmodernismus, der hier fasziniert? Und warum sollte Dialektik zu Bruch gegangen sein, welches dann verhindere, die Kraefte der Unterdrueckung zu identifizieren? Die Kritische Kunstgruppe (KKG) zeigt gleich auf der allerersten Seite seine Prae-No Logo Statur mit einer Grafik der 4 Himmelsrichtungen von Grossfirmen wie EXXON, IBM, Sony und Mercedes Benz Immer wenn ich meine Tochter verletze, tut es mir nachher leid Wie bezieht sich das auf Thesen wie, dass das Versprechen einer besseren Zukunft immer den Hasard impliziere? Das Nomadentum der Skythen wird uebergeschichtlich auf Akteurismen der geborenen und ungeborenen Kapitalisten angelegt Letztere haetten eine raeuberische Strategie basierend auf der technologischen Erschlieszung des Cyberspace, der - ich wuszte es - immer schon da war und nur auf Planwagen voller Menschen aller Nationen wartet, die soweit nach Westen ziehen, dass sie im Osten rauskommen, weil die Arbeiterbewegungen gescheitert seien, weil die Lohnarbeit der alte Hebel sei, der sich in Tasten verwandelt habe Das war 1995, oder so Ich frage mich was eBay mit dem KKG zu tun hat boeser raeuberischer Kaplism Bloecke aus Nullen und Einsen, die vielbemuehten Symbole als Insignien zur Darstellung der Prozesse bald lichtschneller Maschinen, die er-, be-, und rechnen, werden in Photoshop mit dem Filter Kraeuseln hier und da zu etwa 368% gekraeuselt Das Stichwort lautet Stoerung unter Erschoepfung der Klassenanalyse, Analyse koerperloser Koerper aus Daten, gehortet durch eine Elite, die uns steuert Aber das mit den Aktionen, der Aktion Das Wort war vor wenigen Jahren manchen voellig unbekannt Jetzt steht hier ein Text mit vielleicht 347 mal diesem Wort Und ich lese von Macht, WELCHE? die ihrer nationalen und urbanen Basen entledigt frei durch die elektronischen Leitungen flottiere Denzentralisiert ohne festes Territorium Ihr seid schon wieder auf Al Gore hereingefallen und eure amerikanische Perspektive Die Terra incognita des E-Feldes existiert nicht, solange es nicht gerechnet wurde detournemierend, nicht? Wir sind alltaeglich mehr damit beschaeftigt zu Geld zu kommen, als Widerstand zu organisieren Mit Informationsrealitaet hat das nur wenig zu tun Die implizite These lautet Widerstand folgt der Macht in den Datenfluss Was empfiehlt die KKG? Ephemere, prozesshafte Methoden, anarchische Zellen, Angriffe im Netz Der Angriff auf Informationsleitungen koenne finanziellen Druck bewirken, um zu politischen Verhandlungen zu kommen Es ist ja nur ziviler Ungehorsam Also: Welche Macht? Benennt sie. Ist es das Kapital, oder nur machtvolle, Foucault'sche Macht? Ist die Arbeiterbewegung anachronistisch oder der Aktivismus voluntaristisch? Von Hackern lernen Gut, macht eine kuenstlerische Kritikergruppe Fuer was? Konkret: Widerstand fuer was? Gegen Institutionen, aber fuer was? Es gibt zwei Kluefte im Programm der KKG: die Propagierung von Widerstand ohne Modell fuer den Fall der Ueberwindung der sogenannten Macht und Aufruf zur Aktion ohne genauere Angabe der Verhaeltnisse Mit anderen Worten: Was wollt Ihr? Ihr seht aus wie eine sich selbst befruchtende Orchidee Das Recht auf Aktion in der virtuellen Welt einfordern zum Wohle der Allgemeinheit Und wer ist die Allgemeinheit? Und wo endet diese virtuelle Welt? Zum Wohle Hier liegt etwas auf dem moralischen Grund der Gruppe Irritation wird gefeiert, dynamischer Fluss wird gefeiert Ist es das was ihr wollt, dass wir wollen was ihr nicht wisst? Herausfordern und nomadische Anti-Elite sein? Alan Abel spielen? Gegen das Effiziente sein bei Stigmatisierung des Rationalen Kapitalismus selbst ist irrational Oder ist es der schlimme Exzess aus dem Konsumgut? Das Verhaeltnis von Konsum, Konsumgut und Ueberproduktion ist unklar Der Triumph des Diskursation ueber das Sein Die
[spectre] ART iT e-news
From: [EMAIL PROTECTED] Subject: ART iT e-news Date: Sat, 20 Oct 2007 02:51:08 +0900 ART iT Topics Fourth anniversary, revamped edition on sale http://www.art-it.jp/e_index.php ART iT is happy to announce the release of our seventeenth edition - marking our fourth anniversary - and with it a more article and information-filled revamping of our website. We ask for your continued support of our new print and web editions. ART iT No. 17 Art in Japan and Asia-Pacific Fall / Winter 2007 JPY1,400 / US$15.00 / CAN$18.00 Out of Tokyo: Evolutions in Japanese art Roppongi Crossing Space for Your Future Murakami Takashi Front Cover: Nawa Kohei + Kito Kengo Photo: Ishikawa Natsuko Message from the Editor The Japanese art scene revived and revamped To coincide with our fourth anniversary, we decided to revamp both the content and design of ART iT. The website www.art-it.jp has also been overhauled, with a number of articles and the Exhibition Calendar transferred there. In addition we have launched ART iT e-news, and will offer exhibition reviews plus a plethora of other exclusive content. The art scene changes by the day, and using both print and internet we'll be aiming to respond as quickly as possible. Japanese contemporary art, for a time eclipsed by work coming out of the likes of China and India, is looking healthy again too at long last. A younger generation of artists have honed their abilities and are ambitiously producing and presenting a stream of new work. There have also been some noteworthy successes in relations with the international art world. By an odd coincidence, three shows scheduled for Tokyo this autumn tackle the themes of 'crossing domains', 'intersection', and 'hybridization'. In a land without the history or environment of the West, but where like every other place on Earth globalization is proceeding apace, what constitutes original, distinctive artistic expression? We hope you'll find the answer in this issue of ART iT. Ozaki Tetsuya, ART-iT publisher and editor-in-chief ART iT Topics ART iT website overhauled http://www.art-it.jp/e_index.php Also coinciding with our fourth anniversary, the ART iT website has been overhauled, now providing easy-access, up-to-date information on the ever-evolving Asia-Pacific art scene and marking the launch of the Asia-Pacific's most powerful art website. Taking advantage of the immediacy and convenience of the internet, we'll be updating the following segments on a regular basis including web exclusives. http://www.art-it.jp/e_index.phpwww.art-it.jp http://www.art-it.jp/e_review.phpReviews (New! Web original) ART iT correspondents in Japan and around the world review the shows they've seen and think you should know. http://www.art-it.jp/calendar/e_2.phpExhibition Calendar http://www.art-it.jp/e_schedule.phpSearch ART iT's exhibition calendar has moved to the Web where it is now linked to a gallery list and search engine. Here we can provide broader coverage of the Asian-Pacific art scene and update info as it changes. http://www.art-it.jp/e_smgo.phpArt Market: The Show Must Go On ART iT's popular series on the booming art market has also moved to the Web, where we can report on the turn of events as they happen at key contemporary art fairs and auctions. Plus... http://www.art-it.jp/e_interview.phpInterviews, http://www.art-it.jp/e_patron.phpStructures that support the arts, http://www.art-it.jp/originals02en/ART iT originals, and a plethora of other content including that linked to the magazine. We will also continue to introduce the current and back issues of the magazine, making online subscriptions and purchases easier than ever. So bookmark us and stay tuned! New exhibition reviews http://www.art-it.jp/e_review_detail.php?id=610th International Istanbul Biennial http://www.art-it.jp/e_review_detail.php?id=4Choi Jae Eun: Lucy and Her Time http://www.art-it.jp/e_review_detail.php?id=9Dialogue with the City http://www.art-it.jp/e_review_detail.php?id=7Lee Ufan http://www.art-it.jp/e_review_detail.php?id=8Masada Takeshi: New Paintings http://www.art-it.jp/e_review_detail.php?id=3Morimura Yasumasa: Bi[bi:]-Class, Be Quiet http://www.art-it.jp/e_review_detail.php?id=21Shirana Shahbazi Meanwhile http://www.art-it.jp/e_review_detail.php?id=10Zhang Huan: Altered States New articles http://www.art-it.jp/e_interview01.phpInterview with Ernesto Neto http://www.art-it.jp/e_interview02.phpConversation between Higashionna Yuichi and Ukawa Naohiro http://www.art-it.jp/e_patron.phpStructures that support the arts: Deutsche Bank http://www.art-it.jp/e_smgo.phpArt fairs in focus: 01: Frieze Art Fair (London) http://www.art-it.jp/e_cotm17.phpThe future will be... list compiled by Hans Ulrich Obrist Advertise in ART iT e-news! For information please contact
[spectre] [propaganda] _rescate_
exposición::: rescate obra de:: juan castillo + amador iravedra + brian mackern + : óscar mora + francis naranjo + luigi pagliarini comisario nilo casares organiza: centro cultural : matucana 100 inauguración: [20h00m/24.10.007] fin:: [25.11.007] info: http://www.m100.cl : fono: 6824502 sala: concreta : centro cultural matucana 100 : avda matucana, 100 : santiago de chile :presentación de la expo:: una exposición comisariada por el gallego nilo casares como reto presentado a los distintos artistas para volverse hacia la ciudadanía y conseguir que deje de mirar el arte desde la barrera y cobre la posición de un par más en la comunicación. la selección recoge autores de distintos ámbitos en confluencia por su interés en el desarrollo de las nuevas tecnologías aplicadas al arte, en cualquiera de sus posibilidades y nuevos géneros. destaca la presencia del chileno juan castillo, bien conocido por sus inquietudes antropológicas mucho antes del reventón etnográfico que se ha dado en el arte contemporáneo y que rebasa los museos contemporáneos del primer mundo. para esta ocasión, y ante la invitación específica cursada por el comisario, rescata una entrevista realizada a un personaje que diserta, de manera coloquial y alocada, sobre qué sea el arte. algo que en castillo es frecuente, pero a lo que ha dado pie el contexto general de la exposición que invita, también a los autores, a resolver la herida que la vanguardia ha causado entre las artes y la ciudadanía. un empeño, por otro lado, en el que castillo se encuentra implicado desde antiguo y llega a hacer explícito con una de las leyendas habituales en sus obras, que también emplea en esta ocasión como algún otro estilema a que nos tiene habituados. desde montevideo llega la obra de uno de los primeros net.artistas que, dada su condición latinoamericana, ha pasado desapercibido para los analistas y el gran público. como bien saben, la historia de hoy se escribe en inglés y, aunque brian mackern es de ascendencia británica y lo tiene como lengua materna, el pecado de haber nacido en uruguay, le hace pasar desapercibido. en su trayectoria digital nos encontramos con distintos elementos propios de su condición periférica, no siendo el menos importante su constante recurso a los elementos low-tech por estricta necesidad. presenta a través de una serie de soundtoys (interfaces gráfico-sonoros digitales) compilados en el cederrón living stereo, distintas revisiones de dos momentos claves de nuestra historia reciente: la aparición del cine y del sonido estereofónico. las facilidades brindadas por los nuevos medios, nos permiten asistir a una remezcla de la imágenes en movimiento, imposible sin su concurso. [existe información detallada en http://www.no-content.net/lst/] con luigi pagliarini, roma (italia) nos adentramos en el arte contemporáneo que aprovecha los avances de la computación, la robótica y la inteligencia artificial, para el desarrollo de todo tipo de piezas, sonoras o visuales. para esta ocasión recuperamos la obra energies visualizer de 2004, ofrecida en exclusiva en esta exposición, una obra con la que el autor juega, a través de algoritmos que pueden ser regidos por distintas 'fuerzas', a deshacer imágenes realísticas con las que formar imágenes elusivas de su origen; en un nuevo intento de evitar el rigor de la mano del artista por otro tipo de elementos fautores; con la novedad de que en este caso, frente a otros más recientes en el arte, también se ausentan la intención y los niveles consciente e inconsciente del autor, sustituidos por procesos computerizados. [pueden consultar información detallada de la obra en http://www.artificialia.com/ev] con el canario francis naranjo, habitual ya por estos pagos y que no requiere presentación, nos encontramos con rescate, en continuidad con su habitual línea de producción, en la que juega con el espectador al emplear un portarretratos digital para no mostrarnos imagen alguna e invitar al espectador a que ponga las suyas, desde el recurso a su memoria personal. unos recuerdos que son espoleados por dos vías. la primera es sonora, y busca inducir un ambiente de relajo que se preste al recuerdo, mientras que la segunda se apoya en la brevedad de dos mensajes, a la manera de la vieja publicidad de los cincuenta que ahora tiene un uso cuasi diarístico al decirnos que: i am here y i go to by you. afirmaciones que invitan a la participación de los recuerdos y a traerlos a colación por este recorrido lleno de resarcimientos. en términos parecidos trata de
[spectre] encuentro de narrative media en subcomandancia [day three]
Fiction Department (Departamento de Ficción) presenta: Encuentro de Narrative Media en 'Subcomandancia' (espacio autónomo temporal dentro de transitio, festival internacional de artes electrónicas y video) Rodrigo Solís (ciudad de méxico) - Poesía Multimedia y presentación de La Tortillería Editorial, software que forma originales mecánicos para imprimir libros, y asociación de autores que colectivizan derechos de reproducción sobre su obra y poesía multimedia Mariana Robles (puebla) - Drama Líquido [autoficción] ¡Otra [EMAIL PROTECTED] es posible! - - - Laboratorio Arte Alameda Dr. Mora 7, Centro Histórico. miércoles octubre 17 del 2007, a las 20 hrs. Ciudad de México. http://ficcion.de http://possibleworlds.org __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Invitation to: Open Archives, Prague Oct 29-Nov 4, 2007
CIANT cordially invites you to (the event by Intermedia Institute Prague): Open Archives. Media Art Presentation and Digital Archives Prague October 29th - November 4th 2007 Intermedia Institute, Faculty of Electrical Engineering of Czech Technical University in Prague (CVUT), room H24/2, Technicka 2, 16627, Prague 6 http://www.iim.cz opening hours: 12 - 7 PM The Open Archives project is focused on exhibiting and archiving initiatives mapping, re-storing and interpreting contemporary and modern art, experimental film and video, media art and industrial heritage. It is addressed to art, humanities and technical schools* students as well as to the wide public. The project hopes to trigger discussion concerning technical and methodological issues related to the archiving and distribution and aims to stimulate additional research in this field in the Czech Republic. Recently, various DVD anthologies have been published rediscovering various fields of culture and making so far unknown chapters from art history accessible to the public, as well as online audiovisual archives that are useful for the research and presentation. Furthermore, such archives can serve as a platform for students, teachers, curators, artists and historians to cooperate in further endeavors. Screening program, located in the new Lab of the Intermedia Institute, is enriched with daily program of lectures, presentations and discussions of various Czech and international digital archives. The IIM interdisciplinary institute follows the theoretical and practical research in the field of emerging technologies, visual and sound art, history and theory of moving and still image and digital culture. Public is welcome to attend the lectures of several internationally recognized artists and theoreticians and presentations of institutions engaged in the collecting and archiving of analog and digital materials. For example, Woody Vasulka, an eminent international video art pioneer, is presenting his electronic arts archive project (vasulka.org) he has been developing with his wife and collaborator Steina since the 1960s. Vasulka, together with media artist Thomas Thiel, present the recent exhibition project MindFrames, created in collaboration with Zentrum fuer Kunst und Media in Karlsruhe. Other initiatives and institutes planning to present are as follows: Czech - VVP AVU; Research Centre for Industrial Heritage (CVUT), shared cooperative platform Konvergence -, as well as international - Hyperkino (FAMU, Prague, NIIK, Moscow) WRO Art Center from Wroclaw; project Grauzone 8mm (Ludwig Boltzmann Institut Linz); projects 40yearsvideoart, Art_clips.ch.at.de (ZKM, Karlsruhe), or CASPAR (Cultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval) and GAMA (Gateway to Archives of Media Art). PROGRAM of SCREENINGS Every day 12 - 5 PM projections of experimental film and video, documentaries and interviews by *Buffalo circle* on 2 screens, always at 3 PM commentary to individual artists CAVE - projection of the work by Steina and Woody Vasulka on three screens LECTURES (29. 10. - 2. 11., always 5 - 7 PM) Lectures and presentations of Czech and international digital archives Live on-line streaming of the lectures by radio Lemurie at rtsp://stream.node9.org/live.sdp 29. 10. 12 - 5 PM SCREENINGS Woody Vasulka 5 PM Opening session 6 - 8 PM Vasulka Archives presentation; MindFrames exhibition project presentation (ZKM), Lector: Woody Vasulka http://www.vasulka.org konvergence, Memory of Art archive, Lectors: Michal Klodner, Lenka Dolanova, FAMU, http://konvergence.info 30. 10. 12 - 5 PM SCREENINGS Steina 5 PM Hyperkino project, Lector: Natascha Drubek-Meyer, FAMU, http://hyperkino.net VVP, AVU, Lectors: Eva Krátká, Pavlína Morganová, Terezie Nekvindová, http://vvp.avu.cz Research Centre for Industrial Heritage, Lector: Petr Vorlík, http://wcpd.cvut.cz 31. 10. 12 - 5 PM SCREENINGS Paul Sharits 5 PM From Monument to Market: Video Art and Public Space, WRO Art Center, Lector: Krzysztof Dobrowolski, http://www.wrocenter.pl OASIS / AMANT projects and its follower GAMA; CASPAR project: multimedia archives interconnecting and the questions of long-term storage of digital data. Lectors: Viliam ·imko, Michal Máa, CIANT, http://www.ciant.cz, http://www.casparpreserves.eu, http://www.oasis-archive.info 1. 11. 12 - 5 PM SCREENINGS Hollis Frampton 5 PM Grauzone 8 mm. Materialen zum autonomen Künstlerfilm in der DDR, Ludwig Boltzmann Institut. Medien. Kunst. Forschung. Linz. Lector: Britt Schlehahn, http://media.lbg.ac.at 2. 11. 12 - 5 PM SCREENINGS James Blue 5 PM 40 yearsvideoart.de: Digital Heritage Art_clips.ch.at.de Lector: Thomas Thiel, ZKM, www.zkm.de MindFrames exhibition project Lectors: Woody Vasulka, Thomas Thiel 3. 11. 12 - 5 PM SCREENINGS Tony Conrad 4. 11. 12 - 5 PM SCREENINGS Peter Weibel PRESENTED PROJECTS MindFrames Woody Bohuslav Vasulka has been a long advocate of collecting and digitizing art works and media
[spectre] Protocollo Lovelock - art invite
Hi, Im sending to your attention this invite. Thank you and best regards, Ornella Calvetti, P.H2O Arte Association. Protocollo Lovelock equilibri molesti In Cuneo, in Corso Nizza 21, 1 November h 18 appointment with the art and nature Title of the art show: Protocollo Lovelock equilibri molesti curated by Claudio Cravero. Opening: on Thursday November 1st 2007, from 6.00 at the Sala Mostre Palazzo della Provincia, Corso Nizza 21. Time: from November 2nd to 11th, Tue Sun, 5pm 7pm Free entrance. On 1 November 1st 2007, The artists of Protocollo Lovelock are: Franco Ariaudo, Eliana D.Langiu, Domenico Olivero, Alessandro Paseri, Pinuccio Revello. James Lovelocks Gaia Theory inspired a group of Italian artists to create a delicate exhibition about the transformation of earth and human habitat. In order with his or her own sensibility and urge, each artist develops the chained list concept of events/circumstances/reactions between planet and Man. Video and mixed media installations are presented in low light, which suggest an intimate and primeval environment. The art show is made possible thanks to the sponsorship and support of P.H2O Arte Association. The show has a catalogue with critical text of Claudio Cravero. Place of expo: Palazzo della Provincia, Sala Mostre 12100 Cuneo (Italy) Timetable: 1st to 11th November 2007 Schedule: from the Tuesday to Sunday 5 to 7 pm. For all contacts and information: Ornella Calvetti, P.H2O Arte Association Corso Nizza 22 12100 Cuneo T +39 0171.310666 e-mail: [EMAIL PROTECTED] web site: http://blog.libero.it/TeoriaGaia/ Photo will be sent upon request. This e-mail may contain information that is confidential, privileged or otherwise protected from disclosure. Use of such information is exclusively reserved to the recipient of this e-mail and for purposes thereof. If you are not an intended recipient of this e-mail and any attachments contained therein, do not duplicate or redistribute it by any means. Please promptly delete it from your system and notify the sender at the following address: [EMAIL PROTECTED]; that you have received it in error. Unintended recipients are prohibited from taking action on the basis of the information contained in this e-mail for purposes of Italian and European Union laws respectively (D.lgs 196/03 and Directive 2002/58/CE). __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] encuentro de narrative media en subcomandancia [day two]
Fiction Department (Departamento de Ficción) presenta: Encuentro de Narrative Media en 'Subcomandancia' (espacio autónomo temporal dentro de transitio, festival internacional de artes electrónicas y video) Este año, Televisa celebra el 50 aniversario de la telenovela en méxico -ese género que ha hecho 'soñar' a tantos millones de mexicanos durante medio siglo-. Es por eso que nos unimos a esta celebración nacional y proyectaremos las telenovelas para internet: 'Fea y Rebelde' (2007), una telenovela site-specific para web 2.0, censuradas por Televisa y Youtube. 'Telenovelle Vague' [2005], una telenovela homenaje a Godard sobre el caso de una víctima de las desapariciones forzadas de la guerra sucia en el méxico de los 1970's. y una navegación del net.film Modem Drama [2002-2003] . - - - Laboratorio Arte Alameda Dr. Mora 7, Centro Histórico. martes octubre 16 del 2007, a las 18 hrs. Ciudad de México. http://ficcion.de http://possibleworlds.org [les pedimos llegar con anticipación ya que el cupo será limitado. favor de traer identificación. y decir en la entrada que vienen a subcomandancia]. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] open archives
Open Archives. Media Art Presentation and Digital Archives Prague October 29th - November 4th 2007 Intermedia Institute, Faculty of Electrical Engineering of Czech Technical University in Prague (CVUT), room H24/2, Technicka 2, 16627, Prague 6 http://www.iim.cz opening hours: 12 - 7 PM The Open Archives project is focused on exhibiting and archiving initiatives mapping, re-storing and interpreting contemporary and modern art, experimental film and video, media art and industrial heritage. It is addressed to art, humanities and technical schools* students as well as to the wide public. The project hopes to trigger discussion concerning technical and methodological issues related to the archiving and distribution and aims to stimulate additional research in this field in the Czech Republic. Recently, various DVD anthologies have been published rediscovering various fields of culture and making so far unknown chapters from art history accessible to the public, as well as online audiovisual archives that are useful for the research and presentation. Furthermore, such archives can serve as a platform for students, teachers, curators, artists and historians to cooperate in further endeavors. Screening program, located in the new Lab of the Intermedia Institute, is enriched with daily program of lectures, presentations and discussions of various Czech and international digital archives. The IIM interdisciplinary institute follows the theoretical and practical research in the field of emerging technologies, visual and sound art, history and theory of moving and still image and digital culture. Public is welcome to attend the lectures of several internationally recognized artists and theoreticians and presentations of institutions engaged in the collecting and archiving of analog and digital materials. For example, Woody Vasulka, an eminent international video art pioneer, is presenting his electronic arts archive project (vasulka.org) he has been developing with his wife and collaborator Steina since the 1960s. Vasulka, together with media artist Thomas Thiel, present the recent exhibition project MindFrames, created in collaboration with Zentrum fuer Kunst und Media in Karlsruhe. Other initiatives and institutes planning to present are as follows: Czech - VVP AVU; Research Centre for Industrial Heritage (CVUT), shared cooperative platform Konvergence -, as well as international - Hyperkino (FAMU, Prague, NIIK, Moscow) WRO Art Center from Wroclaw; project Grauzone 8mm (Ludwig Boltzmann Institut Linz); projects 40yearsvideoart, Art_clips.ch.at.de (ZKM, Karlsruhe), or CASPAR (Cultural, Artistic and Scientific knowledge for Preservation, Access and Retrieval) and GAMA (Gateway to Archives of Media Art). PROGRAM of SCREENINGS Every day 12 - 5 PM projections of experimental film and video, documentaries and interviews by *Buffalo circle* on 2 screens, always at 3 PM commentary to individual artists CAVE - projection of the work by Steina and Woody Vasulka on three screens LECTURES (29. 10. - 2. 11., always 5 - 7 PM) Lectures and presentations of Czech and international digital archives Live on-line streaming of the lectures by radio Lemurie at rtsp://stream.node9.org/live.sdp 29. 10. 12 - 5 PM SCREENINGS Woody Vasulka 5 PM Opening session 6 - 8 PM Vasulka Archives presentation; MindFrames exhibition project presentation (ZKM), Lector: Woody Vasulka http://www.vasulka.org konvergence, Memory of Art archive, Lectors: Michal Klodner, Lenka Dolanova, FAMU, http://konvergence.info 30. 10. 12 - 5 PM SCREENINGS Steina 5 PM Hyperkino project, Lector: Natascha Drubek-Meyer, FAMU, http://hyperkino.net VVP, AVU, Lectors: Eva Krátká, Pavlína Morganová, Terezie Nekvindová, http://vvp.avu.cz Research Centre for Industrial Heritage, Lector: Petr Vorlík, http://wcpd.cvut.cz 31. 10. 12 - 5 PM SCREENINGS Paul Sharits 5 PM From Monument to Market: Video Art and Public Space, WRO Art Center, Lector: Krzysztof Dobrowolski, http://www.wrocenter.pl OASIS / AMANT projects and its follower GAMA; CASPAR project: multimedia archives interconnecting and the questions of long-term storage of digital data. Lectors: Viliam Šimko, Michal Máša, CIANT, http://www.ciant.cz, http://www.casparpreserves.eu, http://www.oasis-archive.info 1. 11. 12 - 5 PM SCREENINGS Hollis Frampton 5 PM Grauzone 8 mm. Materialen zum autonomen Künstlerfilm in der DDR, Ludwig Boltzmann Institut. Medien. Kunst. Forschung. Linz. Lector: Britt Schlehahn, http://media.lbg.ac.at 2. 11. 12 - 5 PM SCREENINGS James Blue 5 PM 40 yearsvideoart.de: Digital Heritage Art_clips.ch.at.de Lector: Thomas Thiel, ZKM, www.zkm.de MindFrames exhibition project Lectors: Woody Vasulka, Thomas Thiel 3. 11. 12 - 5 PM SCREENINGS Tony Conrad 4. 11. 12 - 5 PM SCREENINGS Peter Weibel PRESENTED PROJECTS MindFrames Woody Bohuslav Vasulka has been a long advocate of collecting and digitizing art works and
[spectre] V2_REMINDER | AudioCubes workshop: Extended registration deadline ends TODAY.
AUDIOCUBES WORKSHOP Workshop leaders: Kim Cascone and Bert Schiettecatte Explore a new way of physically controlling, creating, and manipulating sound music 16/17/18 October 2007, 10:00-18:00 (Including a performance during 'Test_Lab: Audio_Objects' on the evening of 18 October) Location: V2_, Institute for the Unstable Media, Eendrachsstraat 10, Rotterdam, The Netherlands. To introduce audio performers with an exciting new type of physical audio interface known as AudioCubes (see www.percussa.com for more info on AudioCubes), a three-day hands-on workshop will be held during the days succeeding Test_Lab: Audio_Objects . The workshop will be led by audio performer Kim Cascone and the inventor of AudioCubes, Bert Schiettecatte, and will result in an AudioCubes performance by the workshop participants during Test_Lab: Audio_Objects. *Program* The first day of the workshop will be spent learning how to set up the AudioCubes for either control or audio, interfacing them with existing software, and learning how to incorporate the tactile user interface into the participant’s repertoire. During the second day, the workshop participants will craft the framework for a new sound piece. On the third day they will rehearse the piece, work out bugs, develop a presentation, and perform during Test_Lab: AUDIO_OBJECTS (also featuring Gijs Gieskes, Michel Waisvisz, Edwin van der Heide, Brigit Lichtenegger (aka Evo Szuyuan) and Annabeth Robinson (as AngryBeth Shortbread)). *Registration* Register by emailing a brief description of your background to Michel van Dartel ([EMAIL PROTECTED]) before the (extended deadline of) 12th of October. Workshop fee: students 80 EUR / professionals 110 EUR (includes lunch on all workshop days). V2_ will provide the required audio equipment, but participants should bring their own laptops and headphones. /During the AudioCubes Workshop the AudioCubes can be purchased with a significant reduction./ More information: www.percussa.nl www.v2.nl __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Turbulence Commission: Bonding Energy by Douglas Repetto and LoVid
October 15, 2007 Turbulence Commission: Bonding Energy by Douglas Repetto and LoVid http://turbulence.org/works/BondingEnergy/ Requirement: Enable Java in your browser Bonding Energy consists of a set of Sunsmile devices that collect and measure solar energy from seven geographically distributed sites around New York State: Columbia University, NYC; Rensselaer Polytechnic Institute, Troy; University of Buffalo; Colgate University, Hamilton; free103point9's Wave Farm, Acra; Experimental Television Center, Owego; and The Redhouse Arts Center, Syracuse. The light energy reaching the Sunsmiles' solar panels fuels a collaborative real-time data visualization on Turbulence.org. Part of the larger Cross Current Resonance Transducer (CCRT) project in which the artists are developing systems for monitoring, manipulating, and interpreting natural signals such as tidal patterns and wind, Bonding Energy is focused on solar energy. Bonding Energy is a model for distributed microenergy generation, inspired by [EMAIL PROTECTED] -- which harnesses the collective power of personal computers distributed worldwide -- and microcredit, a loan system that supports poor or unemployed people in underdeveloped countries. Small contributions from many individuals can produce significant results. Bonding Energy is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the Murray G. and Beatrice H. Sherman Charitable Trust. BIOGRAPHIES Douglas Irving Repetto is an artist and teacher. His work, including sculpture, installation, performance, recordings, and software is presented internationally. He is the founder of a number of art/community-oriented groups including dorkbot: people doing strange things with electricity, ArtBots: The Robot Talent Show, organism: making art with living systems, and the music-dsp mailing list and website. Douglas is Director of Research at the Columbia University Computer Music Center and lives in New York City. LoVid (Tali Hinkis and Kyle Lapidus) overwhelms the senses with new media in their performances, videos, objects, and installations. LoVid has toured the US and Europe extensively performing, exhibiting, and lecturing at PS1, The Neuberger Museum, The Butler Institute of American Art , The Center for Contemporary Art Tel Aviv, Exit Art, Evolution Festival (UK), The Kitchen, RISD, Massachusetts College of Art, FACT, Kansas City Art Institute, Chicago Art Institute, University of Wisconsin, Futuresonic Festival (UK), The New Museum of Contemporary Art, Ocularis, and Institute of Contemporary Art London, among many others. LoVid has been artist in residence at Eyebeam, Harvestworks, iEAR, Alfred University, and Stevens Institute of Technology; and has received grants and awards from Experimental TV Center, NYSCA, Foundation for Contemporary Arts, and The Greenwall Foundation. LoVid is also a free103Point9 transmission artist. 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 Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade New American Radio: http://somewhere.org __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Digicult: Digimag 28/October 2007_English Version Online
Sorry for any crossposting Digicult presents: DIGIMAG 28 / OCTOBER 2007 http://www.digicult.it/digimag_eng/index.asp The english version of Digimag, Digicult monthly e-magazine of digital culture and electronic arts, is available online / [INTERVIEWS]: - RAFAEL LOZANO-HEMMER - by Monica Ponzini - PIERRE BASTIEN - by Marco Mancuso - ANKERSMIT - by Claudia Moriniello - ROBERT HENKE/MONOLAKE - by Bertram Niessen - M DOT STRANGE - by Monica Ponzini - QOOB - by Alessio Galbiati - SCALI GOODE - by Silvia Scaravaggi [REPORTS]: - ARS ELECTRONICA 2007 - by Tiziana Gemin - TODAYSART FESTIVAL 2007 - by Marco Mancuso - HACKMEETING 2007 - by Francesca Valsecchi [FEATURING]: - HELGA NOWOTNY - by Luigi Ghezzi - ESTUDIO LIVRE - by Eleonora Oreggia - DIAS RIEDWEG - by Isabella Depanis [THEMES]: - LIBERI PROTOTIPI PER LE VIE - by Massimo Schiavoni [REVIEWS]: - DEATH 24X SECOND - by Motor [COVER]: - Arianna D'Angelica [TRANSLATIONS]: - Claudia Contino, Stefania Longo, Ornella Pesenti / ERIC SINGER, MUSIC FOR ROBOTS Digicult: DigiMag 27_September 2007 Txt: Monica Ponzini http://www.digicult.it/digimag/article.asp?id=957 LEMUR, i.e. League of Electronic Musical Urban Robots . A group of artists based in Brooklyn who design and make up musical robots, a synthesis of musical instruments and technology applied to interactivity and robotics. With their robots, LEMUR members are contributing to redefine the shape of performances by creating a completely new kind of performer. Those robotic devices - a group of more than 50 members- can both perform alone or together with human performers, thus moving forward the borders of applied robotics and art. Examples of those robots are GuitarBot , a stringed instrument , ModBot and its percussions, the fascinating ForestBot with its bells fixed to long sticks, TibetBot , a device inspired by the contemplative sounds of Buddhist monks and the complex Lemurtron , which combines robots, video interfaces and interaction. Those were some of the topics we discussed with Eric Singer, the talented founder of LEMUR (and of another artist colective, the Madagascar Institute) . Eric is a musician, artist, engineer, programmer and untiring creator of instruments and musical applications. Monica Ponzini: You have a pretty interesting background, you studied music and computer science. How did you decide to create and develop such kind of robots? Eric Singer: Sort of a natural combination of my interests. For many years before I started this project, I was doing other kind of electronic instruments to be played by humans. I created synthetic sound and then, at a certain point, I thought it might be interesting to kind of reverse that, have the information come the other direction, out of the computer and play actual physical sounds, that led to robotic musical instruments . Monica Ponzini: People may have asked you: Why robots? Isn't music also about feelings? Eric Singer: Well, they are really just machines, they don't play by themselves unless a human tells them what to do. Monica Ponzini: But isn't the human element missing in this process? Eric Singer: Not necessarily, we're not bypassing performers. We're adding a new kind of performer to the mix- a robotic performer. Some might say they do things better than humans, or worse than humans, but to me this is not the point, the point is that they do things differently, it's a new way of playing music, a new way of composing, a new way of performing and it's a process that involves other artists, other performers, composers, designers, engineers and other people. So humans are definitely not missing in this from this mix. One thing that robotic instruments can do, that humans can't, is play in a museum for 3 months. I mean: humans can do that, but would be hard to find somebody that would on an ongoing basis. They can respond in complex ways to the way humans play, you can analyze human performances and extend them to robotic instruments - there's a lot of new territory they allow you to explore. Monica Ponzini: At what point are you in this exploration? Eric Singer: (Laughs) I think we are at the point we're at. We're not at the beginning, middle or end. I guess we're somewhere in the middle. I think it's better answered saying what we have done and what we want to do. We have done installations in museums, we've done interactive installations where participants come in a help generate the music by means of interaction, whether is video interacting, or sensors, or things like that. We have done installations that are stand alone, where music just play back on these live, physical, acoustic instruments, we have done performances or pieces that are robotic only, we've done that were composed for the robots to play along with other musicians. So, we
[spectre] The Creator has a Master Plan: Do 25.Okt 07 Tesla
Wir laden zu folgender Veranstaltung ein: The Creator Has A Masterplan Formatlabor 3.3 (in der Reihe Narration im elektronischen Zeitalter) Do 25|Okt|2007 || 20:30 Tesla Salon ...nachdem das orginal im schaffen mit digitalen medien aufgehoben scheint wie steht es mit den autoren? gehen die unzähligen absender ein in eine neue große autorenlose erzählung? anonyme in gesprächen mit bekennenden autoren; musik und videos, elektronisch und mechanisch jan peter e.r. sonntag, till nikolaus von heiseler und freunde laden ein letztes mal ein ins tesla (poem by Jan-Peter Sonntag, 2007) Glück zu allen! Jan-Peter E.R. Sonntag und Till Nikolaus von Heiseler more: http://www.formatlabor.net/3Punkt3/ -- http://www.formatLabor.net/blog http://www.formatLabor.net/lara -- http://www.formatLabor.net/blog http://www.formatLabor.net/lara __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
