[spectre] 365 matins (365 mornings)
Bonjour tous, (english below) Il y a un an, je dcidais d'enregistrer de faon quotidienne et systmatique le paysage sonore matinal ma fentre. Je ne savais pas encore pendant combien de temps je tiendrais ce journal sonore. Au bout de quelque mois, j'ai dcid de boucler l'anne, afin d'en couvrir les quatre saisons. Je suis arriv la fin du processus il y a quelque jours : 365 matins enregistrs la maison, en voyage, la campagne et la ville, soit 21h24m14s en tout. Le temps d'une coute, vous pouvez vous balader dans l'anne passe, aux adresses suivantes : http://audioblog.arteradio.com/matins et http://audioblog.arteradio.com/matins2 Par la suite, je pense utiliser ces matins dans une installation sonore. suivre, donc. Bonne coute. -- Hello, One year ago, I decided to record the soudscape every morning. I didn't know yet the duration of this experience. Several month later, it was clear that I had to record a full year, in order to let ear the four seasons. A few days ago, I reached the end of the process : 365 mornings, recorded at home and on the road, in the city or the countryside - 21:24'14''. You can explore the past year here : http://audioblog.arteradio.com/matins and there : http://audioblog.arteradio.com/matins2 I think about using these field recordings into a sound installation. To be continued ! Enjoy your time. -- Franois Dumeaux / druc drac -http://elytres.net __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] FRICTION RESEARCH ISSUE #4: RECLAIM THE MIND FEATURING KAMA SOKOLNICKA'S DISAPPOINT OF VIEW
Online Exhibition: FRICTION RESEARCH ISSUE #4: RECLAIM THE MIND FEATURING KAMA SOKOLNICKA'S DISAPPOINT OF VIEW LOCATION: internet LINK: http://nictoglobe.com/new/query10.html?d=rtmfr42011f=rtm POSTED BY A. ANDREAS ON Thu, Aug 4th, 20110 ... The silent social/public acquiescence for liberty's deformations makes the self-conscious thinking more difficult. The language/method of public political discourse about social issues is formed slowly and with difficulties. Andreas Maria Jacobs - Editor nictoglobe.com Burgerwaanzin.nl__ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] The Secret War Between Uploading And Downloading.
Sorry for any cross posting... The Secret War Between Uploading And Downloading. Rob Myers reviews Peter Lunenfeld's new publication 'The Secret War Between Downloading Uploading: Tales Of The Computer As Culture Machine'. A vivid new conceptualization of threats to and the promise of networked computers as culture machines and presenting a new way of looking at the cultural struggle for control of the internet, whilst managing to avoid, singularization, fantasy and anthropological despair, and reaching a surprising conclusion. http://www.furtherfield.org/features/reviews/secret-war-between-uploading-and-downloading Other Info: A living - breathing - thriving networked neighbourhood - art, technology social change - claiming it with others ;) http://identi.ca/furtherfield http://twitter.com/furtherfield Other reviews,articles,interviews http://www.furtherfield.org/features Furtherfield – online arts community, platforms for creating, viewing, discussing and learning about experimental practices at the intersections of art, technology and social change. http://www.furtherfield.org Furtherfield Gallery – physical media arts Gallery (London). http://www.furtherfield.org/programmes/exhibitions Netbehaviour - Networked Artists List Community. http://www.netbehaviour.org __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] // The State of Art //
Hi list, I've written a short article on state-support of the arts. It seeks to draw attention to the problem of cultural dependence on arts funding while questioning the state as an artistic collaborator or producer more generally. It follows in the wake of severe cuts to the arts across several European countries. The full article can be found online here, including emphases, references and footnotes. http://julianoliver.com/state-of-art //-- THE STATE OF ART INTRODUCTION In 2004 Eleonora Aguiari made an art intervention on a larger-than-life statue of Lord Napier on Queens Gate, West London, by wrapping it in 80 rolls of red tape. Transformation of this prominent monument took 4 people, 4 days. Perhaps an unintended poetic dimension to this work is the vast amount of bureaucratic red tape the artist had to navigate to gain permission to perform her intervention. She had to ask the Victoria and Albert Museum's conservation department, the RCA conservation department, acquire permission from English Heritage (owners of the statue), the City of Westminster council, the councils of boroughs Chelsea and Kensington (whose boundary falls under the statue), the RCA Rector and even the current Lord Napier himself. Regardless, this 'authorised intervention' was a resounding success. Being in a very prominent position it was visible by countless commuters and drew a tremendous amount of attention to the monument, one that'd become so much a part of the landscape it struggled for visibility. In this way, the intervention achieved what the artist set out to do: “[...] statuary that symbolizes military past, or imperialism should be covered to make the topics of the past visible.” All said, it's unclear who was the primary actor in this intervention. Certainly we could say that if the state were painting a heritage statue and a member of public complained in protest, it would be difficult for that protest to be heard to effect. Yet if the artist had not asked for permission and her intervention was thwarted, the work would not have seen light and her personal investment in time and red tape would be lost. Would this intervention, in fact, be better described as a collaboration between the artist and the state? The long history of artistic intervention has been troubled with court cases and scuffles with authorities, even scuffles between artists themselves. As such this history represents a valuable practice of 'edge detection', delimiting the point at which critical action is not tolerated or readily appropriated. Intervention art always leaves us with a handful of important questions but in the context of Eleanora's piece, they become ever more interesting: What is the modern relation between the artist and the state? What do we mean by state support in the context of art? Should we always invite and encourage the state as a partner in creative endeavours? Should artists have a role in relation to the state and state interests? Throw in arts funding and further questions arise... Does public arts funding imply need for a tangible return for tax-payers? If funding is involved then clearly some sort of expected outcome is implied. When we talk of the state investing in art, what is the expected return from that investment? ART AS INVESTMENT Arts funding is widely considered to be a measure of the relative prosperity and cultural health of a given region or nation. It's safe to say a state that invests in the arts, even in areas of diverse experimentation for which a vocabulary may not yet exist, is certainly to be admired. Arts funding is not without its practical rationales however; funding is economically rationalised as an investment with very real capital and social returns. Robert Florida, the influential American Urban Studies theorist, positions technology workers, artists, musicians, lesbians and gay men as part of a creative class that he believes provably stimulate economic development in metropolitan areas. Many seem to believe him. His book The Rise of the Creative Class has arguably had a deep impact on policy decisions as relates the arts throughout North America with Florida himself sitting alongside the Director of the National Ballet of Canada and Investment Banker Robert Foster in advising the Creative Capital Initiative, a plan to upgrade Toronto's cultural expenditure. Other cities have followed his advice, so much so one wonders whether artists are strategically positioned as the vanguard of gentrification by providing low-rent incentives for them to move into poor neighbourhoods. The term Guggenheim Effect (or Bilbao Effect) refers to the economic and cultural transformation of an entire city through the addition of a museum. Frank Gehry's landmark Guggenheim Museum in Bilbao (1997) has become famous for its deep impact on the economics and image of the city. Charters for investing in
Re: [spectre] // The State of Art //
Hey amigo, thanks for sharing this. I have a few ideas of my own about these developments... namely that less/no funding may actually force artists to make their own work again instead of subcontracting it out to hired labor while bringing about the death of the artist as hands-clean conceptual engineer and cultural manager, the end of Damien Hirst-esque big-budget hi-tech spectacle, and maybe even the return of craft over concept... But I haven't given nearly enough shape to these thoughts yet. Your assessment is a good starting point for these meditations, however. Cheers! Derek On 8/4/11 6:14 PM, Julian Oliver wrote: Hi list, I've written a short article on state-support of the arts. It seeks to draw attention to the problem of cultural dependence on arts funding while questioning the state as an artistic collaborator or producer more generally. It follows in the wake of severe cuts to the arts across several European countries. The full article can be found online here, including emphases, references and footnotes. http://julianoliver.com/state-of-art __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Kritikos V.8 March-April-May 2011
Kritikos V.8 March-April-May 2011 Jean-Paul Sartre and the Possibility of Authentic Love...(m.h. berenpas) http://intertheory.org/heikens-berenpas.htm Reviews http://intertheory.org/reviews.htm Nicholas Ruiz III, Ph.D NRIII for Congress 2012 http://intertheory.org/nriiiforcongress2010.html Editor, Kritikos http://intertheory.org Nicholas Ruiz III for Congress PO Box 1372 New Smyrna Beach, FL 32170 http://twitter.com/#!/nriii __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Re: // The State of Art
that the state must support the arts Interesting issue. I suggest to take a look at the producers of Emmental cheese in Switzerland. Due to the escape of investors from unsafe currencies such as Dollar and Euro -- due to 'oh, so horrible' state debts, which are a kind of final phase of the economical crisis -- to the Swiss franc market (investors buy, Swiss banks and others sell) the price for this currency increases (the 'game' of supply and demand). So Emmental cheese becomes too expensive for the export. And hear what these Emmental producers justifiably (?) have to say: We are about to loose this culture of Emmental cheese ((News, ARD, German Television 1, August 4, 2011). Absurd question? What's the difference of a state driven cultural critique-production called art compared to cheese called tradition and culture? Matze Schmidt __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
