[spectre] (fwd) NODE Frankfurt, February 2013

[Andreas Broeckmann]

http://node..org/

announcing NODE13

Save the date February 11th–17th 2013 and meet in Frankfurt, Germany!

We are very happy to again cooperate with the Frankfurter Kunstverein.
We’re now working hard to prepare an exciting program. Stay tuned.

NODE is Frankfurt’s festival for digital arts and culture. It’s a 
week-long rush of A/V performances and exhibitions by artists of the 
digital and analog media scene from around the world, packed with 
hands-on  workshops where you’ll learn how to build and programm 
stuff, and lectures and talks by artists, scientists and technologists 
reporting on their work, the arts and their implications on our culture 
and society.


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[spectre] CFP: 1st symposium on Balkan communication design histories (June 2012, Izmir TUR)

[Andreas Broeckmann]

From: Artun Ozguner 
Date: Apr 4, 2012
Subject: CFP: 1st symposium on Balkan communication design histories 
(June 2012, Izmir TUR)


Izmir University of Economics, June 29 - 30, 2012
Deadline: Apr 5, 2012

2nd CALL FOR PARTICIPATION & NEW DEADLINE

This two-day symposium held at Izmir University of Economics, Turkey
(Faculty of Fine Arts and Design, Visual Communication Design
Department) in collaboration with Parsons, USA (School of Art and
Design History and Theory), intends to offer first insights on the yet
silent and poorly recorded histories of communication design in the
Balkan peninsula, focusing on the period from the late 19th century to
the present.

This second call is to remind that along with the general SYMPOSIUM
THEMES, our WORKSHOP THEMES have been announced in our web site as follows:

—
Theme 1: Local Identity, Global Crisis
Moderator: Fedja Vuki? (University of Zagreb, Croatia)

Theme 2: Visuality and Identity
Moderator: Bratislav Pantelic (Sabanc? University, Turkey)

Theme 3: Visualizing Histories / Overcoming Boundaries: New Methods in
Design History Research
Moderator: Jilly Traganou, co-moderator (Parsons, USA)

Theme 4: Perceptive Occupation and Control: Designing the Perception
of the Audience
Moderator: Basak Senova (Turkey)
—

Please note that our deadlines have also been updated:

EXTENDED DEADLINE for all abstracts: 5 April 2012
New date for Announcement of accepted participants: 25 April 2012

For more information, please visit our web site:
http://fadf.ieu.edu.tr/balkanlocusfocus/

Please contact us on:
balkanlocusfo...@ieu.edu.tr

Reference / Quellennachweis:
CFP: 1st symposium on Balkan communication design histories (June 2012, 
Izmir TUR). In: H-ArtHist, Apr 4, 2012. .




H-ARTHIST
Humanities-Net Discussion List for Art History
E-Mail-Liste für Kunstgeschichte im H-Net

Editorial Board Contact Address / Fragen an die Redaktion:
hah-redakt...@h-net.msu.edu

Submit contributions to / Beiträge bitte an:
http://arthist.net/mailing-list/mode=contribute

Homepage: http://arthist.net

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[spectre] MEMORABILIA. COLLECTING SOUNDS WITH... lecture series. April 20, Kenneth Goldsmith. May 16, Jonny Trunk

[Radio Web MACBA]

*MEMORABILIA. COLLECTING SOUNDS WITH... lecture series*
Link: *http://www.macba.cat/en/lecture-memorabilia*

"The romance of sound collecting may be dead – not because of the music,
but due to the loss of the personal human component of the process."
William Bennett, in a conversation about his music collection on Ràdio Web
MACBA, 2011

*Memorabilia. Collecting sound with…* continues to unearth new materials
for the Ràdio Web MACBA series on private collections of music and sound
memorabilia, which also charts a historiography of sound collecting at a
time dominated by a paradigm shift and changing consumer habits. In this
new instalment, we once again invite three collectors to come clean on the
interests and peculiarities that have shaped their personal archives,
allowing us to reconstruct a series of parallel histories that touch on the
evolution of reproduction formats, archiving issues, and the strange
mechanisms of the collecting market. But the main motivation of *Memorabilia.
Collecting sounds with…* is to share the obscure object of desire of a
group of obsessive characters who have forged their own criteria in a
context of information saturation and the fiction of access.

*Friday 20 April and 4 May and Wednesday 16 May, at 9 pm. MACBA Auditorium*
*http://www.macba.cat/en/lecture-memorabilia*

*Friday 20 April, at 9 pm*
*Kenneth Goldsmith*
*Publishers Weekly* described the writings of Kenneth Goldsmith as "some of
the most exhaustive and beautiful collage work yet produced in poetry".
Goldsmith is the author of ten books of poetry and teaches at the Centre
for Programs in Contemporary Writing at University of Pennsylvania, where
he is also senior editor of the online poetry archive PennSound. Goldsmith
is also the founding editor of the online archive UbuWeb (ubu.com), a
universal source of reference for avant-garde art on the Internet. An
underground project that has no institutional backing or budget of any
kind, UbuWeb is an exhaustive and also personal repository that reflects
the tastes, quirks and obsessions of its creator. A compulsive digital
collector, Goldsmith’s personal archive extends far beyond the in itself
unfathomable UbuWeb.

*Friday 4 May, at 9 pm*
To be confirmed

*Wednesday 16 May, at 9 pm*
*Jonny Trunk*
Jonny Trunk founded the label Trunk Records in 1995, and it soon gained a
cult following as a result of its specialisation in unpublished jazz
recordings and film and television soundtracks. Trunk Records was the first
label to feature non-commercial "library music", a genre that Trunk has
written about extensively. Trunk hosts a radio programme at London radio
station Resonance FM, and he regularly DJs around the world. He began
collecting records around 1982, but rather than focusing on traditional
record stores, he chose to comb second hand outlets and street markets. It
didn't take long for him to realise that his obsession was not pop music or
modern sounds, but film soundtracks and television music. His record
collection now consists of around six thousand LPs.
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[spectre] Lighthouse are hiring - project manager position open now

[Honor Harger]

Hi spectres,

We're recruiting a new project manager here at Lighthouse in  
Brighton, UK.

http://www.lighthouse.org.uk/about/opportunities

It's a great job, and could be a thoroughly enjoyable position for  
the right person.  If you come across anyone who you think might be  
interested in joining us, we'd be super grateful if you could let  
them know about the position.  More details below.



Best,

Honor


Director
Lighthouse
http://www.lighthouse.org.uk

Email: ho...@lighthouse.org.uk
Tel: +44 1273 647197
Address: 28 Kensington Street, Brighton, BN1 4AJ, UK
Twitter: http://twitter.com/LighthouseArts




Project Manager - Lighthouse
http://www.lighthouse.org.uk/about/opportunities

We are looking for an exceptional individual who can manage a  
portfolio of interdisciplinary projects, across Lighthouse’s  
programme, including our flagship mentoring programme for filmmakers,  
Guiding Lights. This is an exciting role in an organisation that is  
really going places. If you’re an experienced and accomplished  
project manager, with a keen interest in digital culture, we’d love  
to hear from you.


Applications Due: 23 April 2012
1 year fixed-term contract



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[spectre] Turbulence Commission: "Space Video" by Kate Armstrong & Michael Tippett

[Turbulence.org]

April 16, 2012

Turbulence Commission: "Space Video" by Kate Armstrong & Michael Tippett
with sound by Thomas Aston
http://turbulence.org/works/spacevideo
[Needs Speakers/Headphones]

"Space Video" addresses ideas of exploration in relation to inner and outer 
space. Having noticed that there are shared aesthetic qualities of video 
imagery that accompany disparate cultural and scientific phenomena including 
guided meditation, hypnosis, undersea and space exploration by NASA, 
motivational speaking, powerpoint backgrounds, science fiction, psychedelic 
drug culture, electronic music, popular spirituality, and computer effects, we 
have built a generative system that mixes an original non-linear narrative with 
YouTube videos on these subjects as they are uploaded in real time. These 
videos often attempt to portray what are ultimately non-visual spaces, 
producing images that are at once placeholders, images of the transcendental, 
trippy intergalactic stereotypes, and fields for persuasion.

"Space Video" is a 2012 commission of New Radio and Performing Arts, Inc. for 
its Turbulence website. It was made possible with funding from the National 
Endowment for the Arts.

BIOGRAPHIES

Kate Armstrong is an artist, writer, and independent curator producing 
exhibitions and publications in contemporary media art in Vancouver, Canada and 
internationally. Her work engages with the internet, particularly in relation 
to perpetual narrative forms and intersections between networked culture and 
print. Recent exhibitions include Akbank Sanat (Istanbul), Pace Digital Gallery 
(New York), and a solo show at the Prairie Art Gallery (Grande Prairie, 
Alberta). Forthcoming in 2012 is a solo exhibition at Unit/Pitt Projects in 
Vancouver in connection with the publication by Publication Studio of her 12 
volume book, Path.

Michael Tippett is a two-time Emmy nominee and entrepreneur recognized as an 
international expert on early stage business innovation and emerging media 
models. He started and sold NowPublic, has served as the Executive Director of 
Growlab, and is currently the CEO of Ayoudo. In a 2005 commission for 
Turbulence Armstrong and Tippett produced Grafik Dynamo, a net art work that 
loads live images from the internet into a live action comic strip, which is 
held in the Rose Goldsen Archive of New Media Art in the Division of Rare and 
Special Collections at Cornell University in Ithaca, New York.

Thomas Aston is a sound artist and electronic musician based out of London, UK 
and Toronto, Canada. Aston has produced original audio for Space Video which 
includes sound sampled from a purpose-built very low frequency radio telescope 
that monitors the sound of the Sun striking the Earth. His debut EP will be 
released by Hybridity Music in Spring 2012.

Turbulence.org
turbule...@turbulence.org
http://turbulence.org
http://new-radio.org




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[spectre] MICRONATION/MACRONATION - HONF project 2012

[venzha christ]

http://natural-fiber.com/index.php?option=com_content&view=article&id=280:micronation-macronation-2012&catid=63:latest-projects&Itemid=65 
 



HONF
MICRONATION/MACRONATION
2012

During the end of March 2012, Indonesians from various backgrounds were voicing 
outrage against the Indonesian Government's plan to cut subsidies on the type 
of fuel used by most of the population, which would directly result in fuel 
price hike. Hundreds of demonstrations and rallies took place in many 
Indonesian major cities.

Days before 1 April 2012, the date when the Government's decision is due, the 
demonstrations escalated in intensity, which culminated in clashes between 
police and protesters. The situation grew alarming nationwide as conflicts 
between people and the Government were in the rise. Finally, after an intense 
plenary session, the House rejected the fuel price hike proposal. Shortly 
afterwards, the issue of fuel subsididies removal gradually went out of public 
attention. The general public were pleased and soothed.

Nevertheless, isn't it the truth that our dependence—and the rest of the 
world's dependence—on unrenewable fossil fuel has grown to such a large extent? 
Isn't it the truth that fuel prices will continually increase as supply grows 
scarce? Also, how long can the Government keep subsidizing fuel with its 
ever-increasing price? At the moment, with fuel subsidies in place, the 
important, urgent matters of fuel availability and fuel dependence are gone 
from public discussions; not deserving of public attention, let alone thoughts.

Amidst such circumstances, the House of Natural Fiber (HONF, Yogyakarta, 
Indonesia) have been cooking up ideas and experiments to discover alternative 
ways of obtaining alternative energy sources, which comprise the substance and 
the socio-economic-political context of the MICRONATION/MACRONATION project 
development.

HONF's presentation at Langgeng Art Foundation (LAF) is their starting point to 
introduce these ideas as well as the technical-practical implementation 
possibilities. The presentation—as a sustainable design prototype—consists of 3 
core components: a) Installation of a fermentation/distillation machine to 
process hay (raw material) into ethanol (alternative energy to substitute 
fossil fuel); b) Satellite data grabber: to obtain data related to agricultural 
production (weather, climate, seasons); c) Super-Computer: to process data 
(weather, seasons as well as ethanol production capacity), which is also 
capable of predicting when Indonesia can reach energy and food independence if 
this MICRONATION/MACRONATION sustainable project design were to be implemented 
as a public strategy and policy to achieve the condition of energy and food 
independence in Indonesia. [1]

This presentation is a good opportunity for us to reassess basic performative 
premises of various practices combining science, technology and arts. HONF's 
project—as with their previous projects—actually blurs the boundaries that have 
thus far been setting apart science, technology and arts. They combine all 
three, which to us brings home the question: where is the boundary between 
aesthetic experience and function? What possibilities could the relationship 
among science, technology and arts bring when confronted to actual problems in 
today's communities?

Compared to various other fine arts practices involving elements of social 
activism which have hitherto been tested and conducted by a number of artists 
in Indonesia, HONF’s current project actually proposes something new and 
different. They no longer practice the “taking to the streets” or 
“teaching/utilizing arts to raise mass awareness” kinds of activism, nor do 
they practice arts that involve local environmental/community issues. [2] 
Instead they view social-political issues by assessing various strategic areas, 
which are not solely based on the “people versus corporate” or “people versus 
the State” axes.

By widening our acceptance of various dimensions of relationship which exist 
between the artists and the public today, we can see that HONF still employ 
‘aesthetics’ in their work, although their chosen strategy of visualization 
naturally no longer focuses on the ‘fine arts’ conventions. For instance, data 
processing and presentation in their work—be it related to nature, environment 
or various calculations—will be shown in various forms of visualization. But 
this time we need to take it as visualization that may not necessarily always 
serve as representation (art).

Faced with ecological issues, HONF choose to activate their creativity to 
render such ecological issues more open and accessible by the public (creative 
ecology). Data which are unfamiliar—or perhaps even concealed and made secret 
from the general public’s knowledge—are presented in an easy-to-undertand 
visualization. In other words, data pertaining to public interests and public 
life are returned to the public (hacktivism, o