[spectre] Condolences for Seiko Mikami (1961-2015)
Condolences for Seiko Mikami (1961-2015) Always energetic, charming, engaging and charismatic -- a chiasma of various people -- Seiko Mikami was one and only artist who realized works derived from her unique vision of the world. She passed away so suddenly. Since then I feel very lost, thinking over her. I met Mikami at her first exhibition “New Formation of Decline (Horobino Shin-zokei)” in 1985, held at the ruined space of a former Yebisu Beer Factory Laboratory*, Ebisu, Tokyo. For about 30 years, thereafter, she had been a stimulating artist and encouraging friend to me. As a writer, curator and a colleague of Tama Art University,** I shared her students, and witnessed her activities as an International artist and caring professor. In a series of huge installations in Tokyo in the 1980s, she developed her subjects based on the concept regarding city as metaphor, from bone-like physical structures (the exhibition at Yebisu) to nerve systems*** and further to the immune system, and finally the “Information war” in society and body. Each exhibition was held in an unique space and location she had found to fit her direction, where the whole space was encroached by huge amounts of junk sculptures forming a heteromorphic dystopia, that made us experience the transforming body in information society tactually. She was then coming into sudden prominence, in the booming Tokyo of the 1980s cyberpunk, techno culture scene — it was far distant from the ordinary art scene with museums and galleries. As a self-made artist, her work always expanded the notion of art throughout independent activities and process-based interaction. During the period she lived in NY (1991-2000), when she studied Computer Science at New York Institute of Technology and worked at Bell Laboratories, she focused on invisible, immaterial and microscopic aspects of the world, with flow-based perspective. Her interest shifted to Bio-informatics and the notion of “membrane”. Since the mid-90s, by coining the concept “Perceptual Interface”, she started to realize interactive works to alienate the body by media technologies such as “Molecular Informatics – morphogenic substance via eye tracking”(1996)*, “World, Membrane and the Dismembered Body”(1997).** In 00s, after she returned to Japan and started to teach at Tama Art University, “Perceptual Interface” was further extended to “gravity”, focusing on the very meta-existence not only forming the world on Earth (all the nature, creatures and artificial entities are based on it, including our body and perception), but also in the universe; wherein “gravicells – gravity and resistance” (2004-10) was collaborated with architect Sota Ichikawa (dNA) at Yamaguchi Center for Arts and Media[YCAM]. In her last huge interactive installation “Desire of Codes”(2010), co-produced with YCAM, her standpoint expanded into omnipresent, multi-layered status of data-base “body and perception” in the era of surveillance, tracking, analysis and feedback loops through networks where “desire” are triggered and accelerated by algorithms. The installation was minimal, systematic, and uncanny, consisting of three parts: (1) arthropod antennae with sensors and cameras forming grid-structure on a big white wall to sense and track visitors with eerie machine noises; (2) 6 robotic arms with a camera and projector hung from ceiling to track visitors; and (3) multi-eye-like projection composed of many small images of visitors, people in the street from many places in the world via Webcams, appearing from data-base by original programs. Though the material and the way of expression have changed, Mikami’s direction was consistent throughout her career. Her interest was to deconstruct, dismember the illusion of “unified self/body” by inviting visitors to experience physical and perceptual environment. She had a unique perspective of somehow “beyond and bellow human being,” including smaller creatures such as insects or even particles or molecules -- all those are autonomous, bottom-up, and in a flowing process of emergence. Mikami was a critical, reflexive and at the same time, remarkably crucial, intuitive “creature”. She sensitively kept on capturing a possible relation between information society and the body. The impact of “3. 11” (the big East Japan Earthquake and followed severe nuclear accident of Fukushima Dai-ichi” in 2011) in Japan let her take a few years off to contemplate and comprehend; her coming work would have to be the one integrating the issues in her way, perhaps with particle- or dust-like super small drones in the air,** but now is stranded forever in time. Yukiko Shikata February 26, 2015 Tokyo [Notes] *Currently Yebisu Garden Place **She was professor of Media Art course of Information Design Department, Tama Art University and I worked with her as a guest professor ***”Bad Art for Bad People”, BF of Iikura Atlantic Building, Tokyo, 1986 “Information Weapon Super Clean Room”,
[spectre] Playmais-Materialismus?
|- Breite: 72 Zeichen - Fixer Zeichensatz: Courier New, 10 --| n0name newsletter 165 Mo., 02.02.2015 11:20 CET *Inhalt/Contents* 1. Playmais-Materialismus? Interview mit Toshimaru über ZENismus und Dispositive als Dispo ca. 6 DIN A4-Seiten http://n0name.de/news/news165.txt 1. Playmais-Materialismus? Interview mit Toshimaru über ZENismus und Dispositive als Dispo (Umlaute!) Unicode (UTF-8) Matze Schmidt: Am Montag spielst Du in Berlin in einer für Dich ungewöhnlichen Besetzung. Toshimaru: So ungewöhnlich ist die nicht. Dass wir jetzt das fast schon traditionelle Instrument E-Gitarre neben den Maschinen in den Klang integrieren, ist kein Defizit. Im Gegenteil, versuchen wir das Konzept dieser aktiven Passivität der Maschine gegenüber etwas zu unterlaufen. Also ist Zen nicht mehr der wichtigste Bezugspunkt? Du hast doch für radi0.tv diesen ganz neuen Track online gestellt, auf dieses Erfolgsportal Soundcloud. Dort werden die Worte No Input als Tag in Hashtag no und Hashtag input aufgesplittet. Eine gute Taktik, die Automatismen das Semantische mit-entscheiden zu lassen und das auch zu zeigen. Diese ganze Nietzscheanische Herangehensweise, der Überhöhung und Stilisierung des Typewriter nervt ja nur noch. Das war immer der Versuch, Evidenzen doch noch zu entkommen, also dem Offensichtlichen in Kunst zu entweichen. Und das wäre nun vorbei? Ich glaube jede neue Generation wird die Verdrängungen neu erkennen müssen. Die Atomkatastrophen sind in Japan der Ursprung des Mythos aus der Technik. Wir können hier nichts kontrollieren, darum dann diese Unversicherung und Affirmation zugleich. Statt das Herstellen zu erneuern, wird es ästhetisch gemacht. Mh, ja. Die Technologietheorie hat Produktion aufs Technische gemittelt und anthropologisiert. Nochmal zu Instrument, Maschine und Ausdruck. Siehst Du da ein gewandeltes Verhältnis? Ich weiß nicht genau. Klar ist, dass die Expressionismen, wie sie von Noise-Leuten hier und da gepflegt werden nicht mehr ausreichen. Es ist mittlerweile jedem deutlich, dass ein dekonstruiertes Dispositiv und das sich Verhalten dazu und basteln daran interessante wie-auch-immer-punkige Sounds macht. Das macht aber noch keine neue Industrie aus. Man überschätzt sich. Aber der hörbare Sound und der Herstellungsprozess, Machen und Ergebnis fallen dabei doch auseinander. Kann man damit nicht arbeiten? Warum sollte man das denn wieder zusammenfügen wollen. Zen war oder ist doch gerade der Versuch das auseinandergefallene Gesellschaftliche wieder zu vereinen. Aber nicht auf der Ebene freier reflektierter Entfaltung, sondern auf der Versöhnung von Natur und Kultur. Ich sehe aber da keine Versöhnung, weil diese nur in der Kunst gelaufen ist. Romantik? Ja, Neo-Neo-Romantik vielleicht. Nicht in den realen Herstellungsprozessen für alle möglichen Güter sollen Natur, Kultur, Technik ausbalanciert werden, das soll nur auf der Bühne geschehen. Und wenn das konsequenter kritisiert werden soll, müsste man die Bühne verlassen? Ich glaube ja. Das Format Konzert sollte als Spielen aufgefasst werden, und Spielen als funktionaler Ansatz der Vermittlung. Die Klang- und Radio-Labors sind im Basteln versunken und bleiben im geschützten Biotop direkter Zwischenmenschlichkeit. Warum sollte ich diese Inseln weiter wie Robinson beschallen? Was hältst Du von der offiziellen deutschen Klangkunst? Die ist ziemlich getrieben in Richtung Technikprimat und Bedingungen. Die steht für sich. Lötworkshops sind doch keine Lösung, wenn die Repräsentativisten der Schönheit das Sagen haben. Diese Relaxtheit sollten wir aufgeben, wir sollten uns dem Klang nicht einfach nur hingeben. Jede Nuance hat ihre Berechtigung aber auch ihren Kontext, je nach dem. Und Shin, also Stille hilft auch nicht? Shin, hehe. Sollte sich jeder mal gönnen. Aber nicht als Gesamtkonzept für den Klangraum. Ja, der Klangraum ist alles. Das ist aber nicht kosmologisch gemeint. Toshi, es gibt diese Ideophone im japanischen Comic -- liest Du Mangas? Nein, wenig. Mh, wenn zum Beispiel dieses shiin etwas nicht Hörbarem einen Sound gibt, wäre ein solcher Klangsymbolismus nicht der Ansatz, Reflektion und improvisierte Aussage zu mixen? Tara-tara, toro-toro. Ja, Reflektion und Impro. Aber nur wieder in der Meta-Sprache. Was heißt Tara-tara, toro-toro? Eine Lautverschiebung. Tara-tara bedeutet etwas Dickes Cremiges Tröpfelndes, toro-toro heißt dickflüssig. Ah, eine Spitzfindigkeit, Genauigkeit. Ich meine, man sollte auf Strukturen gehen. Zum Beispiel Orchester für sich abschaffen, den Klang des Zuhörens wieder brechen, denn Zuhören macht den Klang, und jeder, der spielt, ist der erste Zuhörer. Ich glaube nicht, dass alles einen Klang hat. Obwohl ein solcher Glaube entgegen der christlichen Antisensualität schon ganz gut tut. Aber diese Idee, der Kosmos und alles, klinge in sich, weist jedem
[spectre] Call NEXT THINGS 2015 – CONDUCTA, the Forth Global Art Technology Challenge
Hi, Telefonica R+D and LABoral are seeking researchers/artists/designers who are working on artistic and research projects exploring the modulation of human behavior in groups of people through new technologies, particularly ideas and techniques involving data mining and pattern recognition, machine learning, collective group behavior and wearable technologies and biometric data and similar. Key Words: Quantifed Self, behavior, self-tracking, aggregate data, machine learning, wearable tracking It is important to reflect on these frameworks and to explore the impact that the Internet of Things, and Interactions Machine to Machine (M2M) can have on the lives of people, on a scale that spans from individual to whole societies. It will be appreciated in the proposals: - That may be converted in manufactured objects, employed by people and societies. - Connected wirelessly to the Internet. The selected project will be awared with a six (6) month artist fellowship, split between LABoral Centro de Arte y Creación Industrial (through Plataforma 0. Production Centre) in Gijón for (2) two months and Telefónica R+D (Telefonica's technology research and development arm) in Barcelona for (4) four months. The goal of the fellowship is to enable the fellow to bring the chosen idea to life. The artist will receive twelve thousand euros (12,000 €) gross as fees and a grant of up to two thousand euros (2,000 €) gross for travel, accommodation and expenses at LABoral. More information: http://www.laboralcentrodearte.org/en/r/convocatorias/nextthings15 Diego Ugalde Social Media cid:image001.jpg@01CA4D0D.6DA34290 LABoral Centro de Arte y Creación Industrial Los Prados, 121 / 33394 Gijón / Asturias - España T.+34 985 185 577 / F.+34 985 337 355 http://www.laboralcentrodearte.org/es www.laboralcentrodearte.org VerdeCuidemos del medio ambiente. Por favor no imprimas este e-mail si no es necesario. Este documento se dirige exclusivamente a su destinatario. Contiene información CONFIDENCIAL sometida a secreto profesional cuya divulgación esta prohibida por la ley. Si ha recibido este documento por error, debe saber que su lectura, copia y uso están prohibidos. Le regamos que nos lo comunique inmediatamente por esta misma vía o por teléfono (985 13 39 24) y proceda a su destrucción. This document is intended only for the addressee. It may contain CONFIDENTIAL information whose disclosure is forbidden by law. If you are not the intended recipient of this document, you are notified that reading, copying or using it are strictly prohibited. Please notify us by reply e-mail or by telephone (+34 985 13 39 24) and then delete it. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Noise and the Possibility for a Future, The Goethe-Institut Los Angeles, March 6, 7
This email newsletter was sent to you in graphical HTML format. If you're seeing this version, your email program prefers plain text emails. You can read the original version online: http://ymlp270.net/zMcyVs For Immediate Release: Noise and the Possibility for a Future Organized by Warren Neidich March 6th and 7th The Goethe-Institut Los Angeles Adresse: 5750 Wilshire Boulevard, 100, Los Angeles, CA 90036 Participants: Victor Albarracin, Andrew Berandini, David Burrows, Luciano Chessa, Mathieu Copeland, D.J. Spookey (aka Paul Miller), Corey Fogel, Simone Forti, Paul Hegarty, Sarah Kessler, Ulrich Krieger, Gregory Lenczycki, Mattin, Daniel Munoz, Renee Petropoulis, David Schafer, Marcus Schmickler, Susan Silton, Gabie Strong Karen Tongson, John Wiese, Susanne Winterling Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things. (Jacques Attali, Noise: The Political Economy of Music) Noise is prevalent in our post-industrial society, like it or not! Whether experienced as the cacophony of an industrial era eroded and broken, breeding new forms of information, war machines and inspirational responses such as those of Throbbing Gristle's, in which over-painted and appropriated sounds are collaged with real time performance, producing a clangorous, disharmonic din. Or whether, instead, the dissonance resulting from an overly compressed and accelerated cultural habitus occurring near highways and airports that makes life a little less livable, generating protective responses such as noise barriers, those Serra-esque barricades shielding adjacent built communities. Noise usually gets a bad rap. It is appreciated as something offensive, rendering systems inefficient and therefore requiring control or mitigation. However, noise has another side, more positive and emancipatory. This 'other side' is the focus of this conference which understands it in an expanded form. It asks instead whether it might be considered as something liberating. Could we think of it rather as a mode of production beyond capitalism's capacity to recuperate its alterity for its own purposes; a sublime place of freedom? This symposium aims to understand how Noise acts as a destabilizing force through which the inherent diversity and variability in the world, its pluri-potentiality, is first unleashed and then reregistered to create alternative events that reroute institutional networks, hoping to ‘undistribute’ and disentangle the contemporary mesh of our highly-connected social, political, economic, and psychological world. What then might emerge? This cross-disciplinary intervention links the fields of visual art and music, especially their theories of the avant-garde, to other fields of study such as performance studies, auto-destructive art, social constructivism, critical theory, gender and queer studies and political philosophy, in order to understand an expanded notion of noise as a discursive apparatus of building. After all, in our information and knowledge economies, ideas and discourses create the surplus value of exo-evolutionary fields that become embodied in neural, social and economic circuitry. Of special importance will be a conception of noise as it relates to the emerging field of communicative and cognitive capitalism in which the mind and brain are the new sites of wealth production and control. As the introductory quote implies, music and noise create new possibilities for contemporary forms, shapes and events active in the cultural landscape. Warren Neidich For more information: phone: +1 (323) 5253388 ( tel:%2B1%20%28323%29%205253388 ) fax +1 (323) 9343597 ( tel:%2B1%20%28323%29%209343597 ) i...@losangeles.goethe.org www.goethe.de/losangeles _ Change email address / Leave mailing list: http://ymlp270.net/uguqbmeegsgbwujgjseyggmseujj Powered by YourMailingListProvider __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Changing Europe: Syriza, Podemos and more
transversal texts starts publishing a series of interventions written by Antonio Negri and Raúl Sánchez Cedillo on the chances and problems of the political changes in Europe today. Follow the texts in Spanish, Italian, English and German at transversal.at. Here is the first intervention: **Antonio Negri / Raúl Sánchez Cedillo: The hope of the democratic monster, between Syriza and Podemos** “A spectre is haunting Europe”. The Italian newspaper _Il Manifesto_ used this headline a few days ago for its homepage, commenting on the visits of Tsipras and Varoufakis to European governments. A real nightmare for the ordoliberal Germans, a _Geisterfahrer_, to be precise, a suicidal conductor looking to collide with the European bus, as _Der Spiegel_ described on its front page. Imagine what could happen with the victory of Podemos in Spain: what a magnificent spectre would then be seen lurking about, a real monster created by the exploited and the productive forces of the fourth European economy! [http://transversal.at/blog][1] --- eipcp - european institute for progressive cultural policies a-1060 vienna, gumpendorfer strasse 63b a-4040 linz, harruckerstrasse 7[ ][2] [cont...@eipcp.net][2] [http://eipcp.net][3] | [http://transversal.at][4] eipcp newsletter - subscribe/unsubscribe: [http://eipcp.net/institute/nl][5] [ ][5] [1]: http://transversal.at/blog [2]: mailto:cont...@eipcp.net [3]: http://eipcp.net [4]: http://transversal.at [5]: http://eipcp.net/institute/nl __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] Open Call | The NetArtizens Project | March 2 - April 2, 2015
Sorry for any cross posting... The NetArtizens Project- a month of artistic collaboration, exhibition discussion with 3 flavours of online participation March 2 - April 2, 2015 a project of Furtherfield with Nick Briz Joseph Yølk Chiocchi as part of the Art of Networked Practice | Online Symposium http://www.furtherfield.org/netartizens/ Open Call Join The NetArtizens Project to explore, express, and debate the role of the network in our individual and collective practice as artists, scholars, educators, and citizens of the Net. You can also contribute to the NetArtizens Open Online Exhibition, an evolving showcase of works submitted between March 2 – April 2, 2015. During March 2015, Randall Packer, convener of The Art of Networked Practice | Online Symposium, will host a month of discourse and artistic production across 3 network channels. Using any and all available network tools- software, email, browsers, apps, devices etc. - we will discuss, remix, and engage each others’ words and works in the form of utterances, files, behaviours, codes, glitch, protocols, instructions, manifestos, games, and net theories. How do I get involved? We provide three online channels that connect support different modes of collaborative networked art production, discussion, and circulation: Netbehaviour: Furtherfield's experimental mailing list of net artists, hackers, techies, and activists, a forum for discussion and sharing artistic work. Follow this link to Subscribe. Moderated by Randall Packer, participants are invited to discuss, make, send, receive and remix things (or links to things) via email. Your inbox is part of a distributed, collective artwork. http://furtherfield.org/netbehaviour Twitter: A global network of micro bloggers commentators will follow @netartizens on Twitter, an ongoing narrative of the project offering comments, links, media, and social taxonomies for remix using the #netartizens hashtag. https://twitter.com/netartizens Op3nR3p0: Glitch-artists and hacker-makers from the demo scene and emerging digital arts culture submit your artworks to the open repository Op3nR3p0.net, providing metadata: name, title and description of your work for inclusion in The NetArtizens Open Online Exhibition. Op3nR3p0 is a project of Nick Briz Joseph Yølk Chiocchi. http://submit.0p3nr3p0.net/ From March 2 - April 2, 2015 the three channels of The NetArtizens Project will be noisy with your net behaviours, online commentaries and artistic work. All project activity, questions and issues will be incorporated into the culminating virtual roundtable global exchange that takes place on the final day of The Art of The Networked Practice | Online Symposium, Thursday 2 April, 4:00 PM – 5:30 PM SGT. Moderated by Randall Packer, the discussion will involve leading media artists and theorists from around the world participating in the symposium, including: Vibeke Sorensen, Jon Cates, Lev Manovich, Charlotte Frost, Melinda Rackham and Furtherfield Co-directors Ruth Catlow and Marc Garrett. See programme for additional details. The NetArtizens Project http://www.furtherfield.org/netartizens/ The Art of the Networked Practice | Online Symposium http://oss.adm.ntu.edu.sg/symposium2015/ Reportage from the Aesthetic Edge http://www.randallpacker.com/ __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] [Bioartsociety] HYBRID MATTERs - open call for artwork productions in the Nordic countries
Please apply and distribute - sorry for cross posting: Open call for artwork productions in the Nordic countries: ++ About HYBRID MATTERs is a two year Nordic artscience network program which investigates the convergence of the physical and digital world into a hybrid ecology. HYBRID MATTERs is an interdisciplinary and integral program consisting of artistic research, citizen artscience and artistic field work activities, the production of artworks, a touring exhibition, workshops and a final conference. HYBRID MATTERs will select two Nordic artists or artist groups who will receive each a production grant of EURO 10.000 to produce a work for the HYBRID MATTERs touring exhibition in 2016. The exhibitions will be at Kunsthall Grenland in Porsgrunn/NO (March 2016), Nikolaj Kunsthall in Copenhagen/DK (July 2016) and Forumbox in Helsinki/FI (October 2016). ++ Eligibility: Artists and artist groups from or based in the Nordic countries: Denmark, Finland, Island, Norway, Sweden, Faroe Islands, Greenland and Aland. ++ Deadline: Friday 3rd of April 2015 ++ Theme: We are looking for proposals of new works which address and respond to convergent ecologies and examine the digital as a converging factor. We consider anything with a physical and digital aspect at the same time as hybrid matter and thus an actor in a hybrid ecology. For more information please visit http://hybridmatters.net ++ Application process Apply via http://hybridmatters.net For questions please contact i...@bioartsociety.fi -- Erich Berger Toiminnanjohtaja / Director The Finnish Society of Bioart http://bioartsociety.fi __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
