[spectre] <no subject>

[Louise Desrenards]

Here is Pierre Bongiovanni reborning by himself as net worker author and
publisher more proper video artist more as curator and by the way of hard
working re-beginning through http://sklunk.net, more Quentin Drouet, the Ace
of hearts of the web development and graphism design on free sources spip
and tributing to the spirit of the review... the critical fantastical muse
from criticalsecret.com, Aliette in between, she is a bit so much far but a
bit so much near but friendly beating anyway:)

More a splendid global agenda of events in Beta version in progress by
Quentin where I have published my own informations... Tell him of the bugs
you meet, of your wishes of type of country and town..
http://www.sklunk.net/AGENDA,113

Quote from "Writing & the Digital Life" ( WDL is a collaborative
transdisciplinary blog about the impact of digital technologies upon writing
and lived experience. We talk about writing and reading in the context of
'new and old' media, transliteracy, craft, art, process and practice, social
networks, cooperation and collaboration, narrative and memory, human
computer interaction, imagination, nature, mind, body, and spirit. )

http://www.hum.dmu.ac.uk/blogs/wdl/
June 03, 2006


Sklunk

The 4th edition of of the French net journal sklunk.net will go online on 25
June at midnight. It will feature articles and statements from both 'real'
and fictional writers, such as:

David Guez, Baudoin de Bodinat, Gunther Anders, Juan Eduardo Tesone, Orson
Welles, Don Quichotte, Agemben, Jimmy Owenns, LFKs, Pierre Escot, Olivier
Agid, Camille Renarhd, Nicolas Claus, Susana Espinosa, Laurent Foissac,
Patrick de Geetere, Aliette Certhoux Guibert, Pierre Bongiovanni, Maria
Clara Jean,...

The first 3 editions of the magazine attracted about 24,000 visitors. Not
surprising if we consider that the editor of the journal is the established
media producer and thinker Pierre Bongiovanni. Bongiovanni was director of
the CICV (Cenre Internatonal de Creation Video) Centre in Montpeliard,
France, for about fourteen years, before the Centre was shut down -to the
dismay of the international media/digital arts community- due to lack of
funding two years ago.

Sklunk.net is an anti-hierarchical, open, global and 'geo-local' magazine in
constant flux. It has succeeded to bring together an extremely diverse group
of contributors, from artists and theorists, to academics and activists, to
curators and diverse cultural professionals, to fictional characters who
write along everybody else, and to people writing under different personnas.
I think that Sklunk is a magazine rich in content and information, that
addresses current issues with humour and imagination - refreshing!

Most of the articles are in French, but I think that there is a plan to
translate some of the articles into English in the future. Some of the
international contributions are in English already though, so have a look
even if you 're not a French-speaker.

Posted by Maria x at 10:24 AM | Permalink  | Comments (0)  | TrackBacks (0)
Filed under: Publishing

May 31, 2006

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////////////////////
Info from the part of http://www.criticalsecret.com (one issue by year yet
now) 

http://www.criticalsecret.com/n15 last issue online is #15 as an
experimental review in podcast to radio and videopod (40 articles in 4
chapters) on blog rss2 LoGz ( http://logz.org new version specially working
for the first time to tribute this experiment ) by Loz, by David Christoffel
and Simon Guibert (from Radio-France, France musique and France Culture), by
Arthur Guibert (contact, special effects and film maker to J-P Krief
producer of the serial arte TV, more "the lawsuit of Saddam Hussein"), and
by the fantastical muse:)

This podcast is one of the six selected to suggest zapping in
"Structures/ dip"  an installation to reading text and voices by Gilles
Grand (sound line) and Niek van de Steeg (stage strategy)
In "associated events", La force de l'art, Grand Palais, Paris, actually.
http://www.forcedelart.culture.fr/?pg=3&ev_id=106
http://www.forcedelart.culture.fr/

Reserves:

1. On a mode of organization without calling but co-opted, in a climate from
Power which realizes the law abolishing the precedence of copyright for the
benefit of the neighbouring rights and which hard represses P2P, against the
massive resistance of the interested, this exhibition wanted by the
government opened in a dark climate in France.

But obviously, the authors of the works of the fund of contemporary art and
the artists financed by the public help could not decline their invitation.
On this base, it does not there take place to deliver them to the shame nor
to be shameful to visit the place, which moreover numerous anti-authority
artists have already visited, and even photographed in it...  It is likely
that during its next session, this three-year will be lead imperatively in a
more dynamic way.

Other reserve: on an international manifestation without a bilingual catalog
(nevertheless apparently very frequented by the foreigners since the
opening) even not online...  This exposure, the three-year first one in
Paris, in spite of the current events of the associated events (  notably
the concerts of rather excellent contemporary music, principally aims at the
collectors of the plastic arts; consequently it inconveniently excluded the
digital visual objects, (with the exclusion of Net art notably because of
the imbroglio with the law Dadvsi ) so that it appears to float between
ages... A sort of ghost dreamlike exposure in Live;-)
 
But it remains that magnificent and very numerous works are presented in it
(among which those of Ricard Prize of the collection CNAC Pompidou, as
Cantor's work) on 7000 m2. And that the manager curators who have
contributed to the selection they are indisputable among other French
experts in their own field (can see their names in the site online).

Finally, I like to say that criticalsecret and Aliette G Certhoux, manager
of the publications are signatory against the law Dadvsi ( link at the top
of the homepage of criticalsecret ).

Réserves :

Sur un mode d'organisation sans appel d'offres et coopté, dans un climat du
pouvoir qui réalise la loi abolissant la préséance des droits d'auteur au
profit des droits voisins et qui pénalise le P2P, contre la résistance
massive des intéressés, cette exposition voulue par le gouvernement  s'est
ouverte dans un sombre climat en France. Mais évidemment, les auteurs des
oeuvres des fonds d'art contemporain et des artistes financés par l'aide
publique ne pouvaient pas décliner leur iinvitation. Sur cette base, il n'y
a pas lieu de les livrer à la honte ni d'être honteux de visiter
l'exposition, que d'ailleurs de nombreux artistes contestataires ont déjà
visitée, et même photographiée... Il est probable que lors de sa prochaine
session, cette triennale s'imposera de façon dynamique.

Autre réserve : sur une exposition internationale au catalogue non bilingue,
ni même en ligne dans le site ‹ néanmoins apparemment très fréquentée par
les étrangers depuis son ouverture ‹. Cette exposition, première triennale à
Paris, malgré l'actualité des événements associés (notamment les concerts de
musique contemporaine plutôt d'excellence), vise esssentiellement les
collectionneurs des arts plastiques ; par conséquent, elle a
malencontreusement exclu les dipositif visuels numériques, (avec l'exclusion
du Net art notamment à cause de l'imbroglio avec la loi Dadvsi) de sorte
qu'elle paraît flotter entre les âges...

Mais il reste que de superbes et très nombreuses oeuvres y compris critiques
y soient présentées (dont celles du prix Ricard du fonds CNAC Pompidou, par
exemple Cantor) sur 7000 m2 et que les experts qui ont contribué à la
sélection soient incontestables parmi les autres experts français dans leurs
propres disciplines (voir leurs noms dans le site de l'expo).

Enfin, je tiens à dire que si au départ nous n'avons pas été consultés pour
la sélection dont nous avaient rendu l'objet les artistes de structures/
dip, nous ayant simplement informés à quelque jour du vernissage, par contre
la dicussion de citer toutes nos références au cartel (ce qui n'était pas
prévu au départ) a été positive, ce qui devenait loyal.

Et pour conclure je tiens à dire que criticalsecret et Aliette G Certhoux,
directrice des publications sont signataires contre la loi Dadvsi (lien en
haut de la page d'accueil de criticalsecret).