From jennifer.stoddart at folly.co.uk Mon Jun 1 11:40:26 2009 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Mon Jun 1 11:41:40 2009 Subject: [spectre] Two new articles in the Digital Artists Handbook Message-ID: <0256B6C2667A3E4882F0FEF0821867134C8B61@follyone.FOLLY.local> folly and GOTO10 are pleased to announce the latest articles to be added to the Digital Artists' Handbook at http://www.digitalartistshandbook.org The handbook is a reliable and accessible source of information that introduces artists to different tools, resources and ways of working related to digital art. With a focus on Free Software and Open Content, the handbook covers topics such as working with graphics, sound and digital video, software art, developing your own hardware, collaborative working and publishing your work. The first of two new articles, "Video editing with open source tools", has been written by Valentina Messeri and Eleonora Oreggia. Valentina Messeri studied Philosophy of Technology and has been living in Spain since 2002. She is an advanced GNU/Linux user and video-maker, an expert in video streaming, teaches multimedia and works freelance in post production and live audio/video streaming. Eleonora Oreggia is a media artist born in Milan and based in Amsterdam. She worked as editor and researcher at Netherlands Institute for Media Art (NIMK) in Amsterdam, and is currently Researcher in Design at Jan van Eyck Academie in Maastricht and PhD in Cultural Studies at Goldsmiths, University of London. The second new article is by UK-based Sumit Sarkar, a visual artist whose character based artwork takes the form of digital and canvas paintings, digital sculpture, and aerosol art. Sumit was invited to write "Blender: working in 3d" having spent 2008 as artist in residence with folly and Lanternhouse International. During his residency he used Blender to create Ananta, a new exhibition expressing his vision of the Hindu religion and spirituality. Launched in early 2008, the handbook developed out of ongoing consultation with artists working with technology, which has shown a need for removing the barriers for artists to use digital tools. The project is supported by Arts Council England. Brought to you by leading digital arts organisation folly, the Digital Artists' Handbook has been edited by Marloes de Valk and Aymeric Mansoux of GOTO10, a collective of international artists and programmers. In 2009 folly and GOTO10 embark on a new partnership to take forward the development of this unique and valuable resource. The two organisations are committed to working together to realise an ambitious development programme which will enhance the handbook, build on its international networks and maintain its relevance in a rapidly changing sector. -ENDS- Notes to editors: About the Digital Artists' Handbook: The Digital Artists Handbook is an up to date, reliable and accessible source of information that introduces you to different tools, resources and ways of working related to digital art. The goal of the Handbook is to be a signpost, a source of practical information and content that bridges the gap between new users and the platforms and resources that are available, but not always very accessible. Articles are written by invited artists and specialists, talking about their tools and ways of working. Some articles are introductions to tools, others are descriptions of methodologies, concepts and technologies. When discussing software, the focus of the Handbook is on Free/Libre Open Source Software. The Handbook aims to give artists information about the available tools but also about the practicalities related to Free Software and Open Content, such as collaborative development and licenses. All this to facilitate exchange between artists, to take away some of the fears when it comes to open content licenses, sharing code, and to give a perspective on various ways of working and collaborating. http://www.digitalartistshandbook.org About folly: folly is a leading digital arts organisation developing and delivering an inclusive programme of online work, live events, presentations, learning, research and consultancy work, offering rich and engaging arts content to artists and audiences in North West England and online. We are specialists in the creative use of technology and arts participation online, and seek to explore how society makes sense of the world through art and technology. http://www.folly.co.uk About GOTO10: GOTO10 is a collective of international artists, musicians and programmers, dedicated to Free/Libre/Open Source Software (FLOSS) and digital arts. GOTO10 aims to support and develop digital art projects and tools for artistic creation, located on the blurry line between software programming and art. With its projects GOTO10 is stimulating the reflection on and the use of open source tools within artistic practice. GOTO10 is also supporting individual artists, like-minded networks and organisations with services such as an IRC network, code repository, web hosting, mailinglists and streaming services. http://goto10.org From walter at lowstandart.net Mon Jun 1 13:07:39 2009 From: walter at lowstandart.net (Walter Langelaar) Date: Mon Jun 1 13:33:14 2009 Subject: [spectre] fOO_bar >> Neanderthal Electronics Party @ WORM, Rotterdam Message-ID: <6455ab87e6c96d14e41dcb1d114b85e0@lowstandart.net> > friday evening June 5th > doors 21.00 > entrance 5 euros > WORM, Achterhaven 148, Rotterdam 'fOO_bar' is the public interface of WORM's medialab moddr_ >> a combination of presentation, installation and performance of digital art and music, showing current interests from the lab without excessive 2.0_fluff - enjoy true interactivity and have a drink while you're at it... This night we host the closing event of our 'Neanderthal Electronics' workshop by Derek Holzer, with a presentation of the projects created during the week and a Stone-Age style group noise performance. Live on stage we have COLUMN_ONE and Macumbista, and we have a showcase of recent moddr_ artist in residence Brendan Howell with his 'Rustic Computing' project - accompanied by some obscure films on computer history.. >> MACUMBISTA Derek Holzer (1972) aka Macumbista is an American sound artist living in Berlin, whose current interests include DIY analog electronics, sound art, field recording and the meeting points of electroacoustic, noise, improv and heavy metal music. He has played live experimental sound across Europe, North America, Brazil and New Zealand. >> COLUMN ONE Column One is een kunstcollectief uit Berlijn dat zich sinds 1992 heeft ontplooid in ontelbare incarnaties en nooit tot ??n soort middel van expressie heeft beperkt. Column One opereert als ideologische basis voor een (esthetische) benadering van structuren, filosofische idee?n en de media van de westerse wereld. ?Column One? ist die Oberfl?che, die erste Ebene auf der unser programmiertes Hirn funktioniert ? die erste Spalte der Zeitungen, die Schlagzeile, der Einschaltquotenf?nger? . Es ist auch die starre-statische S?ule, die den Himmel st?tzt und so sein Herabst?rzen verhindert. >> BRENDAN HOWELL > Rustic Computing. Rustic Computing refers to the construction of calculation machines using pre-industrial or even pre-historic technology. It reveals a history of computing as the pastime of dilettantes, amateur scientists and gentleman tabulators who construct machines to manipulate abstract symbols with no practical application. As these machines are generally less efficient than conventional pencil and paper computation, they allude to a more epicurean practice of computing for pleasure rather than production. Much like "Slow Food", Rustic Computing valorizes the process as being more "natural", "traditional" and "organic". During my stay at moddr_ I will attempt to build several components for a potential "heirloom computer" as well as to document a history of the practice. Brendan Howell (b. 1976, USA) is a media artist and an engineer. He has created various software works and interactive electronic inventions. He lives and works in Berlin, Germany and teaches at the Berliner Technische Kunsthochschule. He works as a developer for the Fritzing project at the FH Potsdam, University of Applied Sciences. links: WORMweb Agenda: http://agenda.wormweb.nl/agenda.php?id=2556 Neanderthal Electronics workshop: http://moddr.net/neanderthal-electronics-workshop/ CLOUMN_ONE: http://www.column-one.de/ Macumbista: http://www.myspace.com/macumbista Fritzing: http://fritzing.org/ moddr_ http://moddr.net :w -- | __ | ( ) | || http://lowstandart.net | || | ___|""|__.._ | /____________\ | \____________/~~~ http://moddr.net | From G.Giannachi at exeter.ac.uk Mon Jun 1 20:41:27 2009 From: G.Giannachi at exeter.ac.uk (Giannachi, Gabriella) Date: Mon Jun 1 20:41:55 2009 Subject: [spectre] 2 posts in Drama at the University of Exeter, UK Message-ID: University of Exeter Lecturer in Drama (2 posts) NEW Ref: E22N2130 Closes 17th Jun 2009 Department of Drama School of Arts, Languages and Literatures We wish to appoint two Lecturers in this successful, research-led department. Preference will be given to individuals whose research contributes to strengths across one or more of Drama?s principal Research Centres: Performance Histories, Intermedia (including experimental performance, performance and media/new media) and Intercultural Performance Practice. These were identified in RAE 2008 as world-leading in key aspects of research. Applicants should be familiar with teaching through methods that introduce awareness of 'practice? into the seminar room, and of 'critical thought? into the studio. You will contribute to the general undergraduate teaching of core Drama modules and academic administrative duties, and undertake postgraduate teaching and research supervision. Candidates should have submitted a PhD or have equivalent qualifications, teaching experience in higher education, and be engaged on a programme of research publication. Informal enquiries may be made to Dr David Roesner; d.p.roesner@ex.ac.uk Tel. +44(0) 1392 242421 Full information is available at http://admin.exeter.ac.uk/personnel/jobs.php?action=job=4=3955 Dr David Roesner Head of Drama School of Art, Literature, and Languages University of Exeter Thornlea New North Road EX4 4LA, UK 0044 1392 262421 Times Higher University of the Year 2007-8 From netwurker at gmail.com Tue Jun 2 05:41:24 2009 From: netwurker at gmail.com (mez breeze) Date: Tue Jun 2 05:42:00 2009 Subject: [spectre] [microwurk 4]: the :liquid: of u Message-ID: _____________________________________________ [microwurk 4]: the :liquid: of u 01:34pm 02/06/2009 _____________________________________________ [ the :liquid: of u. :memoried: {fro}Zen gentleness ] [ scattering ochre{(harte)d}. d:{origin}rib{s}:bling my :h{f}eat{s}: all ova the {/Ur} place. ] [ over{tly} + ova{um? :naw:}. sm{r}earing my :fragment: h{l}ead{-N-}. tact{ile_g}apps :pls: ] [ ur :tremo{te}r: fire. {"}i{'m} {s}well{'}-terr{or}: blinded. ] -- Reality Engineer> Synthetic Environment Strategist> Game[r + ] Theorist. ::http://unhub.com/netwurker :: From netwurker at gmail.com Tue Jun 2 09:53:15 2009 From: netwurker at gmail.com (mez breeze) Date: Tue Jun 2 09:53:50 2009 Subject: [spectre] _A game of love, war and telepathy_: Alt-win.ning Message-ID: _Alt-win.ning_ Thursday 2nd July 2009, 8pm. ?5 CCA, 350 Sauchiehall Street, Glasgow G2 3JD A game of love, war and telepathy celebrating New Media Scotland's 10th birthday with new work created and curated by Thomson & Craighead, Sarah Kettley and Distance Lab with new writing by Netwurker Mez and Hannu Rajaniemi, choreography by Sue Hawksley and music by Peter Gregson. The game itself begins eight days before with tales of two lovers told via the @mediascot Twitter stream. The tweets will contain clues to find and enter a secret location in Scotland. Elements of the live event, and those online will help you solve the puzzles, with custom iPods to be won. Play on. alt-win.ning.com crypticnights.org.uk -- Reality Engineer> Synthetic Environment Strategist> Game[r + ] Theorist. ::http://unhub.com/netwurker :: From aabrahams at bram.org Tue Jun 2 10:22:57 2009 From: aabrahams at bram.org (aabrahams) Date: Tue Jun 2 10:23:32 2009 Subject: [spectre] Collective writing project : Madness / Folie | Video : A fragmented relation Message-ID: Madness / Folie mad, nuts (slang) cracked (slang) mental (slang) barking (slang) crackers Brit. (slang) mentally ill, crazed, demented, cuckoo (informal) deranged, loopy (informal) round the bend (informal) barking mad (slang) out of your mind, gaga (informal) screwy (informal) doolally (slang) off your trolley (slang) round the twist (informal) of unsound mind, not right in the head, non compos mentis (Latin) off your rocker (slang) not the full shilling (informal) mentally disordered, off the air Austral. (slang) porangi N.Z. http://bram.org/folie/ Does madness exist in the virtual world? Please participate. http://bram.org/folie/ ___________________________________________________________________________ A fragmented relation Original French title :? Relation entrecoup?e 2009, 15 min.? Subtitles in English. A webcam mediated conversation treated to reveal the significance of void in? regular human intercourse. http://vimeo.com/4812716 Images and sound: Annie Abrahams and Nicolas Frespech. Editing : Annie Abrahams, residency Artelinea - Art Contemporain, Cong?nies. Two images, two voices answer each other, search for the other, get lost. During machine mediated communication, is the other most present when nothing happens, when at least I think of him, her, this other? This video is a special version for the internet, an adaption of the two channel installation version showed for the first time at PPCM in N?mes from 6 to 15 Mars 2009. This installation was also presented the 10th of Mars 2009 at ERBA, Valence during a workshop with the students. Source images and sound : A webcam presentation 6 Mars 2008 by Annie Abrahams and Nicolas Frespech concerning the video "One a puppet of the other" in the Contemporary Art Centre, CAC, Le Quartier in Quimper, France. From info at rybn.org Tue Jun 2 16:14:01 2009 From: info at rybn.org (rybn) Date: Tue Jun 2 16:14:29 2009 Subject: [spectre] ARTKILLART in MALAUPIXEL Message-ID: ******************************************************* . ARTKILLART in malaupixel ! .. FESTIVAL MALAUPIXEL ... UPGRADE! CONFERENCE in IMMATERIELLES ******************************************************* . ARTKILLART in malaupixel ! avec/with : Repulsive Society - Presbyacusis 20 2 15 000 H Z http://www.compoundsecurity.co.uk/ Valentina Vuksic - Trippin through Runtime http://harddisko.ch/ JoDi.org - Folksomy.alpha http://wwwwwwwww.jodi.org/ demol?cularisation - ***Be A Hero http://projectsinge.free.fr/ Diego De Leon - Noise Invaders http://diegodeleon.blogspot.com/ Sonom.org http://www.sonom.org/ Michael Sellam - tmp files http://www.michaelsellam.com The Noiser (Apo33) http://www.noiser.org/ Sascii (dokidoki) http://dokidoki.fr/ and also NTH Synthesis, YroYto, NellaTestaGomma, and more ... vendredi 5 juin 2009 - Mains d'Oeuvres, Star Trek 20h - 4h / Free before 22h - 10 euros after http://artkillart.tk http://www.malaupixel.org stream on : http://www.radiowne.org ******************************************************* .. FESTIVAL MALAUPIXEL : INSTALLATIONS ? vernissage le mardi 2 juin ? 18h-23h Jusqu?au dimanche 7 juin ? entr?e libre Le festival Mal au Pixel r?unit des artistes de la sc?ne europ?enne et des regards d?cal?s sur les usages de l??lectronique : technologie insolente, bricolages in?dits et cr?ations sans fronti?res... Pour la 4?me ?dition, ils recyclent les grandes questions environnementales et bousculent nos rep?res ?cologiques. Avec : Richard Box (UK), HeHe (Fr), Beatriz da Costa (US), Nicolas Montgermont et Nicolas Maigret (Fr), Jenny Pickett et Julien Ottavi (UK, Fr), Djeff Regottaz (Fr), Calvacreation (Ve, Fr), Maja Djordjevic (Sr) http://www.malaupixel.org/ ******************************************************* ... UPGRADE! CONFERENCE in IMMATERIELLES RYBN, samedi 30 mai ? 20h "Cap Digital Caveat Consors" Micha?l Sellam, mardi 2 juin ? 19h "Aberrations, exc?s, monstres et autres formes du bonheur" RadioFreeRobots, mardi 2 juin ? 20h "CPU: central prospective unit" Apo33, mercredi 3 juin ? 19h ?APO33, A10LAB & SCIE PROTOCOL? JODI, mercredi 3 juin ? 20 "All about us" - Mardi 2 juin de 19h ? 21h ? la Maison des M?tallos dans le cadre des Immat?rielles / malaupixel 94 rue Jean-Pierre Timbaud - 75011 Paris M? Parmentier ou Couronnes http://www.incident.net/theupgrade From joris at v2.nl Tue Jun 2 16:18:38 2009 From: joris at v2.nl (V2_) Date: Tue Jun 2 16:19:01 2009 Subject: [spectre] V2_Newsletter June 2009 Message-ID: <4A2534BE.1030907@v2.nl> *V2_Newsletter June 2009* *V2_web: 127.0.0.1* Online artwork by Rui Guerra on www.v2.nl www_hack by Rui Guerra is a creative intervention onto specific web sites. A script installed on the host site allows all visitors to a single page to observe each others mouse movements at any one time. By the way, check out the new V2_ website, developed and designed by David Castanheira, Rui Guerra, Jean Haasbroek and all V2_ online editors. http://www.v2.nl/news/www_hack ------------------------------------------------------------------------ *V2_Lab: Open_Lab* Next edition: June 11, 2009, starts 16:00h Location: V2_, eendrachtsstraat 10, Rotterdam Artists and students that need (technical) support on their projects can attend one of our Open_Lab sessions. Every other month, V2_Lab organizes an afternoon where artists and students can present their work and ask questions to all V2_Lab crew in an informal setting. Anyone who fills in the application form can attend the Open_Lab. http://www.v2.nl/lab/support ------------------------------------------------------------------------ *V2_Lab: Tele_Trust* Thursday June 11, 2009, 20:30, Theatrum Anatomicum, Waag Society, Nieuwmarkt 4, Amsterdam Since early 2008 the V2_Lab is involved in the technological development of the Tele_Trust art project. The project by Karen Lancel and Hermen Maat is now reaching its final form and is ready for the first public presentation. On June 11, the public will participate in the installation and at the same time a Tele_Trust data-veil will roam the Amsterdam public space being in constant connection with the event at the Theatrum. Both the artists will extensively test and tell the meaning and function of Tele_Trust. The evening will start with an introduction to the work by Eric Kluitenberg, author of Delusive Spaces and head of the media department of De Balie, Amsterdam. http://www.v2.nl/lab/projects/tele_trust ------------------------------------------------------------------------ *V2_events: AV Dutch* Date: June 4, 2009, starts 19:30h Location: MNAC Mediateca and Terrace, Bucharest, Romania.* AVmotional Platform in Bucharest presents /AV Dutch/, a night devoted to recent developments in Dutch audiovisual culture. The program includes film, music, dance and a presentation by V2_?s Michel van Dartel entitled /A New Skin for Cyborgs/. http://www.v2.nl/events/av-dutch From cahen.x at levels9.com Tue Jun 2 17:09:38 2009 From: cahen.x at levels9.com (xavier cahen) Date: Tue Jun 2 17:28:49 2009 Subject: [spectre] Actu. / Day of the European Constitutional Treaty referendum in France. Message-ID: <4A2540B2.6010802@levels9.com> Memo to / pour memo 00-00-0000.org Month Mois Mes - Day Jour Dia - Year Ann?e A?o Dawn to Dawn... de l'aube ? l'aube... Amanecer al amanecer... http://www.00-00-0000.org Pour acceder ? 00-00-0000.org vous devez t?l?charger le logicel ci-dessous... To get acces to 00-00-0000.org you need to download the software below... 00000000000000000000000000 Windows XP et 2000 et vista http://www.levels9.com/laube/00-00-0000_PC.zip 00000000000000000000000000 Mac OS 10 and + http://www.levels9.com/laube/00-00-0000_MAC.zip Optimized for Flash and Java, Optimis? pour Flash et Java, Optimizado para el flash y Java. ::::::: Or direct access / acces direct Day of the European Constitutional Treaty referendum in France / Journee du referendum sur le Traite Constitutionnel Europ?en en France (Paris, le 29 mai 2005 - Paris, may 29, 2005). ::::::: http://www.levels9.com/artprog1/actu/document_actu/referendum_05_29_05 File / fichier: 13.8 Mo length to be entirely downloaded, works with sound / long a telecharger entierement, fonctionne avec du son ::::::: Or / ou http://www.levels9.com/light/actunews.html ::::::: :::::::::::::::::::::::::::::::::::::::::::::::: Journ?e du r?f?rendum sur le Trait? Constitutionnel Europ?en en France :::::::::::::::::::::::::::::::::::::::::::::::: Version fran?aise Dimanche 29 mai 2005, journ?e du r?f?rendum sur le Trait? Constitutionnel Europ?en. Apr?s une longue et vive campagne politique autour du Trait? Constitutionnel Europ?en, les Fran?ais ont ?t? appel?s ? se rendre aux urnes et ? voter le dimanche 29 mai 2005. Ce m?me jour, j?ai pris mon v?lo et j?ai photographi? les panneaux ?lectoraux et les affiches, j?ai sillonn? mon quartier, le 9 i?me, le 10 i?me et le 18 i?me arrondissement de Paris. Je cherchais ? t?moigner des activit?s non officielles ou individuelles des habitants de la cit? autour de cette campagne d?affichage, de toutes ces petites interventions personnelles, d?encollages sauvages, de lac?rations, d??critures refl?tant l??tat d?esprit de leurs auteurs? Je cherchais ? montrer en quoi les artistes et les pratiques artistiques contemporaines s??taient inspir?es de ces manifestations populaires. En effet, il ?tait impossible de ne pas penser ? la vue de ses affiches lac?r?es, ? un Raymond Hains ou Jacques Villegl?, impossible d?oublier Jean-Michel Basquiat ou Cy Twombly avec ses ratures, ses griffures ou m?me Barbara Kruger pour les placardages et la m?thode militante de ses environnements? Ce diaporama souhaitait rendre hommage ? tous ces auteurs anonymes de l?espace urbain. L?autre raison ?tait plus ? sociologique ?, j?esp?rais percevoir par le biais de quelques indices, l??tat d?esprit de mes concitoyens inscrit dans l?espace public, sans passer par un institut de sondage ou un m?dia, et cela quelques heures avant le r?sultat officiel? Au regard des photos prises au fil de cette promenade, sans esprit d??quit? ou d??galit?, sans avoir fait le tour, ni la totalit? des rues et lieux d?affichages, il ?tait facile de constater qu?il existait une vigoureuse confrontation entre le OUI et le NON. Si l?espace d?affichage ?tait souvent partiellement inoccup? mais pratiquement illimit? gr?ce aux murs de la ville, l?opposition se d?roulait sur le m?me territoire. L?encollage se faisait sur l?affiche du pr?d?cesseur et les commentaires et interventions directement sur le message initial, faisant ainsi appara?tre une lutte pour le monopole de l?image et de l?information? On pouvait aussi constater qu?il n?y avait pas de partis politiques ni d?affiches ?pargn?es par ces interventions. Il ?tait m?me tr?s exceptionnel de trouver une affiche vierge de quelques partis que ce soient? Aujourd?hui, nous connaissons tous les r?sultats nationaux de ce r?f?rendum, avec une forte participation des ?lecteurs et avec la victoire du NON ? 54,87 % contre celle du OUI ? 45,13 % et 30,26 % d?abstention. Ce r?sultat national est en forte opposition avec le r?sultat de la ville de Paris, qui a vot? tr?s majoritairement pour le OUI, r?sultat qui concerne aussi les trois arrondissements de ma promenade*. ? la vue de ces r?sultats, les analystes politiques et tous les partis politiques nationaux se sont empress?s de tirer des conclusions?De souligner tant?t le retour probable de la notion de lutte des classes, tant?t la contestation d?un pouvoir politique en place, ou encore la peur de l?avenir, la x?nophobie, ou le malaise social face ? la crise de l?emploi en France? Si les analyses sont discutables, le r?sultat en revanche ne l?est pas, il t?moigne d?une grande d?fiance ? l??gard de la classe politique dominante, de droite comme de gauche, t?moignage que l?on retrouve aussi dans ce diaporama. Sans ?tre visionnaire, cette d?fiance d?j? pr?sente aux ?lections pr?sidentielles de 2002, avec le faible r?sultat socialiste, mais aussi de l?UMP, laisse pr?sager pour les prochaines ?lections nationales de grands bouleversements politiques. Soit la fin de la soumission des ?lecteurs aux principes de partis, soit l??mergence de nouvelles sensibilit?s, de nouvelles forces de repr?sentations? L?autre aspect surprenant de ce t?moignage photographique c?est qu?il ne refl?te pas le r?sultat des urnes des arrondissements concern?s. En effet, si sur le terrain et sur ces photos, un ?quilibre dans le rapport de force entre le OUI et le NON semble perceptible, il n?est pas le reflet fid?le du r?sultat tr?s net en faveur du OUI dans ces trois arrondissements ? Alors, o? sont donc pass?s ces anonymes intervenants des rues de Paris que nous ne retrouvons pas dans les urnes ? ?tait-ce seulement l?affaire de quelques militants actifs? ?taient-ils des abstentionnistes ? Ou ?taient-ils sans voix? ???? Paris le 23 juin 2005 Xavier Cahen * r?sultats par arrondissement parisien : le 9 i?me : 72,12% pour le OUI, 27,88% pour le NON et 23,74 % d?abstention; le 10 i?me : 62,66 % pour le OUI, 37,34 % pour le NON et 26,41 % d?abstention; le 18 i?me : 57,8 % pour le OUI, 42,2 % pour le NON et 27,99 % d?abstention? ::::::: ::::::: ::::::: :::::::::::::::::::::::::::::::::::::::::::::::: ::::::: :::::::::::::::::::::::::::::::::::::::::::::::: Day of the European Constitutional Treaty referendum in France :::::::::::::::::::::::::::::::::::::::::::::::: ::> Version fran?aise ci-dessous Sunday May 29, 2005, day of the referendum on the Constitutional Treaty European. After long and strong political Campaign around the European Constitutional Treaty, the French had to go to the ballot boxes and to vote Sunday May 29, 2005. This same day, I travelled with my bicycle and I photographed the electoral panels and vintage posters, I furrowed my district, the 9 th, the 10 th and the 18 th district of Paris. I sought to testify to the nonofficial or individual activities of the inhabitants of the city around this posting campaign, of all these small personal interventions, wild gluings, lacerations, writings reflecting the state of mind of their authors... I sought to show in what the contemporary artists and artistic practices had taken as a starting point these popular demonstrations. Indeed, it was impossible not to think of the sight of its lacerated posters, from Raymond Hains or Jacques Villegl?, impossible to forget Jean-Michel Basquiat or Cy Twombly with its erasures, its scratches or even Barbara Kruger her militant method of its environments... This diaporama wished to be an homage to all these anonymous authors of urban space. The other reason was more "sociological", I hoped to perceive by the means of some indices, the state of mind of my fellow-citizens, registered in public space, without passing by an institute of survey or media, and that a few hours before the official result... In comparison with the photographs taken with the wire of this walk, without spirit of equity or equality, without to have made the turn, nor the totality of the streets and places of postings, it was easy to note that there was a vigorous confrontation between YES and NOT. If the space of posting were often partially unoccupied but practically unlimited thanks to the walls of the city, the opposition proceeded on the same territory. Gluing was done on the poster of the predecessor and the comments and interventions directly on the initial message, thus revealing a fight for the monopoly of the image and the information... it could be easy to note as there were no political parties nor of posters saved by these interventions. It was very exceptional to even find a virgin poster of some parties that it is... Today, we know all the national results of this referendum, with a strong participation of the voters and the victory of NO to 54,87 % against that of YES to 45,13 % and 30,26 % of abstention. This national result is in strong opposition with the result of the town of Paris, which voted very mainly for YES, result which relates to also the three districts of my walk *. To the sight of these results, the political analysts and all the national political parties hastened to draw the conclusions... to sometimes underline the probable return of the concept of class struggle, sometimes the dispute of a political power in place, or the fear of the future, xenophobia, or it social trouble because the employment crisis in France... If the analyses are debatable, the result on the other hand is not it, it testifies to a great distrust for the dominant political community, of right-hand side like left, testimony which one also finds in this diaporama. Without being visionary, this distrust already present at the presidential elections of 2002, with the weak socialist result, but also of the UMP (Union for a Popular Movement), lets predict for the next national elections of great political upheavals. Either the end of the principle of voters ? subjected ? to parties, or the emergence of new sensitivities, new forces of representations... The other surprising aspect of this photographic testimony it is that it does not reflect the result of the ballot boxes of the districts concerned. Indeed, if in this part of the city and on these photographs, a balance in the report/ratio of force between YES and NOT seems equal, it is not the faithful reflection of the result in favour of YES in these three districts... Then, where these intervening anonymities of the streets of Paris passed which we do not find in the ballot boxes? Was this only the business of some active militants? Were abstentionnists? Or were they without voice...???? Paris on June 22, 2005 Xavier Cahen *results by Parisian district: 9 th: 72,12% for YES, 27,88% for NO and 23,74 % of abstention; 10 th: 62,66 % for YES, 37,34 % for NO and 26,41 % of abstention; 18 th: 57,8 % for YES, 42,2 % for NO and 27,99 % of abstention... ::::::: ::::::: ::::::: Automatic translator :::::::::::::::::::: ::::::: ::::::: -- XAVIER CAHEN -------------- cahen.x@levels9.com Paris France http://www.levels9.com http://00-00-0000.org Merci de penser ? l'environnement avant d'imprimer ce courriel From nc-agricowi at netcologne.de Wed Jun 3 08:41:56 2009 From: nc-agricowi at netcologne.de (VCH) Date: Wed Jun 3 08:42:33 2009 Subject: [spectre] namaTRE.ba - video art from Bosnia-Herzegovina Message-ID: <20090603084156.634BE3A2.46F37E2F@192.168.0.3> VideoChannel - video project environments http://videochannel.newmediafest.org is happy to launch on 03 June 2009 a new video art feature online, entitled: namaTRE.ba- video art from Bosnia-Herzegovina curated by Igor Bosnjak, initiator and curator of namaTRE.ba Project Trebinje/Bosnia-Herzegovina, featuring video works by Dragana Andjelic, Mladen Bundalo Igor Bosnjak, Nenad Malesevic Miodrag Manojlovic, Mladen Miljanovic, Dajan Spiric To enter this feature go to--> http://videochannel.newmediafest.org/blog/?page_id=257. An article about namaTRE.ba Project on netMAXX -networked magazine - http://maxx.nmartproject.net/?p=58 is completing this feature together with 7 interviews with the artists/directors included in the feature on VIP - VideoChannel Interview Project - http://vip.newmediafest.org/?p=231 and finally the inclusion of the videos on VAD - Video Art Database - http://vad.nmartproject.net/?p=449 Full article see on --> http://videochannel.newmediafest.org/blog/?p=425 -------------------------------------------------------------------------- VideoChannel forms together with ColognOFF - CologneOnline Film Festival, VIP- VideoChannel Interview Project and VAD - Video Art Database an unity which is dedicated to art forms of film and video in the framework of [NewMediaArtProjectNetwork]:||cologne - www.nmartproject.net - the experimental platform for art and new media from Cologne/Germany. . info[at] nmartproject.net -------------------------------------------------------------------------- From marika at incident.net Wed Jun 3 11:01:43 2009 From: marika at incident.net (Marika Dermineur) Date: Wed Jun 3 11:27:36 2009 Subject: [spectre] Upgrade! Paris in june Message-ID: <4A263BF7.1020007@incident.net> > Upgrade! Paris at *Maison des M?tallos*: RYBN, 30/05 Micha?l Sellam, 2/06 RadioFreeRobots, 2/06 Apo33, 3/06 at 19:00 JODI, 3/06 at 20:00 Immat?rielles Maison des M?tallos 94 rue Jean-Pierre Timbaud - 75011 Paris M? Parmentier ou Couronnes > Upgrade! Paris at *Ars Longa*: 4/06 at 20:00 Nogo Voyages (St?phane Degoutin, Alex Knapp, Gwenola Wagon) and Julien Levesque Ars Longa 67 Avenue Parmentier - 75011 Paris M?tro Parmentier Upgrade! #29 NOGO VOYAGES "Traveling between physical and virtual worlds" Nogo Voyages (St?phane Degoutin, Alex Knapp & Gwenola Wagon) and Julien Levesque. Nogo Voyages aims to discover the attractive potentials of peripheral places. We imagine interventions to enrich the places we visit. Travel is our studio, where we develop our projects : videos, books, fantastic architectures? ... http://www.nogovoyages.com Upgrade! #28 JODI "All about us" Jodi is a collaboration between European artists Joan Heemskerk and Dirk Paesmans. http://wwwwwwwww.jodi.org/ - http://www.folksomy.net Upgrade! #27 APO33 "APO33, A10LAB & SCIE PROTOCOL" APO33 & A10LAB is an artistic collective and a new media Laboratory, free and open source / Second part is a presentation of the project DIGITAL DEBRIS by SCIE PROTOCOL http://apo33.org/ - http://www.a10lab.info/scieprotocol Upgrade! #26 RadioFreeRobots "CPU: central prospective unit" 0 / Machines./ 1 / The machine is future./ 01 / The machine is the future of the machine./ 10 / It is not, it will be never of a machine which future is not the machine./ 11 / The machine is an arrived machine, here all./ 100 / The machine is a wild machine, by itself tamed./ 0001 / If the machine fails to reconcile justice and freedom, then it fails all./ 0011 / What the machine? / 111111 / end. http://www.radiofreerobots.com Upgrade! #25 Micha?l Sellam "Aberrations, exc?s, monstres et autres formes du bonheur" A presentation of his work and current research, through elements comming from sources as diverse as popular culture, memories and personal mythologies, new technologies, etc. The conference presents a fragment of the elements and references which enable him to develop strange, dramatic and comic devices and installations, where music and sound aspect have an important role. Prototypes, projects from which the whole research exemplifies simple intention, to do seriously something that is not serious. http://michaelsellam.com/ Upgrade! #24 RYbN "Cap Digital caveat consors" RYbN is a multi-field artistic collective, specialized in the realisation of installations, performances and interfaces, refering to the codified systems of artistic representation (painting, architecture, counter-cultures) as well as to human and physical phenomena (geopolitics, socio-economy, sensory perception, cognitive systems). http://rybn.org http://incident.net/theupgrade/ From n0name at gmx.de Wed Jun 3 11:21:01 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Wed Jun 3 11:28:41 2009 Subject: [spectre] 0-) n0name nachrichten #139 Message-ID: <20090603092101.259770@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-) n0name nachrichten #139 Mi., 03.06.2009 11:06 CET *Inhalt/Contents* 1. Debord - La Soci?t? du spectacle.srt als .txt 3 2. verteidigt das Portal der Fantasie aus: _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_ (Fortsetzung aus nn #138) 32 KB, ca. 19 DIN A4-Seiten ------------------------------------------------------------------------ 1. Debord - La Soci?t? du spectacle.srt als .txt 3 457 00:26:44,877 --> 00:26:46,491 Das diffuse Spektakul?re 458 00:26:46,633 --> 00:26:49,097 begleitet den Waren?berfluss, 459 00:26:49,286 --> 00:26:53,331 d.h. die ungest?rte Entwicklung des modernen Kapitalismus. 460 00:26:55,239 --> 00:26:58,569 Jede Ware dabei f?r sich genommen 461 00:26:58,664 --> 00:27:01,597 ist gerechtfertigt im Namen der Gr??e der 462 00:27:01,710 --> 00:27:03,131 Gesamtproduktion von Gegenst?nden, 463 00:27:03,277 --> 00:27:06,265 deren apologetischer Katalog das Spektakel ist. 464 00:27:06,417 --> 00:27:10,213 Unvereinbare Behauptungen dr?ngen sich auf der B?hne des vereinigten 465 00:27:10,340 --> 00:27:13,033 Spektakels der ?berfluss-?konomie, 466 00:27:13,238 --> 00:27:15,663 ebenso wie verschiedene Star-Waren 467 00:27:15,789 --> 00:27:18,700 gleichzeitig ihre widerspr?chlichen 468 00:27:18,845 --> 00:27:20,481 Einrichtungspl?ne der Gesellschaft vortragen, 469 00:27:20,639 --> 00:27:22,669 in der das Spektakel der Kraftwagen 470 00:27:22,766 --> 00:27:26,384 einen vollkommenen Verkehr verlangt, der die Altst?dte zerst?rt, 471 00:27:26,561 --> 00:27:30,615 w?hrend das Spektakel der Stadt selbst Museen-Viertel braucht. 472 00:27:30,861 --> 00:27:34,172 Daher wird die bereits problematische Zufriedenheit, 473 00:27:34,448 --> 00:27:38,180 die angeblich dem Konsum der Gesamtheit eignet, 474 00:27:38,267 --> 00:27:40,204 unmittelbar verf?lscht, 475 00:27:40,329 --> 00:27:44,528 indem der wirkliche Konsument direkt nur eine Aufeinanderfolge 476 00:27:44,641 --> 00:27:47,449 von Bruchst?cken dieses Warengl?cks ber?hren kann, 477 00:27:47,642 --> 00:27:49,500 denen jedesmal 478 00:27:49,613 --> 00:27:54,345 die der Gesamtheit zugeschriebene Qualit?t offensichtlich fehlt. 479 00:27:54,975 --> 00:27:58,502 Jede bestimmte Ware k?mpft f?r sich selbst, 480 00:27:58,675 --> 00:28:00,770 kann die anderen nicht anerkennen, 481 00:28:00,919 --> 00:28:04,572 will sich ?berall durchsetzen, als ob sie die einzige sei. 482 00:28:04,887 --> 00:28:08,832 Damit wird das Spektakel zum epischen Gesang dieses Zusammensto?es, 483 00:28:09,052 --> 00:28:12,533 den der Fall keines Troja beenden k?nnte. 484 00:28:12,887 --> 00:28:16,109 Das Spektakel besingt nicht die M?nner und ihre Waffen, 485 00:28:16,297 --> 00:28:19,399 sondern die Waren und ihre Leidenschaften. 486 00:28:19,745 --> 00:28:21,659 In diesem blinden Kampf 487 00:28:21,756 --> 00:28:24,430 vollbringt jede Ware, indem sie sich von ihrer Leidenschaft hinrei?en l?sst, 488 00:28:24,607 --> 00:28:28,677 Bewusstlos ein H?heres: 489 00:28:28,949 --> 00:28:31,264 das Welt-Werden der Ware, 490 00:28:31,382 --> 00:28:34,925 das ebenso das zur-Ware-Werden der Welt ist. 491 00:28:35,153 --> 00:28:38,517 So k?mpft sich, dank einer List der Warenvernunft, 492 00:28:38,782 --> 00:28:41,990 das Besondere der Ware aneinander ab, 493 00:28:43,026 --> 00:28:45,168 w?hrend die Warenform 494 00:28:45,404 --> 00:28:48,061 auf ihre absolute Verwirklichung zugeht. 495 00:28:49,514 --> 00:28:52,723 Im Bild der gl?cklichen Vereinheitlichung der Gesellschaft 496 00:28:52,852 --> 00:28:54,127 durch den Konsum 497 00:28:54,316 --> 00:28:56,852 ist die reale Teilung zur?ckgestellt 498 00:28:57,049 --> 00:29:00,608 nur bis zum n?chsten Nichterf?llen im Konsumierbaren. 499 00:29:01,363 --> 00:29:04,972 Jedes besondere Produkt, das die Hoffnung darstellen soll 500 00:29:05,085 --> 00:29:06,858 auf eine blitzschnelle Abk?rzung, 501 00:29:07,003 --> 00:29:10,866 um endlich ins gelobte Land des totalen Konsums zu gelangen, 502 00:29:11,252 --> 00:29:14,244 wird der Reihe nach feierlich pr?sentiert 503 00:29:14,334 --> 00:29:17,236 als die entscheidende Einzigartigkeit. 504 00:29:18,283 --> 00:29:21,884 Aber wie im Falle der augenblicklichen Verbreitung 505 00:29:22,045 --> 00:29:25,176 der Moden von scheinbar aristokratischen Vornamen, 506 00:29:25,354 --> 00:29:29,641 die von fast allen gleichaltrigen Individuen getragen werden, 507 00:29:29,803 --> 00:29:32,654 so kann der Gegenstand, von dem eine einzigartige Macht erwartet wird, 508 00:29:32,767 --> 00:29:35,723 nur dadurch der Andacht der Massen geweiht werden, 509 00:29:35,880 --> 00:29:39,644 dass er in einer hinreichend gro?en Zahl von Exemplaren vervielf?ltigt wurde, 510 00:29:39,799 --> 00:29:42,471 um massenhaft konsumiert zu werden. 511 00:29:42,754 --> 00:29:46,030 Der Prestigecharakter dieses beliebigen Produkts 512 00:29:46,187 --> 00:29:48,841 kommt ihm nur dadurch zu, dass es f?r einen Moment 513 00:29:49,014 --> 00:29:50,983 im Zentrum des gesellschaftlichen Lebens gestanden hat, 514 00:29:51,148 --> 00:29:52,880 als das offenbarte Mysterium 515 00:29:53,022 --> 00:29:55,604 des Endzwecks der Produktion. 516 00:29:56,990 --> 00:29:59,995 Der Gegenstand, der im Spektakel ein Prestige hatte, wird vulg?r, 517 00:30:00,172 --> 00:30:03,880 sobald er an den einzelnen Konsumenten 518 00:30:04,108 --> 00:30:06,900 und gleichzeitig an alle anderen gelangt. 519 00:30:07,093 --> 00:30:09,985 Zu sp?t enth?llt er seine wesentliche Armut, 520 00:30:10,146 --> 00:30:13,516 die die nat?rliche Folge des Elends seiner Produktion ist. 521 00:30:13,784 --> 00:30:14,776 Aber schon 522 00:30:14,910 --> 00:30:18,800 tr?gt ein anderer Gegenstand die Rechtfertigung des Systems in sich 523 00:30:18,981 --> 00:30:21,871 und die Forderung nach Anerkennung. 524 00:30:24,343 --> 00:30:26,627 Der Betrug der Befriedigung 525 00:30:26,784 --> 00:30:29,886 muss sich selbst denunzieren, indem er sich erneuert, 526 00:30:30,020 --> 00:30:32,115 indem er die Ver?nderung der Produkte 527 00:30:32,295 --> 00:30:35,445 und der allgemeinen Produktionsbedingungen verfolgt. 528 00:30:35,618 --> 00:30:38,985 Was mit der vollkommensten Unversch?mtheit 529 00:30:39,130 --> 00:30:42,476 seine eigene definitive Vortrefflichkeit behauptet hat, ?ndert sich dennoch, 530 00:30:43,004 --> 00:30:44,683 im diffusen, 531 00:30:44,822 --> 00:30:47,598 aber auch im konzentrierten Spektakel, 532 00:30:47,727 --> 00:30:50,443 und allein das System muss fortdauern: 533 00:30:50,665 --> 00:30:53,085 Stalin wie die veraltete Ware 534 00:30:53,232 --> 00:30:57,220 werden von eben denen denunziert, die sie eingef?hrt haben. 535 00:30:57,460 --> 00:31:00,246 Jede neue L?ge der Werbung 536 00:31:00,468 --> 00:31:03,644 ist auch das Eingest?ndnis ihrer vorigen L?ge. 537 00:31:03,862 --> 00:31:07,373 Jeder Sturz einer Gestalt der totalit?ren Gewalt 538 00:31:07,507 --> 00:31:10,195 offenbart die illusorische Gemeinschaft, 539 00:31:10,340 --> 00:31:12,168 die sie einstimmig guthie? 540 00:31:12,326 --> 00:31:17,264 und die doch nur eine Anh?ufung von illusionslosen Einsamkeiten war. 541 00:31:18,137 --> 00:31:21,118 Was das Spektakel als dauerhaft pr?sentiert, 542 00:31:21,263 --> 00:31:23,155 ist auf die Ver?nderung gegr?ndet 543 00:31:23,283 --> 00:31:25,208 und muss sich mit seiner Basis ver?ndern. 544 00:31:25,428 --> 00:31:27,840 Das Spektakel ist absolut dogmatisch 545 00:31:28,003 --> 00:31:32,228 und kann doch zugleich zu keinem einzigen soliden Dogma f?hren. 546 00:31:32,419 --> 00:31:34,324 F?r das Spektakel h?rt nichts auf; 547 00:31:34,521 --> 00:31:36,576 dies ist sein nat?rlicher 548 00:31:36,737 --> 00:31:39,552 und dennoch seiner Neigung entgegengesetztester Zustand. 549 00:31:42,307 --> 00:31:45,416 Die unwirkliche Einheit, die das Spektakel proklamiert, 550 00:31:45,511 --> 00:31:48,379 ist die Maske der Klassenteilung, 551 00:31:48,523 --> 00:31:52,327 auf der die reale Einheit der kapitalistischen Produktionsweise beruht. 552 00:31:52,527 --> 00:31:55,235 Was die Produzenten verpflichtet, 553 00:31:55,330 --> 00:31:57,197 am Bau der Welt teilzunehmen, 554 00:31:57,342 --> 00:31:59,542 ist auch das, was sie davon ausschlie?t. 555 00:31:59,694 --> 00:32:03,265 Was die von ihren lokalen und nationalen 556 00:32:03,442 --> 00:32:07,206 Schranken befreiten Menschen verbindet, ist auch das, was sie voneinander entfernt. 557 00:32:07,321 --> 00:32:10,445 Was zur Vertiefung des Rationellen verpflichtet, 558 00:32:10,581 --> 00:32:13,865 ist auch das, was das Irrationelle der hierarchischen 559 00:32:13,994 --> 00:32:16,195 Ausbeutung und der Repression n?hrt. 560 00:32:16,399 --> 00:32:19,410 Was die abstrakte Gewalt der Gesellschaft erzeugt, 561 00:32:19,604 --> 00:32:22,308 schafft auch ihre konkrete Unfreiheit. 562 00:32:27,332 --> 00:32:31,096 Leben wir denn, Proletarier, leben wir? 563 00:32:31,530 --> 00:32:35,776 Dieses Zeitalter, welches wir sind - und in welchem alles, 564 00:32:35,977 --> 00:32:39,403 was wir bedeuten, nicht mehr uns geh?rt, ist das ein Leben? 565 00:32:39,660 --> 00:32:43,312 Und k?nnen wir denn nicht wahrnehmen, was uns mit dem Verflie?en der Jahre unaufh?rlich entgeht? 566 00:32:48,963 --> 00:32:52,273 Sind nicht Schlaf und Essen nur schwache Medizin gegen die Krankheit, 567 00:32:52,334 --> 00:32:55,624 die an uns nagt ? Und ist die, die wir die letzte nennen, 568 00:32:56,036 --> 00:32:59,583 nicht nur eine Verdopplung aller bisherigen ? 569 00:32:59,760 --> 00:33:03,000 Ist der Tod nicht nur ein letzter Anfall der Leiden, 570 00:33:03,266 --> 00:33:06,435 die wir mit uns selbst zur Welt gebracht haben ? 571 00:33:09,183 --> 00:33:12,470 Die kapitalistische Produktion hat den Raum vereinigt, 572 00:33:12,640 --> 00:33:15,991 der von keinen Au?engesellschaften mehr begrenzt ist. 573 00:33:16,176 --> 00:33:21,246 Diese Vereinigung ist zugleich ein extensiver und intensiver 574 00:33:21,435 --> 00:33:23,385 Prozess der Banalisierung. 575 00:33:23,719 --> 00:33:27,050 So wie die Akkumulation der 576 00:33:27,179 --> 00:33:29,002 f?r den abstrakten Raum 577 00:33:29,176 --> 00:33:30,904 des Marktes in Serie produzierten Waren 578 00:33:31,033 --> 00:33:33,404 alle regionalen und gesetzlichen Schranken 579 00:33:33,554 --> 00:33:36,857 und alle korporativen Beschr?nkungen des Mittelalters, die 580 00:33:37,004 --> 00:33:39,971 die Qualit?t der handwerklichen Produktion aufrechterhielten, brechen musste, 581 00:33:40,153 --> 00:33:44,144 musste sie auch die Autonomie und die Qualit?t der Orte aufl?sen. 582 00:33:44,326 --> 00:33:47,059 Diese Macht der Homogenisierung 583 00:33:47,192 --> 00:33:49,038 ist die schwere Artillerie, 584 00:33:49,199 --> 00:33:52,416 die alle chinesischen Mauern in den Grund geschossen hat. 585 00:33:55,089 --> 00:33:58,575 Um immer identischer mit sich selbst zu werden, 586 00:33:58,735 --> 00:34:02,214 um sich der unbeweglichen Eint?nigkeit m?glichst weit zu n?hern, 587 00:34:02,403 --> 00:34:04,909 wird der freie Raum der Ware 588 00:34:05,087 --> 00:34:09,381 k?nftig st?ndig abge?ndert und neugebildet. 589 00:34:11,110 --> 00:34:14,615 Diese Gesellschaft, die die geographische Entfernung aufhebt, 590 00:34:14,834 --> 00:34:17,262 bildet sie in ihrem Inneren 591 00:34:17,393 --> 00:34:20,241 als spektakul?re Trennung. 592 00:34:22,677 --> 00:34:25,771 Nebenprodukt der Warenzirkulation, 593 00:34:25,912 --> 00:34:29,377 l?sst die als Konsum betrachtete menschliche Zirkulation, 594 00:34:29,613 --> 00:34:32,555 der Tourismus, sich im wesentlichen auf die Mu?e zur?ckf?hren, 595 00:34:32,723 --> 00:34:35,675 das zu besichtigen, was banal geworden ist. 596 00:34:35,959 --> 00:34:39,860 Die ?konomische Erschlie?ung des Besuchs verschiedener Orte 597 00:34:39,998 --> 00:34:43,766 ist bereits von selbst die Garantie ihrer Gleichwertigkeit. 598 00:34:44,013 --> 00:34:47,939 Dieselbe Modernisierung, die der Reise die Zeit entzogen hat, 599 00:34:48,134 --> 00:34:51,493 hat ihr auch die Realit?t des Raums genommen. 600 00:34:52,210 --> 00:34:55,927 Die Gesellschaft, die auf der Expansion der entfremdeten 601 00:34:56,400 --> 00:35:00,680 industriellen Arbeit beruht, wird so ungesund, laut, h?sslich und schmutzig 602 00:35:01,067 --> 00:35:04,890 wie eine Fabrik. 603 00:35:07,772 --> 00:35:10,528 Die Gesellschaft, die ihre gesamte Umgebung nach ihrem Bild formt, 604 00:35:10,606 --> 00:35:13,151 hat sich eine spezielle Technik geschaffen, 605 00:35:13,314 --> 00:35:16,196 um die konkrete Basis dieser Aufgabengruppe zu gestalten: 606 00:35:16,327 --> 00:35:17,924 ihr Territorium selbst. 607 00:35:18,142 --> 00:35:21,912 Der Urbanismus ist diese Inbesitznahme der nat?rlichen 608 00:35:22,075 --> 00:35:24,433 und menschlichen Umwelt durch den Kapitalismus, der, 609 00:35:24,614 --> 00:35:28,085 indem er sich logisch zur absoluten Herrschaft entwickelt, 610 00:35:28,275 --> 00:35:34,314 jetzt das Ganze des Raums als seine eigene Ausstattung umarbeiten kann und muss. 611 00:35:35,925 --> 00:35:39,795 ?... der Mensch kehrt in die H?hlenwohnung zur?ck, 612 00:35:39,923 --> 00:35:43,697 ... die er nur mehr prek?r bewohnt, als eine fremde Macht, 613 00:35:43,748 --> 00:35:47,338 die sich ihm t?glich entziehn, aus der er t?glich, 614 00:35:47,380 --> 00:35:51,280 wenn er nicht zahlt, herausgeworfen werden kann. 615 00:35:51,342 --> 00:35:55,000 Dies Totenhaus muss er bezahlen.? 616 00:35:55,064 --> 00:35:57,948 Marx, 1844 Pariser Manuskripte 617 00:35:59,729 --> 00:36:03,299 Wenn alle technischen Kr?fte der kapitalistischen ?konomie 618 00:36:03,396 --> 00:36:06,255 als trennungschaffende Kr?fte zu verstehen sind, 619 00:36:06,444 --> 00:36:08,067 handelt es sich im Fall des Urbanismus 620 00:36:08,247 --> 00:36:11,544 um die Erschlie?ung ihrer allgemeinen Basis, 621 00:36:11,690 --> 00:36:14,578 um die Behandlung des f?r ihre Entfaltung geeigneten Bodens; 622 00:36:14,751 --> 00:36:17,818 um die Technik der Trennung selbst. 623 00:36:18,419 --> 00:36:21,251 Zum ersten Mal ist eine neue Architektur, 624 00:36:21,419 --> 00:36:24,696 die in jeder fr?heren Epoche vorbehalten war 625 00:36:24,826 --> 00:36:27,058 der Befriedigung der herrschenden Klassen, 626 00:36:27,187 --> 00:36:29,613 direkt den Armen zugedacht. 627 00:36:30,930 --> 00:36:33,983 Das formale Elend und die riesenhafte Ausdehnung 628 00:36:34,185 --> 00:36:36,287 dieser neuen Wohnerfahrung 629 00:36:36,449 --> 00:36:39,126 sind die Folge ihres Massencharakters, 630 00:36:39,355 --> 00:36:42,621 den sowohl ihre Bestimmung 631 00:36:42,849 --> 00:36:45,404 als auch die modernen Bedingungen der Bauweise implizieren. 632 00:36:45,732 --> 00:36:47,632 Die autorit?re Entscheidung, 633 00:36:47,794 --> 00:36:51,781 die den Raum abstrakt zu einem Raum der Abstraktion macht, 634 00:36:51,926 --> 00:36:56,555 steht nat?rlich im Zentrum dieser modernen Konstruktions-Bedingungen. 635 00:36:56,884 --> 00:36:58,857 Die ?berschrittene Wachstumsschwelle 636 00:36:58,986 --> 00:37:01,000 der materiellen Macht der Gesellschaft 637 00:37:01,097 --> 00:37:04,445 und der R?ckstand in der Bewussten Beherrschung dieser Macht 638 00:37:04,574 --> 00:37:06,819 treten im Urbanismus offen zu Tage. 639 00:37:07,175 --> 00:37:10,781 Die Umwelt, die immer ?berst?rzter rekonstruiert wird 640 00:37:10,983 --> 00:37:14,719 zwecks repressiver Kontrolle und Profitmacherei, 641 00:37:14,937 --> 00:37:18,641 wird gleichzeitig immer br?chiger und treibt von vornherein zur Zerst?rung an. 642 00:37:19,029 --> 00:37:22,773 Der Kapitalismus in seinem spektakul?ren Stadium reproduziert alles als Schund 643 00:37:23,080 --> 00:37:26,945 und produziert Gro?br?nde. Auf diese Weise wird seine Ausstattung 644 00:37:27,171 --> 00:37:30,745 ?berall so feuergef?hrlich wie eine H?here Schule in Frankreich. 645 00:37:31,102 --> 00:37:33,968 Die Geschichte, die diese d?mmernde Welt bedroht, 646 00:37:34,125 --> 00:37:38,665 ist auch die Kraft, die den Raum der erlebten Zeit unterwerfen kann. 647 00:37:38,976 --> 00:37:43,275 Die proletarische Revolution ist diese Kritik der Geographie vom Menschen, 648 00:37:43,453 --> 00:37:46,768 in der die Individuen und Gemeinschaften 649 00:37:46,897 --> 00:37:49,989 die Landschaft und die Ereignisse konstruieren m?ssen, 650 00:37:50,215 --> 00:37:52,282 die der Aneignung entsprechen - 651 00:37:52,368 --> 00:37:54,415 nicht mehr nur ihrer Arbeit, 652 00:37:54,612 --> 00:37:56,495 sondern ihrer gesamten Geschichte. 653 00:37:56,675 --> 00:37:58,861 In diesem bewegten Raum des Spiels 654 00:37:58,956 --> 00:38:02,288 und der freigew?hlten Variationen der Spielregeln 655 00:38:02,417 --> 00:38:04,799 kann die Autonomie des Ortes wiedergefunden werden, 656 00:38:04,912 --> 00:38:08,179 ohne eine neue ausschlie?liche Bindung an den Boden einzuf?hren, 657 00:38:08,297 --> 00:38:09,241 und dadurch 658 00:38:09,415 --> 00:38:11,871 die Wirklichkeit der Reise zur?ckbringen 659 00:38:12,060 --> 00:38:13,036 und des Lebens, 660 00:38:13,198 --> 00:38:17,629 dass als Reise begriffen wird, die in sich selbst all ihren Sinn hat. 661 00:39:35,081 --> 00:39:37,552 - What's your pleasure? - Whiskey. 662 00:39:53,600 --> 00:39:55,600 Welch ein Schmelztiegel ! 663 00:39:58,602 --> 00:40:02,602 Alle andren Orte sind wie Kindergarten verglichen mit diesem hier. 664 00:40:02,620 --> 00:40:05,000 Es duftet derartig s?ndig. 665 00:40:05,604 --> 00:40:09,604 Ich h?tte nicht gedacht, dass ein solcher Ort anders existierte als in meiner eignen Vorstellung. 666 00:40:10,205 --> 00:40:15,105 Es hat die gespenstige Vertrautheit eines halbvergessnen Traums. 667 00:40:15,100 --> 00:40:17,306 Alles k?nnte hier geschehen, 668 00:40:17,307 --> 00:40:19,307 in jedem Augenblick. 669 00:40:21,516 --> 00:40:24,727 Die Zeit der Produktion, die Zeit als Ware, 670 00:40:24,901 --> 00:40:28,395 ist eine unendliche Akkumulation von gleichwertigen Intervallen. 671 00:40:28,621 --> 00:40:31,095 Sie ist die Abstraktion der unwiederbringlichen Zeit, 672 00:40:31,270 --> 00:40:34,533 deren Abschnitte alle auf dem Chronometer 673 00:40:34,680 --> 00:40:37,422 ihre alleinige quantitative Gleichheit beweisen m?ssen. 674 00:40:39,281 --> 00:40:42,661 Diese Zeit ist in ihrer ganzen Wirklichkeit, 675 00:40:42,823 --> 00:40:46,348 was sie in ihrem austauschbaren Wesen ist. 676 00:40:48,308 --> 00:40:51,328 Die allgemeine Zeit der menschlichen Nichtentwicklung 677 00:40:51,489 --> 00:40:54,287 existiert auch unter dem erg?nzenden Aspekt 678 00:40:54,498 --> 00:40:56,729 einer konsumierbaren Zeit, die 679 00:40:56,859 --> 00:40:58,721 von dieser bestimmten Produktion aus 680 00:40:58,883 --> 00:41:01,426 zum t?glichen Leben der Gesellschaft 681 00:41:01,638 --> 00:41:04,206 als eine pseudo-zyklische Zeit zur?ckkehrt. 682 00:41:04,811 --> 00:41:06,335 Die pseudozyklische Zeit 683 00:41:06,497 --> 00:41:09,867 ist die Zeit des Konsums des modernen ?konomischen ?berlebens, 684 00:41:10,079 --> 00:41:13,104 des vermehrten ?berlebens, worin das t?glich Erlebte 685 00:41:13,229 --> 00:41:16,187 ohne Entscheidungsgewalt und unterworfen bleibt, 686 00:41:16,333 --> 00:41:18,215 aber nicht mehr der nat?rlichen Ordnung, 687 00:41:18,357 --> 00:41:21,572 sondern der in der entfremdeten Arbeit entwickelten Pseudonatur; 688 00:41:21,725 --> 00:41:23,369 und so findet diese Zeit ganz nat?rlich 689 00:41:23,510 --> 00:41:26,431 den alten zyklischen Rhythmus wieder, 690 00:41:26,544 --> 00:41:30,020 der das ?berleben der vorindustriellen Gesellschaften regelte. 691 00:41:30,281 --> 00:41:32,968 Die pseudozyklische Zeit 692 00:41:33,210 --> 00:41:36,218 st?tzt sich auf die ?berreste der zyklischen Zeit 693 00:41:36,352 --> 00:41:39,725 und stellt aus ihnen zugleich neue entsprechende Kombinationen her: 694 00:41:39,871 --> 00:41:41,227 den Tag und die Nacht, 695 00:41:41,367 --> 00:41:43,706 Arbeitswoche und Wochenende, 696 00:41:43,820 --> 00:41:46,925 die Wiederkehr der Ferienzeiten. 697 00:41:47,668 --> 00:41:51,563 Konsumierbare pseudozyklische Zeit ist spektakul?re Zeit, weiter im n0name newsletter #140 ------------------------------------------------------------------------ 2. verteidigt das Portal der Fantasie (Fortsetzung aus n0name newsletter #138) ueber die Zeit als momentaner Entscheidungsfaehigkeit geraet damit von zwei Seiten unter Druck, als kulturindustrielle obszoene Verdichtung von Lebenszeit im inszenierten und gefeierten 'Knueller' und als Instal-lierung eines allgemeinen Zeit- und Oekonomiemaszes, das die mensch-liche Wahrnehmung unterlaeuft. Das Zeitverhalten technischer Prozesse ist so beschreibbar: Schon die Einwirkungsgroeszen wie Beobachtung, Kontrolle und Steuerung am Eingang eines durch Apparate vermittelten Vorgangs sind zeitab- haengig. Durch den technischen Prozess werden sie umgeformt. Am Ausgang eines wie auch immer gestalteten Maschine / Maschine- oder Mensch / Maschinesystems haben wir es wieder mit zeitabhaengigen Er- fahrungsgroeszen zu tun. Solche Prozesse kann man auch dynamische Prozesse nennen. Das mindeste, was Kuenstler und Ingenieure, die in solchen Prozessen engagiert sind, zu tun haben, ist, dafuer zu sorgen, dass die Umformung, die im Mittelteil des Prozesses stattfindet, mar-kante Unterschiede setzt zwischen den Einwirkungsgroeszen am Ein-gang und den Ergebnisgroeszen am Ausgang. Das waere wirksame Arbeit an der Schnittstelle, noch einmal: ihre Dramatisierung. #Gestaltete Zeit muss etwas von der Zeit zurueckgeben koennen, die das Leben den Ein-zelnen gestohlen hat.# Das ist einer der schoensten Gedanken Jean-Luc Godards zum Kino, der sich aber im Hinblick auf die technischen Me-dienwelten erweitern laesst. Schaffen die Medienaktiven die Transfor-mation nicht, ist die prozessierte Zeit vergeudete Zeit. Hinter die Faehig-keiten von Maschinen sollten wir nicht immer wieder zurueckfallen. "Wir irren des Nachts im Kreis umher und werden vom Feuer ver- zehrt", so beschrieb der Situationist Guy Debord die Taetigkeit des "Her-umstreunens", die er gegenueber der "Gesellschaft des Spektakels" als einzig wuerdevolle empfand. [23] Die ersten bekannten Zeitmesser der al-ten chinesischen Hochkultur waren labyrinthartig strukturierte, qua-dratische, laengliche oder runde Metallreliefs. In die Auslassungen wurde ein langsam zuendendes Pulver gestreut. Das Verbrennen des Pulvers im Labyrinth zeigte das Vergehen der Zeit an. Debord stellte sei-nen Koerper und seine Einbildungskraft als Material zur Verfuegung fuer die Messung der Zeit, in der er lebte. Was waere die Alternative eines zeitbewussten Handelns gegenueber der situationistischen, sich verzeh- 319 renden Identitaet? Theoretisch koennte sie darin bestehen, Feuer zu sein anstelle des verbrennenden Pulvers. Aber diese Position kann man nur dann einnehmen, wenn man Gott spielen will, da wir ja Teil des Stoffs sind, den die Zeit verbraucht. #Was wir tun koennen, ist, in den Rhyth-mus des Verbrennens, in seine Geschwindigkeit einzugreifen, seine Intervalle mit zu organisieren. Eingreifende Medienpolitik hiesze in die-ser Perspektive aktive Sorge um die Souveraenitaet des Verbrauchs von Zeit und ihrer Organisation. Verlustbereitschaft im Sinne der Verzeh-rung Debords und der Verschwendung Batailles scheint dabei eine not-wendige Voraussetzung zu sein.# #Verlust# ist aber dann keine Kategorie fataler Oekonomie, wenn es gelingt, ihn als #Bereicherung der Anderen# wirksam werden zu lassen. Andernfalls wuerde die Verzehrung religioes, die Verschwendung ideologisch. Und beide Haltungen hatten bereits verheerende Auswirkungen in der juengeren Geschichte. Die Bewegung in die Tiefenzeit medientechnischen Denkens und Operierens hat Protagonisten vorgefuehrt, die in unterschiedlichen his-torischen Konstellationen zur Transformation von Prozessen beitru-gen, indem sie vorhandenes Wissen und Kenntnisse buendelten, er-weiterten, durch ihre Zuspitzungen attraktiv kippen lieszen oder mutig riskantere Wege eroeffneten als diejenigen, die ihnen durch die etablier-ten Verhaeltnisse nahe gelegt wurden. In Anlehnung an eine Bezeich-nung, die Hoelderlin fuer Empedokles erfand, kann man sie auch als Kai-ros-Piloten bezeichnen. In je besonderer Weise haben sie demonstriert, dass der guenstige Moment nicht dazu da ist, um etwas fuer uns zu erle-digen, sondern dass er ergriffen werden muss. Die aus Philadelphia stammenden und in London lebenden Zwillinge "The Quay Brothers" inszenieren fuer das Kino und fuer das Theater. Ihre besondere Leidenschaft gilt der Beseelung von toten Materialien durch Techniken des Filmtricks. Nichts anderes bedeutet Animation. Mit einer einzigartigen poetischen Kraft durchstreifen sie in ihren Filmen verges-sene und verdraengte Orte, vornehmlich des oestlichen Mitteleuropa, sammeln Schriftzeichen, Schilder, weggeworfene Dinge, Artefakte, die von einer Resistenz des Alltaeglichen zeugen, Rhythmen und Melodien, die aus Zeitraeumen zu stammen scheinen, zu denen wir den Zugang verloren oder uns verstellt haben. Mit einer unvergleichlichen Sensibi- 320 litaet und virtuosen Praezision animieren sie die Fundstuecke und verbin-den sie mit ihrer Einbildungskraft zu minimalen Orgien augenblick-licher Sensationen. Eine ihrer Bewegungen fuehrte sie durch das ehe-mals zu Polen gehoerende Drohobycz. Eines ihrer fruehen Meisterwerke wurde "Street of Crocodiles" (1985), die eigenwillige filmische Inter-pretation der Kurzgeschichte "Die Krokodilgasse" aus den "Zimtlaeden" von Bruno Schulz. Sie ist filmische Kairos-Poesie _par excellence_. Un-scheinbare Nebenfigur dieses Films ist ein kleiner Junge. In den Hinter-zimmern der von geheimnisvollen Obsessionen, Mannequins und irrer Geschaeftigkeit durchdrungenen Laeden der Krokodilgasse sucht er nach gebautem Material, das seine draengende Neugierde und spielerische Lust befriedigen koennte. Rostige Schrauben winden sich wie von selbst aus schmutzbedeckten Bretterbohlen, wirbeln ueber sie hinweg und dre-hen sich an anderer Stelle wieder elegant in den Boden hinein. Der Junge stoppt die Bewegung einer der Schrauben, dreht sie gegen den Uhrzeigersinn aus dem Boden heraus und fuegt sie sorgfaeltig den uebri-gen lose gesammelten Gegenstaenden hinzu. Eine Figur aus Metallteilen mit einer trueben Gluehbirne als Kopf reibt eine eiserne Platte, die Glimm-draehte in der Birne leuchten kurz auf, der Junge faengt den Lichtstrahl mit einem Taschenspiegel ein und lenkt ihn als Energiebuendel zu einem mechanischen Affen, der sich dafuer mit einem heftigen, sofort wieder abbrechenden Trommelwirbel bedankt. Spaeter sieht man den Jungen mit der metallenen Gluehbirnenfigur an der Seite wieder. Er nimmt sie in den Arm und stuelpt ihr seine Muetze ueber den glaesernen Kopf --------------------------------------------------------------- | #Kuenstlerische Praxis in den Medienwelten ist eine Angele- | | genheit der Verschwendung. Ihre privilegierten Orte sind | | nicht Palaeste, sondern offene Laboratorien.# | --------------------------------------------------------------- Medienkunst ist ein seltsames Mixtum compositum. Einerseits bezeich- net die Verbindung nahe beieinander Liegendes. Jede kuenstlerische Praxis benoetigt Medien, um fuer andere sinnlich erfahrbar zu werden. Aber Medienkunst ist in den letzten Jahrzehnten auch als ein spezifi- sches Konzept kultureller Praxis entwickelt worden. In dieser Perspek- 321 tive enthaelt das Mixtum compositum weit auseinander Klaffendes. Es versucht zwei verschiedene Welten in einer zusammenzufuegen. Diese Verkoppelung hat in ihrem Ursprung auch strategischen Charakter, weniger fuer die Medien als fuer die Kunst. Aehnlich wie zuvor schon bei der _Filmkunst_ oder der _Videokunst_ sollte das Praefix den damit verbunde-nen neuen kuenstlerischen Praxen einerseits eine originelle Absetzung von den traditionellen ermoeglichen, andererseits beinhaltete die Ver-bindung mit der Kunst den Anspruch auf Teilhabe an einem historisch gewordenen Markt, an profilierten Verhaeltnissen der Distribution und des Diskurses. Der strategische Begriff der Medienkunst spitzte dies in-sofern noch zu, als das Praefix _Medien_ spaetestens seit Mitter der 1980er auf eine hohe politische und oekonomische Akzeptanz hoffen durfte. Die Gestaltbarkeit des Zukuenftigen wurde fest an die Medien gebunden. Das war zugleich einer der Gruende, warum die Ablehnung in den tradi-tionellen Institutionen der Kunst viel heftiger ausfiel als bei den vorher- gehenden medialen Konzepten. Die _Medien_ stehen in der Mischung fuer eine Reihe von Paradigmen, die nicht selbstverstaendlich mit der Kunst verbunden werden. Dazu ge-hoert das Gebot zum grenzenlos Populaeren. Die technischen Medien des ausgehenden 19. und des 20. Jahrhunderts adressierten nicht mehr die geschlossenen Benutzerkreise gesellschaftlicher Elitegruppen, sondern die Moeglichkeit, sozial, regional und national nicht spezifische Publika zu erreichen. Das Telefon, die Telegraphie, das Kino, Radio und Fern-sehen, Videorecorder oder _compact discs_ entstanden als Kulturtechni-ken, die weltweit funktionieren sollten. Die Tendenz zur Ueberschreitung jeglicher Grenzen ist ihnen als Auftrag eingeschrieben. Die telemati-schen Medien verstaerkten diese Tendenz noch einmal. Diejenigen, die sie benutzen, identifizieren sich selbst nicht mehr nur als Zuschauer und Zuhoerer. Vielmehr wurden sie Teilnehmer in einer globalen Veran-staltung, Mitspieler in einem Zusammenhang der Interaktion, den wir Kommunikation zu nennen gelernt haben. In dieser Welt haben wir es nicht mehr nur mit vereinzelten technischen Artefakten zu tun, son-dern mit zusammengesetzten technischen Sachsystemen und, in einem genaueren Sinn des Wortes, mit Technologie. #Es geht nicht mehr ledig-lich um einzelne Vergegenstaendlichungen und Artikulationsformen# 322 ======================================================================== Sie erhalten den n0name newsletter, weil sie da sind!/You get the n0name newsletter, because you are there! *Bitte weiterleiten!/Please forward!* Archiv: http://www.n0name.de/newsletr.html (c) 1999-2009 n0name, die Autorinnen & Autoren und die Maschinen Unterstuetzt von XPECT MEDIA http://www.xpect-media.de Sponsored by FONDS Dank an >top e.V. ------------------- Ende des n0name newsletter #139 -------------------- -- GMX FreeDSL mit DSL 6.000 Flatrate und Telefonanschluss nur 17,95 Euro/mtl.! http://dslspecial.gmx.de/freedsl-aktionspreis/?ac=OM.AD.PD003K11308T4569a From info at apo33.org Wed Jun 3 11:49:27 2009 From: info at apo33.org (APO33) Date: Wed Jun 3 11:50:35 2009 Subject: [spectre] THENOISER / APO33 / SCIE PROTOCOL & A10LAB INVASION RIGHT NOW!!!!! Message-ID: <20090603114927.433013e97ka5pfes@apo33.org> THENOISER / APO33 / SCIE PROTOCOL & A10LAB INVASION RIGHT NOW!!!!! //////////////////////////////////////////////////////////// -->PARIS----------------------------------------------> THENOISER @ malaupixel! FESTIVAL MALAUPIXEL UPGRADE! CONFERENCE in IMMATERIELLES WIKIPLAZA PARIS ? FUTUR EN SEINE -->TORONTO--------------------------------------------> JULIEN OTTAVI / APO33 - SUBTLE TECHNOLOGIES FESTIVAL ////////////////////////////////////////////////////////// THENOISER @ malaupixel ! with : Repulsive Society - Presbyacusis 20 2 15 000 H Z http://www.compoundsecurity.co.uk/ Valentina Vuksic - Trippin through Runtime http://harddisko.ch/ JoDi.org - Folksomy.alpha http://wwwwwwwww.jodi.org/ demol?cularisation - ***Be A Hero http://projectsinge.free.fr/ Diego De Leon - Noise Invaders http://diegodeleon.blogspot.com/ Sonom.org http://www.sonom.org/ Michael Sellam - tmp files http://www.michaelsellam.com ARTKILLART http://artkillart.tk Sascii (dokidoki) http://dokidoki.fr/ and also NTH Synthesis, YroYto, NellaTestaGomma, and more ... vendredi 5 juin 2009 - Mains d'Oeuvres, Star Trek / Friday the 5th of june 20h - 4h / Free before 22h - 10 euros after / 8pm - 4am http://www.noiser.org http://www.malaupixel.org stream on : http://www.radiowne.org /////////////////////////////////////////////////////////////////////////// FESTIVAL MALAUPIXEL : INSTALLATIONS ? vernissage le mardi 2 juin ? 18h-23h Jusqu?au dimanche 7 juin ? entr?e libre Le festival Mal au Pixel r?unit des artistes de la sc?ne europ?enne et des regards d?cal?s sur les usages de l??lectronique : technologie insolente, bricolages in?dits et cr?ations sans fronti?res... Pour la 4?me ?dition, ils recyclent les grandes questions environnementales et bousculent nos rep?res ?cologiques. Exhibition - opening on Tuesday June 2nd - From 6pm to 11pm Until Sunday June 7th - free entrance Mal au Pixel festival brings together young digital artists and unconventionnal electronics : unexpected technologies, prototypes and open ended events. For the 4th edition of the festival, we will once more be looking at connecting technology, urban electronics and environmental issues, this time to investigate our ecological beliefs. Avec : Richard Box (UK), HeHe (Fr), Beatriz da Costa (US), Nicolas Montgermont et Nicolas Maigret (Fr), Jenny Pickett et Julien Ottavi (UK, Fr), Djeff Regottaz (Fr), Calvacreation (Ve, Fr), Maja Djordjevic (Sr) + Circuit Bending workshop by Jenny Pickett & Julien Ottavi http://www.malaupixel.org/ /////////////////////////////////////////////////////////////////////////////// UPGRADE! CONFERENCE @ IMMATERIELLES RYBN, samedi 30 mai ? 20h "Cap Digital Caveat Consors" Micha?l Sellam, mardi 2 juin ? 19h "Aberrations, exc?s, monstres et autres formes du bonheur" RadioFreeRobots, mardi 2 juin ? 20h "CPU: central prospective unit" Apo33, mercredi 3 juin ? 19h ?APO33, A10LAB & SCIE PROTOCOL? JODI, mercredi 3 juin ? 20 "All about us" - Mardi 2 juin de 19h ? 21h ? la Maison des M?tallos dans le cadre des Immat?rielles / malaupixel 94 rue Jean-Pierre Timbaud - 75011 Paris M? Parmentier ou Couronnes http://www.incident.net/theupgrade ///////////////////////////////////////////////////////////////////////////// APO33 @ WIKIPLAZA PARIS ? FUTUR EN SEINE Atelier APO33 autour du projet BOT : Interface partag?e & mutation de paysages sonores 04 Juin 12:00:13:00 ~ Atelier THEMA Impuls? par Apo33, les BOT composent une communaut? virtuel qui s'inscrit dans la continuit? du projet du POULPE de cr?er un ensemble d'entit? venant se greffer sur un lieux pour l'?tendre ? plusieurs. Le BOT constitue une nouvelle approche des ph?nom?nes li?s aux num?riques : le r?seau, la multi-g?ocalisation sans d?placement,l'inter-connection de donn?es produites en temps-r?el ainsi que leur traitement, l'automatisation des manipulations sur le r?el et surtout dans le cas du BOT un chantier d'exp?rimentation accessible en permanence et depuis n'importe quel endroit de la plan?te. -?coute des streams du BOT -introduction aux concepts du projet -manipulation des BOT & mixage de streams -Comment monter son monter son BOT -Arduino, Midi, Netsend/receive, capteur environnemental workshop men? par : JULIEN OTTAVI DOMINIQUE LEROY http://www.apo33.org http://wikiplaza.org //////////////////////////////////////////////////////////////////////////// (english below) CIRCUIT #1, parcours exp?rimentations sonores samedi 6 juin 2009, de 20h ? 2h Montreuil (93100-France)// M? Robespierre/ ligne 9 Paf : 5 euros (sur place) Circuit #1 propose une soir?e d?di?e ? l?exp?rimentation sonore, ? tous ceux qui triturent, bidouillent et collectent les sons. Des performers sonores vont investir des lieux insolites d?un quartier de Montreuil : **14 Artistes : Betty 4xRien, Julia Drouhin, Emmanuelle Gibello, Ero Babaa, Lucie Laricq, Nicolas Lefort alias Playtime, Plugin Circus, Ryan Jordan, Julien Ottavi, Arnaud Rivi?re, Harold Schellinx, Diemo Schwartz, Cyril Touz? **4 Lieux insolites : une ancienne confiserie/ un van/ un salon de coiffure/ un jardin Pour clore la soir?e, un bal exp?rimental du collectif Plug In Circus avec 5-6 musiciens au sein d'une bulle sonore !! Surprises et snack vous attendent pour un parcours hors du commun :) (english) CIRCUIT #1, SOUNDWALK - SOUND EXPERIMENTATIONS SOUNDSCAPE & LISTENING / SATURDAY JUNE 6 / 8 PM - 2 AM / Admission: 5 ? Montreuil (93100-France) a sound event focusing on artists who manipulate, triturate, collect and explore the possibilities of sound. It will occur in unusual places like an old candy store, a hairdressing salon, a disused garden... 14 artists will be playing live laptop sets, music for prepared instrument, noise & electroacoustic performances, sound installations as : Plug In Circus, Ryan Jordan, Arnaud Rivi?re... and an exceptional set of Julien Ottavi exploring voice in a live performance. http://www.noiser.org http://www.myspace.com/circuitsonore ///////////////////////////////////////////////////////////////////////////// JULIEN OTTAVI / APO33 @ Subtle Technologies Festival - Toronto / Canada -10th ot 14th of June 2009: Conference on BOT project & Introduction to Open Source & Libre Audio/Video Tools http://www.noiser.org http://www.apo33.org http://www.subtletechnologies.com/ ////////////////////////////////////////////////////////////////////////////// -- AKA THE NOISER & NANOFAMAS "the world is noise" http://www.noiser.org http://www.apo33.org http://www.a10lab.info http://fibrr.apo33.org http://ecos.crealab.info http://www.a10lab.info/mutation http://www.a10lab.info/scieprotocol -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From labor at buchsenhausen.at Wed Jun 3 16:52:02 2009 From: labor at buchsenhausen.at (=?UTF-8?B?S8O8bnN0bGVyaGF1cyBCw7xjaHNlbmhhdXNlbg==?=) Date: Wed Jun 3 17:33:39 2009 Subject: [spectre] Ausschreibung Ausstellungsprogramm 2010 / Exhibition Programme 2010 - Call for Proposals Message-ID: <4A268E12.9020907@buchsenhausen.at> sorry for cross-posting! (English version below) ------------------------------------------------------------------------- [AUSSCHREIBUNG PROGRAMM 2010] Projektvorschl?ge und Portfolios f?r das Ausstellungsprogramm im KUNSTPAVILLON und in der STADTTURMGALERIE der Tiroler K?nstlerschaft in Innsbruck ------------------------------------------------------------------------- EINREICHFRIST: 20. Juni 2009 (Es gilt das Datum des Poststempels.) Die Ausschreibung im Volltext finden Sie hier: http://www.kuenstlerschaft.at/kue/modules.php?op=modload&name=PagEd&file=index&topic_id=7&page_id=640&newlang=deu Der Verein Tiroler K?nstlerschaft begreift sich als ein Forum f?r Kunst in Tirol, eine Schnittstelle zwischen den professionellen bildenden K?nstlerInnen, die in Tirol leben oder aus Tirol stammen, der interessierten ?ffentlichkeit und anderen kulturellen Institutionen im In- und Ausland. Eine wichtige Aufgabe der Tiroler K?nstlerschaft besteht darin, Kontakte zu international t?tigen K?nstlerInnen, KuratorInnen und TheoretikerInnen zu kn?pfen und zu pflegen. Das Ausstellungsprogramm im KUNSTPAVILLON und in der STADTTURMGALERIE stellt Projekte von Tiroler K?nstlerInnen in einen internationalen Zusammenhang. Der Schwerpunkt liegt in der Pr?sentation von Kunstproduktion mit Tirolbezug, Ausstellungen von externen KuratorInnen und K?nstlerInnen aus dem Ausland und anderen ?sterreichischen Bundesl?ndern sind wichtige Punkte der Auseinandersetzung und bieten spannende Reibungsfl?chen. Unter www.kuenstlerschaft.at finden Sie Informationen ?ber das aktuelle und vergangene Ausstellungsprogramm. Es sind 2010 f?nf Ausstellungen im Kunstpavillon und f?nf in der Stadtturmgalerie vorgesehen. Weitere Informationen erhalten Sie unter pavillon@kuenstlerschaft.at, Tel. +43 512 581133. *** ------------------------------------------------------------------------- [CALL FOR PROPOSALS FOR THE 2010 PROGRAMME] Project proposals and portfolios for the exhibition programme of the KUNSTPAVILLON and STADTTURMGALERIE of the Tiroler K?nstlerschaft in Innsbruck ------------------------------------------------------------------------- DEADLINE FOR APPLICATION: 20 June 2009 (date of postmark) The entire call can be found here: http://www.kuenstlerschaft.at/kue/modules.php?op=modload&name=PagEd&file=index&topic_id=8&page_id=641&newlang=eng The Tyrolean Artists? Association is conceived of as a forum for art in Tyrol, as an interface between professional visual artists living in or originating from Tyrol, the interested public, and other cultural institutions in and outside of Austria. An important task for the Association is forming and maintaining contacts to internationally active artists, curators and theoreticians. The exhibition programmes of the KUNSTPAVILLON and the STADTTURMGALERIE present projects by Tyrolean artists in relation to an international context. Emphasis is placed on presenting artistic production with a relationship to Tyrol. Exhibitions by external curators and artists from abroad and other Austrian federal states are important points of engagement and offer exciting surfaces for friction. More information on current and past exhibition programmes of the K?nstlerschaft can be found at www.kuenstlerschaft.at. Five exhibitions in the Kunstpavillon and five in the Stadtturmgalerie are intended for 2010. For more information please contact: pavillon@kuenstlerschaft.at, tel. +43 512 581133. From hatam at drfz.de Thu Jun 4 21:13:25 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Thu Jun 4 21:13:58 2009 Subject: [spectre] construct a robot orchestra workshop with khjeron june19-21 Message-ID: <380-22009644191325297@M2W030.mail2web.com> TROCKENSCHWIMMEN: ROBOTERORCHESTER We will construct a robot orchestra
Robots work in industry, help at home and play soccer. If you want to build a robot, the question is: How?
We will construct robots from simple parts. Robots that move and make sounds. The goal of the workshop will be to create a performance, performed by the robots as an orchestra. http://khjeron.de/ The number of participants is limited, workshop fee 50 ? 19.-21.06.09 10-16 Uhr Register at luziferase at gmx.de location: ausland Lychener Str. 60
 10437 Berlin -------------------------------------------------------------------- mail2web - Check your email from the web at http://link.mail2web.com/mail2web From hatam at drfz.de Thu Jun 4 21:20:38 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Thu Jun 4 21:57:13 2009 Subject: [spectre] Max Msp Jitter Workshop with Pure june8- Message-ID: <380-22009644192038293@M2W015.mail2web.com> Beginner Workshop 4 Days/ Monday June 8th - Thursday June 11th 2009, 12.00-18.00 daily? Advanced Workshop 5 Days/ Monday June 15th - Friday June 19th 12.00-18.00 daily Participants who complete the Beginner Workshop can proceed to the Advanced Workshop. Location: NK / Elsen Str. 52 (2. Hof) 2. Etage 12059 Berlin, DE Telephone: +49 (0)176 20626386? Course Participation fee: 165 euros Beginners Workshop, 200 euros Advanced Workshop, Participation in both Workshops 350. Registration is required for this workshop and can only be done via? email to: enka_nkATgmxDotde, www.myspace.com/enka52 Requirements: * Own Computer (Mac OS X/Win XP) IMPORTANT: with an authorised Max, or a running Demo. * Basic knowledge in computer based music creation * Headphones * If possible bring your own MIDI Controller or MIDI Keyboard Please register early to ensure a place. Places are limited to 12. Programming with Max/MSP/Jitter - Beginner workshop 4 Days Max/MSP/Jitter is a programming language with a graphical interface to connect sound synthesis, sampling, MIDI, video and Open GL 3-D graphics, sensor electronics, network-communication and more. Based on a concept similar to modular synthesizers Max/MSP/Jitter is relatively easy to learn, suitable for small applications (i.e. converting mouse movements into midi messages) and complex combinations of various electronic media (i.e. the computation of a realtime score based on the pulses of the participating musicians. see http://www.heartchamberorchestra.org) The workshop gives an introduction to the concept of Max/MSP/Jitter and shows how to work with sound and visuals: MAX: * Introduction to the concept and user interface of Max * How to control Max patches with MIDI controllers * How to control external instruments from Max via MIDI * How to build a sequencer in Max MSP: * Recording of external sound sources * How to play and control sounds * How to build instruments (sampler, synthesizer) * Possibilities of sound editing: filters, effects, analysis, automatisations,... * How to use VST Plug-ins (effects and instruments) JITTER: * Playing, mixing, recording movies * Jitter matrices * Drawing in Jitter * Color tracking * 3-D Open GL with Jitter MAX/MSP/JITTER: * How to interconnect sound and visuals Programming with Max/MSP/Jitter - Advanced workshop 5 Days For this workshop you should have a general knowledge about how Max works, some experience with patching and problem solving. Anyone interested in developing a specific project is encouraged to do so. ADVANCED MAX/MSP/JITTER: * Discussing project plans of workshop participants * Dealing with all topics of the beginners workshop on a more advanced level * Randomness for artists * Sequencing in Max * Advanced interface building (bpatcher, poly~, presentation mode,...) * Abstractions * Sound analysis * Lighting control via dmx * List processing * Advanced saving with pattrstorage * Fun with math * Max programming tricks * 3rd party object libraries * Network communication * Alternative input devices Teacher: Pure has been using Max/MSP/Jitter since the last ten years as his main tool for music creation. As well as being an experienced Max instructor who has taught in several Universities and Media Labs all over Europe since 2001, he is has also released many albums with such labels ?Mego, Cr?nica and Staalplaat.. More info about him can be found at http://pure.test.at, http://www.myspace.com/pvre, http://www.heartchamberorchestra.org The workshop will be held in English and German. -------------------------------------------------------------------- mail2web.com ? What can On Demand Business Solutions do for you? http://link.mail2web.com/Business/SharePoint From alex at slab.org Fri Jun 5 11:10:50 2009 From: alex at slab.org (alex) Date: Fri Jun 5 11:10:38 2009 Subject: [spectre] Thursday club, Goldsmiths, 11th June, Annie Abrahams and Ajaykumar with Ruth Catlow Message-ID: <1244193050.15294.5.camel@duck> ~-~-~-~-~-~-~-~-~-~ THE THURSDAY CLUB ~-~-~-~-~-~-~-~-~-~ Date: Thursday 11th June 2009 Location: Seminar Rooms, Ben Pimlott Building, Goldsmiths, London UK http://www.gold.ac.uk/find-us/ Time: 6pm - 8pm Free, all welcome. With: Annie Abrahams and Ajaykumar Chair: Ruth Catlow, Furtherfield Annie Abrahams The wandering ant II. Relations and positions in a connected world. My interest is in limits and possibilities of communication. Since 1996 I intervene on the net making interactive webpages and creating participatory projects that very often have a real life counterpart in a performance or art show. When in May 2008 I was invited by InternetMonAmour to be on a panel called "Survival kit in a p2p world" together with a French neurobiologist and the president of the international p2p foundation, I came up with a lecture/performance presentation called ?The wandering Ant?. http://bram.org/info/presentation/IML.htm The wandering ant is the one who refuses to follow the rules of the ant colony and at the same time makes survival of the ant colony possible. I will continue my reflections around this intriguing metaphor and do a presentation of my recent experiences with web performance as for instance The Big Kiss, a performance that points to changes in behaviour due to machine mediation. I will pay special attention to Huis Clos / No Exit, a research project in which I will try to answer some questions about our possibilities of being together and collaborating in a networked environment. We are living in a world where people live more and more in their own bubbles, in their own spheres without need for the other. The post-, alter-modern individual has a dangerous tendency to auto sustain in a world where he communicates in the first place with the virtual others inside himself. Annie Abrahams is a Dutch artist living in Montpellier, France. She has a doctorate in biology (University of Utrecht) and is a graduate in fine arts (Academie voor Beeldende Kunsten Arnhem). She curates the project ?InstantS? for panoplie.org. She also initiated and curated the ?Breaking Solitude? and ?Double Bind? webperformance projects in 2007 and 2008. Besides doing her art work she lectures and teaches workshops. http://www.bram.org/ http://aabrahams.wordpress.com/ Ajaykumar iPak ajaykumar's presentation discusses the notion of 'relational being' and 'non-anthropocentric being', with particular regard to a current work, iPak, commissioned by Turbulence and evolving over two years from 2008 to 2010. iPak can be engaged with at: http://turbulence.org/Works/iPak/ Ajaykumar?s discusses how we inter-act socially, with the world around us. He examines the potential for generating little worlds - special spaces or places - to contact our playful nature, our imagination, and our feelings about the significance and the sacredness of our lives and our relationships, corresponding in part to what Suzuki calls ?psychospheres?. These relationships are as much to do with our relationship with others, as they are with objects, and with ourselves. The discussion relates to Nature, about how we may conceive and think about Nature. It re-conceives classical Buddhist and Tantric Art in contemporary form, partcicularly with regard the notion of ?void?. Here it elicits notions of daily life as art; and stimulates particular ecological dynamics of the human being in relation to environment. http://www.ajaykumar.com/ http://www.shapes-design.com/ http://thethursdayclub.net/ Programmed and Organised by the Goldsmiths Digital Studios. Supported by the Goldsmiths Graduate School and the Department of Computing. From n0name at gmx.de Fri Jun 5 13:32:19 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Fri Jun 5 13:52:28 2009 Subject: [spectre] 0-( n0name nachrichten #139b Message-ID: <20090605113219.76810@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-( n0name nachrichten #139b Fr., 05.06.2009 13:22:11 ZEZ *Inhalt/Contents* 1. siehe unten 1 KB, ca. 1 DIN A5-Seite ------------------------------------------------------------------------ 1. |<--- Breite: 33 1/2 Zeichen ----->| Twitter ist die neue Gestapo Werbeagenturen sind franzoesische Verhaeltnisse ======================================================================== Sie erhalten den n0name newsletter, weil sie dada sind!/You get the n0name newsletter, because you are dada! *Bitte weiterleiten!/Please forward!* Archiv: http://www.n0name.de/newsletr.html (c) 1999-2009 n0name, die Autorinnen & Autoren und die Maschinen Unterstuetzt von LOV MEDIA http://www.xxx-media.de Sponsored by NETZ Dank an >rohr e.V. ------------------- Ende des n0name newsletter #139b ------------------- -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From marc.garrett at furtherfield.org Fri Jun 5 15:47:54 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri Jun 5 15:53:36 2009 Subject: [spectre] Web Cinema: Alone together with Chris Marker in Second Life. In-Reply-To: <4oyblxrn.fsf@xxxxx.xxxxx> References: <4oyblxrn.fsf@xxxxx.xxxxx> Message-ID: <4A29220A.8020407@furtherfield.org> Sorry for any cross posting... Web Cinema: Alone together with Chris Marker in Second Life. Review by Eliza Fernbach. The enigmatic French cineaste and sociopolitical rabble rouser Chris Marker has been offering up his home movies for six decades now. At 87 he has led the charge out of the heady 16mm revolutionary 60's of Parisian student unrest into the subdued society of blinking solitary screens that incite mass hypnosis via YouTube today. Second Life is the perfect realm for Mr Marker to further his socially conscious antics. While newcomers to the moving image who may never have spliced a real piece of film let alone toiled at a steenbeck lay claim to being the future of "web cinema", Chris Marker has moved on and taken the foundations of cinema experience with him into Second Life. As a new medium Second life is not an extension of human experience like Youtube or Facebook it is an alternate collective experience in the spirit of film viewing. Chris Marker (born 29 July 1921) is a French writer, photographer, film director, multimedia artist and documentary maker. He is best known for directing La Jet?e (1962), as well as Sans Soleil (1983) and AK (1985), a documentary about Japanese filmmaker Akira Kurosawa. http://www.furtherfield.org/displayreview.php?review_id=351 more reviews on furtherfield.org http://www.furtherfield.org/reviews.php We are also on Twitter: http://twitter.com/furtherfield From dissemination.jbnaudy at gmail.com Sat Jun 6 08:50:05 2009 From: dissemination.jbnaudy at gmail.com (Jean-Baptiste Naudy) Date: Sat Jun 6 08:50:35 2009 Subject: [spectre] =?iso-8859-1?q?Soci=E9t=E9_R=E9aliste=3A_activities_-_?= =?iso-8859-1?q?June_2009=2E?= Message-ID: <80561c450906052350wd2a5849r5044f9593624f04c@mail.gmail.com> SOCIETE REALISTE - Activities: June 2009. http://www.societerealiste.net === # "WOULDN'T BE EASIER FOR THE GOVERNMENT TO DISSOLVE THE PEOPLE AND ELECT ANOTHER" (BERTOLD BRECHT), collective exhibition, at Gallery Nova (Zagreb), opening: Friday 5 June. http://www.artalways.org/the-invisible-history-of-exhibitions # THE MAN BEHIND THE CURTAIN, collective exhibition, at Mission 17 (San Francisco), opening: Friday 5 June. http://mission17.org # 2ND ATHENS BIENNIAL, in Palaio Faliro (Athens), opening: Saturday 13 June. http://www.athensbiennial.org # BERTHA VON SUTTNER REVISITED, collective exhibition, at Sch?ttkasten (Harmannsdorf, AT), opening: Saturday 13 June. # RITES DE PASSAGE, collective exhibition, at Schunck Glaspaleis (Heerlen), opening: Friday 19 June. http://www.schunckglaspaleis.nl === # "WOULDN'T BE EASIER FOR THE GOVERNMENT TO DISSOLVE THE PEOPLE AND ELECT ANOTHER" (BERTOLD BRECHT) Collective exhibition, at Gallery Nova (Zagreb), June 5 > July 15. Opening: Friday 5 June, 20:00. The exhibition is part of the project "Art Always Has Its Consequences/The Invisible History of Exhibitions". http://www.artalways.org/the-invisible-history-of-exhibitions "The Invisible History of Exhibitions" deals with the phenomenon of the exhibition and its history. For decades, the exhibition format has been the most relevant and agile agent in the promotion and contextualisation of modern and contemporary art. How, and to what extent, did certain exhibitions affect the functioning of art institutions? In what way did they contribute to the formation of cultural influences? How did they affect the homogenisation of certain norms? How were they positioned in relation to ideological and economic frameworks? The project will provide an analysis of the crisis of the curatorial and exhibiting paradigm within critical art practices after they were institutionalised some decades ago. After "Modes of Presentation" and "Second Publicity", the third chapter of the project, entitled "Wouldn't be easier for the government to dissolve the people and elect another" (Bertolt Brecht) will present works revolving around different notions of democracy and sovereignty. With works by Soci?t? R?aliste, Tam?s Szentj?by and Artur ?mijewski. Curated by What, how and for whom/WHW. === # THE MAN BEHIND THE CURTAIN Collective exhibition, at Mission 17 (San Francisco), June 5 > July 11. Opening: Friday 5 June, 18:00. http://mission17.org >From our early childhood lesson about "The Great and Powerful Oz" to the damaging falsehood of "Weapons of Mass Destruction," we go through our lives surrounded by pretense and deceit. The artists in this exhibition confront real-life artifices--an offshore company, a secret society, an Internet scam, a faked death--and, in the face of them, take on the roles of investigator and vigilante. These artifices are nebulous constructs that rely on misdirection; subsequently, they are fertile ground for play, mischief, and intervention. Part of their ingenuity is the cunning use of design and the staging of authenticity. As both a rebuke and a backhanded tribute, the artists mimic the same tactics in their modes of creation. However, there are very real consequences when these deceptions succeed; their gain means someone has to lose. Together, the artists' projects offer a reversal of victimhood and we enter the work through the vicarious role of a provocateur. With works by Goldin+Senneby, Seth Lower and Soci?t? R?aliste. Curated by Laura Mott. === # 2ND ATHENS BIENNIAL: Heaven - "How many angels can dance on the head of a pin?" Collective exhibition, in Palaio Faliro (Athens), June 13 > October 4. Opening: Saturday 13 June, 18:00. http://www.athensbiennial.org "How many angels can dance on the head of a pin?" is one of the six curatorial projects of the 2nd Athens Biennial. The exhibition traces the spiritual meaning of paradise more as a 'possibility' or 'promise' within the daily spectre of life and less as a redemptive phenomenon located in an afterlife. Divided into three sections, the exhibition features works which together explore the idea of a domesticated heaven: the first section is equivalent to reality enforcement and the way one remembers paradise through a glass darkly; the second section corresponds to psychedelic journeys, decadent dreams, theatrical gestures and utopian constellations; while the last section is characterized by an overwhelming feeling of loneliness, a sense of foreboding melancholy as well as an irrepressible impulse of repetition. With works by Mieke Bal, Lydia Dampassina, Dora Economou, Angus Fairhurst, Harun Farocki, Leon Frantzis, Lothar Hempel, Andreas Kassapis, Panayiotis Loukas, Ursula Mayer, Kris Martin, Marc Nagtzaam, OMIO, Adrian Paci, Nina Papaconstantinou, Angelos Papadimitriou, Soci?t? R?aliste, Kostas Roussakis, Yannis Skourletis, Christian Tomaszewski, and Mark Wallinger. Curated by Christopher Marinos. === # BERTHA VON SUTTNER REVISITED Collective exhibition, at Sch?ttkasten (Harmannsdorf, AT), June 13 > September 27. Opening: Saturday 13 June, 18:00 The exhibition "Bertha von Suttner Revisited" displays in the Sch?ttkasten (Granary), Orangerie, palace park and around the town of Harmannsdorf works by ten international artists that relate to the ideas and cosmopolitan worldview of Austrian Nobel Peace Prize Laureate Bertha von Suttner (1843-1914). Guided by historian and Suttner expert Laurie Cohen, Bertha von Suttner's political and cultural work is conceived as a framework without placing Suttner in the spotlight or repeating already well-established historical tropes. Instead, Suttner's activities as writer, peace activist and woman are grasped as an open field of references for wide-ranging themes and ideas that are reflected in individual projects. All of the works on view stem from the past ten years and confirm Suttner's point of view, but in a contemporary frame of reference. Suttner acted from a minority position, and it is this approach as well - seeing history not as a continuous storyline of episodes and events, but rather from the perspective of minority groups - that forms a common thread between Suttner's life and the works on display. With works by Maja Bajevic, Zbynek Baladran, Madeleine Bernstorff, Christa Biedermann, Pauline Boudry and Renate Lorenz, Chto Delat?, Laurie R. Cohen, Jiri Kovanda, Ilona N?meth, Liesl Raff, Isa Rosenberger and Soci?t? R?aliste. Curated by Susanne Neuburger and Hedwig Saxenhuber. === # RITES DE PASSAGE Collective exhibition, at Schunck Glaspaleis (Heerlen), June 19 > September 6. Opening: Friday 19 June, 18:00 http://www.schunckglaspaleis.nl "Rites de Passages" is the first exhibition hosted by Schunck Glaspaleis after its architectural metamorphosis. The exhibition has been assembled by Schunck Glaspaleis team in association with guest curators Pier Luigi Tazzi and Rich Jacobs. This multidisciplinary project will thematically circle around three ways of understanding a "rite de passage". Besides the anthropological approach with a focus on adolescence, the show deals with the circuit of the arts themselves as a "set of systems" and the idea to consider the whole process as a rites of passage itself. With works by Adel Abdessemed, Pawel Althamer, Tim Ayres, Fran?oise Cactus, Cita, Congress, Michelangelo Consani, Rineke Dijkstra, Jeanette Ehlers, Jeroen Elsen, Ruud van Empel, Anneke Eussen, Inti Hernandez, Michel Huisman, Rich Jacobs, Sidi el Karchi, Loretta Lux, Svaetopluk Mikyta, Yoshitomo Nara, Rinke Nijburg, Arno Nollen, Giovanni Ozzola, Robert Pettena, Vanessa Jane Phaff, Thomas Raat, Sanne van Renesse, Jirayu Rengjaras, Rebecca Salvadori, Weal Shawky, Huang Shih Chieh, Marcello Simeone, Maitree Siriboon, Soci?t? R?aliste, Berend Strik, Deanna Templeton, Ed Templeton, Maurice Thomassen, Wouter Van Riessen, Koen Vermeule, Barbara Wagner, FuDong Yang, Shao Yinong & Mu Chen, Tseng Yu-Chin and Italo Zuffi. Curated by Lene ter Haar, Stijn Huijts, Rich Jacobs and Pier Luigi Tazzi. === STILL ON === # PRINCESS FROG, collective exhibition, at Galerie Catherine Jozsa (Brussels). http://www.jozsagallery.com # LIVING TOGETHER, collective exhibition, at MARCO (Vigo). http://www.marcovigo.com # THE INESCAPABLE EXPERIENCE OF TRANSITION, collective exhibition, at Le Magasin (Grenoble). http://www.magasin-cnac.org / http://www.season18.com # KATOWICE BIENNIAL, collective exhibition, at Upper Silesian Centre of Culture (Katowice). http://www.biennale-sektor.art.pl # LES FRONTIERES INVISIBLES, collective exhibition, Tri Postal (Lille), still on. http://www.lille3000.com === http://www.societerealiste.net From melentie at gmail.com Sun Jun 7 17:29:08 2009 From: melentie at gmail.com (Melentie Pandilovski) Date: Sun Jun 7 17:49:05 2009 Subject: [spectre] 3rd CfP: OZCHI 2009 Deadline extended until 19 June Message-ID: fromMarcus Foth to: announce@fibreculture.org dateSun, Jun 7, 2009 at 8:29 AM subject::fc-announce:: 3rd CfP: OZCHI 2009 - Deadline extended until 19 June 2009 3rd Call for Papers: Submission deadline extended until 19 June 2009 OZCHI 2009 ? Design: Open 24/7 21st Annual Conference of the Australian Computer-Human Interaction Special Interest Group (CHISIG) of the Human Factors and Ergonomics Society of Australia (HFESA) 23 ? 27 November 2009, The University of Melbourne, Australia http://www.ozchi.org/ Paper submission site now open: http://precisionconference.com/~ozchi OZCHI is Australia?s leading forum for research and development in all areas of Human-Computer Interaction. OZCHI attracts an international community of practitioners, researchers, academics and students from a wide range of disciplines including user experience designers, information architects, software engineers, human factors experts, information systems analysts, and social scientists. The main conference will be from Wed 25 to Fri 27 Nov 2009, and will be preceded by two days of Workshops, Tutorials and a Doctoral Consortium on Mon 23 and Tue 24 Nov 2009. OZCHI will take place back-to-back with HFESA 2009: http://www.hfesaconference.org.au/ scheduled to run from 22-25 Nov 2009. The venue for both conferences is the ICT building of the University of Melbourne, 111 Barry St, Parkville. We are very excited to announce the following keynote speakers for this year's OZCHI conference: .. Bill Moggridge, Co-founder of IDEO.com .. Patrick Hofmann, Head of User Experience, Google Australia .. Yvonne Rogers, Director, Pervasive Interaction Lab, Open University, UK We look forward to welcoming you to an exciting conference in Australia?s design capital. Marcus Foth, QUT Conference Chair chair@ozchi.org Important Dates Long papers, and workshop & tutorial proposals 19 Jun 2009: EXTENDED SUBMISSION DEADLINE 14 Aug 2009: Notification of acceptance 28 Aug 2009: Camera ready papers deadline Short papers, industry case studies, demos & posters, and doctoral consortium 28 Aug 2009: Submission deadline 25 Sep 2009: Notification of acceptance 02 Oct 2009: Camera ready papers deadline Conference Theme The 2009 conference theme is Design: Open 24/7. Accessibility, inclusivity and dissolving boundaries are core to the Open 24/7 theme for the design of human interaction with and through digital technologies. The integration of digital technologies into our everyday life allows for a seamless transitioning between open and closed, work and leisure, public and private. Open implies participation and collaboration across traditional borders between individuals, organisations and disciplines. OZCHI 2009 provides a forum to discuss all aspects of openness, open borders, open participation, open source and open architecture. Theme-related submissions may address these topics: Open always-on real-time ubiquitous and pervasive designs Open design and universality versus situatedness, contextualisation and personalisation Open source for design ? design for open source Open mind ? new ideas, concepts and approaches from outside HCI Beyond open ? never closed: design for escapism Conference Topics Submissions in all areas of HCI are encouraged. In addition, we particularly invite authors to address any of the following topics: Augmented Reality Context and Location Awareness Education and HCI Health Care and HCI Innovative Design Methodologies Smart Service Delivery Sustainability Universal Usability and Accessibility Urban Informatics Tangible User Interfaces Visualisation Techniques Working across Cultures Submissions All submissions must be written in English. Both long and short papers will undergo a double blind review process by an international panel and evaluated on the basis of their significance, originality, and clarity of writing. Accepted long papers and short papers will be available in the published proceedings. At least one author of any accepted submission must register and attend the conference and present the paper for publication in the proceedings. All submissions must use the two column OZCHI proceedings template:http://www.ozchi.org/mediawiki/ozchipaper_template2009.doc Paper submission site now open: http://precisionconference.com/~ozchi Long Papers Full length papers, up to 8 pages, on original and substantive new work in any area of HCI are invited. Long papers should describe work that makes a significant contribution to HCI or describe broad insights gained from practical applications of HCI. Jesper Kjeldskov & Jeni Paay, CSIRO User Experience Group Technical Program Chairs program@ozchi.org Short Papers Short length papers, up to 4 pages, should present ideas that could benefit from discussion with members of the HCI community. These papers may include work-in-progress, experiences of reflective practitioners, and first drafts of novel concepts and approaches. Stephen Viller, UQ & Rebecca Schultz, WorkSafe Victoria Short Papers Chairs shorts@ozchi.org Industry Case Studies Industry Case Studies demonstrate how user experience professionals have applied human-computer interaction to create practical solutions to commercial situations. Presentations may include areas such as: challenges faced in implementing methods and techniques; development of new or improved techniques; or incorporating usability into an organisation. Submissions should contain: A 250 word summary for the conference program including: the issue addressed; what will be presented; and relevance to the HCI community. A proposal outlining the presentation and the rationale behind it, including: .. Session title .. Presenter(s) name and organisation .. A brief background of the presenter(s) and organisation .. The business problem addressed .. The approach and/or solution .. Challenges and issues that emerged throughout the project .. Benefits and limitations .. If applicable, how a similar approach or solution could be used in other contexts .. Relevance of the case study to other HCI professionals .. Technical requirements for delivering the presentation Ash Donaldson, Produxi Consulting & Shane Morris, Microsoft Industry Chairs industry@ozchi.org Demos & Posters Demonstrations and posters provide an attractive way to showcase real outcomes of human-computer interaction research and development. These sessions offer a platform to share ideas, concepts and work-in-progress face-to-face with the OZCHI community in a way that a paper presentation cannot. Proposals for demos and posters should be submitted on 2 pages using the OZCHI proceedings template. Ben Kraal, QUT & Ricky Robinson, NICTA Demos & Posters Chairs demos@ozchi.org Workshops & Tutorials Workshops and tutorials are half day or full day sessions prior to the main conference program on 23 and 24 Nov 2009. Proposals (max of 2 pages, OZCHI format) should be aimed at a community with a common interest. A tutorial proposal should provide participants with clear outcomes. The workshop and tutorial program is not included in the main conference fee. Workshops are a chance for people with common interests to meet for a focused and interactive discussion. If you are working in an emerging area in HCI, consider organising a workshop as an opportunity to advance the field and build momentum. OZCHI workshops might address basic or applied research, HCI practice, new methodologies, emerging application areas, design innovations, management and organisational issues, or HCI education. Each workshop should generate ideas that give the HCI community a new, organised way of thinking about the topic, or ideas that suggest promising directions for future research. Some workshops result in edited books or special issues of journals; you may consider including this goal in the your workshop proposal. Tutorials are full day or half day events designed to offer participants the opportunity to learn about specific HCI related concepts, methods and techniques. They are one of the best means of conveying introductory and advanced instruction on specific topics to an interested audience. Tutorials are a significant attraction to delegates and provide exposure in depth and breadth to HCI topics. We welcome both research and industry tutorial submissions. Tutorial submissions (max of 2 pages, OZCHI format) should include a clear list of outcomes for participants. Lian Loke & Toni Robertson, UTS Workshops, Tutorials and Panels Chairs workshops@ozchi.org Doctoral Consortium The Doctoral Consortium is scheduled prior to the main conference program on 24 Nov 2009. The Doctoral Consortium offers PhD students a special forum where they can present, discuss and progress their research plans with peers and established senior researchers. PhD candidates wishing to attend the consortium should submit a research proposal in the format given on the OZCHI website. Positions at the consortium will be offered based on a review of the submitted proposals. Margot Brereton, QUT Doctoral Consortium Chair dc@ozchi.org Volunteers OZCHI actively encourages students to volunteer at the conference. Being a student volunteer is a great way to support the HCI community, meet other students in the field, and attend the premier HCI conference Australia. You will help the conference organisers with the running of the conference and support the setting-up of presentations and workshops. You will see the latest in HCI, and have fun while learning about running the conference. In return, you will get free registration. To apply, email volunteers@ozchi.org with your contact details (email, phone, university), an abstract of your research project, a resume, and the reasons why you would like to be a student volunteer. Applications close on 28 Aug 2009. Hilary Davis, University of Melbourne & Debra Polson, QUT/ACID Volunteers Chairs volunteers@ozchi.org -- Dr Marcus Foth Senior Research Fellow Institute for Creative Industries and Innovation Queensland University of Technology (CRICOS No. 00213J) Victoria Park Rd, Brisbane QLD 4059, Australia Phone +61 7 313 x88772 - Fax x88238 - Office K506, KG m.foth@qut.edu.au - http://www.urbaninformatics.net/ From ixddxk at googlemail.com Mon Jun 8 00:07:16 2009 From: ixddxk at googlemail.com (ixddxk@googlemail.com) Date: Mon Jun 8 00:08:41 2009 Subject: [spectre] AUSREIHE presents: Electronic Music Concert 02 at EC 13.06.2009 Berlin, Germany Message-ID: <0EBEA13A-8601-41CC-A937-170FA86F4420@googlemail.com> AUSREIHE presents: Electronic Music Concert 02 http://ausreihe.com/ Lee Gamble / Heatsick Date: Sat 13th June, 2009 Time: 21:00 open / 22:00 start Venue: EC, Electronic Church http://www.myspace.com/electronic_church Greifswalder Stra?e 223, 10405 Berlin, Germany Lee Gamble http://www.cyrk.org/leegamble/ Born - Birmingham, England Resides - London, England Founding member of the UK-based Cyrk collective, explores abstraction through computer software, synthesis, process, and the deconstrucion/ reconstruction of form. He has performed throughout the U.K and Europe. Lee has curated and co-curated several events and has produced radio for ResonanceFM 104.4. Current research interests; speech phasing, paracusia, A.I.W.S syndrome, simulation, perpetual computer music, the real? Heatsick After a long break Heatsick is playing out again. Playing out lost scenes in a flux between flow and breakup. Dark/Light superimpositions between psychedelia and loose industrial. Trimming down from previous side long cuts, into shorter snippets of moments, and consequent interplay. Releases: Pre Cum Fog Ballet, Total Afternoon Sundae, Dubbed Sunshine, Muddy Paw Perpendicular Rain mostly through his Alcoholic Narcolepsy imprint. Tonight he will play STEREOPATHY note Electronic Church - experimental music in Berlin - Greifswalder Strasse 223 - 10405 Berlin Please remember that the Church is a private place for music - only friends are invited! AUSREIHE http://ausreihe.com/ From nc-agricowi at netcologne.de Mon Jun 8 07:16:58 2009 From: nc-agricowi at netcologne.de (CologneOFF) Date: Mon Jun 8 07:45:55 2009 Subject: [spectre] CologneOFF manifestations in June 2009 Message-ID: <20090608071658.A3EC60E0.2499E865@192.168.0.3> CologneOFF - Cologne Online Film Festival http://coff.newmediafest.org is happy to announce in June 2009 following manifestations on 9-14 June 2009 MUV - Music & Digital Art Festival Florence/Italy - www.firencemuv.com - http://maxx.nmartproject.net/?p=45 CologneOFF - Cologne Online Film Festival CologneOFF IV - Here We Are! http://coff.newmediafest.org/blog/?page_id=74 featuring films by Dario Bardic (Croatia), Sheldon Brwon (USA), Nhieu Do (USA), Mihai Grecu (Romania), Giuseppe Girardi (Italy), David Jakubovic (USA), Daniel Rodrigo (Spain) Unnur Andrea Einarsdottir (Iceland), Brad Schwede (Australia) Liu Wei (China), Yu Cheng Yu (Tainwan), Daniel Slattnes (Norway), Istvan Rusvai (Hungary) --> 23-27 June 2009 Crosstalk Videoart Festival Budapest/Hu - www.crosstalk.hu - http://maxx.nmartproject.net/?p=49 CologneOFF - VideoChannel - Women Directors Cut 13:13:13 http://videochannel.newmediafest.org/blog/?page_id=131 featuring films by Rahel Maher (Australia), Larissa Sansour (Palestine) Unnur A. Einarsdottir (Iceland), Oksana Shatalova/Alla Girik (Kazakhstan) Beatrice Allegranti (UK), Ina Loitzl (Austria) Johanna Reich (Germany) , Letitia El Halli Obeid (Argentina) Margarida Paiva (Portugal), Sonja VUK (Croatia) Clare Ultimo (USA), Nancy Atakan (Turkey) Silvia Cacciatori Filloy (Uruguay) ------------------------------------------- CologneOFF, VideoChannel , VIP - VideoChannel Interview Project and VAD - Video Art Database are dedicated to art forms of film and video in the framework of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net . info [at] nmartproject.net From gif at 220hex.org Mon Jun 8 16:21:35 2009 From: gif at 220hex.org (h220) Date: Mon Jun 8 16:21:58 2009 Subject: [spectre] Piksel Newsletter 1/2009 Message-ID: <200906081621.35647.gif@220hex.org> PIKSEL NEWSLETTER 1 ? 2009 ????????????????????????????????????????????????? ------------------------------------------------------------ INTRO STREAM: NEWSLETTER INDEX ------------------------------------------------------------ PIKSEL FESTIVAL ? Call for Piksel09 PIKSEL PULSE ? 1. Neanderthal Electronics [workshop] ? 2. Baltan Laboratories [collaborative project] ? 3. GOSH! [conference] ? 4. Piksel_Plenum [seminar] ? 5. RIXC - Organized Networks [collaborative project] ? 6. RIXC - Art and renewable technologies [symposium] ? 7. Shared Robotics [workshop/exhibition] ? 8. PikselHut [space] ? 9. HackBergen [community] ????????????????????????????????????????????????? ?? PIKSEL09 FESTIVAL ???????????????????? ?? 1. CALL FOR PROJECTS The Piksel Festival is organized for the seventh time from 19th-22th November. The Call for Projects is now opened: !!!!!!!!!! Deadline - july 15. 2009 !!!!!!!!!! This year we are using a new online platform for applications: http://piksel.no/ocs MORE: http://www.piksel.no/p09/p09_call ?? PIKSEL PULSE ???????????????????? Piksel is involved in several off-festival activities throughout 2009, both locally in Bergen and in collaborative projects internationally. These activities are named Piksel Pulse. ?? 1. NEANDERTHAL ELECTRONICS [workshop] The 25th-29th May Piksel presented the workshop Neanderthal Electronics in Bergen (NO) given by the sound artist and DIY electronic specialist Derek Holzer. The workshop was designed for people with interest in sound, needing no previous electronic experience. They were invited to build their own personalized, customized, primitive noise synthesizer. Derek Holzer left Bergen with a proud group that had created their unique instruments both in sound and visual appearance. The workshop ended with a concert at the PikselHut where the various instruments where demonstrated. MORE: http://www.piksel.no/2009/04/neanderthals-electronics-workshop IMAGE: http://www.piksel.no/wpg2?g2_itemId=19584&g2 ?? 2. BALTAN LABORATORIES [collaborative project] BALTAN Laboratories is a two year pilot initiative that functions as the first step towards the realization of a future Art Science Lab in the former Philips physics laboratory in Eindhoven (NL). Piksel and BALTAN are currently developing a project running from September until December 2009 that seeks to involve an artist to produce an artwork using tools developed in collaboration with local and international developers of the Piksel Community, together with BALTAN and Piksel, through workshops and a residency at BALTAN. Knowledge, experience, tools and artwork will be openly transmitted both online as well as in person through public events at BALTAN and at the Piksel 09 Festival. BALTAN: http://www.baltanlaboratories.org/ ?? 3. GOSH! [conference] The Summer 2008 Piksel was invited to participate in a committee for planning and setting the frames for a conference and workshop on art and open hardware at The Banff Centre for the Arts in Canada. The work resulted in the project: Grounding Open Source Hardware (GOSH!). The Summit takes place at The Banff Centre and invites the many and disparate manufacturers, designers, artists and engineers within the field to come together to discuss the common issues of their practices. Program dates: Workshop: July 10, 2009 - July 15, 2009 Summit: July 16, 2009 - July 18, 2009 Registration deadline: July 05, 2009 PROGRAM: http://www.gosh2009.ca ?? 4. PIKSEL_PLENUM [seminar] Electronic art is more closely connected to the development of technology than any other art genre. New technology creates new opportunities for artists and developers, and with that follows the discussion of copyright, IPR and distribution rights. In an up and coming seminar series, Piksel_Plenum, Piksel will set focus on such socio-political questions by inviting various thinkers and artists to give presentations at Landmark, Bergen Kunsthall. From 2009 Piksel aims to host 2-3 Plenum events every year. ?? 5. RIXC: ORGANIZED NETWORKS [collaborative project] Piksel is currently involved in a collaborative project together with RIXC (Center for New Media Culture in Lativa). RIXC has together with 6 co- organizers and 2 partners from Europe applied for funding from the EU Cultural Programme to realize the project: ?ORGANIZED NETWORKS: - Building sustainable cultural cooperation practice?. The main objective of the project is to work out new strategies and new methodologies for long-term cooperation structures ("organized networks"), as well as to develop new network-based organisational models (for each individual organisation's benefit). The goal is to develop more sustainable, cultural co-operation practices both locally and on a trans-European level by connecting the Nordic, Baltic and Caucasus regions. The first event in this programme will take place in Riga December 3-6 2009. ?? 6. RIXC: ART AND RENEWABLE TECHNOLOGIES [symposium] Piksel is invited to host a workshop at the 4-day symposium named Art and Renewable technologies at Aizpute (LV) - organized by RIXC. The symposium gathers artists, activists, technologists, scientists and researchers, to share their ideas and explorations which deal with renewable energy resources, alternative ecological use of technologies, and other sustainability related issues. Program dates: August 13-16, 2009 in Aizpute (Latvia) MORE: http://rixc.lv/projects/energy/renewable/ ?? 7. SHARED ROBOTICS - Art and Open Hardware [workshop/exhibition] Piksel is invited to participate in a workshop to create open hardware prototypes for the Shared Robotics exhibition taking place at Kunsthallen Brandts 21th-29th November 2009 in Odense (DK). The Shared Robotics exhibition is produced by the danish network initiative Robocluster promoting innovative use of robotics and automation. MORE: http://www.robocluster.dk/english ?? 8. PIKSELHUT [space] Piksel has moved into our new office space in Bergen: A stand-alone miniature building in connection to USF Verftet, that functioned as a stable back in the days. The space is properly dubbed PikselHut due to its dimentions (and not its kitchen), and a local moving in party was held 2.May - offically opening the Hut for business. IMAGE: http://www.piksel.no/wpg2?g2_itemId=19443 ?? 9. HACKBERGEN [community] Piksel currently hosts the weekly meeting activity of the HackBergen. HackBergen is new initiative aiming to create a Hackerspace in Bergen - a physical meeting and workshop space for technophiliacs and creatives. For those interested, the group meets every Tuesday at 19.00 at PikselHut (Georgenes Verft 12, Bergen) BLOG hackbergen.org WIKI wiki.hackbergen.org IRC #hackbergen (irc.freenode.net) LISTE lists.hackbergen.org _______________________________ OUTRO STREAM: FREE AS IN ART! ????????????????????????????????????????????????? Piksel is an international event for artists and developers working with Free/Libre and Open Source technologies in artistic practice. Part workshop, part festival, it is organised in Bergen, Norway, and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of FLOSS & art. ????????????????????????????????????????????????? BLOG www.piksel.no TECH www.piksel.org WIKI www.piksel.no/pwiki IRC #piksel (irc.freenode.net) LISTS www.piksel.no/pwiki/MailingLists From info at apo33.org Mon Jun 8 22:01:34 2009 From: info at apo33.org (APO33) Date: Mon Jun 8 22:02:34 2009 Subject: [spectre] RAINFOREST IV - DAVID TUDOR - 3rd & 4th of July - AREA10 - LONDON! Message-ID: <20090608220134.12423hh20fyrauww@apo33.org> ////////////////////////////////////////////////////////////////////////////// A10lab, Area10, Apo33, Noise=Noise, Beyond Signal, Fibrr Records & Sound Research Practice, Goldsmiths presents: ////////////////////////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!! RAINFOREST IV - DAVID TUDOR !!!!!!!!!!!!!!!!!!!!!!!!!!!! "a collaborative environmental work, spatially mixing the live sounds of suspended sculptures and found objects, with their transformed reflections in an audio system. " /////////////////////////////////////////////////////////////////////////////// PERFORMANCE & INSTALLATION 3rd & 4th of July 2009 - from 2pm to 23pm ?10 (online booking http://www.wegottickets.com) ?12 (on the door) at AREA10 PROJECT SPACE Eagle Wharf Peckham Hill Street London - SE15 5JT (White building behind the Library) Buses: 12, 36, 37, 63, 78, 436, 345, 177, 312, 343 Train: Peckham Rye Station /////////////////////////////////////////////////////////////////////////////// "In 1973 I made ?Rainforest IV? where the objects that the sounds are sent through are very large so that they have their own presence in space. I mean, they actually sound locally in the space where they are hanging as well as being supplemented by a loudspeaker system. The idea is that if you send sound through materials, the resonant nodes of the materials are released and those can be picked up by contact microphones or phono cartridges and those have a different kind of sound than the object does when you listen to it very close where it's hanging. It becomes like a reflection and it makes, I thought, quite a harmonious and beautiful atmosphere, because wherever you move in the room, you have reminiscences of something you have heard at some other point in the space. It's (can be) a large group piece actually, any number of people can participate in it. It's important that each person makes their own sculpture, decides how to program it, and performs it themselves. Very little instruction is necessary for the piece. I've found it to be almost self-teaching because you discover how to program the devices by seeing what they like to accept. Its been a very rewarding type of activity for me. It's been done by as large a group as 14 people. So that was how our Rainforest was done.? David Tudor Performed by RYAN JORDAN JULIEN OTTAVI KASPER T TOEPLITZ JEAN-BAPTISTE THIEBAUT JOHN BOWERS DOMINIQUE LEROY PHILIP JULIAN CHRIS WEAVER JENNY PICKETT RYO IKESHIRO DAWN SCARFE ANDY WHEDDON DUNCAN RAVENHALL ANTONIS ANTONIOU and more Thanks to ResonanceFM for their support! more informations: http://www.a10lab.info/rainforest ////////////////////////////////////////////////////////////////////////////// Who is David Tudor? David Tudor was born in Philadelphia, PA, in 1926. He studied with H. William Hawke (organ, theory), Irma Wolpe Rademacher (piano) and Stephan Wolpe (composition and analysis).His first professional activity was as an organist, and he subsequently became known as one of the leading avante-garde pianists of our time. Tudor gave highly acclaimed first or early performances of worksby contemporary composers Earle Brown, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, Stephan Wolpe, and La Monte Young, among others. Tudor began working with John Cage in the early fifties, as a member of the Merce Cunningham Dance Company and with Cage's Project of Music for Electronic Tape. Tudor gradually ended his active career as a pianist, turning exclusively to the composition of live electronic music. As a composer, Tudor chose specific electronic components and their interconnections to define both composition and performance drawing upon resources that were both flexible and complex. Tudor was one of four Core Artists who collaborated on the design of the Pepsi Pavilion for Expo '70, Osaka, Japan, a project of Experiments in Art and Technology, Inc. Many of Tudor's compositions have involved collaborative visual forces: light systems, laser projections, dance, theater, television, film. Tudor's last project, Toneburst: Maps and Fragments, was a collaboration with visual artist Sophia Ogielska. Tudor's several collaborations with visual artist Jacqueline Monnier included the development of a kite environment installed at the Whitney Museum (Philip Morris, NYC) in 1986, at the exhibition "Klangraume" in Dusseldorf in 1988, and at the Jack Tilton Gallery in New York City in 1990. Other collaborators have included Lowell Cross, Molly Davies, Viola Farber, Anthony Martin, and Robert Rauschenberg. Tudor had been affiliated with the Merce Cunningham Dance Company (MCDC) since its inception in the summer of 1953. In 1992, after Cage?s death, Tudor took over as Music Director of MCDC. Merce Cunningham has commissioned numerous works from Tudor, including Rainforest I (1968); Toneburst (1974); Weatherings (1978); Phonemes (1981); Sextet for Seven (1982); Fragments (1984); Webwork (1987), Five Stone Wind (1988), Virtual Focus (1990); Neural Network Plus (1992); and most recently Soundings: Ocean Diary (1994) for what was John Cage's last conception, Ocean. http://www.emf.org/tudor/ /////////////////////////////////////////////////////////////////////////////// Musicians & Artists websites: http://jennypickett.co.uk http://doc.gold.ac.uk/~ma701rj/ http://www.noiser.org http://www.apo33.org http://jbthiebaut.free.fr/ http://www.myspace.com/tonesucker http://www.leftright.org/ http://www.cmx.org.uk/ http://www.dawnscarfe.co.uk/ http://resonancefm.com/ http://www.ry-om.net/index.htm http://www.myspace.com/aseaofsound http://www.myspace.com/antonioua ******************************************************************************* -- AKA THE NOISER & NANOFAMAS "the world is noise" http://www.noiser.org http://www.apo33.org http://www.a10lab.info http://fibrr.apo33.org http://ecos.crealab.info http://www.a10lab.info/mutation http://www.a10lab.info/scieprotocol -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From cont3xt at cont3xt.net Tue Jun 9 07:24:49 2009 From: cont3xt at cont3xt.net (CONT3XT.NET) Date: Tue Jun 9 07:48:18 2009 Subject: [spectre] TIMEBASED, IN PRINCIPLE | CONT3XT.NET.NEWS #03.09 Message-ID: ----- ----- ----- TIMEBASED, IN PRINCIPLE http://cont3xt.net/blog/?p=1356 Performance, screening and installations by: + Siegfried A. Fruhauf + Michael Kargl, aka carlos katastrofsky + Joerg Piringer Location: Fluc am Praterstern, http://fluc.at Event series: In der Kubatur des Kabinetts Date: 06-17-2009, 9pm ----- ----- ----- The exhibition TIMEBASED, IN PRINCIPLE in the Viennese club Fluc presents three artists whose practice in the fields of film/video, visual arts and literature is immediately interwoven with the principle of time. Without remaining on a formalistic level Siegfried A. Fruhauf, Michael Kargl (aka carlos katastrofsky) and Joerg Piringer combine questions of material and form with the discursive dimensions of contemporary media art. Alongside the traces of time - created on its way from the past to the future - the artists reflect the momentariness and ephemerality of medial manifestations as well as the parameters of perception which are bound to it. As a moment in a continuum, as a continuity of a procedure, as a sequence of events: time is the starting point to go beyond the strings of existence of the different media, it does not grind the circuit of (self-)reflections to a halt. The ephemerality of language, its fluid context and its disengagement from social conventions is in the center of the text/sound-video performance "frikativ, twelve poemlets" (2007-2008). During thirty minutes the Viennese sound and new media poet Joerg Piringer generates fragmentaric text-images in realtime. With the screening of the video "Ground Control" (2008) Siegfried A. Fruhauf, an experimental filmmaker based in Linz, discusses the repeatability of a unique event in form of "white noise" which appears on the screen. Departing from his desire to control an uncontrollable world his reflections result in the localisation of the breaking points of the material: in the threepart video installation "Structural Studies" (2003) those disruptions express themselves as a moment of opening towards the illusionary. On the contrary Michael Kargl (aka carlos katastrofsky) overstresses the visitors capability of reception by displaying the 8-days-long video "all you can see" (2008). With the adaption of the originally Internet-based work of art "opus magnum" (2008) the artist also reflects the reproducibility of timebased art and opposes its randomness and ambiguity with the mechanisms of the contemporary art market. TIMEBASED, IN PRINCIPLE is part of a series of art events called "In der Kubatur des Kabinetts", a timebased space for the presentation of artistic practices which go beyond economic imperatives. The performative presentational mode of the shown artworks by Siegfried A. Fruhauf, Michael Kargl (aka carlos katastrofsky) and Joerg Piringer refers to a club and art setting which deals with the question of how artistic critique can be sustained in times when "critical projects" tend to be the trend. According to Roland Barthes "the text is experienced only in an activity of production" which means that it is bound to a timebased movement cutting across "hierarchies" and "the old classification" - time is the driving force, it is the principle. (Sabine Hochrieser, Franz Thalmair) ----- ----- ----- IM PRINZIP, ZEITBASIERT http://cont3xt.net/blog/?p=1333 Performance, Screening und Installationen von: + Siegfried A. Fruhauf + Michael Kargl, aka carlos katastrofsky + Joerg Piringer Ort: Fluc am Praterstern, http://fluc.at Veranstaltung: In der Kubatur des Kabinetts (Kunstsalon) Datum: 17.06.2009, 21h ----- ----- ----- Die Ausstellung IM PRINZIP, ZEITBASIERT im Clubraum des Wiener Lokals Fluc praesentiert drei Kuenstler, deren Handlungsfelder in den Bereichen Film/Video, bildende Kunst und Literatur unmittelbar mit dem Prinzip Zeit verflochten sind. Siegfried A. Fruhauf, Michael Kargl (aka carlos katastrofsky) und Joerg Piringer verbinden in ihren Arbeiten Fragestellungen ueber Material und Form mit der diskursiven Dimension zeitgenoessischer Medienkunst. Entlang der Spuren, die die Zeit auf ihrem Weg von der Vergangenheit in die Zukunft hinterlaesst, reflektieren sie die Vergaenglichkeit und Fluechtigkeit medialer Erscheinungsformen sowie die daran gebundenen Parameter der Wahrnehmung, ohne dabei in einem formalistischen Diskurs zu verharren. Als Moment in einem Kontinuum, als Andauern von Vorgaengen, als Abfolge von Ereignissen: Zeit dient hier als Ausgangspunkt, um ueber die Existenzbedingungen des jeweiligen Mediums hinaus zu verweisen und den daraus resultierenden Kreislauf aus (Selbst-)Reflexionen nicht zum Stillstand kommen zu lassen. Die Fluechtigkeit von Sprache, ihr wandelbarer Kontext und die Losloesung von gesellschaftlichen Konventionen stehen im Vordergrund Joerg Piringers Text/Sound-Videoperformance "frikativ, twelve poemlets" (2007-2008). Dreissig Minuten lang generiert der Wiener Soundpoet als Fragmente konzipierte Textbilder in Echtzeit. Mit dem Screening von "Ground Control" (2008) stellt der Linzer Experimentalfilmer Siegfried A. Fruhauf die Wiederholbarkeit eines einmaligen Vorgangs in Form von Bildrauschen zur Diskussion. Aus seinem Wunsch heraus, das Unkontrollierbare zu beherrschen, resultiert auch das Aufspueren von Bruchstellen im Material: In der dreiteiligen Videoinstallation "Structural Studies" (2003) aeussern sich diese Brueche als Momente der oeffnung hin zum Illusionaeren. Michael Kargl (aka carlos katastrofsky) hingegen ueberlastet mit dem knapp achttaegigen Video "all you can see" (2008) die Wahrnehmungsfaehigkeit der BetrachterInnen durch die Ausdehnung des Materials. In einer Video-Adaption des urspruenglich Internet-basierten Kunstwerks "opus magnum" (2008) fuer den Clubraum ueberdenkt der aus Tirol stammende Medienkuenstler das Thema der Reproduzierbarkeit digitaler Kunstformen. Er stellt den Zufall und die Beliebigkeit marktorientierten Mechanismen zeitgenoessischer Kunstproduktionen gegenueber. IM PRINZIP, ZEITBASIERT ist Teil der Veranstaltungsreihe "In der Kubatur des Kabinetts", eine Initiative, die als zeitbasierter Raum fuer kuenstlerische Praxisformen jenseits oekonomischer Imperative angelegt ist. Der performative Praesentationsmodus der gezeigten Arbeiten von Siegfried A. Fruhauf, Michael Kargl (aka carlos katastrofsky) und Joerg Piringer nimmt Bezug auf die Existenzbedingungen eines Club- und Kunstraums, der sich der Frage widmet, wie kuenstlerische Kritik in einer Zeit aufrechterhalten werden kann, in der "kritische Projekte" zu einem Trend werden. "Der Text", schreibt Roland Barthes, "ist nur im Vollzug einer Arbeit, in einer Produktion erfahrbar" und meint damit eine an die Zeit gebundene Bewegung der Durchquerung von "Hierarchien" und "alten Klassifizierungen" - Zeit ist die treibende Kraft, sie ist das Prinzip. (Sabine Hochrieser, Franz Thalmair) ----- ----- ----- Dieses Projekt wird unterstuetzt von der Kulturabteilung der Stadt Wien: http://www.wien.gv.at/index/kultur.htm ----- ----- ----- This is a newsletter by CONT3XT.NET (ZVR: 999765999, Vienna/Austria). If you do not want to receive information anymore please reply with "NO newsletter". From melentie at gmail.com Tue Jun 9 14:47:26 2009 From: melentie at gmail.com (Melentie Pandilovski) Date: Tue Jun 9 14:48:01 2009 Subject: [spectre] XIV Biennial of Young Artists from Europe and the Mediterranean, Skopje 2009 Message-ID: XIV Biennial of Young Artists from Europe and the Mediterranean http://amms.com.mk/wp-content/uploads/2009/05/short-resume-of-the-biennial-in-skopje-2009.pdf Short resume of the biennial in Skopje 2009 After Barcelona, Thessalonica, Marsiglia, Valencia, Lisbon, Turin, Rome, Sarajevo, Naples, Puglia, Skopje will be host of the 14th Biennial of young artists from Europe and the Mediterranean. This edition represents also a great and common gate towards Europe, for the whole region, and the role of one real multicultural Balkan metropolis, now will take Skopje- city without dominant cultural stream. Basic information Period: 3th September - 15th October Theme: Seven Gates Locations: 1. Venues for visual and applied arts: Museum of Contemporary Art; National Gallery (Mala Stanica and Cifte Amam), Youth Cultural Centre, Cultural-informative Centre, National Museum of Macedonia, Museum of City of Skopje and Macedonian Opera and Ballet. 2. Venues for urban acts: City square "Makedonija", City Park, cafes and open spaces round city of Skopje 3. Venues for film: Youth Cultural Centre (cinema Frosina), Kinoteka, Faculty of Drama Arts and art- cafes round city of Skopje 4. Venues for literature: Kursumli Ann, Suli Ann 5. Venues for shows: Macedonian Opera and Ballet and Macedonian National Theatre 6. Venues for music: "Main Stage" City Square "Makedonija", Kursumli Ann, Suli Ann, Art cafes around the city 7. Venues for Gastronomy: Meeting Point Biennale Skopje Participants: 713 artists 90 BJCEM participants - members of ministries, representatives of municipalities, national institutions, cultural associations and organizations. 40 VIP persons - famous artists, art critics, managers, representatives that works on the promotion of culture and art 70 national and international journalists from Europe and the Mediterranean All European Union 27 countries: Austria, Belgium, Bulgaria, Cyprus, Czech republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, The Nederland's, United Kingdom, "Rive sud" 11 countries: Algeria, Egypt, Israel, Jordan, Lebanon, Libya, Morocco, Palestine, Syria, Tunisia, Turkey, Greater Mediterranean Albania, Bosnia-Herzegovina, Croatia, Macedonia, Montenegro, Serbia and with Republic of San Marino, Kosovo, Norway and Rom Nation. Program: Multidisciplinary event in which are included 7 artistic disciplines - Visual and Applied Arts (Plastic Arts, Photography, Installation, Performance, Video Art, Comic Strip, Cyber Art Architecture, Visual/ Industrial/ Web Design, Fashion, Digital Creations) - Images on the Move (Cine, Video, Animated Films) - Show (Theatre, Dance) - Literature (Writing, Poetry) - Music (Rock, Pop, Jazz, Folk/ Ethno, Contemporary, Digital, Dj's and Classical) - Gastronomy In this biennial will be shown more than 400 art productions including 1000 paintings, sculptures and graphic works, 50 movies and 60 video and cyber works, 50 literature readings, 30 works from theatre and dance, 40 music concert, 1 or 2 fashion shows. Parallel activities - constructive and sustainable production The general program includes some parallel activities in form of forums, seminars, masters' lessons, conferences, workshops... Every day different subject will be treated, dealing with cultural and artistic practices in form of connectivity, know?how and project proposals from all over Europe and the Mediterranean. An extended number of international guests: artists, journalist, cultural operators, intellectuals, art critics and curators will take participation in these events. Target groups: Professional cultural operators, foundations, curators, galley workers and artists Professors and students from universities Policy makers The business community Media representatives The general public Outreach: 15 000 Professional cultural operators, foundations, curators, galley workers and artists 20 000 Professors and students from universities 300 Policy makers 2 000 Business community 200 Media representatives 200 000 General public Publicity: International: website, free publicity, direct promotion on international events, press releases, emails, invitations and advertisements National: posters, flyers, invitations, links to the website, press releases, banners, billboards, advertisements Organizer: AMMS - Association for International Youth Cooperation Partners and Donors: BJCEM - Biennial of Young Artists from Europe and the Mediterranean Ministry of Culture of R. Macedonia Ministry of Education and Science of R. Macedonia City of Skopje Council of England European Commission Other Foundations http://amms.com.mk/wp-content/uploads/2009/05/short-resume-of-the-biennial-in-skopje-2009.pdf From ixddxk at googlemail.com Tue Jun 9 15:07:10 2009 From: ixddxk at googlemail.com (ixddxk@googlemail.com) Date: Tue Jun 9 15:07:30 2009 Subject: [spectre] The Date Changed!! AUSREIHE presents: Electronic Music Concert 02 at EC 14.06.2009 Berlin, Germany Message-ID: <4A3E1E51-B7CE-4BB3-92FB-08896B5425F6@googlemail.com> Attention! Because of unforeseen situation, we had to change the date one day later. The event takes place on Sun 14th. The correct information is below. Thank you AUSREIHE http://ausreihe.com/ AUSREIHE presents: Electronic Music Concert 02 http://ausreihe.com/ Lee Gamble / Heatsick Date: Sat 14th June, 2009 Time: 21:00 open / 22:00 start Venue: EC, Electronic Church http://www.myspace.com/electronic_church Greifswalder Stra?e 223, 10405 Berlin, Germany Lee Gamble http://www.cyrk.org/leegamble/ Born - Birmingham, England Resides - London, England Founding member of the UK-based Cyrk collective, explores abstraction through computer software, synthesis, process, and the deconstrucion/ reconstruction of form. He has performed throughout the U.K and Europe. Lee has curated and co-curated several events and has produced radio for ResonanceFM 104.4. Current research interests; speech phasing, paracusia, A.I.W.S syndrome, simulation, perpetual computer music, the real? Heatsick After a long break Heatsick is playing out again. Playing out lost scenes in a flux between flow and breakup. Dark/Light superimpositions between psychedelia and loose industrial. Trimming down from previous side long cuts, into shorter snippets of moments, and consequent interplay. Releases: Pre Cum Fog Ballet, Total Afternoon Sundae, Dubbed Sunshine, Muddy Paw Perpendicular Rain mostly through his Alcoholic Narcolepsy imprint. Tonight he will play STEREOPATHY note Electronic Church - experimental music in Berlin - Greifswalder Strasse 223 - 10405 Berlin Please remember that the Church is a private place for music - only friends are invited! AUSREIHE http://ausreihe.com/ From editor at intertheory.org Tue Jun 9 15:16:09 2009 From: editor at intertheory.org (Nicholas Ruiz III) Date: Tue Jun 9 15:16:44 2009 Subject: [spectre] Kritikos, V.6 May-June-2009 Message-ID: <962995.18024.qm@web307.biz.mail.mud.yahoo.com> Kritikos, V.6 May-June-2009 Rethinking Critical Theory...(s.petrucciani) http://intertheory.org/petrucciani.htm Nicholas Ruiz III, Ph.D Editor, Kritikos http://intertheory.org From melentie at gmail.com Tue Jun 9 15:26:36 2009 From: melentie at gmail.com (Melentie Pandilovski) Date: Tue Jun 9 15:48:56 2009 Subject: [spectre] XIV Biennial of Young Artists from Europe and the Mediterranean Message-ID: XIV Biennial of Young Artists from Europe and the Mediterranean http://amms.com.mk/wp-content/uploads/2009/05/short-resume-of-the-biennial-in-skopje-2009.pdf Short resume of the biennial in Skopje 2009 After Barcelona, Thessalonica, Marsiglia, Valencia, Lisbon, Turin, Rome, Sarajevo, Naples, Puglia, Skopje will be host of the 14th Biennial of young artists from Europe and the Mediterranean. This edition represents also a great and common gate towards Europe, for the whole region, and the role of one real multicultural Balkan metropolis, now will take Skopje- city without dominant cultural stream. Basic information Period: 3th September - 15th October Theme: Seven Gates Locations: 1. Venues for visual and applied arts: Museum of Contemporary Art; National Gallery (Mala Stanica and Cifte Amam), Youth Cultural Centre, Cultural-informative Centre, National Museum of Macedonia, Museum of City of Skopje and Macedonian Opera and Ballet. 2. Venues for urban acts: City square "Makedonija", City Park, cafes and open spaces round city of Skopje 3. Venues for film: Youth Cultural Centre (cinema Frosina), Kinoteka, Faculty of Drama Arts and art- cafes round city of Skopje 4. Venues for literature: Kursumli Ann, Suli Ann 5. Venues for shows: Macedonian Opera and Ballet and Macedonian National Theatre 6. Venues for music: "Main Stage" City Square "Makedonija", Kursumli Ann, Suli Ann, Art cafes around the city 7. Venues for Gastronomy: Meeting Point Biennale Skopje Participants: 713 artists 90 BJCEM participants - members of ministries, representatives of municipalities, national institutions, cultural associations and organizations. 40 VIP persons - famous artists, art critics, managers, representatives that works on the promotion of culture and art 70 national and international journalists from Europe and the Mediterranean All European Union 27 countries: Austria, Belgium, Bulgaria, Cyprus, Czech republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, Poland, Portugal, Romania, Slovakia, Slovenia, Spain, Sweden, The Nederland's, United Kingdom, "Rive sud" 11 countries: Algeria, Egypt, Israel, Jordan, Lebanon, Libya, Morocco, Palestine, Syria, Tunisia, Turkey, Greater Mediterranean Albania, Bosnia-Herzegovina, Croatia, Macedonia, Montenegro, Serbia and with Republic of San Marino, Kosovo, Norway and Rom Nation. Program: Multidisciplinary event in which are included 7 artistic disciplines - Visual and Applied Arts (Plastic Arts, Photography, Installation, Performance, Video Art, Comic Strip, Cyber Art Architecture, Visual/ Industrial/ Web Design, Fashion, Digital Creations) - Images on the Move (Cine, Video, Animated Films) - Show (Theatre, Dance) - Literature (Writing, Poetry) - Music (Rock, Pop, Jazz, Folk/ Ethno, Contemporary, Digital, Dj's and Classical) - Gastronomy In this biennial will be shown more than 400 art productions including 1000 paintings, sculptures and graphic works, 50 movies and 60 video and cyber works, 50 literature readings, 30 works from theatre and dance, 40 music concert, 1 or 2 fashion shows. Parallel activities - constructive and sustainable production The general program includes some parallel activities in form of forums, seminars, masters' lessons, conferences, workshops... Every day different subject will be treated, dealing with cultural and artistic practices in form of connectivity, know?how and project proposals from all over Europe and the Mediterranean. An extended number of international guests: artists, journalist, cultural operators, intellectuals, art critics and curators will take participation in these events. Target groups: Professional cultural operators, foundations, curators, galley workers and artists Professors and students from universities Policy makers The business community Media representatives The general public Outreach: 15 000 Professional cultural operators, foundations, curators, galley workers and artists 20 000 Professors and students from universities 300 Policy makers 2 000 Business community 200 Media representatives 200 000 General public Publicity: International: website, free publicity, direct promotion on international events, press releases, emails, invitations and advertisements National: posters, flyers, invitations, links to the website, press releases, banners, billboards, advertisements Organizer: AMMS - Association for International Youth Cooperation Partners and Donors: BJCEM - Biennial of Young Artists from Europe and the Mediterranean Ministry of Culture of R. Macedonia Ministry of Education and Science of R. Macedonia City of Skopje Council of England European Commission Other Foundations http://amms.com.mk/wp-content/uploads/2009/05/short-resume-of-the-biennial-in-skopje-2009.pdf From a.ludovico at neural.it Wed Jun 10 00:03:34 2009 From: a.ludovico at neural.it (Alessandro Ludovico) Date: Wed Jun 10 00:04:20 2009 Subject: [spectre] What if the only legacy of new media is a static image? Aceti lecture in Carrara Message-ID: The New Technology Art School of The Academy of Fine Arts of Carrara, the UCAN research center and Neural magazine present, "What if the only legacy of new media is a static image? The curatorial struggle in preserving new media's aesthetics and art practices." A lecture by Lanfranco Aceti, Associate Professor at Sabanci University (Istanbul) Thursday 11 June, 10 AM at the The Academy of Fine Arts of Carrara, Via Michelangelo Buonarroti 1, Carrara, Italy The preservation and exhibition of computer and media artworks is affected by the necessity to present a traditional and objectified image to the viewers. New media practices and computer arts are characterized by evolutionary processes and technological supports that contribute to shaping and defining the aesthetic. If 'migration' and 'emulation' represent a curatorial strategy or methods for collections' management, preservation and display deal with the obsolescence of computer and media-based artworks. The strategy of 'extrapolation and objectification' may represent another opportunity to address some of the difficulties presented by the immateriality of these art forms. Perhaps the methodologies of display should be changed and the possibilities of new media technologies exploited for new curatorial approaches even when they challenge the authority of both the author and the curator by focusing on the representation of the environmental interaction and the importance of multiple media formats of circulation of contemporary digital cultural expressions. Biography. Dr. Lanfranco Aceti works as an academic, artist and curator. He is Associate Professor in Contemporary Art and Digital Culture at the Faculty of Arts and Social Sciences, Sabanci University, Istanbul. His research focuses on the intersection between digital arts, visual culture and new media technologies. He is specialized in inter-semiotic translations between classic media and new media, contemporary digital hybridization processes, Avant-garde film and new media studies and their practice-based applications in the field of fine arts. He is also an Honorary Lecturer at the Department of Computer Science, Virtual Reality Environments at University College London. Previously an Honorary Research Fellow at the Slade School of Fine Art, he has also worked as an AHRC Postdoctoral Research Fellow at Birkbeck College, University of London and as Visiting Research Fellow at the Victoria and Albert Museum. http://www.wikiartpedia.org/index.php?title=Conferenza_di_Lanfranco_Aceti_nello_Spazio_Polivalente_di_UCAN UCAN Centro di Ricerche e Documentazione sull'Arte e le Culture delle Reti Diretto da Tommaso Tozzi Scuola di Nuove Tecnologie dell'Arte Accademia di Belle Arti di Carrara (sede distaccata) Via Michelangelo Buonarroti 1, Carrara, Italy Tel. +39 0585777056 -- Alessandro Ludovico Neural Magazine - English (http://neural.it/) Italian (http://www.neural.it/neural_it/) Latest Printed Issue - http://www.neural.it/art/2009/04/post_3.phtml Subscribe - http://www.neural.it/subscribe.phtml From marc.garrett at furtherfield.org Wed Jun 10 14:19:23 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Wed Jun 10 14:21:10 2009 Subject: [spectre] "We Wont Fly for Art" pledge has only one day left to run. In-Reply-To: References: Message-ID: <4A2FA4CB.10604@furtherfield.org> "We Wont Fly for Art" pledge has only one day left to run. Agnieszka's pledge is the last in the series of "We Wont Fly for Art" pledges and it has only one day left to run. Originally designed with the potential for exponential growth, this collective intervention into the workings and relations of art infrastructure is on the verge of dying out...unless... ONE artist pledges to refrain from flying for art for 6 months AND replicates the pledge here. http://www.pledgebank.com/wewontflyforart5 warmest Ruth and Marc http://www.furtherfield.org From lotu5 at resist.ca Thu Jun 11 10:28:21 2009 From: lotu5 at resist.ca (dj lotu5) Date: Thu Jun 11 10:28:48 2009 Subject: [spectre] Slapshock by Elle Mehrmand and Micha Cardenas in LA Thurs Night Message-ID: <4A30C025.1000206@resist.ca> FOR IMMEDIATE RELEASE What: Slapshock Performance by Elle Mehrmand and Micha Cardenas at Compactspace Where: Compactspace 105 E 6th St Los Angeles, CA 90014 When: Thursday, June 11th, 8pm Contact: Elle Mehrmand, ellemehrmand A+ gmail [d0t) com Micha Cardenas, mcardenas a+ ucsd d()+ edu Compactspace, 626-676-0627 Slapshock is a performance using a Freeduino and an Arduino to create a pain sharing device. The performance by Elle Mehrmand and Micha Cardenas is an exploration of symbiotic relationality through pain, in which each performer slaps themself in turn causing the other performer to receive a painful electric shock. The devices were created by Mehrmand and Cardenas using a Freeduino, an Aruino, piezo sensors and Transdermal Electro Nerve Stimulation (TENS) units. Mehrmand and Cardenas soldered the components together and programmed the microcontrollers to detect a slap through the piezo sensor and activate the TENS units when the slap occurs. The performance is one of a series studies for "mixed relations", a larger set of performances using technology to explore relations between people as well as between people and technology. "mixed relations" will involve two performers in mixed reality environments using their bodies as instruments to produce live audio, and will take place in the Fall of 2009. Slapshock will be performed as part of The Dark Tower, a group show of UCSD MFA candidates and recent graduates curated by Cauleen Smith. The performance will be at the Compactspace gallery during the LA Artwalk on June 11th, 2009. More information about "mixed relations" can be found at: http://bang.calit2.net/tts/2009/05/01/mixed-relations-won-the-ucira-emerging-fields-award/ More information about The Dark Tower show at Compactspace: http://www.compactspace.com/the-dark-tower/ # -- micha c?rdenas Artist/Researcher, Experimental Game Lab, http://experimentalgamelab.net Calit2 Researcher, http://bang.calit2.net blog: http://bang.calit2.net/tts From marc.garrett at furtherfield.org Thu Jun 11 16:52:14 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu Jun 11 16:54:04 2009 Subject: [spectre] Reminder: Feral Trade =?utf-8?q?Caf=C3=A9_by_Kate_Rich_at_HTTP_Ga?= =?utf-8?q?llery_opens_on_Saturday=2E?= In-Reply-To: References: Message-ID: <4A311A1E.5090202@furtherfield.org> Sorry for any cross posting... Reminder: Feral Trade Caf? by Kate Rich at HTTP Gallery. Feral Trade Opens this Saturday afternoon 4 - 7pm 13th June. http://www.http.uk.net/exhibitions/FeralTradeCafe/index.shtml Exhibition: Free entry 13 June ? 2 August 2009 Feral Trade Caf?, an art exhibition that is also a working caf?, opens at HTTP Gallery for 8 weeks during Summer 2009. Serving food and drink traded over social networks, Feral Trade Caf? by artist Kate Rich (AU) provides a convivial setting from which to contemplate broader changes to our climate and economies, where conventional supply chains (for food delivery and cultural funding) could go belly up. Feral Trade uses social and cultural hand baggage to transport grocery items between cities, often using other artists and curators as mules. The exhibition includes a retrospective display of Feral Trade products (2003-present), alongside ingredient route maps, bespoke food packaging, video and other artefacts from the Feral Trade network. The caf? will stock and serve a selection of Feral Trade goods from a menu including coffee from El Salvador, hot chocolate from Mexico and sweets from Montenegro, as well as locally sourced bread, vegetables and herbs. Along with their food and drink, diners will be served waybills detailing the socially facilitated transit of goods to their plate. Feral Trade - http://www.feraltrade.org Kate Rich - http://bureauit.org/data/krcv/ Contact: Ruth Catlow, HTTP Gallery email:ruthATfurtherfieldDOTorg HTTP Gallery Unit A2, Arena Design Centre 71 Ashfield Road London N4 1NY +44(0)7737002879 map - http://www.http.uk.net/docs/gettingto.shtml ------------------------ HTTP Gallery is based near North London's thriving Green Lanes area is Furtherfield.org?s (www.furtherfield.org) dedicated space for media art. Furtherfield.org provides platforms for creating, viewing, discussing and learning about experimental practices in art, technology and social change. Furtherfield.org and HTTP Gallery are supported by Arts Council England, London. From louise.desrenards at free.fr Fri Jun 12 04:50:54 2009 From: louise.desrenards at free.fr (Louise Desrenards) Date: Fri Jun 12 04:49:54 2009 Subject: [spectre] The Origin of Individuals + Bicentenary Darwin Lamarck Message-ID: <4A31C28E.7040905@free.fr> Multilingual fast translator (free): http://www.worldlingo.com/en/products_services/worldlingo_translator.html ___________________________________________ _____________________ ________ 2009 -1869 Bicentenaire jumel? de la naissance de Darwin et de la publication de "Philosophie zoologique" de Jean-Baptiste Lamarck COLLOQUE LAMARCK ? l?ENS, 29 juin, 8h30-19h30, Paris. organis? par Jean-Jacques Kupiec, Michel Morange et St?phane Tirard et le Centre Cavaill?s http://www.ens.fr/spip.php?article200 Sur Lamarck, Darwin le consid?rant comme un pr?curseur, ?crit, en 1861 : "Lamarck was the first man whose conclusions on the subject excited much attention. This justly celebrated naturalist first published his views in 1801 [...] he first did the eminent service of arousing attention to the probability of all changes in the organic, as well as in the inorganic world, being the result of law, and not of miraculous interposition." Source UCMP universit? de Berkeley (CA, The USA). http://www.ucmp.berkeley.edu/history/lamarck.html http://www.ucl.ac.uk/taxome/jim/Mim/lamarck_contents.html COLLOQUE MODERNIT? DE L'?VOLUTION, HOMMAGE ? DARWIN 30 juin, 9h-18h, Institut de France, Paris. (public, sur inscription obligatoire). http://www.academie-sciences.fr/conferences/colloques.htm ________________________________________________________ CARTE BLANCHE @ La Revue des Ressources ?ditorialiste Aliette G. Certhoux http://www.larevuedesressources.org/ Apr?s "I love Mehdi Belhaj Kacem" Voici le 2? volet du diptyque sur la nouvelle pens?e fran?aise r?volutionnaire anticolastique et non artistot?licienne /////////////////////////////////////////////////////////////////// Dialogique pour "L?origine des individus" de Jean-Jacques Kupiec ** /////////////////////////////////////////////////////////////////// Recension dialogu?e en s?rie de 6 s?quences par David Christoffel et Daniel Guibert Transcription David Christoffel Pr?cis?ment l'adresse URI (perp?tuelle) en clair c'est : http://www.larevuedesressources.org/spip.php?article1228 DEPUIS LE 11 JUIN, UNE S?QUENCE SUPPL?MENTAIRE CHAQUE JOUR Every day know 1 Chapter more until 6. THE ORIGIN OF INDIVIDUALS http://www.worldscibooks.com/lifesci/6359.html by Jean-Jacques Kupiec (Ecole Normale Sup?rieure & INSERM, France) In the 17th century, Descartes put forth the metaphor of the machine to explain the functioning of living beings. In the 18th century, La Mettrie extended the metaphor to man. The clock was then used as the paradigm of the machine. In the 20th century, this metaphor still held but the clock was replaced by a computer. Nowadays, the organism is viewed as a robot obeying signals emanating from a computer program controlled by genetic information. This book shows that such a conception leads to contradictions not only in the theory of biology but also in its experimental research program, thereby impeding its development. The analysis of this problem is based on the most recent experimental data obtained in molecular biology as well as the history and philosophy of biology. It shows that the machine theory did not succeed in breaking with Aristotle's finalism. The book presents a new approach to biological systems based on cellular Darwinism. Genes are ruled by probabilistic mechanisms allowing cells to differentiate stochastically. Embryo development is not governed by a determinist genetic program but by natural selection occurring among cell populations inside the organism. This theory has considerable philosophical consequences. Man may be a machine but he is a random one. Contents: * Five Arguments for a New Theory of Biological Individuation * What is a Probabilistic Process? * The Determinism of Molecular Biology * The Contradiction in Genetic Determinism * Self-Organisation Does Not Resolve the Contradiction in Genetic Determinism * Hetero-Organisation * Biology's Blind Spot * A Research Programme and Ethical Principle Based on Ontophylogenesis -------------------------------------------------------------- L'Origine des Individus (Pr?sentation) http://www.editions-fayard.fr/livre/fayard-246374-l-origine-des-individus-jean-jacques-kupiec.html ** Dialogique pour "L?origine des individus" de Jean-Jacques Kupiec PR?SENTATION Double lecture non exhaustive et libre discussion de ses protagonistes concernant le dernier ouvrage du chercheur en biologie et ?pist?mologue Jean-Jacques Kupiec. O? il revisite le mod?le du d?terminisme g?n?tique et celui de l?auto-organisation dans une perspective critique ?difi?e par les sciences, mais constructive d?une nouvelle voie qui ne concerne pas seulement les sciences et la philosophie des sciences... ... En aval du livre il s?agit autant de la philosophie des soci?t?s et de l?organisation sociale elle-m?me ; o? se dessine un champ r?volutionnaire, depuis l?activit? de la connaissance non comme savoir mais comme partie structur?e et structurante de la libert? sociale et des choix, de penser et d?exister semblablement ou autrement ? plusieurs. Cette fois, ce n?est pas du point de vue de l?id?ologie mais depuis les questions logiques et stochastiques de la vitalit? et de la mortification. En outre, bien apr?s le renoncement ? la justification raciale par les sciences, c?est maintenant, avec ce livre, le passage au-del? des esp?ces en biologie. Quel ?glise peut accepter d?entendre cela sans fr?mir ? Chaque inventeur responsable d?une innovation scientifique a risqu? d??tre consid?r? comme un perturbateur de l?ordre ?tabli, on sait ceux qui p?tirent ? devoir renoncer, ou refusant de le faire qui parfois y perdirent la vie. Aujourd?hui on conna?t plus simplement le pr?judice public ou social, plut?t que la peine de mort pour les id?es, voire l?emprisonnement (on l?a vu pour Steve Kurtz du Critical Art Ensemble ? propos du Bio Art critique des OGM, aux ?tats-Unis, et pour Julien Coupat ? propos du livre L?Insurrection qui vient sign? sous un pseudonyme collectif et qu?on lui pr?te abusivement d?avoir ?crit, en France). Concernant le domaine scientifique, c?est souvent la tentative de marginaliser les chercheurs atypiques, du moins tant qu?ils n?ont pas de reconnaissance internationale, ce qui heureusement commence ? ne plus ?tre le cas pour Jean-Jacques Kupiec ; n?anmoins l?atteinte diverse aux cat?gories des savoirs et des choses constitue un point de cumul avec la singularit? de son cursus et son statut de chercheur, qui lui font payer le prix de sa libert? de penser parmi la communaut? institu?e : non du fait des personnalit?s scientifiques elles-m?mes, puisqu?il en est et pas des moindres pour s?int?resser ? son travail ici comme ? l??tranger, mais du fait de l?institution dans son principe de reproduction des savoirs et d?en repr?senter le pouvoir, et de ceux qui en tirent leur statut ? en reproduire les processus. En plein bi-centenaire de c?l?bration de la naissance de Darwin, on peut dire qu?il un des premiers chercheurs fran?ais en biologie qui se revendiqu?rent du darwinisme dans leurs articles de recherche contemporains, depuis plus d?une dizaine d?ann?es. Le concernant il s?agissait de la recherche appliqu?e ? l?embryon et ? la g?n?tique, a fortiori exprim?e dans l?ouvrage co-sign? en 2000 avec Pierre Sonigo "Ni Dieu ni g?ne : Pour une autre th?orie de l?h?r?dit?" (3), qui font encore acte aujourd?hui. Son actualit? respective d?auteur par la publication du nouvel ouvrage qui nous convie, qui ne d?sempare pas sur l?hypoth?se du hasard s?lection mieux l?int?gre dans une nouvelle proposition, vient de s?accro?tre de sa traduction en anglais chez World Scientific dont les choix du comit? scientifique, essentiellement constitu? de Nobelis?s notamment physiciens, sont incontest?s dans la communaut? internationale repr?sentative. Ainsi vont les id?es en France qu?elles souffrent toujours de malentendu dans leur propre pays. Frantz Fanon l?exprima de fa?on m?morable ? propos de la pens?e moderne et de la pens?e politique des Lumi?res, le criant comme une alerte dans l?introduction de son manifeste anti-colonialiste Les damn?s de la terre (5) ?crit depuis Washington en 1961, et Jean-Paul Sartre dans sa pr?face. Est-ce parce que le titre peu servile de l?ouvrage de Kupiec dans une mont?e joyeuse aux extr?mes du pari ?volutionniste para?t plagier en le modifiant celui de Darwin L?origine des esp?ces, comme une proposition de d?passement de son inspiration majeure deux cent ans plus tard ? Alors on verrait l?arri?re garde du cort?ge r?ductionniste (22) uni au cort?ge holiste (23) justifier sous la banni?re de Karl Popper, d?voy?, le retour aux sources de la tendance triomphante, contre l?innovation par la th?orie critique impr?vue ? Dans le cadre de ma "Carte Blanche", cet entretien peut ?tre consid?r? comme le second volet d?un diptyque sur les penseurs fran?ais actuels anti scolastiques et "non aristot?liciens" (cela ne veut pas dire anti-aristot?liciens), dont le premier volet est l?article " I love Mehdi Belhaj Kacem " ? propos de son ouvrage L?esprit du nihilisme : une Ontologique de l?Histoire, article o? d?ailleurs le livre et les id?es de Jean-Jacques Kupiec sont cit?s. Dans le premier cas, il s?agit d?une lecture g?n?rale de l?oeuvre prolifique d?un auteur encore jeune, sans cesse renouvel?e sans se reproduire et malgr? les ruptures s?effectuant logiquement en de?a ; dans l?autre cas il s?agit d??voquer l?impact d?un ouvrage qui pourrait ?tre consid?r? comme une premi?re oeuvre en d?pit de la maturit? de son auteur, tant ses livres sont rares, bien qu?il soit connu par la communaut? scientifique pour des articles remarqu?s, qu?il demeure chercheur ? l?INSERM (CNRS), et qu?il soit engag? par plusieurs s?minaires au Centre Cavaill?s ? l??cole Normale Sup?rieure (parmi lesquels le 29 juin cette ann?e le S?minaire Lamarck, ? l?occasion du bicentenaire jumel? de la parution de son ouvrage Philosophie zoologique en 1809, ann?e de la naissance de Darwin qui plus tard le consid?ra comme son pr?curseur) (6). ? lire L?origine des individus assum? par un seul auteur il est maintenant possible de concevoir la part respective de Jean-Jacques Kupiec dans l?ouvrage co-sign? avec Pierre Sonigo, alors directeur du laboratoire "G?n?tique des virus" ? l?institut Cochin (7). L?origine des individus ?tant le premier ouvrage magistral de Jean-Jacques Kupiec laisse supposer un Nioque de l?avant-printemps (8) pr?alable et ant?rieurement cach?, la gestation sous-terraine d?une r?flexion de longue date jusqu?? cette r?v?lation, un peu comme le processus de la vie tel que Jean-Jacques Kupiec le concevant et en rendant compte comme un ?v?nement manifeste, int?gre pourtant en amont et en aval une disposition al?atoire o? le temps joue son r?le, dans la formation sociale comme dans la formation de la pens?e. C?est d?ailleurs l?objet de la pr?face par l?auteur que de l?exprimer. L?h?t?ronomie, l?h?t?ro-organisation, l?al?atoire, selon la pr?sentation de ses dispositions que le calcul stochastique mieux que le calcul statistique permet d??tudier dans un rapport au temps, d?voilent plus que la diversit?, c?est-?-dire l?alt?rit? en chaque chose. O? l?identit? ni la production ne pourraient r?pondre seules en termes de vie. Ce n?est pas seulement parce que l?id?e nous plait mais parce que scientifiquement fond?e par des recherches et l??valuation des r?sultats, dans la hauteur de son point de vue elle se situe ailleurs des doctrines, innovant en puissance depuis la construction et le d?veloppement singuliers de l?auteur, ce qui transmet une ?nergie ?vidente ? ses lecteurs... "Ne jamais chercher l?autre dans l?illusion terrifiante du dialogue" (15)... Il conviendra donc de se reporter directement ? l?ouvrage abord?, d?ailleurs c?est l?objet de la lecture dialogique afin d?y inviter ensuite, d??viter d??tre dialogue tout ? fait. Mai, juin 2009, A. G-C. ________________________________________________________ http://www.criticalsecret.com/n15/index.php?cat=journal_livres From ajaco at xs4all.nl Fri Jun 12 19:50:57 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Fri Jun 12 19:51:57 2009 Subject: [spectre] NICTOGLOBE RADIO - TV 88.3 FM Amsterdam Message-ID: <2E5AD0D2-52A6-41C2-AF55-E70B747672EB@xs4all.nl> Raga Night Amsterdam & Music from the Minang Kabau Listen zaterdag 13 Juni 2009 from 18:00 until 20:00 uur NICTOGLOBE RADIO - TV 88.3 FM Amsterdam http://icecast.freeteam.nl/patapoe.m3u 18:00 - Raga Night Amsterdam, recordings from the concert Concertgebouw Amsterdam November 2008 19:00 - Talk with Gerard Mosterd - Choreographer / Kantor Pos, about modern dance/performance and Eurasian connections. With music from the indigenous Minang Kabau, West Sumatra - Indonesia Enjoy! cf.: ::: burgerwaanzin.nl ::: ::: More ::: Andreas Jacobs e: ajaco@xs4all.nl w: http://www.nictoglobe.com From propaganda at goto10.org Fri Jun 12 23:39:21 2009 From: propaganda at goto10.org (propaganda@goto10.org) Date: Fri Jun 12 23:47:30 2009 Subject: [spectre] Call for projects - make art 2009 - what the fork?! Message-ID: <20090612213921.GJ8367@hee.jungle> sorry for OOPS, please don't PANIC -- _ _ _ ____ _ _ _______|_| | |_ _| | _|____|_ | | _|_| | _____| | _|__|_ | | |____| | | |___|_| | |_____ | | |__| | | | ____ | | ___|_ | _____| | | | | | |_ | | | | |_|_ | |_______ |_|_ |_| |___| |_| |_| |_| |_________| |_|_ ____ _______ _________ |_| _|____|_ | _____|_ |___ ___|_ _ | |____| | | |_____|_| | | |_| |_| from | __ | | _ _| | | 7 to 13 | | |_ | | | |_|___ _|_| DECEMBER 09 |_| |_| |_| |___| |_| MAKE ART 2009 - What The Fork?! distributed and open practices in FLOSS art -- CALL FOR PROJECTS -- make art is an international festival dedicated to the integration of Free/Libre/Open Source Software (FLOSS) in digital art. The fourth edition of make art ? What The Fork?! distributed and open practices in FLOSS art - will take place in Poitiers (FR), from the 7th to the 13th of December 2009. make art offers performances, presentations, workshops and an exhibition, focused on the encounter between digital art and free software. We're currently seeking new, innovative FLOSS works and projects: music and audiovisual performances, presentations, software demos, and installations. This year make art focuses on distributed and open practices in FLOSS art. 'What the fork?!' is about decentralisation. Forking is the new black. Forking, copying the source code of a project and continuing work on the copy instead of the original, used to have a bad reputation. It would split a project and its developer community in pieces, leading to different, often incompatible, projects. Wasted effort, rivalry and developer fights were all associated concepts. This is history. Forking a project with the intention to compete with it is another story, but the freedom to fork enables quick implementation of features and customization, bypassing acquiring committer status, bugfix or feature request protocol, working in a distributed way, together with others but not necessarily towards one goal, working from one source, cross-fertilising, inspiring, copying, patching, improving, experimenting, changing direction, and merging. This practice is boosted by decentralised software development tools, such as Darcs, Mercurial and Git. It's not about quick hacks, but about creating room to experiment, letting go of the one working copy and creating a multiplicity of ideas. Deadline : 15th of July 2009. For more details, please visit http://makeart.goto10.org/call -- :* From info at apo33.org Sat Jun 13 05:44:18 2009 From: info at apo33.org (APO33) Date: Sat Jun 13 05:45:24 2009 Subject: [spectre] NOISE=NOISE /// BEYOND SIGNAL /// FRIDAY 19TH OF jUNE 2009 Message-ID: <20090613054418.15962acpz8tazx5w@apo33.org> short notice for a very exciting AV gig in town! Domenico Sciajno is coming up from Sicilia!! Amazing musician!!!! Join in! FRIDAY 19TH of JUNE 2009!!!!!!!!!! hacked hardware, noise, screaming circuits, hypnotic digital flickers... with: RY-OM GADARENE HALF DUPIO TONESUCKER RYAN JORDAN JULIEN OTTAVI DOMENICO SCIAJNO ANTONIS ANTONIOU 7pm to 11pm @ THE CHAPEL PROJECT 62 Nunhead Gorve, London SE15 3LY Donation on the door! more info: http://www.area10lab.info/beyondsignal http://www.noiser.org http://ryanjordan.org http://www.onoma.co.uk/tonesucker.html http://www.sciajno.net/ http://www.ry-om.net/ http://www.myspace.com/thedupio http://www.myspace.com/antonioua -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From hatam at drfz.de Sun Jun 14 16:19:49 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sun Jun 14 16:20:29 2009 Subject: [spectre] Ableton Live/MAX/MSP/Jitter Workshop Berlin Fri June19 Message-ID: <380-220096014141949118@M2W026.mail2web.com> Guitarist and electronic musician Christopher Willits jaunts across the pond for a run of European live gigs previewing brand new material! In Berlin he will give an exclusive Ableton Live and MAX/MSP/Jitter workshop followed by his audiovisual performance. When: Friday, June 19th 7:00 pm, Ableton Live/MAX/MSP/Jitter workshop 9:00 pm, kyoka - DJ set 10:00 pm, performance Christopher Willits Where: eNKa Elsenstr. 52, 2. HH, 2. Etage 12059 Berlin http://www.myspace.com/enka52 Cost: 10 Euros (workshop + performance) -------------------------------------------------------------------- mail2web LIVE ? Free email based on Microsoft? Exchange technology - http://link.mail2web.com/LIVE From katarzyna.wozniak at laznia.pl Mon Jun 15 08:48:09 2009 From: katarzyna.wozniak at laznia.pl (Katarzyna Wozniak) Date: Mon Jun 15 08:49:03 2009 Subject: [spectre] Prof. Roy Ascott - Lecture - 19.06. Centre for Contemporary Art Laznia in Gdansk (PL) Message-ID: >> INVITATION << Centre for Contemporary Art Laznia in Gdansk, PL is happy to invite you to a lecture of PROF. ROY ASCOTT ART AND TECHNOETIC EVOLUTION: THE MULTIPLE SELF IN A VARIABLE REALITY on Friday, June 19th 2009 6 p.m. 1 Jaskolcza Street 80-767 Gdansk This presentation will argue that the field of consciousness is a non-material, irreducible given, which our evolution enables us progressively to access. Technoetic systems (somatic, digital and pharmaceutical) extend our connectivity within the field. At the same time, the mind?s capacity for managing personal identity has been socially constrained, with the isolated, solitary self set in an immutable materiality as a feature of western culture since the Enlightenment. But now, the single-self organism is evolving into the multiple self, enabling us to participate more creatively in the evolution of the multi-layered, syncretic reality we inhabit. The artist is uniquely equipped to negotiate and navigate this reality. The material, conceptual and spiritual infrastructure needed to support this emergence calls for new forms of behaviour, new language, new structures and systems. For more information please contact: Kasia Wozniak Jaskolcza 1 80-767 Gdansk Tel. +48 792003541 Fax. +48 58 305 26 80 Email. katarzyna.wozniak@laznia.pl From nc-agricowi at netcologne.de Mon Jun 15 09:10:09 2009 From: nc-agricowi at netcologne.de (netEX) Date: Mon Jun 15 09:10:50 2009 Subject: [spectre] CologneOFF V - call for entries Message-ID: <20090615091009.13BE58F.9509BBD0@192.168.0.3> Call for entries: Deadline: Tuesday, 1 September 2009 --------------------------- CologneOFF V - 5th edition of Cologne Online Film Festival http://coff.newmediafest.org is planned to be launched in November 2009 under the festival themes 1. Taboo 2. Violence ---------------------------------------------------- Entry ---------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org invites artists and directors for submitting videos/films, i.e. narratives and documentations (max 15 min.) experimenting with new concepts of transforming artistic contents into moving images, new forms of representing und new technologies Deadline: 1 September 2009 All entry details and the submission form can be found on netEX - networked experience http://www.nmartproject.net/netex/?p=1030 ---------------------------------------------------- About CologneOFF ---------------------------------------------------- CologneOFF - Cologne Online Film Festival http://coff.newmediafest.org , founded in 2006 as a new type of mobile film & video festival taking place simultaneously online and physical space in cooperation with partner festivals, is directed by Wilfried Agricola de Cologne The first 4 festival editions CologneOFF I - "Identityscapes" - 2006 CologneOFF II - "Image vs Music" - 2006 CologneOFF III - "Toon! Toon! - art cartoons and animates narriatives" - 2007 Cologne IV - "Here We Are" - 2008 were presented between 2006 and 2009 in cooperation with festivals in India, The Netherlands Venezuela, Argentina, France Serbia, Spain, Poland, Belgium, Turkey, Greece, Mexico, Bosnia-Hercegovia and others More info on http://coff.newmediafest.org ------------------------------------------- CologneOFF, VideoChannel , VIP - VideoChannel Interview Project and VAD - Video Art Database are dedicated to art forms of film and video in the framework of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net . info [at] nmartproject.net ------------------------------------------- From ab at mikro.in-berlin.de Mon Jun 15 09:51:28 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Jun 15 11:01:29 2009 Subject: [spectre] (fwd) crosstalk video art festival, budapest, 25-30 June Message-ID: Date: Sat, 13 Jun 2009 11:42:45 +0200 From: Adrien T?r?k crosstalk video art festival will take place from June 25 to June 30 in G?d?r, in heart of Budapest. The program for the second edition of crosstalk video art festival 2009 will be comprised by video screenings, round-tables, video installation exhibitions and a VJ night. Although crosstalk video art festival is an international event, every year a country is invited to present a focused view over the local production on art videos. For 2009 Spain is the guest country. Every year a video collection is invited for the video screening: Antology. This year we have a selection from the video collection of MUSAC (Museo de Arte Contempor?neo de Castilla y Le?n), Spain. In this year's edition crosstalk is hosting three partner institutes presented in Crosstalk Invites section: FixC Cooperative, a video-, media art and experimental cimena distributor and promoter from Helsinki, Finland, VideoChannel, a video project environment from Cologne, Germany and VisualContainer, the italian video art distributor from Milan, Italy. In cross-talks screening are presented videos based on the open call and S is a section exclusevily for students. crosstalk will present three round-tables with professionals in the video art field, such as artists, curator, collector, concerning techniques, philosophical questions and methodology of works with subjects like: collecting videoart, technological limitations and conservation matters, Video and media art in the hungarian and international art market, presenting, installing and exhibiting videoart. This edition will explore the dialogue and intersections between video art and other arts disciplines such as dance, theater by hosting Barbara Ba?uelos Company with the show called: 90 DB and Aggtelek from Barcelona will present az installation in Labor Gallery. The vj culture is also part of contemporary video and media art, so one night will be dedicated exclusivelly for a vj maraton with 4 dj and 16 vj-s. This years edition of creating surprising collaborations with the aim of spreading the interest in video art through a wide range of audiences, in a project linked to the city. crosstalk video art festival 2009., June 25-30. www.crosstalk.hu From ab at mikro.in-berlin.de Mon Jun 15 11:04:34 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Jun 15 11:10:55 2009 Subject: [spectre] Fwd: new Chief Curator of LABoral, Benjamin Weil Message-ID: Logotipo Laboral E - Bulletin 10 de junio de 2009 [] [] Benjamin Weil, new Chief Curator of LABoral Centro de Arte y Creaci?n Industrial The Board of Patrons of La Fundaci?n La Laboral. Centro de Arte y Creaci?n Industrial de Gij?n has named Benjamin Weil as Chief Curator. Out of the one hundred and twenty-four candidates, Benjamin Weil was the most highly considered throughout the selection process due to his widely acknowledged experience in the interdisciplinary field of the visual arts, technology, science and industrial creation. The Selection Panel of Judges - comprised by the Executive Board of Patrons of the Fundaci?n and Gerfried Stocker (Director of Ars Electronica Linz and member of the Scientific Comission of LABoral) - met this last Tuesday, June 2nd, deciding unanimously to appoint Benjamin Weil to the position. Benjamin Weil (Paris, 1962), has lived for a significant part of his life in the United States, where he graduated from the Whitney Independent Study Program in New York (1989). As a free lance critic and curator, he has put together numerous projects that include a public art contribution to the Aperto section of the 45th Biennale di Venezia (1993). He has also contributed to such art magazines as Flash Art and Beaux-Arts Magazine. In 1994, he co-founded ?da 'web, the first new media production studio dedicated to the production of net art projects as well as experiments in creating new documenting formats, collaborating with such institutions as The New School, Documenta and The Museum of Modern Art (MoMA), New York. In 1998, he was appointed as Director of the New Media Art Department at ICA London. In 2000, he moved back to the United States to assume the position of Media Curator at the San Francisco Museum of Modern Art (SFMoMA), where he stayed until 2006 and produced exhibitions with Pipilotti Rist, Christian Marclay, Gary Hill, Eija-Liisa Ahtila and many others. During his tenure at SFMoMA, he also developed a sound program and a web commissioning program for the museum. It is also during that time that he served as Curatorial Chair at the Eyebeam Art + Technology Center in New York, and as Guest Curator at the Grande Halle de la Villette, where he organized the Zones of Confluence, media exhibition and public programs, as part of the New Media Festival Villette Num?rique. Weil also curated the 2005 and 2006 edition of Art | Film, a section of Art | Basel. In 2006, he took the position of Executive Director at Artists Space, where he created a Curatorial College of three young curators, who together with him helped re-dynamize the mission of this venerable alternative art space founded in 1972. Since late 2005, Weil has also collaborated with Herm?s, to conceptualize and direct H BOX, a video commissioning programme and traveling exhibition. To date, 16 works by emerging and confirmed artists have been produced, and the program, presented in a collapsible screening room by Didier Fiuza Faustino, has traveled to many institutions, including MUSAC (Le?n), Tate Modern (London), and the Yokohama Triennale. Weil was also a visiting professor at the Visual Arts Faculty of IUAV in early 2009. As Chief Curator of LABoral, his responsibilities will include leading a select team charged with investigation in the centre's programming areas and contributing significantly to the development of a theoretical and practical discourse within the framework of the Direction and Management Project of LABoral's Director, Rosina G?mez-Baeza, and the conceptual axes deriving from it. Further, he will be required to give maximum importance to the generation of audiences during the development of the Centre's programmes, contributing in a decisive manner to the excellence of LABoral as a centre for exhibition, research and production on the international level. He will be actively implicated in the Asturian art scene and will look for ways to give it public exposure, including educational training and integration, seeking out opportunities in a global context. His inclusion in the team of LABoral is scheduled for the beginning of next autumn. http://www.laboralcentrodearte.org/noticias/show/410 2009 ? Centro de Arte y Creaci?n Industrial Los Prados, 121- 33394 Cabue?es. Gij?n (Asturias) Tel: +34 985 185 577 - email info@laboralcentrodearte.org www.laboralcentrodearte.org Est? suscrito al mailing de LABoral Centro de Arte y Creaci?n Industrial. Para anular su suscripci?n http://www.laboralcentrodearte.org/contacto/contactar From istha at nimk.nl Mon Jun 15 12:39:52 2009 From: istha at nimk.nl (Marieke Istha) Date: Mon Jun 15 12:43:11 2009 Subject: [spectre] Call for participation: NIMk Artists in Residence 2010 Message-ID: <4A3624F8.1020105@nimk.nl> The Artist in Residence (AiR) programme at the Netherlands Media Art Institute supports the exploration and development of new work in digital/interactive/network media and technology based arts practice. The residency provides time and resources to artists in a supportive environment to facilitate the creation of new work that is produced from an open source perspective. We encourage a cross disciplinary and experimental approach. This is a practice based residency designed to enable the development and completion of a new work. The ideal candidate will have a broad understanding of contemporary art and theory, as well as media history and visual culture and should have knowledge of requested software, as well as understanding of programming. The artist's intention should be to make a new artwork, to be shown in exhibitions and to be distributed by the Netherlands Media Art Institute and others. (We do not demand exclusivity for presentation or distribution.) For the AiR program 2010 we manly focus on technology and mobility that can change habits and inhabitation of public spaces. Our goal is to explore mobile and portable platforms as innovative creation and distribution systems. Proposals for users participation and interaction by modified excistend devices as phones, iPod, GPS and others are welcome. If your ideas for a new artwork does not fit into the mentioned demands you still can apply: we are always interested in brilliant ideas. DEADLINE: 1st September 2009 Please use the application form on our website (Research - AiR) and mail it to heiner@nimk.nl Research The Artlab is the department within the Netherlands Media Art Institute that is responsible for research. Artlab supports research by artists into the use of new media within the visual arts. Here artists can experiment, make contact with one another, cooperate and create new work. Through the Artist in Residence program artists are invited to submit project proposals of innovative use of new technologies. Artists in Residence program is a structural part of the Institute. In addition there is occasional research done into tools that can be of service in the process of presentation, production, post-production and distribution of streaming media. Moreover, since 1990 the possibilities for conserving video art and multimedia installations have been investigated. For the latter the Institute takes part in various Dutch and international collaborations. As a research center, the Netherlands Media Art Institute focuses first on professional specialists, but students can also approach it with problems they may encounter. With the aid of the open source and open content principle, as much knowledge and expertise as possible is made available by the internet. Netherlands Media Art Institute Keizersgracht 264 1016 EV Amsterdam The Netherlands http://www.nimk.nl From krist at napon.org Fri Jun 5 09:25:28 2009 From: krist at napon.org (Kristian Lukic) Date: Mon Jun 15 12:50:18 2009 Subject: [spectre] Exhibition and conference, Wealth of Nations, 6-14 June, Novi Sad Message-ID: <4A28C868.6010309@napon.org> Exhibition and conference Wealth of Nations 6-14 June, 2009 Novi Sad, Serbia Wealth of Nations is a part of the Cinema City festival and consists of an exhibition and a conference. The term ?Wealth of Nations? is the title of the seminal book by the Scottish economist Adam Smith, in which he establishes and defends the basics of Liberal Economic Policy. Liberal Economics experienced its peak in the 1990s after the concept of Real Socialism had failed and the global free market had been established. This economy, however, has entered a period of deep crisis in the past few months and it might, for a shorter or longer period, affect the stability of societies all over the planet. The topic of ?Wealth of Nations? this year will delve into the influences that the Economic and Financial sectors have on society and consequently, on cultural production. ....................................................................... Exhibition Wealth of Nations 6-14 June, 2009 17:00 - 23:00 Trg Slobode, Novi Sad Daniel Andujar Derivart Heath Bunting Hempman IRWIN (in collaboration with Marina Abramovic and Bojan Brecelj) Islamic Banking Kate Rich K Foundation The end of the Crown Luchezar Boyadziev Max Keiser Metahaven Michael Aschauer Mladen Stilinovic Natalie Jeremijenko and The Bureau of Inverse Technologies Ola Pehrson Shu Lea Cheng Slavko Bogdanovic Vladimir Todorovic Loan for Economic Revival of Serbia ................................................................................................ Conference Wealth of Nations 7-8 June, 2009 11 am - 5 pm Serbian National Theatre, Chamber Stage Pozorisni trg 1, Novi Sad Finances and monetary policy are mostly a matter of interest exclusively of a small circle of devotees. Even the social sciences, broadly speaking, avoided exploring the mutual relation between finances and other aspects of social activities. However, with the serious development of financial crisis some questions, which go behind the narrow sector of economy and finances, have been emerging. Having experienced the Great Depression in the 30s of the 20th century, and its implications for the beginning of the Second World War, there are many of those who are worried about the further development of the present state of capitalism's global crisis. The development of so called criticism of finances, is trying to explore other models of economies and relations which bypass the so called monetary ideology and praxis, as dominant form of economic conversion, within the context of symbolic trade. Syntax "Wealth of Nations" (Adam Smith) is on one hand, an ironic theme for today's state of liberal economy in crisis, and on the other hand, raises a serious question: what really constitutes value? Is it social interaction, beliefs and fears along with market indexes? To what extent is money nature or culture? Is money equivalent of goods, labour, or is it self-referential? At the conference participants and speakers, including economists, sociologists, artists, activists, philosophers and culture theoreticians, will try to answer these questions and provoke a wider debate on finances, as the social praxis, and its wider implications in domain of rational and irrational. June 7th, Sunday 11:00 - 13:00 MAN-DEATH-CREDIT Slavko Bogdanovic Stefan Heidenreich Ralph Heidenreich 15:00 - 17:00 RESOURCES-WEALTH-PROPERTY Konrad Becker Matteo Pasquineli Marko Rakic June 8th, Monday 11:00 - 13:00 VALUE-ALGORITHM-MAGIC Darko Pantelic Felix Stalder 15:00 - 17:00 ART-INVESTMENT-INDEX Luchezar Boyadziev Mar Canet Shu Lea Cheang Exhibition and conference ?Wealth of Nations? are the part of Cinema City festival, Novi Sad www.cinemacity.org http://eng.cinemacity.org/media-art.56.html ............................................................................. Curators: Vladan Joler, Kristian Lukic, Gordana Nikolic Conference editors: Kristian Lukic, Gordana Nikolic Production: STATE OF EXIT & The Creatures, Novi Sad Co-production: Museum of Contemporary Art Vojvodina, Novi Sad www.msuv.org Institute for Flexible Cultures and Technologies-NAPON, Novi Sad www.napon.org Art association - INBOX, Novi Sad www.inbox.rs From jennifer.stoddart at folly.co.uk Mon Jun 15 14:30:45 2009 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Mon Jun 15 14:31:50 2009 Subject: [spectre] Successful applicants for the FLI Residencies 2009 announced Message-ID: <0256B6C2667A3E4882F0FEF0821867134C8CE3@follyone.FOLLY.local> Folly (http://www.folly.co.uk) and Lanternhouse International (http://www.lanternhouse.org) are delighted to announce the three successful artists joining them for the FLI Residencies 2009. The scheme is now in its second developmental year as the result of a keen and dynamic partnership between the two organisations. Internationally renowned interactive artist Stanza (http://www.stanza.co.uk) has just completed a three year Arts and Humanities Research Fellowship at Goldsmiths Studios. His work encompasses interactive art, real time networked spaces, installations and performances, and he will spend the month of July in residence assessing his work, its impact and relevance. US-based artist James Coupe (http://jamescoupe.com) will return to the UK to develop the first phase of Surveillance Suite, a non-linear generative film installation supported by Creative Capital in New York. For three months this Summer, he will use face recognition algorithms to transform our experience of Ulverston via a series of overlapping video narratives of various styles, genres and subject matter. Mark Vernon (http://www.meagreresource.com) is a sound artist interested in collaborative practice, based in Glasgow. He will be visiting at a number of points across the year, beginning with a two-week stay in July and will be making work in response to the people, artefacts and places he comes across during his residency in Cumbria. Talking about the selected artists, Kathryn Lambert, Creative Director of folly, said "We were thrilled with the overwhelming response from artists to the FLI residency scheme and are equally delighted with the line up for this year's programme. We are pleased to be working with three such talented artists and eager to engage with them in a meaningful exploration of their work and ideas." The FLI Residencies offer support to artists working with new technologies to develop their ideas and extend their practice. Lanternhouse's Creation Centre Director, Jay Haigh explains "The FLI Residency Programme continues to meet a real need for artists to have access to the high quality discourse and the enriching creative environments that Lanternhouse International and folly provide. It is very inspiring to work with artists this year who are keen to connect their work more deeply at a local level, through a rich programme of participatory activity, and for their innovatory practice to stimulate professional learning across the Northwest. We are particularly delighted to be announcing the successful artists in the same week as the 175th birthday of Lanternhouse itself." ENDS Notes to editors: For further information contact Jennifer Stoddart at folly on +44(0)1524 388550, jennifer.stoddart@folly.co.uk or Jay Haigh at Lanternhouse International on +44(0)1229 581127, jay@lanternhouse.org Folly is a leading digital arts organisation working in the Northwest of England and online. Specialists in the creative use of technology and arts participation online, folly seeks to explore how people make sense of the world through art and technology. http://www.folly.co.uk Lanternhouse International is an inspirational company, facilitating and producing artistic work that has international impact. The organisation's distinctive approach enables people from all walks of life to come together, to shape and make new art work, sharing their ideas and skills and expanding their own creative horizons. Lanternhouse's birthday celebrations will be taking place at Lanternhouse on Tuesday 16th June 09 from 5-8pm. All are welcome. http://www.lanternhouse.org About the artists: Stanza is a London based British artist who specializes in interactive art, networked spaces, installations and performances. His award winning online projects have been invited for exhibition in digital festivals around the world. Work has been shown at The Venice Biennale, Tate Britain, The Victoria and Albert Museum. All his art can be found at http://www.stanza.co.uk His works explore artistic and technical opportunities to enable new aesthetic perspectives, experiences and perceptions within context of architecture, data spaces and online environments. Stanza travels extensively to present his interactive art, lecturing and giving audio visual performances. James Coupe is a digital artist whose work focuses on emergent systems, surveillance cinema and aesthetic machines. His projects have been commissioned by New Contemporaries, Metapod, Low-Fi, SCAN, Lancaster City Council, Enter_, and the Paul G. Allen Family Foundation. Several of his installations have been created in collaboration with A.I. scientist Rob Saunders, including 9PIN++ and The Difference Engine. His work has received all levels of national and international awards including an Arts and Humanities Research Board Innovation Award, Creative Capital and Artist's Trust. Coupe is also a Professor at the University of Washington's Center for Digital Art and Experimental Media (DXARTS). http://jamescoupe.com Mark Vernon is a sound artist, musician and radio producer based in Glasgow, Scotland. He was a founding member of the art radio collective, 'Radio Tuesday' and has produced programmes and features for stations including WFMU, RADIA, Resonance FM, CKUT, Radio 101, VPRO and the BBC. His radio productions range from documentaries and radio plays to more experimental audio collage and soundscape pieces. As well as works for radio his practice encompasses performance, publications, soundtracks, web-based works and releases on vinyl and CD. He is involved in numerous solo and collaborative projects under a variety of names including 'Vernon & Burns' and 'Hassle Hound' who have records out on Gagarin, Pickled Egg, Textile and Staubgold. He has also self-released several small editions of CDR's on his own meagre resource label. http://www.meagreresource.com From ab at mikro.in-berlin.de Mon Jun 15 17:11:10 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Jun 15 17:30:07 2009 Subject: [spectre] ISEA2010 RUHR - Call for submissions open until 15 Sept. 2009 Message-ID: Newsletter - 15 June 2009 (please, forward to appropriate lists and forums) The submission platform of ISEA2010 RUHR is now open at http://www.isea2010ruhr.org/submissions ISEA2010 RUHR is the 16th International Symposium on Electronic Art, a major conference and exhibition event for art, media and technology, scheduled for 20-29 August 2010 in the German Ruhr region (Dortmund, Essen, Duisburg, a. o.). We invite proposals for conference papers, artist presentations, exhibition projects, live performances, and art projects in public space. Visual artists, musicians, dancers, designers, engineers, software artists, researchers, theorists, media activists, and hybrids of these, working with recent technologies and exploring the artistic, creative and critical potentials of digital and electronic media, should submit their projects or papers online by 15 September 2009. All submissions will be evaluated by an international jury. The results of the jury process and invitations for ISEA2010 RUHR are expected by the end of 2009. Please note that all submitted information can be edited and completed until the submission deadline. Detailed information about the submission process can be found at: http://www.isea2010ruhr.org/submissions Contact: call@isea2010ruhr.org ISEA2010 RUHR is a project of the European Capital of Culture, RUHR.2010, and is hosted by Medienwerk NRW. ISEA2010 RUHR is organised under the auspices of the ISEA Foundation and is funded by RUHR.2010, the State Chancellory of North Rhine Westphalia, and the City of Dortmund. -- ----------------------------------------------------------- ISEA2010RUHR - 20-29 aug 2010 - http://www.isea2010ruhr.org ----------------------------------------------------------- ISEA2010 RUHR c/o HMKV | Guentherstr. 65 | D-44143 Dortmund ----------------------------------------------------------- From Lena.Haubold at gmx.de Tue Jun 2 13:41:18 2009 From: Lena.Haubold at gmx.de (Lena Haubold) Date: Tue Jun 16 08:17:45 2009 Subject: [spectre] Call for Proposals Message-ID: <20090602114118.269640@gmx.net> For the Planetary Collegium?s Xth International Research Conference: Consciousness Reframed 19 ? 22 November 2009 Theme: Experiencing Design,- behaving media - A transdisciplinary inquiry into art, science, technology and society. Partner and Host: University of Applied Sciences, Munich MHMK We have extended the submission deadline. Submission of Abstracts: Extension: Abstracts (500 words maximum) are due August 1st., 2009. Freundliche Gr??e macromedia hochschule f?r medien und kommunikation lena haubold wissenschaftliche mitarbeiterin im dekanat digitale medienproduction gollierstra?e 4 80339 m?nchen telefon 0049 (0)89.544 151-867 l.haubold@macromedia.de www.macromedia.de gesch?ftsf?hrer: herbert schmid-eickhoff handelsregister: m?nchen hrb 162869 -- GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate und Telefonanschluss nur 17,95 Euro/mtl.!* http://portal.gmx.net/de/go/dsl02 From silva.luis at netcabo.pt Tue Jun 2 19:25:01 2009 From: silva.luis at netcabo.pt (Luis Silva) Date: Tue Jun 16 08:17:48 2009 Subject: [spectre] Kurator and LX 2.0 INFECTED commission - vir.us.exe by carlos katastrofsky Message-ID: <42dca9c90906021025v27c82dcdy820a492eded0bb24@mail.gmail.com> KURATOR and LX 2.0 are pleased to announce the first of two commissions selected from an open call to infect the 2012 Olympics, as part of the Anti-Bodies contemporary art programme. vir.us.exe, carlos katastrofsky http://www.anti-bodies.net/vir.us.exe vir.us.exe is a windows program, communicated and spread by e-mail announcements, mailing lists and other networked (viral) press activities. katastrofsky explains that a virus lives upon the reproduction of itself with the aim to survive as long as possible. However, the most dangerous parts of such an infection are not always the harmful cells a virus is based upon; it is the psychological concept of fear acting invisibly in the background. The project thus strips down the mechanisms of a viral infection and transfers its core principles into the digital realm. By avoiding everything a virus should do, only the virus itself will be left. This way it will become a meta-virus spreading not because it is an actual virus but because it is perceived as such. vir.us.exe is commissioned by KURATOR and LX 2.0, as part of the Anti-Bodies programme co-ordinated by Relational with support from Arts Council England, granted the London 2012 Inspire mark as part of the Cultural Olympiad. KURATOR http://www.kurator.org LX 2.0 / Lisboa 20 Arte Contemporanea http://www.lisboa20.pt/lx20/ Relational http://www.relational.org.uk Anti-Bodies http://www.anti-bodies.net carlos katastrofsky is a Vienna-based artist working primarily in the field of new media art. His work examines the politics of Internet-based art production, distribution and consumption, and how dominant practices of the artistic modus vivendi - curating, dealing, showing, and reviewing- function in the virtual realm, where the immaterial has replaced the object. His works explore characteristic features of the Internet such as software, interfaces, language, and discussion forums - to question the current development of the Web. He is co-founder of CONT3XT.NET (2006) ? a collaborative platform for the dicussion and presentation of issues related to Media Art. http://katastrofsky.cont3xt.net/ From Info at edith-russ-haus.de Thu Jun 11 16:53:45 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Tue Jun 16 08:17:49 2009 Subject: [spectre] =?iso-8859-15?q?Er=F6ffnung_=22im_Auftrag=22_16=2E_Jun?= =?iso-8859-15?q?i_2009?= Message-ID: <4A313693.9ACC.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgender Ausstellung herzlich einladen: "im Auftrag" 17.06. - 08.07.2009 Siebdrucke von Alan Dolma Dainba (RC), Jessica Vosswinkel (D), Maria Schr?der (D), Clemens Nolte (D), de Gref & Hart (NL), Alexander Petrowski (RS), Juan Emanuel Rodriguez (E) Eine Kooperation zwischen dem Edith-Ru?-Haus f?r Medienkunst und der Carl von Ossietzky Universit?t Oldenburg ER?FFNUNG Dienstag, 16. Juni 2009, 16 Uhr Ort: H?rsaalgeb?ude der Carl von Ossietzky Universit?t, Heerstr. 114-118, 26129 Oldenburg In Zusammenarbeit mit Cornelia Sollfrank, die 2008 Stipendiatin im Edith-Ru?-Haus f?r Medienkunst war, und der Kulturwissenschaftlerin Rahel Puffert ist es einer Gruppe von Studierenden der Carl von Ossietzky Universit?t Oldenburg gelungen, sieben K?nstler_innen daf?r zu gewinnen, jeweils eine Arbeit im Siebdruckverfahren f?r die Ausstellung im Hauptgeb?ude der Universit?t zur Verf?gung zu stellen. In einem Fall konnten Erben einer bereits verstorbenen K?nstlerin ausfindig gemacht und ?berzeugt werden, sich an diesem einmaligen Projekt zu beteiligen. Die Arbeiten der K?nstler_innen spiegeln ihre Herangehensweise in Motivwahl, Kompositionsf?higkeit und Technik wider und geben einen umfassenden ?berblick ?ber die Variabilit?t von Ausdrucksm?glichkeiten. So finden sich figurative Arbeiten, abstrakte und expressionistische Werke sowie neokonzeptuelle und interventionistische Ans?tze in einer Ausstellung vereint, wie sie widerspr?chlicher nicht sein k?nnten. Besondere Leistung der Ausstellung *im Auftrag* ist es, die biographischen Situationen und ihre Auswirkungen auf ihr Lebenswerk in besonderer Form zu ber?cksichtigen. Das Wissen um die herausgestellte K?nstlerpers?nlichkeit hilft der Betrachterin, die Werke zu entschl?sseln und gibt ihr einen direkten Zugang zu den Werken. Die differenten Werke treten im H?rsaalzentrum in einen Dialog miteinander, der die Grenzen von Kunstrichtungen ?berwinden soll. Den Studierenden aus Bachelor- und Masterstudieng?ngen der Fakult?t III kommt die besondere Herausforderung der Kunstvermittlung zu. Kuratiert von Christina Buck, Mareike Hantschel, Birte Heidkamp, Claudia Lehmann, Nanna L?th, Janko Meisel, Rahel Puffert, Aaron Rahe Siehe auch http://www.edith-russ-haus.de/index.php/Kunstvermittlung Kontakt: Nanna L?th Edith-Ru?-Haus f?r Medienkunst Medien (Kunst) P?dagogik Katharinenstrasse 23 D-26121 Oldenburg t. +49 (0) 441 - 235 2623 email: vermittlung-erh@email.de http://www.edith-russ-haus.de Oldenburg - Stadt der Wissenschaft 2009 Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de From marc.garrett at furtherfield.org Wed Jun 17 18:04:07 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Wed Jun 17 18:05:54 2009 Subject: [spectre] 'The Piano Etudes Project' A Space for Play. In-Reply-To: <47596B5D.1040409@rybn.org> References: <47596B5D.1040409@rybn.org> Message-ID: <4A3913F7.1000003@furtherfield.org> Sorry for any cross posting... 'The Piano Etudes Project' A Space for Play. Review by Les Loncharich. The Piano Etudes project by Jason Freeman, with Akito Van Troyer and Jenny Lin, is a move towards opening the forbidden city of musical composition. The project is based on piano etudes, musical compositions in which the pianist can rearrange connections between some open form pieces. Site visitors are invited to create their own etudes from four short compositions by Jason Freeman. Each etude is transcribed graphically into something that resembles an organizational chart. Each visual component of the chart has a corresponding audio note pattern. The pitch of a note pattern is roughly indicated by the height of a horizontal bar that is part of the graphic. A site user can select graphic elements and arrange them on a time-line to hear the resulting sound piece. Pieces created on the site can be saved and transcribed into musical notation so that pianists can perform pieces created by site visitors. http://www.furtherfield.org/displayreview.php?review_id=352 more reviews on furtherfield.org http://www.furtherfield.org/reviews.php We are also on Twitter: http://twitter.com/furtherfield From info at transfera.es Wed Jun 17 18:41:05 2009 From: info at transfera.es (info@transfera.es) Date: Wed Jun 17 18:41:35 2009 Subject: [spectre] TRANSFERA TV VIDEOART 34 Message-ID: <4A391CA1.8030906@transfera.es> *Beloved explorers of Video Art, As perhaps already you know, Transfera is an independent television space of contemporary audiovisual art , referring in its kind, so much by the exhausting work to show an extensive spectrum of kinetic experimentation as by the fireproof continuity. The program of next Friday 12 and Wednesday 17 of June, being broadcast from Madrid at nine PM, is detailed further down. You can access to the complete information at: http://www.transfera.es/programa34.html **The term for the reception of works is still open. * * Thanks for the fidelity. Staff www.transfera.es Desorientaciones ?-? Desconexiones / Disorientations ?-? Disconnections 1. LEFT HAND ROTATION (Espa?a / Spain) MADRID, CERRADO POR VACACIONES (Madrid, Closed For Holiday, 2008) F?LIX VERSUS COUSTEAU ( 2009) TRACK TAK ( 2007) 2. GARBI KW (Espa?a / Spain) SUE?O CUBISTA (Cubist dream, 2009) 3. TOM?S OCHOA (Ecuador-Espa?a / Ecuator-Spain) INDIOS MEDIEVALES PARTE I (Medieval Indians Part I, 2008) 4. MARTYN BLUNDELL (Reino Unido/ U.K.) LA ROTONDA V?LEZ-M?LAGA (2009) MADRIGAL (2007) 5. SONIA ARMANIACO (Italia / Italy) E=MOTIONALMIXPROJ (2008-09) * * * From bszechy at gmail.com Wed Jun 17 16:48:52 2009 From: bszechy at gmail.com (beata szechy) Date: Thu Jun 18 10:28:08 2009 Subject: [spectre] Call for Artists: HMC Artists in Residence, 2009 Message-ID: Call for Artists: HMC Artists in Residence, 2009 The A.I.R./International Artist Residencies, Budapest-2009 program is dedicated to promoting international art and the understanding of world cultures, through high quality art exhibitions, cultural exchanges and related educational programs. AIR, Budapest is an international meeting point for the arts. Its aim is to support and encourage contemporary artistic creation, research and debate. The purpose of this program is to offer a platform to promote the exchange of artistic discourses from artists with different artistic backgrounds and from different geographical origins. The program is designed to encourage the exchange of ideas in order to broaden creative horizons. By encouraging this cultural diversity, we also hope to be able to update the debate between the artists themselves and between other professionals from the art world and the general public. HMC considers art as a dynamic social force that is capable of inspiring individuality and of defining groups. Our Artist in Residence Program also includes exhibitions, artist talks, film, workshops and other activities. The residencies offer participants a unique opportunity to interact with other artists representing a variety of cultures and backgrounds. Tuesday, September 22 - Tuesday, October 6 Deadline (must be received) by June 26. Cost $850 (Euro 620) Monday, December 28 - Monday, January 11 Deadline (must be received) by September 6. Cost $950 (Euro 700) Our Art-Video and Residencies program and application form for 2010 will be available end of August. While HMC does not provide funding for residencies, we are helping to facilitate the creation of program and the cost of the exhibitions. We encourage the applicants to apply for a grant or scholarship. The Hungarian Multicultural Center, Inc.? (HMC), 501(c)(3) non-profit organization, invites interested visual artists, writers and musicians to submit application for its residency program in Budapest, Hungary. Hungarian Multicultural Center, Inc. 1124 Budapest, Tamasi Aron u. 34. 2503 Costa Mesa Dr., Dallas, TX 75228 bszechy@yahoo.com http://www.hungarian-multicultural-center.com From nc-agricowi at netcologne.de Thu Jun 18 10:46:18 2009 From: nc-agricowi at netcologne.de (artNET) Date: Thu Jun 18 10:47:05 2009 Subject: [spectre] Call: The Best of FLash on the Net Message-ID: <20090618104618.198C22F0.6148F2B5@192.168.0.3> extended deadline:31 August 2009 -------------------------------- Cinematheque - streaming media project environments http://cinema.nmartproject.net Call for entries \\ Flash & Thunder Flash as a medium and tool for artistic creations // Since the Internet became popular in the late 90'ies of 20th century, the software program "FLASH", once developed and prepared for the commercial market by Macromedia, and now owned by Adobe, represents a vector based developing environment which enables the creator to combine different media and develop vector based animations especially for the Internet. .swf data file extension became a standard for animations online and offline, and Flash video and its .flv file format stands for "videostreaming" on the net. As soon as the Internet started, artists captured it for artistic purposes, and the same is good for certain software used for the net, particularly Flash is predestined for developing artistic creations due to its intuitive use. It became one of the most popular software tools for the net, computer based animations and interactive applications like games. Flash based artworks entered media festivals, even festivals solely based on movies created in Flash are organised. After Cinematheque - streaming media environments - explored in 2007 the capabilities of "Quicktime" as an artistic medium in the comprehensive show \\Slowtime? Quicktime as an artistic medium// - its now the time to explore in 2009 the artistic potential of Flash in its own way in a big online show, as well. // Flash and Thunder Flash as a medium and tool for artistic creations \\ Cinematheque is looking for the best artistic Flash works created since 2000. Please find the regulations and entry form on http://www.nmartproject.net/netex/?p=408 /////////////////////////////////////////////////////////// Cinematheque - streaming media project environments http://cinema.nmartproject.net is a corporate part of [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media from Cologne/Germany ///////////////////////////////////////////////////////// From info at franck-ancel.com Thu Jun 18 11:15:13 2009 From: info at franck-ancel.com (franck ancel) Date: Thu Jun 18 11:15:45 2009 Subject: [spectre] Call: The Best of FLash on the Net In-Reply-To: <20090618104618.198C22F0.6148F2B5@192.168.0.3> References: <20090618104618.198C22F0.6148F2B5@192.168.0.3> Message-ID: <4A3A05A1.90708@franck-ancel.com> after < when where why > franck-ancel.com "Sputnik Satellite" in 2007 (from 1957), "Philips Pavillon" in 2008 (from 1958), an original streaming post-mediatic event: "1909-2009: from Futurist Moon to Explorer Art" coming soon by waiting Rock El Web enjoy it http://www.youtube.com/watch?v=7DbFYsi9iSg [artNET] a ?crit : > extended deadline:31 August 2009 > -------------------------------- > Cinematheque - streaming media project environments > http://cinema.nmartproject.net > > Call for entries > > \\ > Flash & Thunder > Flash as a medium and tool for artistic creations > // > > Since the Internet became popular in the late 90'ies of 20th century, the software program "FLASH", once developed and prepared for the commercial market by Macromedia, and now owned by Adobe, represents a vector based developing environment which enables the creator to combine different media and develop vector based animations especially for the Internet. .swf data file extension became a standard for animations online and offline, and Flash video and its .flv file format stands for "videostreaming" on the net. > As soon as the Internet started, artists captured it for artistic purposes, and the same is good for certain software used for the net, particularly Flash is predestined for developing artistic creations due to its intuitive use. It became one of the most popular software tools for the net, computer based animations and interactive applications like games. Flash based artworks entered media festivals, even festivals solely based on movies created in Flash are organised. > > After Cinematheque - streaming media environments - explored in 2007 the capabilities of "Quicktime" as an artistic medium in the comprehensive show > \\Slowtime? Quicktime as an artistic medium// - its now the time to explore in 2009 the artistic potential of Flash in its own way in a big online show, as well. > > // > Flash and Thunder > Flash as a medium and tool for artistic creations > \\ > > Cinematheque > is looking for the best artistic Flash works created since 2000. > > Please find the regulations and entry form on > http://www.nmartproject.net/netex/?p=408 > > /////////////////////////////////////////////////////////// > Cinematheque - > streaming media project environments > http://cinema.nmartproject.net > is a corporate part of > [NewMediaArtProjectNetwork]:||cologne > http://www.nmartproject.net - > the experimental platform for art and new media from Cologne/Germany > > ///////////////////////////////////////////////////////// > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre > > > From m at 1010.co.uk Thu Jun 18 14:04:01 2009 From: m at 1010.co.uk (m) Date: Thu Jun 18 14:07:33 2009 Subject: [spectre] Breakthrough. Saturday 27th June 2009 12-24. [distributed/Berlin] Message-ID: Schedule/locations/information before/on the day: FM: 107.9 MHz // 3050187482 // http://1010.co.uk/org/breakthrough.html Breakthrough proposes an experimental 12 hour event distributed across Berlin locations, inter-network and radio space. Self-organising, quasi-independent nodes participate and collaborate in the construction of an event occupied with dislocation of representation [language, software], time and space, and maintained with a strict scheduling and interrupt system backbone (micro-FM and Internet). The term breakthrough describes a sudden shift in understanding or technologies, and, finally, a clearing (Lichtung), an entry into unknown and unmapped territories. An enclosure is breached allowing access to another, totally unforeseen state or space. Communication is thus implied, a new form of exchange, perhaps between two otherwise unconnected domains, between the living and the dead, between many worlds. What does the sheer possibility of a breakthrough imply for communication between the past and the future? Breakthrough, as event, signals a change in direction, a pointing towards new ways of actively describing and creating the world. Within a complex mise en scene of workshops, lectures and performances, diverse artists, theorists, researchers, and hackers collaborate in the creation of a breakthrough which can rupture the enclosure of scientific rationalism and enlightenment without recourse to named magic. **Participants: Benjamin Laurent Aman, Sam Ashley, backyardradio Berlin, Benjamin Cadon, Alejo Duque, Leif Elggren, Verena Friedrich, Kathrin Guenter, Derek Holzer, Brendan Howell, Martin Howse, Jonathan Kemp, Martin Kuentz, Bj?rn Magnhild?en, Olga Panad?s Massanet, PATO, Shintaro Miyazaki, Douglas Park, Otto Rossler, Alia Scalvini, Der Tapeman, TeleKommunisten, Adam Thomas, Danja Vassiliev **Constructivist workshop: Breakthrough will be constructed and prepared within a three day workshop at _____micro_research [Berlin] 2PM 24,25,26 June 2009 2PM. Linienstrasse 54. Berlin 10119 **Postscript: 1] Byrne: "I do not want to get a long half-hour involvement about Faraday cages, diodes, or transistors and so on. Ken, in very simple language and very shortly, have you been able to break this thing technically?" Attwood: "Technically, no." [Voices From The Tapes. Peter Bander. 1973] 2] Whatever you feed into the machine on subliminal level the machine will process?So we feed in 'dismantle thyself' [?] We fold in writers of all time in together and record radio programs, movie sound tracks, TV and juke box songs all the words of the world stirring around in a cement mixer and pour in the resistance message "Calling partisans of all nation?Cut word lines?Shift linguals?Free doorways?Vibrate 'tourists'?Word falling?Photo falling?Breakthrough in Grey Room. [William S. Burroughs. The Soft Machine. 1961] Details ** Details Breakthough is supported by: Hauptstadtkulturfonds, Berlin 2009 With the assistance and collaboration of: backyardradio Berlin General Public Mute Magazine STYX Project Space ua. A production of: _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. From franciscolaranjeira at iol.pt Thu Jun 18 16:30:43 2009 From: franciscolaranjeira at iol.pt (Francisco Laranjeira) Date: Thu Jun 18 16:31:27 2009 Subject: [spectre] WORLD LEADERS THANK ARRESTEES, AVERT CLIMATE DISASTER (well, sort of) References: <20090618113443.139BF8FDE4@panix3.panix.com> Message-ID: June 18, 2009 FOR IMMEDIATE RELEASE TOP HEADLINE: WORLD LEADERS SIGN PACT TO AVERT CLIMATE DISASTER Newspaper Ignites Hope, Announces "Civil Disobedience Database" * Civil-disobedience database: http://BeyondTalk.net * PDF of printed newspaper: http://iht.greenpeace.org/todays-paper/ - Online version: http://www.iht-se.com/ * Video: http://iht.greenpeace.org/video/ (coming soon) * CONTACT: - The Yes Men, mailto:press@theyesmen.org - Mark Breddy (Greenpeace), mailto:mark.breddy@greenpeace.org, (+32) (0)2 2741 903, (+32) (0)496 15 62 29 (mob.) - Lawrence Bogad, mailto:l.m.bogad@gmail.com, +1-212 300 7943 In a front-page ad in today's International Herald Tribune, the leaders of the European Union thank the European public for having engaged in months of civil disobedience leading up to the Copenhagen climate conference that will be held this December. "It was only thanks to your massive pressure over the past six months that we could so dramatically shift our climate-change policies.... To those who were arrested, we thank you." There was only one catch: the paper was fake. Looking exactly like the real thing, but dated December 19th, 2009, a million copies of the fake paper were distributed worldwide by thousands of volunteers in order to show what could be achieved at the Copenhagen climate conference that is scheduled for Dec. 7-18, 2009. (At the moment, the conference is aiming for much more modest cuts, dismissed by leading climate scientists as too little, too late to stave off runaway processes that will lead to millions or even billions of casualties.) The paper describes in detail a powerful (and entirely possible) new treaty to bring carbon levels down below 350 parts per million - the level climate scientists say we need to achieve to avoid climate catastrophe. One article describes how a website, http://BeyondTalk.net, mobilized thousands of people to put their bodies on the line to confront climate change policies - ever since way back in June, 2009. Although the newspaper is a fake (its production and launch were coordinated by Greenpeace), the website is real. Beyondtalk.net is part of a growing network of websites calling for direct action on climate change, building on statements made in recent months by noted political figures. (For example, in September Nobel laureate Al Gore asserted that "we have reached the stage where it is time for civil disobedience to prevent the construction of new coal plants.") Leading American environmentalist Bill McKibben was enthusiastic about the newspaper's message and the methods BeyondTalk.net calls for. "We need a political solution grounded in reality - grounded in physics and chemistry. That will only come if we can muster a wide variety of political tactics, including civil disobedience." "Non-violent civil disobedience has been at the forefront of almost every successful campaign for change," said Andy Bichlbaum of The Yes Men, who helped write and edit the newspaper and are furnishing the technology for BeyondTalk.net. "Especially in America, and especially today, we need to push our leaders hard to stand up to industry lobbyists and make the sorts of changes we need." "Roosevelt would never have been able to push through the New Deal if people hadn't taken to the streets, occupied factories, and demanded it," noted newspaper writer/editor and University of California professor Lawrence Bogad. Segregation, British rule in India, and apartheid wouldn't have ended without a lot of people being creatively uncooperative - even if that meant getting arrested. Nonviolent civil disobedience is the bread and butter of progress." The fake newspaper also has an ad for "Action Offsets," whereby those who aren't willing to risk arrest can help those who are. A HOPEFUL NEWS PANDEMIC? Today's fake International Herald Tribune is part of a rash of recent publications which mimic prominent newspapers. Last November, a fake edition of the New York Times announced that the Iraq War was over. A few days earlier, a hoax USA Today featured the US presidential election result: "Capitalism Wins at the Polls: Anarchy Brewing in the Streets." And this April 1st, a spoof edition of Germany's Zeit newspaper triumphantly announced the end of "casino capitalism" and the abolition of poor-country debt. The rash of fakes is likely to continue. "People are going to keep finding ways to get the word out about common-sense solutions those in power say are impossible," said Kelli Anderson, one of the designers of the fake International Herald Tribune and co-designer (with Daniel Dunnam) of BeyondTalk.net. "We already know what we need to do about climate change," said Agnes de Rooij of Greenpeace International. "It's a no-brainer. Reduce carbon emissions, or put the survival of billions of people at risk. If the political will isn't there now, it's our duty to inspire it." -30- From rhinolver37 at gmx.net Thu Jun 18 21:02:51 2009 From: rhinolver37 at gmx.net (elisabeth enke) Date: Thu Jun 18 21:03:36 2009 Subject: [spectre] WORLD LEADERS THANK ARRESTEES, AVERT CLIMATE DISASTER (well, sort of) In-Reply-To: References: <20090618113443.139BF8FDE4@panix3.panix.com> Message-ID: <4A3A8F5B.6060703@gmx.net> the problem is, not only goverments are responsible. its all people. some less, some more. its everybodys job to live a life that can go with the survial of everybody. start talking to friends and families, and live your life according to your rules. nevertheless, talk to politicians and be agressive about your wishes. Francisco Laranjeira schrieb: > > June 18, 2009 > FOR IMMEDIATE RELEASE > > TOP HEADLINE: WORLD LEADERS SIGN PACT TO AVERT CLIMATE DISASTER > Newspaper Ignites Hope, Announces "Civil Disobedience Database" > > * Civil-disobedience database: http://BeyondTalk.net > * PDF of printed newspaper: http://iht.greenpeace.org/todays-paper/ > - Online version: http://www.iht-se.com/ > * Video: http://iht.greenpeace.org/video/ (coming soon) > * CONTACT: > - The Yes Men, mailto:press@theyesmen.org > - Mark Breddy (Greenpeace), mailto:mark.breddy@greenpeace.org, > (+32) (0)2 2741 903, (+32) (0)496 15 62 29 (mob.) > - Lawrence Bogad, mailto:l.m.bogad@gmail.com, > +1-212 300 7943 > > In a front-page ad in today's International Herald Tribune, the leaders > of the European Union thank the European public for having engaged in > months of civil disobedience leading up to the Copenhagen climate > conference that will be held this December. "It was only thanks to your > massive pressure over the past six months that we could so dramatically > shift our climate-change policies.... To those who were arrested, we > thank you." > > There was only one catch: the paper was fake. > > Looking exactly like the real thing, but dated December 19th, 2009, a > million copies of the fake paper were distributed worldwide by thousands > of volunteers in order to show what could be achieved at the Copenhagen > climate conference that is scheduled for Dec. 7-18, 2009. (At the > moment, the conference is aiming for much more modest cuts, dismissed by > leading climate scientists as too little, too late to stave off runaway > processes that will lead to millions or even billions of casualties.) > > The paper describes in detail a powerful (and entirely possible) new > treaty to bring carbon levels down below 350 parts per million - the > level climate scientists say we need to achieve to avoid climate > catastrophe. One article describes how a website, http://BeyondTalk.net, > mobilized thousands of people to put their bodies on the line to > confront climate change policies - ever since way back in June, 2009. > > Although the newspaper is a fake (its production and launch were > coordinated by Greenpeace), the website is real. Beyondtalk.net is part > of a growing network of websites calling for direct action on climate > change, building on statements made in recent months by noted political > figures. (For example, in September Nobel laureate Al Gore asserted that > "we have reached the stage where it is time for civil disobedience to > prevent the construction of new coal plants.") > > Leading American environmentalist Bill McKibben was enthusiastic about > the newspaper's message and the methods BeyondTalk.net calls for. "We > need a political solution grounded in reality - grounded in physics and > chemistry. That will only come if we can muster a wide variety of > political tactics, including civil disobedience." > > "Non-violent civil disobedience has been at the forefront of almost > every successful campaign for change," said Andy Bichlbaum of The Yes > Men, who helped write and edit the newspaper and are furnishing the > technology for BeyondTalk.net. "Especially in America, and especially > today, we need to push our leaders hard to stand up to industry > lobbyists and make the sorts of changes we need." > > "Roosevelt would never have been able to push through the New Deal if > people hadn't taken to the streets, occupied factories, and demanded > it," noted newspaper writer/editor and University of California > professor Lawrence Bogad. Segregation, British rule in India, and > apartheid wouldn't have ended without a lot of people being creatively > uncooperative - even if that meant getting arrested. Nonviolent civil > disobedience is the bread and butter of progress." > > The fake newspaper also has an ad for "Action Offsets," whereby those > who aren't willing to risk arrest can help those who are. > > A HOPEFUL NEWS PANDEMIC? > > Today's fake International Herald Tribune is part of a rash of recent > publications which mimic prominent newspapers. Last November, a fake > edition of the New York Times announced that the Iraq War was over. A > few days earlier, a hoax USA Today featured the US presidential election > result: "Capitalism Wins at the Polls: Anarchy Brewing in the Streets." > And this April 1st, a spoof edition of Germany's Zeit newspaper > triumphantly announced the end of "casino capitalism" and the abolition > of poor-country debt. > > The rash of fakes is likely to continue. "People are going to keep > finding ways to get the word out about common-sense solutions those in > power say are impossible," said Kelli Anderson, one of the designers of > the fake International Herald Tribune and co-designer (with Daniel > Dunnam) of BeyondTalk.net. > > "We already know what we need to do about climate change," said Agnes de > Rooij of Greenpeace International. "It's a no-brainer. Reduce carbon > emissions, or put the survival of billions of people at risk. If the > political will isn't there now, it's our duty to inspire it." > > -30- > > > > ______________________________________________ > SPECTRE list for media culture in Deep Europe > Info, archive and help: > http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre > From nc-agricowi at netcologne.de Fri Jun 19 09:47:50 2009 From: nc-agricowi at netcologne.de (artNET) Date: Fri Jun 19 09:48:16 2009 Subject: [spectre] Call for proposals Message-ID: <20090619094750.30E9D914.F9281169@192.168.0.3> [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media is planning for 2010-2012 a media art exhibition on the subject of SHOAH, looking for artists, who worked already or would like to work on this topic. In the focus of interest stand primarily digital media, in first place video/film, but also netart, computer basded multi-media, soundart, digital photography and media installation. -------------------------- More info can be found on netEX - networked experience http://www.nmartproject.net/netex/?p=662 and the project blog http://dts.engad.org ------------------------- info (at) nmartproject.net ------------------------- From alex at slab.org Fri Jun 19 10:31:02 2009 From: alex at slab.org (alex) Date: Fri Jun 19 10:31:36 2009 Subject: [spectre] 25th June - Thursday club, Goldsmiths special event - Theorizing Performance in Virtual Spaces Message-ID: Please note that the last Thursday club of this term will be. THURSDAY CLUB, THURSDAY JUNE 25th 2009 Goldsmiths, University of London Ben Pimlott lecture theatre PLEASE NOTE THAT IT IS A 7pm start All welcome and free Theorizing Performance in Virtual Spaces The presentation will describe and analyze the theoretical issues for Performance Studies posed by new genres of performance in virtual environments, such as Second Life. We will also demonstrate the technological modifications to Second Life that our team has developed to facilitate a new form of mediated performance and outline the experiments that we have initiated to take advantage of this technology. Utilizing a panel discussion format involving live participants and avatars in Second Life, our presentation aims to shed light on the unique opportunities provided by virtual environments in formulating new approaches to theorizing contemporary performance practices. A fundamental premise of the discipline of Performance Studies is that theory is enlivened and most rigorously tested when it hits the ground in practice. We at Georgia Tech have a particular opportunity to test that premise, because our institution is a meeting ground for technological practice and critical reflection. The Augmented Environments Lab (AEL) and the Wesley Center for New Media are in the process of developing technological modifications to Second Life that will facilitate a new form of mediated performance, one in which actors and audience share a performance space that is both physical and virtual. We are already planning performances that will take advantage of this technology: these performances will be a negotiation between professional improv artists in the city of Atlanta and technologists here at Georgia Tech. Members of the team presenting are Kathryn Farley, Prof. Jay Bolter, Professor Michael Nitsche and grad. student Jenifer Vandagriff. Web site for the project: http://arsecondlife.gvu.gatech.edu The session will be introduced by Maria X From oliver.grau at donau-uni.ac.at Fri Jun 19 10:52:57 2009 From: oliver.grau at donau-uni.ac.at (Oliver Grau) Date: Fri Jun 19 10:53:41 2009 Subject: [spectre] Budapest : Art and technical media (Symposium) Message-ID: <4A3B6E090200003C0002587C@gwgwia.donau-uni.ac.at> Symposium Program Hungarian University of Fine Arts / Kunsthalle Budapest Budapest, 20-21 June, 2009 Art and technical media history, research, production, presentation, preservation International symposium about the actual situation of media art and the institutional frameworks Saturday, the 20th of June Location: Hungarian University of Fine Arts 10.00 Introduction 10.15 Eva Schmidt - Nike Baetzner: On Blickmaschinen 11.00 Werner Nekes: Collecting and Presenting Media (Art) History coffee break 11.45 Mischa Kuball: 'transdisciplinary curriculars' experience with -1/MinusEins, Experimentallabor at KHM, Kunsthochschule f?r Medien K?ln/Cologne 12.15-13.00 Regina Wyrwoll: Nam June Paik Award 13.00-14.00 lunch break 14.00-14.30 Franziska Latell: Metropolis - the process of restoration and reconstruction of motion picture film 14.30-15.00 Ela Wysocka: Agatha re-appears. Preserving net art 15.00-15.45 David Link: Monster Resurrection. Towards an Archaeology of Algorithmic Artefacts coffee break 16.00-16.30 Oliver Grau: MediaArtHistories and Image Science 16.30-17.00 Andreas Broeckman: Art and media history 17.00-17.30 Siegfried Zielinski: On Variantology 17.45 Open discussion 19.00 Museum Night at the Academy of Fine Arts Sunday, the 21st of June Morning (11.00 -14.00), location: Hungarian University of Fine Arts Discussion on media (art) collection and preservation in Hungary (Hungarian speakers, Hungarian only) Afternoon/ evening (15.00-20.00), location: Kunsthalle 15.00 Siegfried Zielisnki: Audiov?zi?k / Audiovisionen. (Book presentation) 17.00 ?va Kozma, C3: Presentation of GAMA: Gateway to Archives of Media Art 18.30 Solange Farkas: On Videobrasil. Presentation + screenings Kultur?lis ?s Kommunik?ci?s K?zpont Alap?tv?ny Center for Culture & Communication 1022 Budapest, Szp?hi utca 20. H-1537 Budapest, Pf. 419 h t t p : / / w w w . c 3 . h u From n0name at gmx.de Fri Jun 19 18:08:05 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Fri Jun 19 18:09:09 2009 Subject: [spectre] 0-| n0name nachrichten #140 Message-ID: <20090619160805.40260@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-| n0name nachrichten #140 Fr., 19.06.2009 17:54 CET *Inhalt/Contents* 1. Debord - La Soci?t? du spectacle.srt als .txt 4 2. verteidigt das Portal der Fantasie aus: _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_ (Fortsetzung aus nn #139 und letzter Teil) 32 KB, ca. 17 DIN A4-Seiten ------------------------------------------------------------------------ 1. Debord - La Soci?t? du spectacle.srt als .txt 4 698 00:41:51,729 --> 00:41:54,755 als Zeit des Konsums von Bildern 699 00:41:54,868 --> 00:41:55,806 im engen Sinn 700 00:41:55,935 --> 00:41:58,232 zugleich als Bild des Konsums der Zeit 701 00:41:58,377 --> 00:42:00,226 in ihrer ganzen Weite. 702 00:42:00,381 --> 00:42:02,743 Die Zeit des Konsums von Bildern, 703 00:42:02,838 --> 00:42:04,797 dem Medium aller Waren, 704 00:42:04,940 --> 00:42:06,695 ist untrennbar das Feld, 705 00:42:06,861 --> 00:42:09,674 auf dem die Instrumente des Spektakels ihre volle Wirkung aus?ben, 706 00:42:09,806 --> 00:42:12,388 und das Ziel, das diese Instrumente global 707 00:42:12,483 --> 00:42:14,790 als Ort und zentrale Gestalt 708 00:42:14,951 --> 00:42:17,687 aller besonderen Arten des Konsums darstellen. 709 00:42:18,821 --> 00:42:21,413 Das gesellschaftliche Bild des Zeit-Konsums 710 00:42:21,537 --> 00:42:24,458 wird seinerseits ausschlie?lich beherrscht 711 00:42:24,576 --> 00:42:27,219 von den Momenten der Freizeit und der Ferienzeit, 712 00:42:27,387 --> 00:42:29,797 Momenten, die lediglich dargestellt werden auf Distanz 713 00:42:29,914 --> 00:42:31,742 und repr?sentiert als Postulate des zu Begehrenden, 714 00:42:31,860 --> 00:42:34,395 wie alle spektakul?re Ware. 715 00:42:34,655 --> 00:42:37,521 Diese Waren werden hier ausdr?cklich 716 00:42:37,616 --> 00:42:39,560 als Momente des wirklichen Lebens ausgegeben, 717 00:42:39,706 --> 00:42:42,740 deren zyklische Wiederkehr es abzuwarten gilt. 718 00:42:43,080 --> 00:42:45,934 Doch selbst in diesen dem Leben zugewiesenen Momenten 719 00:42:46,174 --> 00:42:47,812 ist es noch das Spektakel, 720 00:42:47,922 --> 00:42:49,969 das sich zur Schau und zur Reproduktion stellt 721 00:42:50,047 --> 00:42:52,641 und dadurch eine noch st?rkere Intensit?t erreicht. 722 00:42:52,858 --> 00:42:55,799 Was als das wirkliche Leben vorgestellt wurde, 723 00:42:56,011 --> 00:42:57,435 erweist sich einfach als das Leben, 724 00:42:57,580 --> 00:43:00,860 das noch wirklicher spektakul?r ist. 725 00:43:01,462 --> 00:43:05,477 W?hrend der Konsum der zyklischen Zeit der alten Gesellschaften 726 00:43:05,667 --> 00:43:08,927 mit der wirklichen Arbeit dieser Gesellschaften ?bereinstimmte, 727 00:43:09,092 --> 00:43:11,029 steht der pseudo-zyklische Konsum 728 00:43:11,162 --> 00:43:14,593 der entwickelten ?konomie im Widerspruch 729 00:43:14,836 --> 00:43:18,394 zu der abstrakten unwiederbringlichen Zeit ihrer Produktion. 730 00:43:18,925 --> 00:43:20,948 W?hrend die zyklische Zeit 731 00:43:21,056 --> 00:43:24,428 die wirklich erlebte Zeit der unbeweglichen Illusion war, 732 00:43:24,557 --> 00:43:26,018 ist die spektakul?re Zeit 733 00:43:26,152 --> 00:43:31,262 die illusorisch erlebte Zeit der sich ver?ndernden Wirklichkeit. 734 00:43:31,632 --> 00:43:35,702 Was stets neu im Produktionsprozess der Dinge ist, 735 00:43:35,831 --> 00:43:38,033 findet sich nicht im Konsum wieder, 736 00:43:38,191 --> 00:43:40,970 der die erweiterte Wiederkehr des Gleichen bleibt. 737 00:43:41,152 --> 00:43:45,089 Weil die tote Arbeit weiterhin ?ber die lebendige Arbeit herrscht, 738 00:43:45,214 --> 00:43:48,947 herrscht in der spektakul?ren Zeit die Vergangenheit ?ber die Gegenwart. 739 00:43:51,647 --> 00:43:55,470 Als andere Seite des Mangels des allgemeinen geschichtlichen Lebens 740 00:43:55,583 --> 00:43:58,662 hat das individuelle Leben noch keine Geschichte. 741 00:43:59,339 --> 00:44:01,000 Die Pseudoereignisse, 742 00:44:01,034 --> 00:44:04,229 die sich in der spektakul?ren Dramatisierung dr?ngen, 743 00:44:04,354 --> 00:44:07,599 sind nicht von denjenigen erlebt worden, die ?ber sie informiert sind; 744 00:44:07,763 --> 00:44:08,886 und au?erdem 745 00:44:08,943 --> 00:44:12,819 gehen sie in der Inflation ihres beschleunigten Ersatzes verloren 746 00:44:12,964 --> 00:44:16,282 mit jedem Pulsschlag der spektakul?ren Maschinerie. 747 00:44:16,478 --> 00:44:19,735 Andererseits steht das, was wirklich erlebt wurde, 748 00:44:19,913 --> 00:44:21,175 in keiner Beziehung 749 00:44:21,288 --> 00:44:24,344 zu der offiziellen unwiederbringlichen Zeit der Gesellschaft, 750 00:44:24,540 --> 00:44:26,320 und in direktem Gegensatz 751 00:44:26,421 --> 00:44:28,636 zu dem pseudo-zyklischen Rhythmus 752 00:44:28,782 --> 00:44:31,272 des konsumierbaren Nebenprodukts dieser Zeit. 753 00:44:31,728 --> 00:44:35,138 Dieses individuell Erlebte des getrennten t?glichen Lebens 754 00:44:35,267 --> 00:44:36,868 bleibt ohne Sprache, 755 00:44:37,035 --> 00:44:38,263 ohne Begriff, 756 00:44:38,387 --> 00:44:40,972 ohne kritischen Zugang zu seiner eigenen Vergangenheit, 757 00:44:41,098 --> 00:44:42,854 die nirgendwo aufbewahrt ist. 758 00:44:43,011 --> 00:44:45,043 Es wird nicht mitgeteilt. 759 00:44:45,255 --> 00:44:47,412 Es ist unbegriffen und vergessen 760 00:44:47,554 --> 00:44:50,469 zugunsten der falschen spektakul?ren Erinnerung 761 00:44:50,566 --> 00:44:52,490 an das Undenkw?rdige. 762 00:44:53,750 --> 00:44:57,124 So geht?s nunmal zu mit Freunden, einen verlieren, einen finden. 763 00:44:58,041 --> 00:45:00,010 Spielen Sie etwas f?r mich, Mr. Guitar. 764 00:45:00,868 --> 00:45:02,599 Etwas bestimmtes? 765 00:45:03,742 --> 00:45:06,081 Etwas mit viel Liebe darin. 766 00:45:06,489 --> 00:45:10,498 Der l?sst das Spielen noch sein, wenn er ausgestreckt auf dem W?rfeltisch liegt. 767 00:45:10,659 --> 00:45:12,374 Was st?rt denn den komischen Mann? 768 00:45:12,662 --> 00:45:14,457 Keine Ahnung. Was ist dein Problem, Kid? 769 00:45:14,619 --> 00:45:16,414 Ich hab kein Problem, aber er. 770 00:45:17,757 --> 00:45:21,575 Einer fremden Frau den Hof machen, kann einem Mann viel Kummer bereiten. 771 00:45:22,560 --> 00:45:24,245 Sind Sie eine fremde Frau? 772 00:45:24,378 --> 00:45:25,690 Eigentlich nur f?r Fremde. 773 00:45:25,868 --> 00:45:27,696 Was geht zwischen euch beiden vor? 774 00:45:27,941 --> 00:45:29,962 Nur was Sie sehen, mein Freund 775 00:45:30,638 --> 00:45:33,359 Ooh, da d?rften Sie sich wohl den falschen Ort ausgesucht haben, Mister. 776 00:45:33,505 --> 00:45:36,092 Die Dame hat nach mir gerufen, nicht Sie. 777 00:45:37,700 --> 00:45:39,480 F?llt Kopf, bring ich Sie um, Mister; 778 00:45:39,668 --> 00:45:41,711 f?llt Adler, k?nnen sie ihr was vorspielen. 779 00:45:49,358 --> 00:45:50,803 Spielen Sie mir was vor. 780 00:46:12,957 --> 00:46:14,457 Spielen Sie was anderes. 781 00:46:15,981 --> 00:46:17,258 Das Spektakel, 782 00:46:17,461 --> 00:46:20,025 als gegenw?rtige gesellschaftliche Organisation 783 00:46:20,138 --> 00:46:22,936 der L?hmung von Geschichte und Erinnerung, 784 00:46:23,082 --> 00:46:24,751 des Verzichtes auf die Geschichte, 785 00:46:24,862 --> 00:46:27,348 der sich auf der Grundlage der geschichtlichen Zeit erhebt, 786 00:46:27,526 --> 00:46:30,271 ist das falsche Bewusstsein der Zeit. 787 00:46:30,822 --> 00:46:32,385 Unter den erscheinenden Moden, 788 00:46:32,530 --> 00:46:36,004 die einander gegenseitig aufheben und an der fl?chtigen 789 00:46:36,150 --> 00:46:38,502 Oberfl?che der betrachteten pseudo-zyklischen Zeit neubilden, 790 00:46:38,632 --> 00:46:40,431 liegt der gro?e Stil der Epoche 791 00:46:40,641 --> 00:46:44,220 stets in dem, was sich nach der einleuchtenden 792 00:46:44,382 --> 00:46:47,179 und geheimen Notwendigkeit der Revolution richtet. 793 00:46:53,984 --> 00:46:56,008 Mitternacht nahte. 794 00:47:03,172 --> 00:47:06,050 Nun also, da ich nicht der Liebhaber sein kann und 795 00:47:06,195 --> 00:47:09,850 Bezauberer dieser sch?nrednerischen Zeiten, 796 00:47:10,205 --> 00:47:13,665 habe ich beschlossen, der Negative zu sein, 797 00:47:13,982 --> 00:47:17,523 der Spielverderber dieses eitlen Tagesl?rms. 798 00:47:19,800 --> 00:47:26,000 Das ist mein bester Freund Omar, Mrs. Poppy Smith. 799 00:47:26,000 --> 00:47:30,000 Und Sie? Sind Sie ein ?gyptischer Gesch?ftsmann ? 800 00:47:30,000 --> 00:47:36,172 Nein, ich bin Arzt, Doktor Omar, aus Shanghai ... und Gomorra. 801 00:47:36,207 --> 00:47:42,292 Verwandt mit dem Dichter Omar? ?Ein Band Gedichte unter dem Blattwerk ... 802 00:47:50,000 --> 00:47:55,857 ... ein Brot, ein Krug Wein, und du an meiner Seite: singend in der Wildnis? 803 00:47:58,674 --> 00:48:02,674 Sie sagten Doktor Omar. Doktor von was? 804 00:48:03,000 --> 00:48:04,782 Doktor von nichts, Mrs. Smith. 805 00:48:04,817 --> 00:48:09,429 Es klingt wichtig und verletzt niemand, im Unterschied zu den meisten ?rzten. 806 00:48:26,222 --> 00:48:29,336 Und Ihr Burnus, ist der so echt wie Ihr Titel ? 807 00:48:30,222 --> 00:48:32,180 Wo sind Sie denn geboren ? 808 00:48:34,181 --> 00:48:38,409 Meine Geburt ereignete sich bei Vollmond, auf den D?nen nahe Damaskus. 809 00:48:39,934 --> 00:48:42,000 Mein Vater war armenischer Tabakh?ndler und weit weg. 810 00:48:42,999 --> 00:48:46,777 und meine Mutter, je weniger von ihr zu sprechen je besser: 811 00:48:47,778 --> 00:48:52,519 halb franz?sisch, halb verloren im Staub der Zeiten. 812 00:48:53,554 --> 00:48:57,015 Letztlich bin ich ein echter Mischling. 813 00:48:57,616 --> 00:48:59,275 Ich bin der ganzen Erde verbunden, 814 00:49:00,111 --> 00:49:02,665 und nichts menschliches 815 00:49:02,777 --> 00:49:04,666 ist mir fremd. 816 00:49:07,567 --> 00:49:10,067 Dann k?nnen Sie mir sicher erkl?ren, wieso unsere Freunde pl?tzlich verschwunden sind. 817 00:49:11,000 --> 00:49:13,668 Wir sind allein, seit dem Moment, da ich Sie erblickte. 818 00:49:20,226 --> 00:49:22,339 Das Nachdenken ?ber die Geschichte ist 819 00:49:22,517 --> 00:49:25,395 nicht zu trennen von dem Nachdenken ?ber die Macht. 820 00:49:25,683 --> 00:49:27,821 Griechenland war dieser Moment, 821 00:49:27,983 --> 00:49:30,441 in dem die Macht und deren Ver?nderung 822 00:49:30,587 --> 00:49:32,382 diskutiert und begriffen wurden, 823 00:49:32,562 --> 00:49:35,489 die Demokratie der Herren der Gesellschaft. 824 00:49:35,659 --> 00:49:38,843 Hier bestand das Gegenteil der Bedingungen, die 825 00:49:39,027 --> 00:49:41,099 der despotische Staat kannte, in dem die Macht 826 00:49:41,177 --> 00:49:43,860 stets nur mit sich selbst abrechnete 827 00:49:43,990 --> 00:49:46,004 im unzug?nglichen Dunkel 828 00:49:46,101 --> 00:49:48,333 seines konzentriertesten Punktes, 829 00:49:48,602 --> 00:49:50,598 durch die Palastrevolution, 830 00:49:50,760 --> 00:49:52,918 die der Erfolg wie der Misserfolg 831 00:49:53,145 --> 00:49:55,674 gleicherma?en der Diskussion entziehen. 832 00:49:56,000 --> 00:50:00,000 In der Chronik des Nordens handeln die Menschen schweigend, 833 00:50:00,040 --> 00:50:03,800 sie f?hren Krieg, sie schlie?en Frieden, aber sie sprechen es nicht selber aus 834 00:50:03,840 --> 00:50:07,600 (und die Chronik gew?hrt uns nicht den zus?tzlichen Vorteil es uns zu sagen), 835 00:50:07,640 --> 00:50:11,441 warum sie den Krieg machen, aus welchen Gr?nden sie den Frieden machen; 836 00:50:11,481 --> 00:50:15,300 in der Stadt, am Hofe des F?rsten, da gibt es nichts zu vernehmen, alles schweigt; 837 00:50:15,340 --> 00:50:19,000 alle tagen bei verschlossenen Pforten und beraten f?r sich selbst; 838 00:50:19,040 --> 00:50:22,837 da ?ffnen sich die Pforten, die M?nner kommen heraus um auf dem Schauplatz zu erscheinen, 839 00:50:22,887 --> 00:50:26,660 sie treten dort auf diese oder jene Weise in Aktion, aber sie handeln schweigend. 840 00:50:26,700 --> 00:50:30,500 Sergei Michailowitsch Solowjow, Russische Geschichte von den ?ltesten Zeiten 841 00:50:32,124 --> 00:50:35,055 Wenn die unerkl?rte d?rre Chronologie 842 00:50:35,185 --> 00:50:38,392 der verg?tterten Macht, die zu ihren Dienern spricht, 843 00:50:38,604 --> 00:50:41,604 und die nur verstanden werden will als irdische Ausf?hrung 844 00:50:41,718 --> 00:50:43,250 der Gebote des Mythos, 845 00:50:43,336 --> 00:50:45,052 ?berwunden werden kann 846 00:50:45,218 --> 00:50:47,706 und zur Bewussten Geschichte wird, 847 00:50:47,911 --> 00:50:51,373 muss die wirkliche Teilnahme an der Geschichte 848 00:50:51,520 --> 00:50:54,365 von umfassenden Gruppen erlebt worden sein. 849 00:50:55,627 --> 00:50:57,863 Aus dieser praktischen Kommunikation 850 00:50:58,022 --> 00:51:00,540 zwischen denjenigen, die sich anerkannt haben 851 00:51:00,802 --> 00:51:03,303 als die Besitzer einer einzelnen Gegenwart, 852 00:51:03,532 --> 00:51:07,068 die den qualitativen Reichtum der Ereignisse 853 00:51:07,182 --> 00:51:08,408 als ihre T?tigkeit 854 00:51:08,524 --> 00:51:11,555 und als den Ort, worin sie standen -ihre Epoche-, erfuhren, 855 00:51:11,744 --> 00:51:15,528 entsteht die allgemeine Sprache der geschichtlichen Mitteilung. 856 00:51:16,216 --> 00:51:19,209 Diejenigen, f?r die die unwiederbringliche Zeit existiert hat, 857 00:51:19,339 --> 00:51:20,892 entdecken in ihr zugleich 858 00:51:21,018 --> 00:51:23,601 das Denkw?rdige und das Drohen des Vergessens: 859 00:51:23,726 --> 00:51:26,693 ?Herodot aus Halikarnass legt hier die Ergebnisse 860 00:51:26,841 --> 00:51:28,263 seiner Untersuchung vor, 861 00:51:28,425 --> 00:51:31,825 damit die Zeit nicht die Werke der Menschen ausl?scht ...? 862 00:51:46,238 --> 00:51:48,517 - Guten Abend, York. - Guten Abend, Sir. 863 00:51:48,632 --> 00:51:50,281 Wie w?rs mit ner Tasse Kaffee ? 864 00:51:51,128 --> 00:51:53,760 Bereite Sie sich darauf vor, den ganzen Winter zu bleiben, 865 00:51:54,435 --> 00:51:56,859 den ganzen kommenden Winter falls n?tig. weiter im n0name newsletter #141 ------------------------------------------------------------------------ 2. verteidigt das Portal der Fantasie (Fortsetzung aus n0name newsletter #139) #von Technik, sondern um ein Gefuege, das auch die technischen Faehig- keiten, die Ausbildung von Ingenieuren und Informatikern, die Politik und Oekonomie der Technik, ihre sozialen wie kulturellen Bedeutun- gen und selbstverstaendlich auch die Wissenschaften und Kuenste mit ihren Institutionen umfasst.# Technologie ist in besonderer Weise mit dem verbunden, was man Fortschritt nennt, und insofern auch mit der Macht. Auf dem derzeitigen Niveau stehen der Computer und weltum- spannende Datenleitungen mit ihren Knotenpunkten im Mittelpunkt. Sowohl die einzelne Maschine zur Verarbeitung, Speicherung und Aussendung von Daten als auch ihre weltweiten Verbindungen sind Systeme der Berechnung. Es sind Systeme in der Tradition der Me- chanik, auch wenn sie mit noch so hochleistungsfaehiger Elektronik und Programmen arbeiten. Denn mechanische Systeme zeichnen sich dadurch aus, dass die in ihnen ablaufenden Prozesse formalisierbar sind - ganz gleich, ob es sich um analoge oder digitale Vorgaenge han-delt. [24] Auch die kuenstlerische Praxis besitzt in verschiedenen Ausprae- gungen formalisierbare Dimensionen. Diese sind erlernbar und lehr- bar. Man kann sie in Sprache ausdruecken und in anderen Zeichenfor- mationen mit hohem Ordnungscharakter. Man kann sie strategisch entwickeln und erproben. Insofern kann man vom kuenstlerischen Ex- periment sprechen. Deshalb kann ein Atelier mit vorwiegend technolo- gischer Ausstattung und Ausrichtung auch Laboratorium genannt werden. In einem Laboratorium wird geforscht, entwickelt, getestet, verworfen und gewonnen. Solche Taetigkeiten haben mit einer Eigenart kuenstlerischer Praxis zu tun, die sie mit den Naturwissenschaften und der Industrie teilt. Nur hat sie fuer die Kunst ungleich groeszeres Gewicht, fuer viele macht sie sogar Kunst erst aus: die Intuition, die Anschauung. Sie ist eng verbunden mit der wichtigsten Energiequelle kuenstlerischer Praxis, naemlich der Einbildungskraft. Formalisierbarkeit und Berech-nung einerseits, #Intuition# und Einbildungskraft andererseits bilden die Pole des Mixtum compositums Medienkunst mit Blick auf die Taetigkei-ten des Subjekts. Sie als Pole einer von beiden Seiten bespielbaren Skala zu betrachten, ist eine Alternative zum Dualismus als bequemer Denk-weise, die fatal wird, wenn man auf ihm verharrt. 323 Das Feld dessen, was noch als Medienkunst bezeichnet wird, ist ein Uebungsplatz fuer Mischungen von Heterogenem. Es ist somit auch ein chaotischer Ort, begreift man Chaos als jenen dynamischen Zu- sammenhang von Manchfaltigem [25], von Zufall und Notwendigkeit, der ohne weiteres nicht ueberschaubar ist und aus dem die fuer uns ver-stehbaren Phaenomene und Prozesse hervorgehen. So zumindest ha- ben die ersten Schnittstellen-Heuristiker vom 5. bis zum 3. Jahrhun- dert vor unserer Zeit, Anaxagoras, Empedokles, Demokrit und Epikur, das Chaos verstanden. Warum sollten wir hinter sie zurueckfallen? Die kuenstlerische Besetzung von Medienwelten benoetigt Orte, an de- nen das so verstandene Chaos gepflegt wird, an denen die Taetigkeiten der Mischung und der Entmischung, des Zerlegens und Zusammenfue- gens als zu foerdernde Aktivitaeten verstanden werden. In der Zeit der europaeischen Vormoderne nannte man solche Orte #alchemistische La-bore#. Nur reiche Fuersten, Koeniginnen oder Kaiser konnten sie sich leis-ten, in Prag zum Beispiel, in London oder, unter der Obhut des Vati-kans, in Rom. Sie luden die ungewoehnlichsten Geister ungeachtet ihrer Herkunft ein, damit sie aus der Naehe teilhaben konnten an der Arbeit am Unmoeglichen. Denn der lange Weg von der Teilung der _prima mate-ria_ ueber die verschiedenen Mischungsverhaeltnisse zur _Projektion_, der letzten Stufe des alchemistischen Prozesses, in dem die Verwandlung des Gemeinen ins Edle stattfinden sollte, war nichts anderes als der Ver-such, Unmoegliches moeglicher zu machen. Diese Orte waren nicht von Dauer. Sie zeugten nicht von derselben Ewigkeit wie die Saeulenhallen der Akademien oder Universitaeten. Es waren Orte der Passage, der Ueberraschung, des Aufbruchs und des Abbruchs, der Zuflucht. Ging den Regenten das Geld aus oder entpuppten sich die eingeladenen Zau-berlehrlinge als Scharlatane und nichtsnutzige Betrueger, wurde ihnen schon einmal ein Ohr abgeschnitten, landeten sie im Kerker oder wur-den im besten Fall einfach zurueck auf die unsichere Strasze geschickt, von der aus sie den naechsten laboratoriellen Ort ansteuerten, der ihnen guenstige Aufnahme zu gewaehren versprach. Die Bedingungen fuer die zeitgenoessischen Labore experimenteller Er- forschung von Medienwelten in Berlin, Karlsruhe oder Koeln, im japa- nischen Ogaki-shi oder in Barcelona, in Budapest oder Moskau haben 324 sich geaendert, nicht aber die prinzipiellen Beweggruende fuer ihre Ein-richtung oder ihren Ausbau. Hinter den modernen, gut ausgestatteten Entwicklungsstaetten der Gegenwart stecken vonseiten der Einrichter die Hoffnung und die Strategie, dass es den zeitgenoessischen Zauber-lehrlingen, den Ingenieuren, Programmierern und Kuenstlern gelingen moege, aus dem Digitalen Gold werden zu lassen. Einmal etabliert, ent-wickelten die Institute allerdings ihre eigene Dynamik. Ihr Personal liesz sich nicht einfach zur ergonomischen Gestaltung dessen benut-zen, was die Politik Zukunft der Informationsgesellschaft nannte. Wenn die Bewegungsspielraeume fuer das Sperrige, das nicht ohne wei-teres Hineinpassende, das Fremde geringer werden, kommt es auf den Versuch an, #das Moegliche mit seinen eigenen Unmoeglichkeiten zu kon-frontieren# und es damit aufregender und lebenswerter zu machen. Mit eigenwilligen Projekten operativer Netzpraxis, der Erkundung neuer Formen kinematographischen oder videographischen Erzaehlens, der Oeffnung experimenteller akustischer Raeume, der Verschiebung des Kuenstlerischen in die Maschinen hinein bis zur Grenze des Ertraeg-lichen, der Ergruendung von Apparaten, nach denen niemand fragte, oder der Verbindung performanter Praxen, fuer die es noch keine Buehnen gab, traten sie in Verhaeltnisse der Reibung und der Spannung zu ihrem Auftrag. Dass dieser in der Regel nicht explizit formuliert worden ist, macht ihren Bewegungsspielraum aus. Wirklich fehlschlagen kann der Versuch nicht. Das Scheitern war schon den Alchemisten nicht fremd. Nicht etwa, weil sie besondere Lust an dieser Qualitaet von Erfah-rung gehabt haetten, sondern weil die Projekte, die sie sich immer wie-der aufs Neue vornahmen, grosz genug waren, damit das Scheitern in Wuerde stattfinden konnte. #Der franzoesische Maler Pierre Klossowski, der mit seiner Trilogie zu den Gesetzen der Gastfreundschaft auch als philosophischer Schrift- steller beruehmt wurde, schrieb um 1970 eine bemerkenswerte Oekono- mie, die erst in den 1990ern veroeffentlicht wurde. Darin offeriert er eine Aufloesung fuer den im Mixtum compositum enthaltenen Konflikt. Er kehrt die Klage der Kulturpessimisten von der Kapitalisierung und damit auch der Mechanisierung der Koerper um, indem er den mensch-liehen Leib als Tauschobjekt, als "lebende Muenze" ins Spiel bringt. Be-# 325 #freit von den unmittelbaren und zielgerichteten Zwaengen der Repro- duktion, koenne der so konzipierte Koerper zum souveraen Handelnden werden. Dem Experiment spricht Klossowski in seiner Oekonomie eine besondere Bedeutung zu. Die Geraetefabrikation werde immer wieder mit ihrer "zeitweiligen Unfruchtbarkeit" konfrontiert. Diese trete "um so deutlicher hervor, als der beschleunigte Rhythmus der Fabrikation unablaessig dazu zwingt, der Ineffizienz (in den Produkten) vorzubeu-gen - wogegen ihr keine andere Zuflucht zu Gebote steht als die Ver-schwendung. Das Experiment, das der Effizienz als Bedingung voraus-geht, setzt den verschwenderischen Irrtum voraus. Experimentell zu erproben, was im Blick auf eine rentable Operation herstellbar ist, laeuft darauf hinaus, das Risiko der Unfruchtbarkeit des Produkts zu elimi-nieren, um den Preis der Verschwendung von Material und mensch-licher Kraft (Herstellungskosten).# [26] Die an-archaeologische Suchbewegung ist auch als ein Plaedoyer da- fuer zu verstehen, die Orte offen zu lassen, die Gastfreundschaften fuer das Experiment gewaehren, und moeglicherweise noch mehr davon ein-zurichten. Die Grundlage dafuer, dass sie funktionieren koennen, sind nicht nur groszzuegige Gastgeber, fuer die Verschwendung im Kuenstleri-schen kein Versagen ist, sondern Zeichen von Souveraenitaet und Staerke. Das Plaedoyer enthaelt allerdings auch die Forderung nach solchen Gaes-ten, fuer die kuenstlerische Praxis mit und in den Medienwelten mehr ist als nur die geschickt verpackte Bestaetigung dessen, was wir ohnehin bereits kennen, was uns langweilt und was der Harmonisierung des noch nicht Harmonisierten sowie der Bequemlichkeit dient: nach Gaes-ten, die die Einladung zum Experiment als eine Aufforderung begrei-fen, an der Unmoeglichkeit der perfekten Schnittstelle des Empedokles von Agrigent weiterzuarbeiten. Unter diesem Gesichtspunkt machte sogar die Rede von der virtuellen Welt Sinn. Die Bereitschaft zur eige-nen Verschwendung ist das Geringste, das diese Oekonomie den Gaesten abverlangen sollte. Darin steckt auch der Trick ihres Funktionierens. Kuenstlerische Praxis im _Internet_ ist ueberfluessig. Diejenigen, die sie sich leisten koennen, verdienen ihr Auskommen _off-line_ oder mit einer zweiten, nicht kuenstlerischen Identitaet in Form einer produktiven Ar-beit im Netz. Auch die Etablierung des frei zugaenglichen Betriebssys- 326 tems Linux als Alternative zum industriellen _Microsoft_ folgte ursprueng-lich der Logik einer solchen Oekonomie. Diejenigen, welche die Be-triebssoftware kontinuierlich fuer alle Netzbenutzer erweiterten und verbesserten, taten das in ihrer Restzeit, neben ihrer Arbeit als ver-sorgte Akademiker oder gut bezahlte Programmierer. Fuer die Genera-tionen von Kuenstlern, die ihre Arbeiten ausschlieszlich als prozessuale fluechtige Medienwelten realisieren, verschaerft sich die Situation noch betraechtlich. Olla Lialina aus Moskau kommt vom Schreiben und vom experimentellen Film. Von ihren filigranen und engagierten Arbeiten im Netz kann sie nicht leben, obwohl sie mittlerweile weltweit als Kuenstlerin geachtet ist. Das Gleiche trifft fuer viele andere zu, fuer ihren Landsmann Alexej Shulgin, den Belgrader Vuk Cosic oder den Erfinder der _poetry machine_, David Link. Sie leben in Doppelexistenzen zwischen solider Arbeit zum Broterwerb und der Erfindung eingreifender kuenst-lerischer Dynamiken fuer die weltumspannenden Datennetze der Infor-mation und Kommunikation oder von deren Praesentation auf interna-tionalen Foren. Der Texaner #Bruce Sterling brachte es 2001 waehrend einer Diskussion in Koeln auf den Punkt, indem er sagte, er koennte die Zeit und Kraft fuer seine Projekte im Internet nur deshalb investie-ren, weil der weltweite Verkauf seiner Science-Fiction-Buecher ihm die Existenzgrundlage dafuer verschaffte. Als verschwenderische Taetigkeit koennte die kuenstlerische Praxis auch in den Netzen eine glaenzende Zu-kunft haben.# Anhang 7. Schlussthesen [1] So heiszt ein legendaeres Buch Gene Youngbloods von 1971 aus den Anfaen-gen der kuenstlerischen Verwendung von Computern fuer den Film. [2] Schulz in einem Brief an Stanislaw-Ignacy Witkiewicz, in: Schulz 1967, Bd. 2,92. [3] Der Briefwechsel ist enthalten in: Schulz 1967. [4] Alle Zitate aus: a.a.O., 17-24. [5] 2001 entdeckte der Schriftsteller Christian Geissler in Drohobycz die Reste der Wandmalereien wieder, die Schulz im Kinderzimmer des Sohns des SS-Offiziers anfertigen musste. Durch die Veroeffentlichung des spektakulaeren Funds wurde etwas aktuell, was ueber Jahrzehnte durch Schichten der Ver-draengung und des Vergessens unsichtbar geblieben war. Durch das Droho-bycz des Bruno Schulz zogen sich Linien der groszen weiten Welt der Kunst, der Wissenschaft und der Medien. Der Poet Geissler aus dem hohen Norden Deutschlands ist nur einer von vielen. Der Filmemacher Peter Lilienthal 355 wurde genauso durch Schulz inspiriert wie der Kunsttheoretiker John Ber-ger oder die Regisseure "The Quay Brothers". [6] Diese These vertritt auch Lynn Thorodike. Cassirer bezieht sich hier jedoch auf die Arbeiten James George Frazers aus den ersten Jahrzehnten des 20. Jahrhunderts, die dieser unter dem Titel "The Golden Bough" (gekuerzte Ausgabe dt. Der goldene Zweig. Reinbek 1998) veroeffentlichte. [7] Cassirer 1930, 31. [8] Ebenda. [9] Als ersten Ansatz dazu vgl. Roeller/Zielinski 2001, 282-286. [10] Vgl. ausfuehrlicher: Zielinski 2001, 8-27. [11] Vgl. zu seiner und Eva Svankmajers kuenstlerischer Arbeit den ausgezeich-neten Katalog Svankmajer 1997. [12] Zur Videoentwicklung in Osteuropa vgl. Milev 1993. [13] Hulten 1968. [14] Das Buch zur Ausstellung erschien drei Jahre spaeter: Reichardt 1971. [15] The Shorter Oxford English Dictionary on Historical Principles, Vol. II. Ox-ford University Press 1993, 1946. [16] Marc Adrian: "syspot", in: Kelemen/Putar 1971, 167. [17] "Post-industriell" ist hier nicht im Sinne einer Nach-Zeit zu verstehen, denn das oekonomische Zentrum ist nach wie vor industriell basiert. Ich be-nutze den Begriff im Sinne Jean-Luc Godards, der damit gern auf die Hege-monie der Post bzw. der Gesellschaften der Telekommunikation fuer die Dis-tribution von Bildern und Toenen nach dem Zweiten Weltkrieg verweist. [18] Vgl. den Beitrag Andreas Broeckmanns, "Gesichtswechsel oder: protobal-kanische Entidentifizierungen", in: Kovats 2000, 364-372, Zitat 368. [19] Einen guten Ueberblick enthaelt das Medienpaket "Readme! "? hg. v. nettime, Autonomedla 1999. [20] Auffaellig in der Tiefenzeit der Medien ist der hohe Anteil von professionel-len Aerzten. Eine Geschichte des Wechselverhaeltnisses von Medizin und Me-dien ist meines Wissens noch nicht geschrieben worden. [21] Horkheimer 1934, 28. [22] Deutsche Uebersetzung in: Lyotard 1987, 40. [23] Debord 1978, das Anfangszitat ist zugleich der Titel von Debords letztem Film vor seinem Testament (vgl. Debord 1985). [24] Vgl. dazu hervorragend: Taube 1966. [25] Lorenz Oken (3. Aufl. 1843) benutzt dieses schoene Wort zur Bezeichnung von Verschiedenartigem. [26] Klossowski 1998, l0f. 356 Literatur Cassirer, Ernst: Form und Technik. 1930. Debord, Guy: In girum imus nocte et consumimur igni. Wir irren des Nachts im Kreis umher und werden vom Feuer verzehrt. Berlin: Tiamat, 1985. (Horkheimer, Max) Heinrich Regius: Daemmerung. Notizen in Deutschland. Zue-rich: Oprecht & Helbing, 1934. Hulten, K. G. Pontus: The machine - As Seen at the End of the Mechanical Age. New York: Museum of Modern Art, 1968. Kelemen, Boris, Radoslav Putar: dijalog sa strojem/dialogue with the machine. Zagreb: bit international, galerije grada, 1971. Klossowsky, Pierre: Die lebende Muenze (uebers. v. Martin Burckhardt). Berlin: Kadmos, 1998. Kovats, Stephen (Hg.): Ost-West Internet/media Revolution. Frankurt/M.: Campus, 2000. Lyotard, Jean-Francois: Zeit haben. In: Aesthetik & Kommunikation Nr. 67 / 68, 1987, 40. Milev, Rossen: Video in Osteuropa. Sofia: Balkan Media, 1993. Oken, Lorenz: Lehrbuch der Naturphilosophie. Zuerich: Friedrich Schulthesz, 3. Aufl.. 1843, Erstaufl. 1810/11. Reichardt, Jasia: The Computer in Art. London: Studio Vista, Van Nostrand Reinhold, 1971. Roeller/Zielinski 2001 [Literaturangaben?] Schulz, Bruno: Die Republik der Traeume. Fragmente, Aufsaetze, Briefe, Grafiken (hg. v. Mikolaj Dutsch, uebers. v. Josef Hahn u. Mikolaj Dutsch). Muenchen: Han-ser, 1967. Svankmajer, Eva/Jan: Anima - Animus - Animation. Prag: Slovart, Arbor Vi-tae Found., 1998 [1997 ?] Taube, Mortimer: Der Mythos der Denkmaschine. Kritische Betrachtungen zur Kybernetik. Reinbeck: rowohlts deutsche enzyklopaedie, 1966." _____ Quellen: Pierre Bourdieu. _Die feinen Unterschiede: Kritik der gesellschaftlichen Urteilskraft_. Frankfurt am Main: suhrkamp, 1987. Juergen Habermas. "Die Krise des Wohlfahrtsstaates und die Erschoepfung utopischer Energien". in: _Die Neue Unuebersichtlichkeit_. Frankfurt am Main: suhrkamp, 1985. S. 141-163. Calendar for year 3000 Last modified: Mi., 02.02.2005 14:14 aus: Matze Schmidt. _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_. Kassel/Berlin: n0name, 2003. ======================================================================== Sie erhalten den n0name newsletter, weil sie da sind!/You get the n0name newsletter, because you are there! *Bitte weiterleiten!/Please forward!* Archiv: http://www.n0name.de/newsletr.html (c) 1999-2009 n0name, die Autorinnen & Autoren und die Maschinen Unterstuetzt von XPECT MEDIA http://www.xpect-media.de Sponsored by FONDS Dank an >top e.V. ------------------- Ende des n0name newsletter #140 -------------------- -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From derek at umatic.nl Fri Jun 19 19:01:15 2009 From: derek at umatic.nl (Derek Holzer) Date: Fri Jun 19 19:01:52 2009 Subject: [spectre] sommercampworkstation 2009 berlin Message-ID: <4A3BC45B.1080904@umatic.nl> Dear Spectres, I am involved in a workshop series to take place during the upcoming Sommercampworkstation event at Haus der Kulturen der Welt in Berlin from 10-16 August. Registration is open for the workshops, including the node on experimental instrument building which I will lead, so please have a look! best wishes! Derek ///////////////////////////////////////////////////////////////////////////////////////////////////////// ((German version below - fuer deutsche Version nach unten scrollen)) Hello ! Here comes the first edition of the Sommercampworkstation newsletter. Below you find some information about the basic idea and some first program details. Looking forward to seeing you in Berlin, Carsten Seiffarth (former TESLA) and Carsten Stabenow (garage) ///////////////////////////////////////////////////////////////////////////////////////////////////////// [1] SOMMERCAMPWORKSTATION 2009 - laboratory for art and media Berlin [2] SOMMERCAMP - workshop series ///////////////////////////////////////////////////////////////////////////////////////////////////////// [1] SOMMERCAMPWORKSTATION 2009 - laboratory for art and media Berlin sommercamp+workstation=2009 is meant as a practical example of the feasibility of a "laboratory for art and media in Berlin" carrying on the idea of TESLA - medialab. The starting point of the four-month project is the sommercamp from 10 to 16 August - a module to work and generate ideas, with ten open workshops and two days of final presentations on 15/16 August 2009 at the House of World Culture and a kick-off on 14 August 2009 at the radialsystem. The second part of the project is the workstation - intended as project production support - with four three-month project residencies and a curatorial grant that are produced in close collaboration with local and international partners. A discursive weekend will take place from 13 to 15 November 2009 with the invited artists/projects and experts from science and technology at Berlin based general public, in collaboration with DISK/ ctm. Please have a look at our website : http://www.sommercampworkstation.de/ Sommercampworkstation is funded by Hauptstadtkulturfonds. ///////////////////////////////////////////////////////////////////////////////////////////////////////// [2] SOMMERCAMP - workshop series - now open for registration The project will kick off with the sommercamp from 10 to 16 August 2009 in the foyer and the studios at House of World Culture with a number of different open workshops. Workshops are an ideal form to sketch new approaches, to build interdisciplinary bridges and above all to soften the borders between artist, thinker and practitioner on the one side and a passive audience on the other side. Workshops are "detectors" to test new working and communication models, catalysts of ideas and indicators for their relevance and acceptance. The invited workshops/artists/thinkers are exemplary for very different approaches to art and technology, for individual working methods, communication models and organisation structures. sommercamp is devided in 3 workshop clusters: A] World as Representation: systems and simulation. with Jessica Rylan (US), FOaM (B), Martin Howse/xxxxx (UK/D) and Julian Oliver (E) B] Re:Discovering Sound an Instrument-building Workshop with Peter Blasser (US), Halldor Ulfarsson (F), Tore Honor? B?e (N/E) and Derek Holzer (US/D) C] Ways of Doing. Approaches, Manuals, Tactics, Strategies and the Operational Art with James Wallbank (UK), Jordi Claramonte (E) and Adam Hyde (NZ) more infos on the workshops and registration form here: http://www.sommercampworkstation.de/?lp_lang_pref=en&page_id=10 The single workshops will be open for public (with registration). After the one-week-workshop phase two days of final presentations will take place on 15 and 16 August 2009 at the House of World Culture. ///////////////////////////////////////////////////////////////////////////////////////////////////////// ((German version)) Hallo ! Hier kommt die erste Ausgabe des sommercampworkstation Newsletters. Anbei folgen ein paar Informationen zur Idee und Struktur des Projektes sowie erste Programminformationen. Wir hoffen, euch in Berlin zu sehen! Carsten Seiffarth (ehemals TESLA) und Carsten Stabenow (garage) ///////////////////////////////////////////////////////////////////////////////////////////////////////// [1] SOMMERCAMPWORKSTATION 2009 - Labor fuer Kunst und Medien Berlin [2] SOMMERCAMP - Workshop-Programm ///////////////////////////////////////////////////////////////////////////////////////////////////////// [1] SOMMERCAMPWORKSTATION 2009 - Labor fuer Kunst und Medien Berlin sommercamp+workstation=2009 soll ein praktisches Beispiel fuer die Realisierbarkeit eines Labor fuer Kunst und Medien in Berlin geben und schliesst an die Aktivitaeten des 2007 geschlossenen TESLA an. Auftakt des viermonatigen Projekts ist das sommercamp vom 10. bis 16. August - ein Arbeits- und Ideenfindungsmodul mit zehn offenen Workshops und einer abschliessenden zweitaegigen Praesentation am 15./16. August 2009 im Haus der Kulturen der Welt und einem Auftakt am 14. August 2009 im radialsystem. Der zweite Teil des Projekts ist die workstation, eine Produktionsfoerderung mit vier kuenstlerischen Projektresidenzen und einem Vermittlungsstipendium, die in enger Vernetzung mit lokalen und internationalen Partnern produziert werden. Vom 13.-15. November 2009 wird ein diskursives Wochenende mit den eingeladenen Kuenstlerinnen/Projekten und Experten aus Wissenschaft und Technologie im general public/Berlin in Kollaboration mith DISK/ ctm stattfinden. ///////////////////////////////////////////////////////////////////////////////////////////////////////// [2] SOMMERCAMP - Workshop-Programm - jetzt anmelden! Auftakt des Projekts ist das sommercamp vom 10. - 16. August 2009 im Foyer und in den Studios im Haus der Kulturen der Welt mit einer Vielzahl unterschiedlicher offener Workshops. Workshops eignen sich hervorragend, neue Ansaetze zu skizzieren, interdisziplinaere Bruecken zu schlagen und vor allem die Grenzen zwischen Kuenstler, Denker und Macher auf der einen Seite und einem 'passiven' Publikum auf der anderen Seite aufzuweichen. Workshops sind 'Suchgeraete' zur Erprobung neuer Arbeits- und Vermittlungsmodelle, Katalysatoren von Ideen und Indikatoren fuer deren Relevanz und Akzeptanz. Die eingeladenen einzelnen Workshops/Kuenstler/Theoretiker stehen exemplarisch fuer ganz unterschiedliche Zugaenge zu Kunst und Technologie, individuelle Aneignungs- und Arbeitsmethoden, Vermittlungsansaetze und Organisationsstrukturen. sommercamp gliedert sich in 3 workshop cluster: A] World as Representation: systems and simulation. mit Jessica Rylan (US), FOaM (B), Martin Howse/xxxxx (UK/D) und Julian Oliver (E) B] Re:Discovering Sound an Instrument-building Workshop mit Peter Blasser (US), Halldor Ulfarsson (F), Tore Honor? B?e (N/E) und Derek Holzer (US/D) C] Ways of Doing. Approaches, Manuals, Tactics, Strategies and the Operational Art mit James Wallbank (UK), Jordi Claramonte (E) und Adam Hyde (NZ) Informationen zu den Workshops und Anmeldeformular hier: http://www.sommercampworkstation.de/?lp_lang_pref=de&page_id=10 Die einzelnen Workshops sind oeffentlich zugaenglich (mit Anmeldung - siehe workshop cluster). Im Anschluss an die einwoechige Workshop- Phase findet am 15. + 16. August 2009 eine zweitaegige Praesentation der Workshop-Ergebnisse im HKW statt. ///////////////////////////////////////////////////////////////////////////////////////////////////////// SOMMERCAMPWORKSTATION - LABORATORY FOR ART AND MEDIA BERLIN http://www.sommercampworkstation.de /////////////////////// -- ::: derek holzer ::: http://blog.myspace.com/macumbista ::: http://www.vimeo.com/macumbista ::: ---Oblique Strategy # 38: "Courage!" From louise.desrenards at free.fr Fri Jun 19 21:33:59 2009 From: louise.desrenards at free.fr (Louise Desrenards) Date: Fri Jun 19 21:33:38 2009 Subject: [spectre] Dialogique /// Final Cut 6/6. Message-ID: <4A3BE827.6070900@free.fr> http://translate.google.bj/?hl=fr# pardon pour les doubles adressages _____________________________ Chers tous, Depuis ce matin La dialogique est int?gralement en ligne Pour l'origine des individus de JJ Kupiec par D. Christoffel et D. Guibert 6/6. http://www.larevuedesressources.org/spip.php?article1228 avec nos remerciements pour le pdf de la pr?sentation int?grale extraite de l'ouvrage paru chez Syllepse en f?vrier : Le hasard au coeur de la cellule http://www.larevuedesressources.org/spip.php?article1228#PJ Jean-Jacques Kupiec, Olivier Grandillon, Michel Morange, Marc Silberstein qui ?claire bien des choses... Cordialement Aliette Daniel David http://www.criticalsecret.com/n15/index.php?cat=journal_livres Remerciements ? Robin Hunzinger et ? La revue des ressources http://www.larevuedesressources.org ________________________________ L'origine des individus http://www.editions-fayard.fr/livre/fayard-246374-l-origine-des-individus-jean-jacques-kupiec.html Le hasard au c?ur de la cellule Probabilit?s, d?terminisme, g?n?tique http://www.syllepse.net/lng_FR_srub_63_iprod_415-Le-hasard-au-c-ur-de-la-cellule.html THE ORIGIN OF INDIVIDUALS http://www.worldscibooks.com/lifesci/6359.html ________________________________ Rappel de l'ouvrage du premier volet du diptyque sur la pens?e antiscolastique et/ou Non Aristot?licienne L'esprit du nihilisme : une ontologique de l'histoire Mehdi Belhaj Kacem http://www.editions-fayard.fr/livre/fayard-321202-L-esprit-du-nihilisme-hachette.html http://www.larevuedesressources.org/spip.php?article1185 From n0name at gmx.de Sat Jun 20 14:19:14 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Sat Jun 20 14:19:34 2009 Subject: [spectre] (Ein zu entwickelndes) Oekonomisch politisches FQA* zur Piratenpartei 0.1 Message-ID: <20090620121914.139850@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| (Ein zu entwickelndes) Oekonomisch politisches FQA* zur Piratenpartei 0.1 Antworten und Fragen von gesellschaftlichen Zielen 1. Die "Piraten" wollen nicht den Staat abschaffen! Die "Piraten" (P) wollen die gesellschaftliche Ordnung, bestehend aus Lohnarbeit, Enteignung der Produzentinnen und Handel, und das dazugehoerige politische System nicht 'abschaffen'? Spricht das Parteiprograemmchen -- in der quasi Proudhon'schen Manier des Hasses gegen boese Firmen und der Verwirklichung des gerechten Lohns -- nicht von "kuenstlichen Monopolen", die abzubauen seien? Erstens, was sind nicht-kuenstliche Monopole und zweitens, was ist die vorgeschlagene Alternative (die man auf den Webseiten der P so schnell nicht entdecken kann)? Etwa das natuerliche Staatsmonopol? Die Rede ist dann vom "glaesernen Staat" statt glaesernem Buerger, nicht wahr? Eine konkrete Vorstellung, wie dieser dursichtige Staat der Transparenz (der politische, der oekonomische?) aussehen koennte, wird wohl nicht gegeben? Ist Transparenz nicht auch das Zauberwort aller glaesernen Fabriken, die als Showcase zeigen, wie der polierte Arbeitsablauf vom Einzelteil bis zur fertigen Luxusare eben ablaeuft? Schueler in Lernfabriken, werden sie nicht taeglich damit traktiert? Denn ist, solange alles tranparent, also einsichtig erscheint, jeder disziplinaere Terror recht? Wird hier Transparenz nicht gerade *nicht* in einem globalen, also politisch umfassenden Sinn behandelt? So, wie Transparenz von den dystopischen "Blackout Europe" Aktivisten[1] in ihrer Kritik am EU-Parlament (in welches die P 2009 gewaehlt wurden) aufs "Telecoms Package" reduziert wird? Eine Partei oder Clique, die zugleich parlamentarisch und ausserparlamentarisch sein will? Wo gibt es noch weisse Flecken ohne dieses faule Partei-Ei? Auf der Internetseite[2] "Piratenparteien Weltweit" kann man sich da anschauen, wo diese glaesernen Staaten der Zukunft mit einer Partei der Piraten ueberall liegen? Sind es momentan nicht mehr oder weniger exakt die entwickelten Industrie-Nationen, des amerikanischen Kontinents, die EU-Laender, Suedafrika, Russland, Japan? _________________________ [1] "[...] vergiss nicht, am Sonntag, den 07. Juni 2009 das richtige Kreuz bei der Europawahl zu setzen." http://www.blackouteurope.eu/lang/deutsch/main.html [19.06.2009] [2] Grau: nicht nichts, aber unklar; Rot: beinahe piratisch; Blau: aktiv; Schwarz: "Registrierte Piratenpartei" -- eine interessante, die klassische Farblogik eleicht verkehrende Ordnung. Das anarchisch Schwarze ist das Registrierte, wobei das Graue das noch unbestimmt dumme Unpiratische ist. Vermutlich gibt es am Horn von Afrika, dort wo laut piratenpartei.de noch alles grau ist, mehr Piraten als im tiefschwarzen Deutschland. Oder sind die artifiziellen Monopole die eigentlichen Piraten? http://piratenpartei.de/navigation/partei/piratenparteien-weltweit [19.06.2009] 2. Patente wurden fuer den Innovationsanreiz geschaffen! Ja? War das so? Oder war es umgekehrt? War nicht erst die Innovation da und dann der Diebstahlschutz? Nein? Ganz schoen potent diese Patente, was? Eine Idee kann eine ganze Wirtschaft in Gang bringen. Gegen patente Patente ist also nichts zu sagen? Sie muessen nur befreit werden, aus ihrer Zwangsjacke, die ihnen von kranken Grossverdienern angelegt wurde? Aber gegen ein bisschen Generalueberholung[1] ist nichts zu sagen. Ist, wenn "Wir [...] Patente auf Lebewesen und Gene, auf Geschaeftsideen und auch auf Software einhellig ab[lehnen], weil sie unzumutbare und unverantwortliche Konsequenzen haben, weil sie die Entwicklung der Wissensgesellschaft behindern, weil sie gemeine Gueter ohne Gegenleistung und ohne Not privatisieren[2] und weil sie kein Erfindungspotential im urspruenglichen Sinne besitzen" das Patent angegriffen oder seine Ins-Recht-Setzung, also das Gesetz? Oder wurde damit der Angriff auf die "Wissensgesellschaft" angegriffen oder wird die Privatisierung angegriffen? Sind Lebewesen, Gene, Geschaeftsideen und Software das Gleiche oder sind davon Panzer und Broetchen ausgenommen? Wo faengt das Monopol eigentlich an? Beim Patent auf eine Software im Broetchen oder schon beim Backofen? Ist nur urspruengliches Erfindungspotential gutes Gut und ist das Patentrecht nicht auch eine Erfindung, da sie ja einmal "geschaffen" wurde? Wieso ist Software ausserdem ein gemeines Gut, sprudelt es wie Oel aus dem Boden, ist es wie Luft in der Umwelt oder Wasser aus der Quelle, die Grossstaedtern laengst enteignet wurde? _________________________ [1] http://piratenpartei.de/navigation/politik [20.06.2009] [2] Welche Konsequenzen? Ist der Wasserhahn im Slum von Berlin (demnaechst) auch dem Thema Patent wuerdig? Darf man mit Not privatisieren? 3. Wir sind gegen Markenpiraterie![1] _________________________ [1] http://jungle-world.com/artikel/2009/25/35304.html [18.06.2009] 4. 5. Piratebay ist gut und gut! 6. Geld stinkt nicht, auch wenn es braun ist! Ist die Piratenpartei nicht die Piratenbucht? Um Verwechslungen vorzubeugen: Ist ein Auto ein Server, der von Carl Lundstroem bezahlt wurde?[1][2] Geht es Dir ums Dissen, Susi? _________________________ [1] http://www.flickr.com/photos/cribbzter/3553989617/ [2] http://www.spiegel.de/netzwelt/web/0,1518,480972,00.html . . . * Frequently Questioned Answers Aenderungen vorbehalten! Susi Meyer (Erscheint vollstaendig vermutlich im n0name newsletter #150.) -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From melentie at gmail.com Sat Jun 20 16:10:55 2009 From: melentie at gmail.com (Melentie Pandilovski) Date: Sat Jun 20 16:11:35 2009 Subject: [spectre] 'Tensions' at Experimental Art Foundation Message-ID: Description Sound artist Tristan Louth-Robins and new-media arts collective Shoot, Jen Brazier, Charissa Davies, Edward James and Ryan Sims together with guest artist Lauren Playfair, have collaborated to produce 'Tensions'. With original soundscapes, installation and performative projected imagery the exhibition explores emotion and tension through the use of personal technological devices ? what they transmit, store and receive, the emotional implications for the user, and how this ultimately influences society. 'Tensions' examines specifically how the omnipresence and application of communication technology affects the way information is disseminated, emotions are received and perceived, and the many ways new (electronic) languages are interpreted. A major component of the exhibition investigates the idea that transmissions of invisible, emotionally charged data ? mobile phone calls, sms, emails ? across public environments affects the emotions of passive recipients as the data passes through their bodies (e-motion). "...This is new architecture. We make our homes in representations of ourselves, replete with intricate patterns of zeros and ones, radiation that hangs around us like delicate lace, and conversations that stutter and stop in private parcels of abbreviated text." Lauren Tomczak, catalogue essay. Curated by Melentie Pandilovski Exhibition opening night: Thursday 25 June @ 6pm Exhibition dates: 26 June to 25 July 2009 Opening hours: 11-5 Tuesday-Friday, 2-5 Saturday, Closed Sundays, Mondays & Public Holidays Visit the EAF website for more information http://www.eaf.asn.au/2009/lrsc.html Image: 'untitled', by Charissa Davies Credits: Ade Suharto - Dance performance Thanks to Melentie Pandilovski & EAF staff, Libby Raupach, Mark Lloyd, Kris Lloyd Thanks also to Coriole Vineyards & Woodside Cheese Wrights, South Australia From alex at slab.org Sun Jun 21 01:06:29 2009 From: alex at slab.org (alex) Date: Sun Jun 21 01:07:01 2009 Subject: [spectre] dorkbotlondon62, 7pm Tuesday 23rd June, Limehouse Town Hall, London Message-ID: ~* dorkbotlondon #62 *~ PEOPLE DOING STRANGE THINGS WITH ELECTRICITY http://dorkbotlondon.org/ Back for the second dorkbotlondon of the month! Also - dorkcamp09 plans under way, see bottom of mail. When: 7pm, 23rd June 2009 Where: The boxing club, Limehouse town hall, 646 Commercial Road, E14 7HA When you get to limehouse town hall, ring the 'boxing club' bell. *Please close the door behind you* You'll find us upstairs! Featuring: Douglas Repetto -- the founder of dorkbot visits from NYC to spin us a fine tale http://www.music.columbia.edu/~douglas/ Ele Carpenter -- Ele talks about what happens round the back of the work in Open Source Embroidery http://www.open-source-embroidery.org.uk/ Mike Harrison -- Mike isn't sure what he's going to present yet http://www.electricstuff.co.uk/ Iain Sharp -- Iain presents his mechanical recreation of the classic arcade game Lunar Lander before it gets shipped off to Southwold pier. http://lushprojects.com/blog/ More info: http://dorkbotlondon.org/ Plus! Burningdork09, a weekend of outdoor dorkbot, back for its 4th year. Find out more and register your interest here: http://dorkbotlondon.org/wiki/index.php/DorkCamp09 From rhwinter at gmail.com Mon Jun 22 04:01:51 2009 From: rhwinter at gmail.com (Roberto Winter) Date: Mon Jun 22 04:02:46 2009 Subject: [spectre] call (voice recording collaboration for audio project) Message-ID: <3495b4ac0906211901t189cde5cl3438e89d282a46be@mail.gmail.com> Dear Spectres, This is an invitation for all to contribute with an audio piece that will be featured in a radio on an upcoming exhibition. Participating is very simple and consists in recording one's voice saying, in one's native language, a website URL that contains one's name along with that of an artist of the same nationality as the speaker's. A more detailed explanation is available here: http://algumascoisas.com/recorder/ where you will also find a very simple web-based audio recorder that will make contributing even easier and quicker (really, the whole thing shouldn't take more than five minutes!). For those willing, we'd appreciate if you forwarded this invitation to people you figure might be interested. If you have any questions, please ask. Thank you all, Roberto From ab at mikro.in-berlin.de Mon Jun 22 08:41:38 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon Jun 22 09:03:31 2009 Subject: [spectre] Fwd: Online summer course: Innovation in Digital Art and Culture Message-ID: From: Pau Waelder Laso Date: Sat, 20 Jun 2009 12:46:49 +0200 Subject: Online summer course: INNOVATION IN DIGITAL ART AND CULTURE Hello, everyone This is an online course that is taking place on the month of July. It will be mainly in Spanish (and partly in English), so it may be interesting to some of you. Best, Pau ------------------------------------------- Innovaci?n en arte y cultura digital/INNOVATION IN DIGITAL ART AND CULTURE Online course: UOC, LABoral, Universidad de Oviedo July, 6 - 30, 2009 LABoral Centro de Arte y Creaci?n Industrial and Universitat Oberta de Catalunya (UOC) are promoting a summer course on "Innovation in Digital Art and Culture" to be held this July at UOC's virtual classrooms. The course is part of a joint collaboration by the two institutions together with the Universidad de Oviedo with the goal of responding to theoretical and practical training needs of students, professionals and academics working in the sphere of audiovisual communication and contemporary digital culture. The course is directed by Pau Alsina, director of Artnodes and lecturer in Arts and Humanities at UOC, Rosina G?mez-Baeza, director of LABoral Centro de Arte y Creaci?n Industrial, and Aquilino A. Juan Fuente, director of the Universidad de Oviedo's Centre for Innovation. The course Innovation in Digital Art and Culture is conceived to study the ongoing changes and transformations in contemporary art and cultural production under the influence of information and communication technologies, from an interdisciplinary context and in tune with the wider debates on an international scale in the fields of arts, humanities, communication and social sciences The programme is continued with the Feedforward International Symposium, scheduled for October 24th and 25th at LABoral Centro de Arte y Creaci?n Industrial, open to all participants at this course. Innovation in Digital Art and Culture is aimed at cultural producers (artists, critics, curators, journalists) and professionals related with art, social and cultural intervention. Its concerns range from critical and creative productions in and about the world of culture and art in several formats (artistic, journalistic, exhibitions, advertising) to educational and social practices carried out through culture (teachers, social educators, social workers, youth workers). It also targets the cultural industry and system (managers, directors, centres, politicians) and professionals from creative industries and cultural institutions in the wider sense of the term, involved in the processes of cultural management, production, planning, promotion and dissemination, and interested in studying the impact of ICTs on the industry. Lecturers: Pau Alsina teaches Arts and Humanities at Universitat Oberta de Catalunya. Director of Artnodes (art, science and technology space) at UOC. www.uoc.edu/artnodes. Tere Bad?a is an Art Historian and Master in Sociology from IN3. She is a freelance consultant to art networks and collectives on organisational processes. Bad?a is the author of a number of research papers and manuals examining cooperation in the field of culture and R&D and innovation in visual arts. Steve Dietz is Art Director of 01SJ Biennial, a global festival of emerging art in San Jose, California. He is co-curating, together with Christiane Paul, the upcoming show Feedforward: Angel of History to be presented at Laboral, Asturias, Spain, in October 2009. Jose Luis de Vicente is a cultural researcher focused on culture, technology and innovation. He has been deputy director of the ArtFutura festival (2001-2007), associated curator of digital art at the Sonar festival (2004-2007) and art director at OFFF (2005-2007). Raquel Renn? is a doctor in Communication and Semiotics from Pontif?cia Universidade Cat?lica, Sao Paulo (2007). Jaron Rowan, is co-founder of YProductions, a production company working on the development of cultural production, management and research projects since 2003. www.ypsite.net Pau Waelder is an art critic, curator and researcher in art and digital culture. He has curated exhibitions, including Metapaisajes (Fundaci? Pilar i Joan Mir? in Mallorca/ Deichtorcenter Hamburg) and FLOW (CCA Andratx). DURATION: 30 hours FEES: ?219 / ?234 CERTIFICATE: university extension certificate CREDITS: 1 ECTS credit (participation at the Feedforward symposium will grant 1 extra ECTS credit). ENROLMENT: from 27th May to 16th June 2009 (1st period) from 17th June to 26th June / 2nd July 2009 (2nd period) Information: on http://www.uoc.edu/uvv/3/2_presentacion.html or by phone +34 902 141 141 ------------------------------------------- _______________________________________________ nettime-ann mailing list nettime-ann@nettime.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ann From cahen.x at levels9.com Mon Jun 22 09:19:38 2009 From: cahen.x at levels9.com (xavier cahen) Date: Mon Jun 22 09:39:47 2009 Subject: [spectre] =?windows-1252?q?=A4=A4=A4__cityson=2Einfo__=A4=A4=A4_?= =?windows-1252?q?L=27audio_guide_des_=9Cuvres_d=27art_public?= Message-ID: <4A3F308A.8000109@levels9.com> In french... xavier ????????? Cityson.info ????????? /cityson.info est un audio guide des ?uvres d'art public, p?rennes ou ?ph?m?res, dans la ville ? destination de l'internet et de la t?l?phonie mobile./ ?? Mettre le son de votre ordinateur ?? http://cityson.info/index.php?cat=esplanade ? ? ? Cityson.info est une plate-forme utilisant la convergence de l'internet et de la t?l?phonie mobile. Pr?s d'une personne sur trois dans le monde utilise aujourd'hui un t?l?phone mobile et on compte presque 3 milliards de t?l?phones portables. Ces deux technologies, au parcours et au d?veloppement si diff?rent, semblent se rapprocher irr?sistiblement autour de l'acc?s ? l'information et de la mobilit? pour cr?er un nouvel utilisateur, le Mobinaute. Cityson.info est un audio guide ? destination de ce Mobinaute et se propose d'ouvrir une nouvelle cartographie, une nouvelle repr?sentation de l'espace parisien en mettant ? disposition des cr?ations sonores en lien avec des ?uvres d'arts visuels dans leurs espaces publics. ?uvres p?rennes ou ?ph?m?res, institutionnelles ou alternatives, telles qu'une sc?ne de film ou une performance, s'attachant ici ? la m?moire des lieux, en passant plus traditionnellement par la commande publique, jusqu'? l'architecture comme sculpture monumentale et signe plastique premier dans le paysage. Cityson.info propose donc ? d'hyperm?diatiser ? l'espace physique de la ville gr?ce ? une technologie de code 2D, ici le ? flashcode ? . Ce code est imprim? sur un sticker et plac? ? proximit? des ?uvres dans l'espace public. Une fois scanneris? par l?appareil photo du mobile ? partir de l'application ? Mobiletag ?, il permet d'acc?der imm?diatement ? une ?uvre sonore r?alis?e par de jeunes artistes. Ces cr?ations sonores m?langent habilement et de fa?on inventive, cr?ation et documentation afin de renouveler le concept du documentaire et de l'audio guide. Le principe ?tant celui d'affirmer l'individualit? des auteurs et de leur regard, tout en partageant leur vision avec le public afin de permettre ? celui-ci de renouveler son attention face aux ?uvres dans l'espace de la ville. Xavier CAHEN ? ? ???? http://cityson.info ???? ? ? ? L'Arbre des Voyelles, Guiseppe PENONE R?alisation : Cl?ment COTTET http://cityson.info/index.php?cat=arbre_voyelles ? La fontaine du palmier ou fontaine du Ch?telet, Fran?ois Jean BRALLE R?alisation : Manhal ISSA http://cityson.info/index.php?cat=fp ? Le Kiosque des Noctambules, Jean-Michel OTHONIEL R?alisation : Laura LUFTMAN http://cityson.info/index.php?cat=lkdm ? Les Colonnes de BUREN R?alisation : Biru ZHAO http://cityson.info/index.php?cat=cb ? Ceci est une ?uvre d'art ?? R?alisation : Marc CHAN http://cityson.info/index.php?cat=esplanade ? La fontaine Niki de SAINT PHALLE R?alisation : Eleftheria MANTA http://cityson.info/index.php?cat=nsp ? Le Pot Dor?, Jean-Pierre RAYNAUD R?alisation : Manhal ISSA http://cityson.info/index.php?cat=pd ? Centre Georges POMPIDOU, Richard ROGERS et Renzo PIANO R?alisation : Zayda GRANADA http://cityson.info/index.php?cat=gp ? SPACE INVADER R?alisation : Biru ZHAO http://cityson.info/index.php?cat=si ? La statue de la Libert? au Luxembourg, Auguste BARTHOLDI R?alisation : Laurie COSENZA http://cityson.info/index.php?cat=sdl ? Le mus?e d'Orsay, Victor LALOUX R?alisation : Athina MASOURA http://cityson.info/index.php?cat=musee_orsay ? Le pont Alexandre III ou une mosa?que de J?r?me GULON R?alisation : Florian MERTZWEILLER http://cityson.info/index.php?cat=lpa ? Consigne ? vie, ARMAN R?alisation : Flora LECLUSE http://cityson.info/index.php?cat=cav ? L'Arc de Triomphe R?alisation : Firas JABAKHNJI http://cityson.info/index.php?cat=at ? L'Hotel Fouquet's Barri?re, Edouard FRAN?OIS R?alisation : Emanuele MARCUCCIO http://cityson.info/index.php?cat=hotel ? L'heure pour tous, ARMAN R?alisation : Lucie RICHARD http://cityson.info/index.php?cat=lhpt ? La Madeleine R?alisation : My-Hong NGO http://cityson.info/index.php?cat=madeleine ? La statue du g?n?ral Charles de GAULLE, Jean CARDOT R?alisation : Yin YANG http://cityson.info/index.php?cat=gcg ? Le C42, Manuelle GAUTRAND R?alisation : Wajdi LABIDI http://cityson.info/index.php?cat=C42 ? Le Monde en Marche, Fabien CHALON R?alisation : Claudia GOMEZ http://cityson.info/index.php?cat=lmm ? Une femme est une femme, Jean-Luc GODARD R?alisation : Claire DUCOS http://cityson.info/index.php?cat=ff ? Enseigne HUGNET R?alisation : Florian MERTZWEILLER http://cityson.info/index.php?cat=enseigne ? Fa?ade prolixe R?alisation : Florian MERTZWEILLER http://cityson.info/index.php?cat=mur09 ? Danse de la fontaine ?mergente, Chen ZHEN R?alisation : Mathilde GARCIA http://cityson.info/index.php?cat=dfe ? La Fontaine de PELLETIER et CAVENTOU, Pierre PONSON R?alisation : Firas JABAKHNJI http://cityson.info/index.php?cat=fpc ? >From BOULL?E to Eternity, Dan GRAHAM R?alisation : Ma?liss MAGNIER et Paul MARCHAND http://cityson.info/index.php?cat=fbtedg ? Le T?l?phone, Sophie CALLE R?alisation : Sandra PIRASTU et Nad?ge STASSINET http://cityson.info/index.php?cat=lt ? Le passe-muraille, Jean MARAIS R?alisation : Juan Pablo GUTIERREZ http://cityson.info/index.php?cat=fontainew ? La Fontaine WALLACE, Charles-Auguste LEBOURG R?alisation : Florian MERTZWEILLER http://cityson.info/index.php?cat=fontainew ? Il faut se m?fier des mots, BEN R?alisation : Jainaba NJIE http://cityson.info/index.php?cat=ifsmdm ? La Bicyclette Ensevelie, Claes OLDENBURG R?alisation : Wajdi LABIDI http://cityson.info/index.php?cat=be ? La folie observatoire R?alisation : Renaud ANNEY http://cityson.info/index.php?cat=folie_observatoire ? LE VAISSEAU II MILLE, Pascal MAUGEIN et Rapha?l LANCREY-JAVAL R?alisation : Marie GNABO-LELANDAIS et Claire MOLLET http://cityson.info/index.php?cat=fe ? La campagne "Obey!", Shepard FAIREY R?alisation : Marta PUSHEVSKA http://cityson.info/index.php?cat=obey ? La palissade R?alisation : Florian MERTZWEILLER http://cityson.info/index.php?cat=la_palissade ? La Tombe d'Oscar WILDE, Jacob EPSTEIN R?alisation : Agathe DENOUN http://cityson.info/index.php?cat=tow ? Inauguration du 1% artistique de l'ASSEDIC du 20 e arrondissement de Paris, SURVIVAL GROUP R?alisation : Florian BROCHEC http://cityson.info/index.php?cat=a20a ? La girafe en Lego/Duplo, Potsdamer Place, Berlin R?alisation : Eleftheria MANTA http://cityson.info/index.php?cat=gb ? ? ? La carte : http://maps.google.com/maps/ms?hl=fr&ie=UTF8&msa=0&msid=100872570437574813099.000451ab6e95cabdb591d&ll=48.864715,2.346954&spn=0.108409,0.219727&source=embed ? ? Devenez un flashcode g?ant mobile : http://basical.spreadshirt.net/fr/FR/Shop/Article/Index/article/9771493 ? ? ?????????? Partenariat : PARIS 8 UNIVERSIT? VINCENNES SAINT-DENIS http://www-artweb.univ-paris8.fr/ http://www.arpla.univ-paris8.fr/ MOBILETAG http://www.mobiletag.com/ PROVISOIRE.NET http://www.provisoire.net ??????? ? ???? XAVIER CAHEN ?????????????? http://www.cityson.info L'audio guide des oeuvres d'art public ? destination de l'internet et de la t?l?phonie mobile. Paris France From redazione at digicult.it Mon Jun 22 14:50:07 2009 From: redazione at digicult.it (Redazione Digicult) Date: Mon Jun 22 14:50:40 2009 Subject: [spectre] Competitive Tender - The Gateway to Milan Message-ID: <00a801c9f337$f8bc9870$81661201@marco> Sorry for any crosspostings Digicult presents: Competitive Tender - Call for projects "The Gateway to Milan" 20 July 2009: deadline for submitting proposals for the first step http://www.laportadimilano.it/ Competitive Tender Notice http://www.laportadimilano.it/public/File/b96_call_for_tenders.pdf Partecipation Application http://www.laportadimilano.it/public/File/b96_participation%20application.doc Technical Infos http://www.laportadimilano.it/public/File/AllegatiTecnici.zip Sea, the company operating Milan airports presents" La Porta di Milano", a new architectural project for realizing a work of art that will contribute towards changing the appearance of Malpensa airport. The notice of competition, with the object of involving not only the Italian but also the international world of architecture and design, plans to create a space with a high aesthetic value, virtually representing the door to the city of Milan . Apart from emotively kindling the imagination of the passengers by its fascinating lights, colours, materials and sounds, this work could also become an exceptional location for holding cultural events and exhibitions. " La Porta di Milano ", which will come to life between the airport and the Malpensa Express railway station, will be an area of great creative impact, a perfect blend of art and architecture, with which Milan will welcome the whole world in an entirely original manner: a sensorial itinerary pointing straight to the heart and mind of the travellers. " La Porta di Milano" intend to involve creative personalities, architects and designers, Italians and foreign, for them to send us their ideas on this project of great symbolical value. An estimated 1.7 million Euro is planned to be invested in completing the entire work. The project is timed for the following steps: . 5 June 2009: publication of notice of competition in the Official Gazette . 20 July 2009: deadline for submitting proposals for the first step . end of September 2009: notification of finalist projects . December 2009: award of supply contract A jury of experts was set up to select the finalist projects and the winning idea, which will not only guarantee transparency in the decision making process, but also the quality of the proposals: Sandrina Bandera , Superintendent of the Province of Lombardy historical heritage, Mario Bellini , Architect and Designer, Gregorio Caccia Dominioni, Architect and Arnaldo Pomodoro, Architect and contemporary Sculptor will be sitting on the jury chaired by Gianpiero Borghini PANEL OF JUDGES SANDRINA BANDERA graduated in Art History at the University of Florence in 1975. She earned prestigious scholarships: in 1976 at the Roberto Longhi Foundation and from 1977 to 1980 the CNR scholarship at the Biblioth?que Nationale in Paris on the miniature from Lombardy from the 15th century. >From 1979 to 1980 she held the office of Research Professor at the University of Florence; in 1980 she won the competition for career directive as an Art Historian for the Ministry of Cultural Heritage. From 1980 to 2007 she acted as the highly qualified, sole official Superintendent Director of the city of Milan and southern Provinces. From 1998 to 2008 she directed the Superintendent Export Office controlling all imports and exports of works of art in Lombardy. Since 2000 she has been a member of the " Abbatia Sancte Marie de Morimundo" Council Foundation. In 2007 she won the contest and was appointed Superintendent of Historic and Artistic Heritage. Since 2008 she has held the office of Superintendent of the city of Milan and for 6 months the office of interim Superintendent of the city of Genoa. She is the director of the Brera Art Gallery. She published studies, research and monographic volumes on Italian painting and Italian sculpture from the 14th to the 18th century, among which a monograph dedicated to Giotto and one to Agostino De Fondulis. She also took part in exhibitions dedicated to Lombard paintings from the 15th and 16th centuries. Between 1999 and 2000 she designed and staged, as the sole author, an exhibition dedicated to the paintings from the house of Visconti and Sforza at the Brera Art Gallery. Concurrently, she published several studies on the Middle Ages: Saint Ambrose's Golden Altar, Ariberto's Cross in the Milan Cathedral, Cistercian miniature and a monograph on medieval Cistercian art and architecture. MARIO BELLINI graduated with a degree in architecture from the Milan Polytechnic in 1959. From the very start, his prolific design work around the world was a great success. He has designed for Olivetti, Cassina, B&B, Flou, Vitra, Rosenthal, Yamaha and others, receiving 8 "Compasso d'Oro" awards and several international recognitions. His work was also celebrated with a personal exhibition at MoMA in New York in 1987. In the early 1980's, he inaugurated his career as an architect by signing major projects in Italy and overseas, most of which were international tenders: the Villa Erba Conference Center in Cernobbio (1986), the Portello exhibition complex in Milan (1987), Yokohama Business Park (1987), Tokyo Design Center (1988), Risonare Vivre Complex (1989), Arsoa Headquarters (1996). These were followed by: Natuzzi Headquarters in the United States (1996), the National Gallery of Victoria in Melbourne (1996), the Essen Exhibition Complex in Germany (1997), the Turin Cultural Center (2001). Current projects include the Verona Forum (since 2004), the new Islamic Arts Museum at the Louvre in Paris (since 2005), the two eco-compatible towers for Deutsche Bank Headquarters in Frankfurt (since 2006) and the new Fiera Milano Convention Center, the largest in Europe and due to be completed by 2010. In 2006 he was assigned the development of the new Science-Technology Park at Erzelli in Genoa. In 2009 he won a competition for the restoration and functional redevelopment of the monumental Brera complex in Milan. He has prepared a long list of installations for art and architecture exhibitions in the most important museums across the globe, among which "The Treasure of St. Mark's in Venice" (1984-1987), "The Triumphs of Baroque Architecture in Europe 1600-1750" (1999), "Magnificence & Project"(2009). He served as the director of Domus magazine from 1986 to 1991. In 2004, he was conferred the Medaglia d'Oro by the President of the Italian Republic in recognition of his work in Italy and overseas. GIANPIETRO BORGHINI was born in Brescia on 20 April 1943. He is married and has two children. He graduated with a degree in languages from Ca' Foscari University in Venice and has a Master's in Slavonic Philology from the University of St. Petersburg. He has translated works by the Russian philosopher A.I. Herzen for the Einaudi publishing house and by the historian V. Rutenburg for Il Mulino. He is a journalist and worked as a correspondent in London for the weekly "Rinascita" from 1968 to 1970 before serving as the editor of the Rome weekly "Nuova Generazione". He was the deputy editor of the daily "L'Unit?" from 1980 to 1985 and was in charge of the Milan office. He was the director of the daily "Il Giornale di Bergamo" from 1993 to 1994. In the political-administrative field, he held a post as a Councilor for the Lombardy Regional Government from 1985 to 1992 and then again from 2004 to present. From 1990 to 1992, he served as the President of the Lombardy Regional Council and from 2004 to 2006 as the Housing and Public Works Councilor for the Lombardy Regional Government. From 1992 to 1993 he was the Mayor of Milan and from 2006 to 2008 the Chief Executive of the Milan City Council. From 1996 to 2001 he was a member of the board of directors of I.C.E. (Institute for Foreign Trade) and from 2000 to 2001 the director of Missione Arcobaleno (private funds) in the Balkans. From 2000 to 2006 he was the deputy chairman and member of the Steering Committee of SACBO S.p.A. of Orio al Serio and was re-appointed in 2008. He is a consultant for SEA - Milan Airports where he is in charge of corporate relations. He is a member of the board of directors of Fondazione AEM. GREGORIO CACCIA DOMINIONI was born in Milan on December 22, 1946. He graduated in Architecture at the Milan Polytechnic in 1971, where he successfully passed the State Exam during the same year. Since 1971 he has been working in private practice, mostly with private clients on architectural planning, city planning and design. Since 1985 he has been a partner at the Caccia Dominioni &Zucca Firm. From 1974 to 1978 he was Assistant to City Planning I at the Milan Polytechnic Faculty of Architecture. From 1982 to 1985 he was Assistant Coordinator to the Zone I Territory and Building Council Committee. From 1986 to 1991 he was Advisor to Zone 1 and Coordinator of the Zone Building Committee. He also sat as a representative of the same Council on the Municipality of Milan Building Committee as well as the City Planning Committee. In 1992 he was a candidate to the office of Councilor to the Municipality of Milan City Planning. In 1996 he was Stage Director for the Order of Architects of Milan and Lodi and Representative of the Order of Architects in the Degree Committees for the 1996 academic year. In 2003 he was part of the Committee for the international competition award launched by the Province of Milan for planning the center for excellence for innovation and work on Via Soderini. In 2004 he acted as spokesperson at the Milan Polytechnic in doctorate programs in architectural and urban planning on the theme of large containers. In 2007 he took part in the Committee established by the Mayor of Milan in support of the same and the Councillor of Mobility, Traffic and the Environment for constructing public parking in the underground of Piazza Sant'Ambrogio and the Darsena/Catone area. ARNALDO POMODORO was born in Montefeltro in 1926. He grew up and went to school in the Pesaro area. In 1954 he moved to Milan. In the fifties he created high-reliefs with unique, original sculptural "characters," his own signature, a new sculptural revolution. During the early sixties he moved on to "full relief" then to larger pieces. He received many awards for his sculptures: in S?o Paulo in 1963, in Venice in 1964, in Pittsburgh in 1967, the Imperial Prize in Tokyo in 1990 and the International Sculpture Center Prize, highlighting his career achievements, in 2008. In 1992, he was conferred an honorary degree in Arts and Letters at the University of Dublin and in 2001 an honorary degree in Construction Engineering and Architecture at the University of Ancona. In 1996, he set up the Arnaldo Pomodoro Foundation, which in 2005 started exhibiting his works at 35 Via Solari in Milan. Numerous exhibitions followed. He exhibited at the Besana Rotunda in Milan in 1974 and at Fort Belvedere in Florence in 1984, followed by an exhibition in Paris at the Gardens of the Palais-Royal in 2002 and in downtown Lugano in 2004. He then held exhibitions along the Paestum perimeter walls in 2005 and recently at the Magnani Palace in Reggio Emilia in 2006 and at the Priam?r Fortress in Savona in 2007. He also had traveling exhibitions in museums in the US and in Europe, America, Australia and Japan. In October 2008 the Arnaldo Pomodoro Foundation hosted a collection of his works with a representative selection of his monumental sculptures created from the 1970s up to today. His works are in large piazzas (Milan, Copenhagen, Brisbane, Los Angeles, Darmstadt and Rome), in the Pepsi Cola Park in Purchase, NY, at the Trinity College in Dublin, in the Della Pigna Courtyard at the Vatican Museums, in the large square of the United Nations in New York, at the Paris UNESCO site as well as in the largest public collections. He created the new "Gallery of Arms" at the Poldi Pezzoli Museum in Milan, with a project that is a combination of set design, architecture and sculpture. He taught at the Art Departments of prestigious American universities such as Stanford, Berkeley and Mills College. He also took care of stage design with "impressive equipment" for large Italian theatrical events. Lastly, he created the scenes and costumes for the opera "Teneke" by Fabio Vacchi, with text by Franco Marcoaldi, from the homonymous tale by Yashar Kemal, which premiered at the la Scala Opera House in September 2007, directed by Ermanno Olmi and conducted by Roberto Abbado. From lotu5 at resist.ca Tue Jun 23 01:16:22 2009 From: lotu5 at resist.ca (dj lotu5) Date: Tue Jun 23 01:17:04 2009 Subject: [spectre] Autonet - an autonomous internet Message-ID: <4A4010C6.2090601@resist.ca> Autonet is a project to create a wireless, global internet that can provide more reliability than corporate phone companies by being community based and freely licensed. The cutting off access to The Pirate Bay by BT in the UK [1] is just another sign of the beginning of the end. The fact that the Great Firewall of China exists signals that the internet is already obsolete and that the Great Firewall of the US is just around the corner. While moves against net neutrality began years ago and have been fought, nasty laws such as HR4437 and the Total Information Awareness program have a way of coming into existence later in the future, slightly modified, under different names. The internet as we know it, as a place for free exchange of information, as the center of what has been called a second 17th century with new ideas, creativity and innovation emerging daily, is rapidly coming to an end. We must use these last gasps of freedom to route around the disaster and create a truly free network. How? Advances in wireless technology such as ubiquitous wireless routers, community mesh networks which are easily expandable and self-healing as well as long range wireless efforts such as HPWREN indicate a possible future for a community based internet free of the centralized control of telephone corporations and governments. While this is definitely a fork, more forks are to come and we can only hope that a few networks will emerge which can be broad enough to span most of the globe. Major questions remain to be solved, such as speed issues, routing issues, DNS control, splits and neutrality. The Autonet, or Autonomous Internet project seems to begin to address this rapidly changing situation, where today Germany [2] has installed internet filtering as well and more countries are to come. While today those cut off are defying copyright laws, tomorrow any other political issue may be the cause for being denied access to global networks. While today the FBI is content to steal servers from information providers like Indymedia, perhaps tomorrow they will not be happy until indymedia is completely cut off of the network, or other open sources of information such as blogs, twitter accounts and social networks of dissident groups. The popular revolt in Iran and subsequent disruption of network access by the Iranian government is only a glimpse of what is to come in the US and around the world, where the first line of attack against political resistance is to cut off network access. By establishing a community based, wireless, global network we can allow groups of individuals, not corporations, to maintain freedom of communication; We can create out right to communicate instead of asking for it, and continue to route around obsolete intellectual property laws which restrict our dreams and our creativity. Join this effort by going to http://alt-bit.org and contributing to this research, lets start outlining the problems, finding the technical solutions and work out the issues, collectively, as a Free Software / Open Hardware project, using open licensing. Another urgent reason for Autonet is one that has motivated Free Software hackers for so long: Technological progress without a reliance on corporate support. Given the current financial and economic crises, how long can we expect dinosaurs like phone companies to survive? If one of these crises turns into disaster, the consequence is likely to be the disrution of collapse of the global networks on which we rely. I am not ready to give up what has been gained from these networks, including a worldwide communication between political actors empowered through fast information flows. We must start this long, difficult project today so that we may be ready for unexpected dangers which threaten our capability to communicate as a multitude, globally. To add to the project, go to http://trac.alt-bit.org/wiki/projects/autonet To sign up to participate, go to http://trac.alt-bit.org/register -djlotu5 -chead [1] http://www.pcpro.co.uk/news/251609/bt-blocks-off-pirate-bay.html [2] http://www.nettime.org/Lists-Archives/nettime-l-0906/msg00023.html From joris at v2.nl Tue Jun 23 13:54:12 2009 From: joris at v2.nl (V2_) Date: Tue Jun 23 13:55:06 2009 Subject: [spectre] V2_: Test_Lab: What Crisis?! July 9, 2009 Message-ID: <4A40C264.20305@v2.nl> Test_Lab: What Crisis?! date: 9 July 2009, 20:00-23:00 location: Eendrachtsstraat 10, Rotterdam admission: free web: http://www.v2.nl/events/test_lab-what-crisis Featuring: David Hahlbrock (DE) Academy of Media Arts Cologne, Cesar Harada (FR/JP), Dot Mancando (TH), Thomas Thwaites (UK) Royal College of Art, Sander Veenhof (NL) Gerrit Rietveld Academy. Opening: Mieke Gerritzen, Respondent: Koert van Mensvoort. Performance: TokTek vs VJ MNK. Newspaper headlines report that our world is in crisis, but while the front page illustrates how bad the global situation is, a few pages down, positive tongues claim that the current global crisis provides us with unprecedented opportunities for creative technological innovation, social transformation, revisions of financial systems, environmental change, and entrepreneurship. But did we really need this crisis to generate these opportunities?! We think not. Our world is continuously in crisis, and therefore constantly requires critical reflection and rethinking. However, as the world?s future is said to be in the hands of the truly creative and critical thinkers, we are more than willing to soothe away any worries about the crisis by revealing a whole new generation of artists? and designers? views on the current state of affairs. While elsewhere the crisis is being tackled by young scientists, policy makers, and entrepreneurs, through initiatives such as think tanks and campaigns, in this edition of Test_Lab, V2_ will create its own special think tank for young artists to address issues of a world in crisis with artistic reflection and creative vision. In order to do so, V2_ has made a selection of several outstanding graduation projects from this past academic year, that were proposed for the program by teachers and coordinators from various European art and design academies. The demonstrated works will lay out a young generation?s artistic view on our current conditions and ways of living: Featuring a truly objective coin-flipper, a revolutionary strategy for urban gardening, the first ever open source international ocean station, toast from a toaster made from scratch, and an interactively controlled greenhouse for growing graduation bouquets. As is custom to Test_Lab, the audience is invited to assess these young artists? reflections by testing the demonstrated artworks and designs themselves. So prepare for an evening of trying thought provoking electronic art and design that deals with urgent (and less urgent) aspects of a world in crisis. If after this any worries about the crises should remain, then TokTek vs. VJ MNK will soothe your cares away by performing live at Test_Lab: What Crisis?! This event will be streamed live at http://live.v2.nl Test_Lab is a bi-monthly public event organized by V2_ Institute for the Unstable Media that provides an informal setting for the presentation, demonstration, testing, and discussion of artistic Research and Development (aRt&D). For more information, please contact Michel van Dartel, E: michel@v2.nl | T: +31 (0)10 2067272. From info at transfera.es Tue Jun 23 22:50:48 2009 From: info at transfera.es (info@transfera.es) Date: Tue Jun 23 22:51:16 2009 Subject: [spectre] TRANSFERA TV VIDEOART: BILL VIOLA Message-ID: <4A414028.5000002@transfera.es> Estimad@s amig@s, A ra?z de la entrega a Bill Viola del Premio Catalunya en Barcelona el pr?ximo 30 de junio, el programa televisivo de videoarte Transfera, que se emite desde Madrid todos los viernes y mi?rcoles a las 21:00, pondr? en antena dos de los programas que hemos dedicado a su obra: El programa 28 se retransmitir? el pr?ximo viernes 26 de junio y el mi?rcoles 1 de julio: http://www.transfera.es/programa28.html El programa 29 se retransmitir? el pr?ximo viernes 3 de julio y el mi?rcoles 8 de julio: http://www.transfera.es/programa29.html Saludos muy cordiales, Staff www.transfera.es Beloved friends, As next June 30th, Bill Viola will receive in Barcelona the Catalonia Prize, Transfera Videoart TV program, that broadcast from Madrid every Friday and Wednesday at 21:00 PM, will put on antenna two of the programs that we have dedicated to his art: Program #28 will be retransmitted Friday 26 of June and Wednesday 1 of July: http://www.transfera.es/programa28.html Program #29 will be retransmitted Friday 3 of July and Wednesday 8 of July: http://www.transfera.es/programa29.html Very cordial greetings, Staff www.transfera.es From fc-spectre at pleintekst.nl Wed Jun 24 09:09:36 2009 From: fc-spectre at pleintekst.nl (Florian Cramer) Date: Wed Jun 24 09:10:05 2009 Subject: [spectre] Graduation show + workshops Networked Media, Piet Zwart Institute Message-ID: <20090624070936.GA3615@hp.localdomain> Networked Media Graduation show, projects and public workshops of the Master Media Design, Piet Zwart Institute of the Willem de Kooning Academy Rotterdam University Location: CBK Rotterdam | Nieuwe Binnenweg 75 | 3014 GE Rotterdam Opening: Friday, July 3, 20:00 - 24:00 exhibition continues: July 4- July 12, 12:00-17:00 closed on Monday July 6th Contact: Leslie Robbins This year, the Media Design graduation show is hosted by CBK (Centrum Beeldende Kunst) Rotterdam. As an institution and communal space built on the concept of the arts as a democratic means of social exchange, it provides common ground with our Master programme and its focus on media in their social context. "Networked Media" is the title of this exhibition and project week, and will be the official caption of the Master programme after this summer. Between the 3rd and 12th of July, we will present - an exposition of all eight 2009 Master graduation projects - works by first year Master students developed for "Build, Break and Broadcast", a thematic project on do-it-yourself hacking and recycling of electronic hardware. - a series of public, free workshops and lectures given by artists, designers and media activists associated to our study programme (see below). +++++++++++++++++++++++++++++ Friday, 03. July 'Networked Media" Official Opening Graduation exhibition 2009 20:00h doors open for viewing the exhibition at (CBK) The Centre of Visual Art, Nieuwe Binnenweg 75, 3014 GE Rotterdam 20:30h Official Opening by Richard E. Ouwerkerk, Chairman of the Willem de Kooning Academy Rotterdam University With speakers Florian Cramer, lector Piet Zwart Institute, course director Media Design and Communication, WdKA and Sergei Versteeg, Managing director of The Centre of Visual Art, Rotterdam 21:00h Official Graduation Catalogue 2009 Presentation "Huh? Oops... F*ck! Oh, no! Wait... Again", a catalogue of all 2009 Master of Media Design graduation projects designed by Luna Maurer and Roel Wouters, and printed on the stencil press of Knust /Extrapool in Nijmegen. The first three catalogues will be presented to Arie Altena, Media researcher and essayist; Stephan Saaltink, Director WdKA and Richard E. Ouwerkerk. 21:30h Marc Chia, Bufferrrbreakkkdownnn Arkestra Bufferrrbreakingggdownnn A sound-based performance orchestrated by streaming networks and processor overloads. "What you are about to hear is a performance with the use of my voice and all sounds my gestures make during the performance assisted by 8 interconnected audio streams and the inadequacies of digital technology." 21:45h Aymeric Mansoux, 4NX A performance where sound is image is sound 22:00h - 1:00h Mixmaster Fader DJ set. +++++++++++++++++++++++++++++ Catalogue: The exhibition is accompanied by a catalogue designed by Luna Maurer and Roel Wouters, and printed on the stencil press of Knust /Extrapool in Nijmegen. Next to the documentation of the projects and an essay by Arie Altena, this book contains more than 48,000 individual page numbers hand-drawn with charcoal by the students, staffers and designers over the course of a year. +++++++++++++++++++++++++++++ Workshops and Events Programme Location: CBK Rotterdam, Nieuwe Binnenweg 75, 3014 GE Rotterdam Participation is public and free. Sunday, 05.07 12:00 - 17:00h The Computer Hardware Crash course is a project by Genderchangers Tutors: Donna Metzlar & Audrey Samson The Computer Hardware Crash course will consist of taking apart a computer and putting it back together again. We will blow life into jargon like: ports, plugs, bus, interface, printed circuit board, card, integrated, processor, memory, storage, cache, master, slave, the BIOS and booting. Bring along some paper, a pencil and your questions. We will provide the computers and screwdrivers. The workshop is 4 to 5 hours long and includes a break of about 20 minutes. www.genderchangers.org participants: 12 max. | language spoken: English booking mandatory: Audrey Samson before Thursday, July 2nd +++++++++++++++++++++++++++++ Wednesday, 08.07 & Thursday, 09.07 12:00 - 17:00h workshop | "/mode +v noise" is a project by GOTO10 Tutors: Aymeric Mansoux & Jan-Kees van Kampen "/mode +v noise" is a project of GOTO10, a collective of international artists and computer programmers. It is based on IRC, the oldest text-based Internet chat environment. This intervention will transform an IRC chat room/channel into a simple, collaborative, text-based online system for making music. Since IRC allows 'chat bots'- computer programs that pretend to be human conversation partners -, we will program such a bot to create a collective musical composition environment based on Internet chats. In this workshop, participants will explore two parts of the project: designing sound generators in Supercollider that they can control via a simple IRC bot written in Python. http://goto10.org/ Level: Intermediate limited places: 8 Max | Language spoken: English booking mandatory: send short bio to Leslie Robbins before Monday, 06 July +++++++++++++++++++++++++++++ Thursday, 09.07 22:00 - 24:00h FEED: is a project by De Geuzen Riek Sijbring, Femke Snelting and Ren?e Turner [the exhibition can be viewed between 20:30 - 24:00h] Turbo image and slogan mixing, fed from near and remote locations, projected on to the CBK windows. Contribute from your home via http://feed.geuzen.org or join the wifi bubble located directly in front of the building. De Geuzen is a foundation for multi-visual research and the collaborative identity of Riek Sijbring, Femke Snelting and Ren?e Turner. Since 1996 they have employed a variety of tactics to explore female identity, narratives of the archive and media image ecologies. Their work has been featured in events, publications and spaces such as Manifesta 2, Mute, NIMK, Peacock Visual Arts and Furtherfield.org. Exhibitions, workshops and online projects operate as thematic framing devices where the group investigates and tests ideas collectively with different publics. Characterizing what they do as research, their work is open-ended and values processes of exchange and critical interrogation. http://www.geuzen.org +++++++++++++++++++++++++++++ Graduation projects in the exhibition Alexandre Leray, Oroborus A manifesto on processual design, consisting both of its text and a self-written piece of computer software for visual and code-based graphic design: "Processual design is not about individualized luxury objects, but it is design for everyone. - [...] - Processual design empowers the designers and the public". Dennis de Bel, Re:deFineArt This project was specifically created for the CBK. It invites visitors to vote for their favourite, still available art work in the CBK collection, resulting in a continuously updated list of successful artworks on location and through the Internet. All data gathered from the votes will result in a definition of the perfect home art work. It will be published as a handbook for artists to create perfect works for inclusion into the CBK collection, thus completing the circle. This project is part of the launch of CBK's new online catalogue. Voters have the chance of winning a one-year rental free of the highest-rated artwork. So please come and vote to help creating better art, and a better CBK collection in the future! Leonie Urff, Expo[re]view An alternative, online exhibition catalogue based on allowing people to capture their own visit with a small video camera on a giant pixel tie. The result will be based on people's personal experience instead of a curator's view of an exhibition. This project is influenced by Japanese "Device Art", a movement of playful media design at the threshold of art, technology, science and entertainment. Marc Chia, Bufferrrbreakkkdownnn Arkestra Bufferrrbreakingggdownnn A self-descriptive audio and spoken word performance using overloaded personal computers and Internet connections for the orchestration of its sounds. Sauli Warmenhoven, Mimetrics A website that offers a variety of alternative ways of visually displaying and analyzing a film, exposing - for example - its visual texture and density of dialogue, and allowing to see, display, and represent films in new ways. Serena Williams, Dictionary of Dutch Design A website and book that researches, analyzes and maps the jargon of Dutch graphic design, proving that its discourse is based on subjective judgments, made-up terminology and doublespeak. St?phanie Vilayphiou, Blind Carbon Copy Experimental design hacks both in print and on the web that reflect and circumvent intellectual property restrictions. Ray Bradbury's novel "Fahrenheit 451" is modified by several text and typographic filters, resulting in books and texts that are more or less legal to freely distribute. Timo Klok, You Only Live Forever An exploration of database cinema - films that are no longer following a linear narrative but whose scenes are rearranged records in a database. In this piece, the database consists of old James Bond movies. A computer program combines their scenes into new films based on the standard narrative elements and logic of the film series. +++++++++++++++++++++++++++++ First year student projects in the exhibition Along with the graduation show, first year Master students will show their hardware-hacked media design from the Thematic Project "Build, Break and Broadcast" (BBB/1100 1100 1100) supervised by Gordan Savicic and MODDR_ labs. BUILD refers to a Do-It-Yourself attitude, the recycling of hardware and repurposing of ideas. BREAK refers to opening up technological black boxes, BROADCAST to finding media channels, from setting up hidden network video streams to social engineering or placing stickers algorithmically around the city. Chris Baronavski, Breaker Breaker Bridgeslap This artwork consists of a live audio feed tapped from the strings of the Erasmus-Bridge in Rotterdam. The sound of ambient electromagnetic interference, mechanical noise from cars, trams, etc. will accumulate in the cables differentially. By thawing this frozen music, a synaesthetic simulation of spatial re-location emerges, induced by audible sound and electromagnetic vibrations indicating mechanical movement through space. Emanuele Bonetti and Loredana Bontempi, "What's the time?" "What's the time?" tells you when it's time not to think about time. Based on your online agenda (fetched from a web calendar), time is going to be remodeled to fit your needs. The project speculates about the presence of a clock and the collective perception of time within mediated realities. Emanuele Bonetti and Loredana Bontempi, "I can see you singing." The project comprises of a hacked record player which turns your voice into a rotary graph directly written onto paper. Its specially engineered drawing algorithm makes your encounter with the old medium remarkable. Sing a song and study your sonic looking-glass knocking in&out! One, Two, Plot! Agnese Camellini, Blinking Light Box Blinking Light Box is a shy artwork inspired by the metaphorical use of blinking LEDs, interaction and code as language. The box is made to be opened by the viewers of the artwork who can change the amount of light inside the box and outside flickering of LEDs. It is a metaphor of a system, which is characterized by an unstable output which can be stabilized, when someone supplies some light to its internal space. Farrah Shakeel, The Burka Machine Any creation is bound to inherit traits of its Creator. The Burka Machine is a very conscious creation of a female-machine that behaves very female-like upon interaction. The political and social associations that society and Man have conjured about the Burka make us forget the presence of a very feminine human within that attire, and the very feminine emotions and desires she beholds. Selena Savic, IT'S MEANT FOR THE BLIND BUT YOU CAN ALSO HEAR IT The commodity of signalisation in public space is relying on covering more than one sense per information. The ticking devices installed on traffic lights are one of those glazing layers on the functionality of our public space. All these are also perceivable by people with no visual impairment and probably often used by them. What happens when you take the devices in your own hands and add misinformation? -- Florian Cramer, Lector Master Media Design: Networked Media Research programme Communication in a Digital Age Piet Zwart Institute Willem de Kooning Academy Hogeschool Rotterdam T +31 (0)10 7947402 http://pzwart.wdka.hro.nl/mdma From qrndnc at yahoo.it Wed Jun 24 10:21:05 2009 From: qrndnc at yahoo.it (Domenico Quaranta) Date: Wed Jun 24 10:25:24 2009 Subject: [spectre] PIXXELPOINT 2009 - ONCE UPON A TIME IN THE WEST Message-ID: <006FCE23-8937-419E-89CA-6509A138EE8B@yahoo.it> PIXXELPOINT 2009 - CALL FOR APPLICATIONS ------------------------------------------------------------------- ENTRY FORM (PDF): http://www.pixxelpoint.org/entryform2009.pdf DEADLINE: September 30th 2009, arrival date. *** *** *** Once Upon a Time in the West We keep on talking about ?new media?, while in actually fact these media are anything but new. The Net is twenty years old, if we start counting from the advent of the Web, forty if we start from Arpanet. Spacewar!, the first videogame ever, is more or less the same age. Virtual worlds are the updated, lighter versions of a technology acclaimed as ?the future? when Second Life programmers were still in diapers; social networks are the bastard sons of Fidonet. As for the computer, it is younger than Lord Byron, but certainly not than his daughter Ada. Once upon a time there was the electronic frontier, an abandonware myth which was able to regenerate itself thanks to the continuous advance of the frontier itself. Like in space, in technological progress there's no ocean at the end of the trip. But, unlike the space race, the race to the next technology is endless, and endlessness is boring. Yet, while we got used to innovation and the day-after rhetorics, we have never got used to the loss of the past. We look back to what was new yesterday and is trash today, and we feel a deep sense of nostalgia. Commodore 64 and 386dx. The first Apple Macintosh. Bulletin Board Systems. Animated gifs. Glittering images. Web buttons. Super Mario. Doom. Napster. Jennicam. Mosaic. ASCII art. MIDIs and MOOs. Not to mention VHS, vinyl, audio cassettes, cathode tubes, portable radios, faxes. It is the kind of nostalgia that we feel for a relative who died young, once the pain abates: you are left wondering what kind of man he would have been. Or for someone that, once grown up, does not live up to his or her promise. Sometimes nostalgia develops into historical research, and becomes media archeology. We don't look for the technologies that we once loved, but those we have never seen in action. But in both the cases, in the artistic field this sentimental look at the past is producing some brand new, interesting stuff. Reviving dead media and obsolete technologies, retrieving and rekindling their aesthetics, making them do things they were never expected to do, and telling stories about them with other means is proving to be a sound artistic strategy ? undoubtedly more so than ?the exploration of the artistic potential of new media? which became the mantra of most New Media Art. This happens because, when you give up on the rhetorics of novelty, what is left on stage is the human element: the man of the past who domesticated the media, put his own life into them and was changed by them; and the man of the present, who looks back on that past with the same sentiment as the venerable Sergio Leone looked to the West. On the occasion of its 10th Birthday, Pixxelpoint festival wants to explore this feeling. Clean out your attic, the folders you haven?t touched for years, GIF repositories, your university's warehouse, and the dumps of Silicon Valley ? or its small-town emulators. Get your hands on this stuff, and send us your finds. Any media is allowed, apart from new! Domenico Quaranta, curator *** *** *** Rules and conditions 1. Pixxelpoint 2009 International New Media Art Festival will begin on December 4th 2009 in Nova Gorica, Slovenia in Nova Gorica City Gallery (Mestna galerija Nova Gorica) and it will last for eight days, until December 11th 2009. 2. Competitors can choose between categories: - New media installation (new media work that is exhibited in spatial arrangements) - Computer based art (new media work that doesn?t require physical space, for example, programs, computer games, internet art, etc.) - Digital print - Video - Other (work in traditional media - ie drawing, painting, sculpture, embroidery and so on - that may fit thematically or conceptually in the exhibition) 3. Submissions must be sent free of charge to: Pixxelpoint Kulturni dom Nova Gorica Bevkov trg 4 SI 5000 Nova Gorica Slovenia (Att. Blaz Erzetic) E-mail: pixxelpoint2009@gmail.com Deadline is September 30th 2009, arrival date. 4. Works can be sent on: - CD-ROM - DVD-ROM - e-mail (pixxelpoint2009@gmail.com) Label on the media must contain the name of the author and the work. Every single work must be accompanied by entry form. Works submitted without this entry form will not be valid. In case of sending by email, attach scanned filled form or send it by fax to 00386 33 540 19. Media will not be returned. 5. There are no software and hardware limitations. 6. Competitors agree that their work can be used for promotional purposes for the festival Pixxelpoint and catalogue for Pixxelpoint festival. 7. Submitted works will be selected by the curator on the basis of artistic achievement. Autors whose works are admitted to the contest will be contacted by the oragnizers. 8. Author guarantees the authenticity of his/her work. In case that work is partially or completely not competitor?s property, he/she assures that he has all the rights and permissions to use this work. With this statement the author frees the festival of any misunderstandings regarding copyrights. 9. Pixxelpoint will not sell artworks or copyrights of the submitted works. The festival is meant only as exhibition and promotion for the artists. 10. All submitted works must match the given theme ?Once Upon a Time in the West? as described on this page. --- Domenico Quaranta mob. +39 340 2392478 email. dom@domenicoquaranta.net home. vicolo San Giorgio 18 - 25122 brescia (BS) web. http://www.domenicoquaranta.net/ "The world we actually have does not meet my standards". Philip K. Dick From dissemination.jbnaudy at gmail.com Wed Jun 24 10:47:03 2009 From: dissemination.jbnaudy at gmail.com (Jean-Baptiste Naudy) Date: Wed Jun 24 10:47:27 2009 Subject: [spectre] Transitioners: London View, collection preview at Hold & Freight, London, July 2009. Message-ID: <80561c450906240147x44edea5ctaa9452347bc052f@mail.gmail.com> SOCI?T? R?ALISTE TRANSITIONERS: LONDON VIEW Collection Preview: Colors. Opening: Thursday, July the 2nd, 2009, 7 p.m. at Hold & Freight, Unit 7, Apple Tree Yard, Bradwell Street, London E1 4DR http://www.holdandfreight.org http://www.societerealiste.net Transitioners: London View?s preview is facilitated by Amal Khalaf. This exhibition is kindly supported by the Jan Van Eyck Academie, Maastricht (http://www.janvaneyck.nl) === In 2006, the Paris-based cooperative Soci?t? R?aliste launched Transitioners, a ?trend design agency? specialising in political transitions. Transposing the principles of trend forecasting generally used by the fashion industry to the field of politics, the project questions the revolution (transition?) as a central category for contemporary Western society. How can a "democratic transition" be produced? What is the role of design in the permanent conversion of political flux into mythology? How can the effect of an event on citizens be transformed into a controlled affect? Depending on the present political atmosphere, Transitioners define the general climate in which future social transformation movements will take place, in order to maximize their efficiency. Like any other trend design bureau, Transitioners' clients are designers, who can use the bureau's proposals to design the revolutions to come: logotypes, color charts, lexical fields, etc. For each new step in the project, Soci?t? R?aliste conceives a new trend collection, originating from a specific historical event. In 2007, the inspiration for "Bastille Days" was the French Revolution. The 2008 collection "Le Producteur", was based on the utopias developed during the first three decades of the 19th century, by thinkers such as Fourier, Enfantin, Rodrigues, Cabet, Owen, or Saint-Simon. At Hold & Freight, Transitioners presents a preview of its 2009 collection, "London View". Inspired by the 1848 European Revolution, this 2009 collection approaches the very specific context of the ?Year of Revolution? and the new political paradigm experienced in those days: the scheme of a synchronous and continental revolutionary attempt. Indeed, from the first students and workers demonstrations in Paris at the beginning of February 1848 to the end of the Hungarian Civil War in December 1849, revolutions took place everywhere in Europe. Forty European cities have been the theatres of major collective events that continue to interrogate today?s political context: collective spontaneity, polycentric organization, international collaboration by means of communication and "glocal" networking. In February 1848, Friedrich Engels and Karl Marx published for the first time the "Manifest der Kommunistischen Partei" ("Manifesto of the Communist Party"), an essay that will completely transform the history of the social movement in terms of philosophical basis, means of organization, both local and global tactics, leading to the transformation of the Communist League (mainly based on utopian socialist theoretical references, such as Babeuf or Saint-Simon) into the First International. 1848 is the beginning of the Hegelian Marxism theoretical leadership on the European revolutionary forces. The central question of "Transitioners: London View" concerns specific points in Marx & Engels' analyses of the political situation from which they write, in particular the inaccuracy of their "London" theoretical point of view in regard to the multiplicity and the complexity of the revolutions happening concurrently on the European continent. The collection intends to highlight similar contemporary situations of disjunction between manifold revolutionary practices and standardized theoretical attempts. === Soci?t? R?aliste is a Parisian cooperative created by Ferenc Gr?f and Jean-Baptiste Naudy in June 2004. It works with political design, experimental economy, territorial ergonomy and social engineering consulting. Polytechnic, it develops its production schemes through exhibitions, publications and conferences. http://www.societerealiste.net Hold & Freight is a not-for-profit project space in Stepney, East London. Situated in an abandoned railway arch amongst six other similar arches, the site is specific to the area; the directorial/curatorial team have left the bare brick exposed and the shape of the low arch and long tunnel unmodified, giving the space a particular form and connection to its history. Hold & Freight is dedicated to an engagement with critical discourse surrounding the production, exhibition and reception of new work by emerging and established British and international artists. Launched in June 2008, Hold & Freight is run by Robert Dingle, Amal Khalaf and Tom Trevatt. http://www.holdandfreight.org === STILL ON === # THE MAN BEHIND THE CURTAIN, collective exhibition, at Mission 17 (San Francisco), open through July 8th. http://mission17.org # PRINCESS FROG, collective exhibition, at Galerie Catherine Jozsa (Brussels), open through July 11th. http://www.jozsagallery.com # LES FRONTIERES INVISIBLES, collective exhibition, Tri Postal (Lille), open through July 12th. http://www.lille3000.com # "WOULDN'T BE EASIER FOR THE GOVERNMENT TO DISSOLVE THE PEOPLE AND ELECT ANOTHER" (BERTOLT BRECHT), collective exhibition, at Gallery Nova (Zagreb), open through July 15th. http://www.artalways.org/the-invisible-history-of-exhibitions # KATOWICE BIENNIAL, collective exhibition, at Upper Silesian Centre of Culture (Katowice), open through July 31st. http://www.biennale-sektor.art.pl # THE INESCAPABLE EXPERIENCE OF TRANSITION, collective exhibition, at Le Magasin (Grenoble), open through September 6th. http://www.magasin-cnac.org / http://www.season18.com # RITES DE PASSAGE, collective exhibition, at Schunck Glaspaleis (Heerlen), open through September 6th. http://www.schunckglaspaleis.nl # LIVING TOGETHER, collective exhibition, at MARCO (Vigo), open through September 20th. http://www.marcovigo.com # BERTHA VON SUTTNER REVISITED, collective exhibition, at Sch?ttkasten (Harmannsdorf, AT), open through September 27th. # HOW MANY ANGELS CAN DANCE ON THE HEAD OF A PIN? - 2ND ATHENS BIENNIAL, in Palaio Faliro (Athens), open through October 4th. http://www.athensbiennial.org === http://www.societerealiste.net From labor at buchsenhausen.at Wed Jun 24 11:38:43 2009 From: labor at buchsenhausen.at (=?UTF-8?B?S8O8bnN0bGVyaGF1cyBCw7xjaHNlbmhhdXNlbg==?=) Date: Wed Jun 24 11:41:11 2009 Subject: [spectre] performIC Festival in Innsbruck and Schwaz, Austria Message-ID: <4A41F423.60009@buchsenhausen.at> sorry for cross-posting! performIC 26. - 28. June, 2009 Innsbruck and Schwaz, Austria >From 26 to 28 June 2009, INNSBRUCK CONTEMPORARY presents a three day performance festival in Innsbruck, Austria. ARTISTS: Julia Bornefeld, columbusnext, EVA & ADELE, Sara Galaxia, Patrycja German, Marlene Haring, Michael Hieslmair, Isidora Ili?, Christian Jankowski, kozek h?rlonski, Michele Di Menna, Matt Mullican, Tatsumi Orimoto, Michael Schuster, H + T Stegmayer. About INNSBRUCK CONTEMPORARY: Thirteen galleries and institutions have joined together for the purpose of strengthening and fostering high quality contemporary visual art in the area of Innsbruck and Tyrol. Innsbruck Contemporary supports the cultural and art scene on site, placing Innsbruck and Schwaz at the center of current international art discourse. The platform creates a network of local, national, and international positions in contemporary art in relation to the location of Tyrol. MEMBERS of INNSBRUCK CONTEMPORARY: aut. architektur und tirol, FO.KU.S Foto Kunst Stadtforum, Galerie Bernd Kugler, Galerie im Taxispalais, Galerie Elisabeth & Klaus Thoman, Galerie Johann Widauer, K?nstlerhaus B?chsenhausen, Kunstpavillon of the Tiroler K?nstlerschaft, Kunstraum Innsbruck, medien.kunst.tirol, Stadtgalerie Schwaz, Stadtturmgalerie of the Tiroler K?nstlerschaft, Tiroler Landesmuseum Ferdinandeum. Detailed information on the performances and the other events can be found here: http://www.innsbruckcontemporary.at/images/ICA4_09b_perform.pdf Schedule: FRIDAY, June 26 6.00 pm Reception and Introduction Kunstraum Innsbruck, Maria-Theresien-Strasse 34, Arkadenhof 6.30 pm Sara Glaxia: ARTRAT Kunstraum Innsbruck, Maria-Theresien-Strasse 34, Arkadenhof Host: medien.kunst.tirol 7.30 pm Julia Bornefeld: Alpenliebe ? Grundlos gl?cklich Maria-Theresien-Strasse, northern part Host: Galerie Elisabeth & Klaus Thoman 8.30 pm Tatsumi Orimoto: Punishment Domplatz, Altstadt Host: Kunstraum Innsbruck and medien.kunst.tirol 9.30 pm kozek h?rlonski feat. Red Ruby: blacknightlightwhite Kunstpavillon der Tiroler K?nstlerschaft, Rennweg 8a SATURDAY, June 27 11.00 am Opening Galerie im Taxispalais, Maria-Theresien-Strasse 45 11.45 am Marlene Haring Galerie im Taxispalais, Maria-Theresien-Strasse 45 1.00 pm EVA & ADELE: Welcome-Performance/Stairs-Performance/Edition Futuring Kunstraum Innsbruck, Maria-Theresien-Str 34, Arkadenhof 2.00 pm Lunch-Buffet at the H?rtnaglpassage 3.00 pm Patrycja German: 1, 2, 3, 4 Galerie Bernd Kugler, Burggraben 6/II (H?rtnaglpassage) 4.00 pm Matt Mullican: Lecture on my performance work Galerie Johann Widauer, Erlerstrasse 13 5.00 pm Michael Schuster: Autofocusfalle Interactive Photographic Installation FO.KU.S ? Foto Kunst Stadtforum 6.00 pm The Park Tells Stories Sound installation at the platform at Waltherpark Hosts: aut. architektur und tirol and columbosnext 7.30 pm Michael Hieslmair: Alpine Remix ? Stages and Touristic Theme Parks Isidora Ili?: Voices_Gazes_Traces K?nstlerhaus B?chsenhausen, Weiherburggasse 13 10.00 pm Christian Jankowski: The day we met Karaoke-Performance at the Kunstraum Innsbruck Maria-Theresien-Strasse 34, Arkadenhof SUNDAY, June 28 2.00 pm H+T Stegmayer: sleeping artists | fetish ? collecting Tiroler Landesmuseum Ferdinandeum, project room, Museumstrasse 15 3.00 pm Ferdinandeum: departure of the shuttle bus to Schwaz 4.00 pm Michele Di Menna Silberbergwerk Schwaz, Alte Landstrasse 3a, 6130 Schwaz Host: Stadtgalerie Schwaz Registration: office@stadtgalerieschwaz.at From cahen.x at levels9.com Wed Jun 24 11:50:40 2009 From: cahen.x at levels9.com (xavier cahen) Date: Wed Jun 24 12:49:50 2009 Subject: [spectre] .fiction DOCUMENTAIRE 2008.2009, Universite Paris 8, Saint Denis, France. Message-ID: <4A41F6F0.9050205@levels9.com> .fiction DOCUMENTAIRE 2008.2009 ?The truth is somewhere between the documentary and fictional, and that is what I try to show. What is real one moment has become imaginary the next. You believe what you see now, and the next second you don?t anymore.? (Robert Franck : my and my brother 1964-1968) /"La v?rit? est quelque part entre le documentaire et la fiction, c'est ce que je cherche ? montrer. Ce qui est r?el ? un moment devient imaginaire ensuite. Vous croyez ce que vous voyez imm?diatement et quelques secondes plus tard vous n?y croyez plus."/ (Robert Franck : my and my brother 1964-1968) +++++++++ acc?s direct / Direct access Anouk Beaudi?re, C?cile Haudrechy : FEMINISME? En temps que jeunes femmes, commen?ant nos vies dans la soci?t?, nous nous posons des questions sur la place que nous voulons y avoir... http://www.arpla.fr/canal14/2009/beaudriere_haudrechy/index.htm Antoine Katarzynski : UNDERGROUND Underground plonge le spectateur au sein d?un univers confin?, au c?ur des installations parisiennes du m?tropolitain. http://www.arpla.fr/canal14/2009/antoine_katarzynski/ AUTOROUTE Symbole m?me de l?av?nement automobile, les autoroutes occupent depuis plus d?un demi-si?cle une part importante de nos paysages, urbains comme ruraux. http://www.arpla.fr/canal14/2009/antoine_katarzynski_2/ Camille Bessard : L'AN ZERO... Ce projet est une mise en parall?le de sc?nes c?l?bres de la peinture occidentale classique ? des photographies mettant en sc?ne ces situations de la vie quotidienne... http://www.arpla.fr/canal14/2009/camille_bessard/docu_fiction.htm Caroline Capelle : ?T? 2008, ET TOI TU FAIS QUOI?... Mon envie est d??laborer un paradoxe entre le lieu qui m?est impos? (l?appartement) et les images ? cartes postales ? usuellement exploit?es pour ?voquer un voyage. http://www.arpla.fr/canal14/2009/caroline_capelle/ Caroline Capelle, H?l?ne Canaud, Lucile Barjot, Rosalie G?rard : LEVER LE VOILE Ce que je connais de toi confront? ? ce que tu es. Quatre personnes se d?crivent les unes les autres ? leur mani?re. http://www.arpla.fr/canal14/2009/capelle_barjot_canaud_gerard/ Helene Canaud : DETRUIRE... A l?heure de l?information toute-puissante, le pouvoir des images est au centre de tous les d?bats. http://www.arpla.fr/canal14/2009/helene_canaud/index.htm H?l?ne Couetlannes : R?VERIES Le r?ve et le cauchemar sont deux univers qui marquent une rupture avec la coh?rence du monde. Le r?ve est circonscrit ? chacun de nous. http://www.arpla.fr/canal14/2009/couetlannes_helene/pages/ Nelly Toussaint : FEN?TRE Que font nos voisins quand on est chez nous, sont-ils seuls, sont-ils heureux, mangent-ils... http://www.arpla.fr/canal14/2009/nelly_toussaint/accueil.html SOLITUDE DANS LES ESPACES PUBLICS Dans un monde o? la consommation est le ?leitmotiv?, chacun regarde son voisin avec envie, cela entraine ? la longue le m?pris de l?autre... http://www.arpla.fr/canal14/2009/nelly_toussaint_2/accueil.html Polina Dubovskaya : CARNAVAL DE RUE DE RIO DE JANEIRO J?ai d?couvert qu?il existe deux Carnaval : le Carnaval des Ecoles de Samba, pour les riches et pour les /gringas/ et le Carnaval de rue. http://www.arpla.fr/canal14/2009/polina_dubovskaya_2/ Reiko Nonaka : UN OBJET CH?RI L?objet auquel tu tiens le plus, c'est quoi ? http://www.arpla.fr/canal14/2009/reiko_nonaka/ DOUBLE VIE J?ai une s?ur jumelle. Nous sommes tr?s proches l?une de l?autre ? tel point que ce n?est pas imaginable. http://www.arpla.fr/canal14/2009/reiko_nonaka_2/ Renaud Anney : PUBLICITERA La publicit? est ? mon sens le reflet et en partie le mod?le de notre soci?t?. http://www.arpla.fr/canal14/2009/renaud_anney/index.htm MY SPACE FOR SALE Mise en vente de mon espace intime* pour affichage d?annonces, ou d?objets picturaux quelconques. http://www.arpla.fr/canal14/2009/frame.php Sophie Boisteau : 28 LETTRES - 28 FEMMES Vous pouvez donc consulter ici 28 lettres de femmes qui ont visionn? ce documentaire et qui, apr?s coup, ont not? leurs impressions... http://www.arpla.fr/canal14/2009/sophie_boisteau/ LA CAVERNE AUX LIVRES En sortant de la gare d'Auvers sur Oise, sur la gauche, est inscrit sur un panneau "La Caverne aux livres" http://www.arpla.fr/canal14/2009/sophie_boisteau_2/accueil.html Wei Gao : LA VIE Nous pouvons imaginer que la vie est comme une partie de l?autoroute... http://www.arpla.fr/canal14/2009/gao_wei/oeuvre.htm Yvonne Ruescher : SANS TITRE L'id?e ?tait de cr?er des histoires ? partir du banal... http://www.arpla.fr/canal14/2009/yvonne_ruescher/index.htm +++++ 2008.2009 Canal 14 /xavier cahen/. fiction DOCUMENTAIRE http://www.arpla.fr/canal14/index.php?cat=2008 N'oubliez pas de visiter les autres canaux ! http://www.arpla.fr/index2.html +++++++++++++++++++++++++++++ Retrouvez l'ensemble des travaux sur Arpla : ? Arpla est le serveur p?dagogique du D?partement Arts plastiques de l'Universit? Paris 8, ? Saint-Denis, 93. Il accueille des travaux d'?tudiants et des supports de cours. ? 1999>2009 From diana at faces-l.net Wed Jun 24 14:34:46 2009 From: diana at faces-l.net (Diana McCarty) Date: Wed Jun 24 14:35:19 2009 Subject: [spectre] blog from tehran Message-ID: <20090624143446.6fee42c8kcsos44s@webmail.servus.at> Greetings All, For those following the events in Iran, I suggest this blog. Best, diana https://un.poivron.org/~tasche/index.php?page=index From hatam at drfz.de Wed Jun 24 21:49:44 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Wed Jun 24 21:50:52 2009 Subject: [spectre] Concert DJ BALLI/ PURE VS HATI/ N. 26.06.09 @ NK Berlin Message-ID: <380-220096324194944822@M2W041.mail2web.com> DJ BALLI/ PURE VS HATI/ N. 26.06.09 @ NK NK Elsen str 52 2HH JUNI 26 DOORS OPEN 21.00 CONCERTS START 22 UHR SHARP www.myspace.com/enka52 DJ BALLI dj-producer active in the field of "hard-electronics blaxploitation", a contamination between black rhythm (jungle, hip-hop, ragga dance-hall) and experimental sounds from the tradition of European avant-garde (from musique brute to extreme noize), runs the Italian label "Sonic Belligeranza" (http://belligeranza.c8.com) dedicated to innovative breaks, his subdivision "+ Belligeranza" dedicated to noize and ideas and finally the other sub "- Belligeranza" dedicated to down-tempo extravaganza. Interested in every sort of improbable clash of genre and of vinyl infringement, he developed on a side a peculiar taste for Italian folklore-trashy music (folk-core?) to poison his intricate beats with sudden ultra-kinetik 4/4 escapes and on the other side advanced turntablist's skills to enhance the "drama" of his live-performance. Apart from his various releases on his label and its subs, he has been producing audio for Peace Off, Cavage, Invasion Wreck Chords, Intellectual Violence, Antifaf, Amoeba, MusikMekanikCirkus, the Australia based Goulburn Poultry Fanciers Society and the Chinese Shanshui records and 532 Studio. Definitely THE WRONG NIGGA TO FUK WIZ........! PURE Pure generates dense abstract music that evokes connotations of dreams and abstract narrations. Since 1992 he released over 30 CDs and vinyls of solo and collaborative works in different styles under various pseudonyms on such labels as Mego (at), Staalplaat (nl), Praxis (ch), and his own labels dOc, LOOP, ATMOSFEAR, and SUB/VERSION (w/ Christoph Fringeli). He has played at festivals around Europe and North America, such as Argos (be), Club Transmediale (de), Mutek (ca), RGB v1 (fr), Sendandreceive (ca), Phonotaktik (usa). Being one of the driving forces behind the first techno parties in Vienna in 1991, he departed from this style soon after to move on to further less explored and harsher fields of electronic dance music for the next years. In the second half of the nineties he did his next step by turning towards developing his own software instruments. He uses this knowledge since then for computer based live performances and teaching at various universities and media labs around europe. In 2002 he started TERMINALBEACH together with Erich Berger to play networked audio-visual live performances. They developed HEART CHAMBER ORCHESTRA; an audio-visual collaboration with 12 classical musicians of the Trondheim Sinfonietta. The heartbeats of the musicians are used as source material to generate and control a score in real time that the musicians then perform and to generate a digital video representation as well. The debut performance of HCO took place in Trondheim in October 2006 initiated and produced by TEKS &&035;8211; Trondheim Electronic Arts Center. His early nineties dance music past caught up with him in 2005 when he started the successful WASTED Festival together with Jason Forrest. The festival, in collaboration with Berlin's Club Transmediale, has seen 5 full episodes, and will be generating more small spin off parties in 2008. His latest studio album was released on November 1st 2008 on the Porto based label CRONICA ELECTRONICA. http://www.myspace.com/pvre HATI HATI is an audiovisual project based on sound of ethnic instruments from all over the world and hand-made instruments or find objects. HATI connects a personal interest in modern improvised and acoustic music with ritual and meditation. The band was founded in 2001 by Rafal Iwanski and Dariusz Wojtas. They formed many psychedelic rock and industrial experimental musical projects since the beginning of the 90???. HATI have performed many concerts in Poland, Germany, Spain, Netherlands, Belgium, Ireland, Northern Ireland and on festivals, e.g.: Wroclaw Industrial Festival, Audio Art in Krakow, Festiwal w Krajobrazie in Inowlodz, Ambient Festival in Gorlice, Open'er Festival, Temple of Silence Festival. In 2006 members of HATI organized and performed 2 tours with Z???EV, one of the founders of ???industrial' - the cultural movement. All HATI albums received very good reviews, their unusual magic sound and power was emphasized. Nowadays HATI performs as a duo: Rafal X-NAVI Iwanski and Rafal SABON Kolacki and ocasionally with Dariusz MOLOK Brzostek. They are also the organizers of CoCArt Music Festival (in cooperation with Centre of Contemporary Art in Torun). Live free improvisation performances with (among others): Z'EV (+ studio), PURE, Andrzej LAL Kasprzyk (+ studio), Robert Curgenven (+ studio), WEREJU, Andrzej Przybielski, Marcelo Aguirre, Maciej MAGURA Goralski, KO-ON-TEN, pathMAN, MOLR DRAMMAZ, Miroslaw Rajkowski, MIRT, Peter Puype, Renoised, Andrzej Wasilewski (video & audio), Raymond Salvatore Harmon (video), Jacek Zielinski (video), Grupa Performatywna Cialo.Ruch.Miasto (dance) HATI played concerts with: Asmus Tietchens, ASTRO/Hiroshi Hasegawa, SUDDEN INFANT, Reformed Faction, TROUM, Thomas Koner, IDIOSYNCRASIA, HIA/Bobby Bird, MODULATE, tbc, Leiche Rustikal, JOB KARMA, Thy Sinister Bloom, VIOLENTA PROJECTA, Brasil and the Gallowbrothers Band, PANKRATZ, and many others... http://www.myspace.com/hatitah N. Two empty tape-recorders, one connected to the other, no sound if not the distortion produced by the tape- recorders themselves in play/rec. On this recording of Nothing the modulations of vintage analogic effects: emptied frequencies, prenatal sounds without any sonic grain, audio for a flat electroencephalogram. The selection of the technical set-up through which sounds are produced is part of the N. (Nihilism, No, Not, Never, Nutella...) aesthetics. http://www.boringnoise.com/ -------------------------------------------------------------------- mail2web LIVE ? Free email based on Microsoft? Exchange technology - http://link.mail2web.com/LIVE From netwurker at gmail.com Thu Jun 25 06:01:45 2009 From: netwurker at gmail.com (mez breeze) Date: Thu Jun 25 06:02:18 2009 Subject: [spectre] Programme_Alt-win.ning | Netwurker Mez Message-ID: Programme_Alt-win.ning | Netwurker Mez http://www.mediascot.org/netwurkermez Thursday 2nd July 2009, 8pm. ?5 CCA, 350 Sauchiehall Street, Glasgow G2 3JD "Mez does for code poetry as jodi and Vuk Cosic have done for ASCII Art: Turning a great, but naively executed concept into something brilliant, paving the ground for a whole generation of digital artists." (Florian Cramer). Following her remarkable residency that utilised the New Media Scotland Twitter stream in July 2008, we have commissioned Netwurker Mez to create a new eight part piece of work especially for the Alt-win.ning event. Twitter Updates * _luv+war+tele[m]pathy_: playas = 2. maps = 2 [+a hidden 3]. map1 = a[ware + "crest"_chemi(spheri)cal]. map2 = b[lood_"geohaunted"]. about 4 hours ago * Play on about 4 hours ago * 2 about 4 hours ago * 3 about 4 hours ago * 4 about 4 hours ago Follow @mediascot on Twitter http//unhub.com/netwurker -- Reality Engineer> Synthetic Environment Strategist> Game[r + ] Theorist. ::http://unhub.com/netwurker :: From redazione at digicult.it Fri Jun 26 16:58:06 2009 From: redazione at digicult.it (Redazione Digicult) Date: Fri Jun 26 16:58:38 2009 Subject: [spectre] Digicult_Digimag 45 / June 2009_english version online Message-ID: <000901c9f66e$834bfb00$83661201@marcowwf1hbdmb> Sorry for any crosspostings Digicult presents: DIGIMAG 45 / JUNE 2009 http://www.digicult.it/digimag_eng/index.asp You can read all the past articles and issues in the Archive section here: http://www.digicult.it/en/Archive/ . . . . . . . . . . . . . . . . . . . . . . . I don't like the word "experimental". It gives a sense of precariousness and indefiniteness. The works that are more often classified as being experimental are finished works: the experiment and the research are in the reconstruction of the case history of the work, from how it was made. This is interesting and is experimentation, but not the work per se which is the end of a path and is finished. Even painters test things, use different techniques. I did some photographs for example by putting photographic paper in my hand and impressing it from the hole that is created by making a fist. This procedure is experimental, it doesn't even exist in photographic history. Just think, it's a method that I, a dickhead from Rovigo , invented! It's fundamental to do tests, that's why I think that dexterity must not be lost as it takes you to the discovery of things you never even imagined, many times thanks to accidents, to errors, that you make your own. One thing that frightens me in electronic technology is the obsolescence of instruments. It's dangerous: it seems to me that the continuous new instruments are a limit and not a stimulus, they do not give creativity time to be just that, creative. The risk is that electronic engineers are more creative than the artists themselves and another risk it that the artists are sucked into the big multinationals of electronics. All this in my opinion is very dangerous; it's more beautiful to surprise people with nothing. Paolo Gioli, from "Cinemahacking: interview to Paolo Gioli" by Claudia D'Alonzo . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEWS: - CARSTEN NICOLAI - http://www.digicult.it/digimag/article.asp?id=1488 - by Monica Ponzini - PAOLO GIOLI - http://www.digicult.it/digimag/article.asp?id=1504 - by Claudia D'Alonzo - AGOSTINO DI SCIPIO - http://www.digicult.it/digimag/article.asp?id=1493 - by Marco Mancuso - CHRISTINA KUBISCH - http://www.digicult.it/digimag/article.asp?id=1492 - by Matteo Milani - GOTO10 - http://www.digicult.it/digimag/article.asp?id=1498 - by Giulia Simi - FUNEN ART ACADEMY - http://www.digicult.it/digimag/article.asp?id=1494 - by Loretta Borrelli - SABRINA MUZI - http://www.digicult.it/digimag/article.asp?id=1501 - by Massimo Schiavoni REPORTS: - DIRECT DIGITAL: SYMPOSIUM - http://www.digicult.it/digimag/article.asp?id=1500 - by Lucrezia Cippitelli - MAPPING FESTIVAL - http://www.digicult.it/digimag/article.asp?id=1489 - by Silvia Bianchi - DIGITAL ART MARKET - http://www.digicult.it/digimag/article.asp?id=1499 - by Donata Marletta FEATURING: - DOUGLAS GORDON - http://www.digicult.it/digimag/article.asp?id=1505 - by Francesco Bertocco - FELICE FRENKEL - http://www.digicult.it/digimag/article.asp?id=1497 - by Silvia Casini - THE MURDER OF CROWS - http://www.digicult.it/digimag/article.asp?id=1491 - by Valeria Merlini - _AUGMENTOLOGY 1[L]0[L]1_ - http://www.digicult.it/digimag/article.asp?id=1503 - by Mark Hancock THEMES: - SCIENCE AND ART OF COMPLEX SYSTEMS - http://www.digicult.it/digimag/article.asp?id=1490 - by Jeremy Levine - A_CTIVISM - http://www.digicult.it/digimag/article.asp?id=1495 - by OtherehtO - BLENDER COMMUNITY - http://www.digicult.it/digimag/article.asp?id=1502 - by Marco Riciputi - THE TWO CULTURES OF BARON SNOW - http://www.digicult.it/digimag/article.asp?id=1496 - by Luigi Ghezzi COVER: - Redazione - Yayoi Kusama/Aftermath of Obliteration of Eternity . . . . . . . . . . . . . . . . . . . . . . . DIGICULT is an Italian cultural and editorial project concerning promotion and share of art and digital culture, spreading the impact of new technologies and sciences on art, design and contemporary society. DIGICULT is founded and directed by Marco Mancuso, and is based on the active participation of 40 professional people about, who represent the first wide Italian Network of journalists, curators, artists and critics in the field of electronic culture. DIGICULT is also the editor of the monthly magazine DIGIMAG produce an electronic music and audiovisual podcast, DIGIPOD, and has also its own newsletter international service DIGINEWS. DIGICULT in finally involved with in many side activities with the art agency DIGIMADE www.digicult.it/en/ www.digicult.it/digimag_eng/ www.digicult.it/podcast www.digicult.it/agency . . . . . . . . . . . . . . . . . . . . . . . [EDITORIAL STAFF]: - Marco Mancuso - director - Luca Restifo - technical consultancy - Riccardo Vescovo - graphic design - Laurea Magistrale in Traduzione Specialistica, Universit? IULM - editing - Claudia D'Alonzo - press office - Giuseppe Cordaro - podcast - Mauro Minnone e Luigi Ghezzi - web 2.0 strategies [CONTENTS]: Tatiana Bazzichelli, Bertram Niessen, Teresa De Feo, Luigi Ghezzi, Giulia Baldi, Domenico Quaranta, Massimo Schiavoni, Monica Ponzini, Valentina Tanni, Annamaria Monteverdi, Tiziana Gemin, Lucrezia Cippitelli, Silvia Bianchi, Francesca Valsecchi, Claudia D'Alonzo, Barbara Sansone, Giulia Simi, Silvia Scaravaggi, Maresa Lippolis, Alessio Galbiati, Giuseppe Cordaro, Antonio Caronia, Clemente Pestelli, Davide Anni, Donata Marletta, Valeria Merlini, Loretta Borrelli, Stefano Raimondi, Otherehto, Carla Langella, Stefano Bertocco, Elena Granulla, Matteo Milani, Marco Riciputi, Jeremy Levine, Mark Hancock, Philippa Barr [TRANSLATIONS]: Luisa Bertolatti, Philippa Barr, Emanuela Cassol, Sara Cavagna, Valeria Grillo, Monica Fontana, Chiara Resmini, Giulia Tiddens -------------------- Marco Mancuso Digital Arts & Culture Critic, Curator and Journalist --------------------------------- Digicult Director & Founder Naba Academy & Ied Teacher --------------------------------- Ripa Porta Ticinese 39 20122 Milano - Italy Mob: +39.340.8371816 Skype: sostakovich --------------------------------- www.digicult.it www.digicult.it/digimag www.digicult.it/podcast www.digicult.it/agency From m at 1010.co.uk Fri Jun 26 20:23:33 2009 From: m at 1010.co.uk (m) Date: Fri Jun 26 20:27:06 2009 Subject: [spectre] Breakthrough Berlin schedule Saturday 27th June 2009 12-24 Message-ID: 12.00 General Public: Opening action: Sam Ashley 12.00 Electronic Church: ONGOING: Alia Scalvini Crossing the Field installation 12.30 General Public and mobile: Douglas Park readings 13.00 Linienstrasse 54: skate/transmit/skry workshop till 17.00: Martin Kuentz 14.00 General Public: Exquisite code till 15.30: Brendan Howell ua. Scheduled brain coding insertion with Jonathan Kemp. 15.00 STYX project space: Black Box lecture and discussion till 16.30: Otto Rossler 15.30 General Public: Launch of Netless: Danja Vassiliev 17:00 Skulpturenpark: Benjamin Cadon ?Technik und Wissenschaft als Ideologie? : sound installation + performance 18:00 Skulpturenpark: MANY VOICES REPORT : PATO, Alejo Duque, Leif Elggren, Baruch Gottlieb, Adam Thomas, Ruben Patino. 20:00 General Public: performance: TAPEMAN 20.30 General Public: Netless presentation: Danja Vassiliev 21.00 General Public: Oscillations everywhere - performance: Shintaro Miyazaki 21.30 General Public: presentation/performance: Verena Friedrich 22.00 Skulpturenpark: whyfi2 workshop: Danja Vassiliev 22.00 General Public: performance: Martin Kuentz, Verena Friedrich, Martin Howse ua. 22.30 Marchenbrunnen Volkspark Friedrichshain: brain coding action: Jonathan Kemp. 24.00 Linienstrasse 54: virtual fireflies with Olga Panad?s Massanet. Mobile: Baruch Gottlieb (Bernauer Strasse, Gartenstrasse) To be added: DeadSwap presentation and network at General Public! For all locations please see http://1010.co.uk/org/brk_map.html ///// http://www.1010.co.uk/org/breakthrough.html [107.9 MHz FM] twitter #breakthrough [#breakthrough irc.goto10.org] event stream: http://www.laboratoryplanet.org:8000/breakthrough.ogg From abuigues at gmail.com Fri Jun 26 21:04:22 2009 From: abuigues at gmail.com (Ana Buigues) Date: Fri Jun 26 21:05:02 2009 Subject: [spectre] ad undas @ Breakthrough Event - saturday 27th June 2009 Message-ID: For those interested, Just a reminder about the ad undas project by Bj?rn Magnhild?en and Ana Buigues - as part of the Breakthrough Event. ------------------- ad undas http://noemata.net/adundas/ AD UNDAS is a social network service using the sea as medium. The network uses messages in bottles as the main communication. More than connecting and interacting with other people, as in Facebook, MySpace, Twitter, LinkedIn, etc., ad undas aims at a dislocation of representation (people, time, space), and an uncycling of events, as a breakthrough from semi-closed web circuits towards a widening perception of communication and state of affairs, expressed in the three-fold strategy of listening, gleaning, and littering. Breakthrough saturday 27th June 2009 The second server of ad undas network -"vibrate 'tourists'"- will be launched saturday 27th June 2009 as part of the Breakthrough event distributed across Berlin locations, inter-network and radio space, organized by _____micro_research [Berlin]. Read more at http://1010.co.uk/org/breakthrough.html Server is setup for sending and receiving messages in the Mediterranean Sea. Communication with the server is done via this website, the Breakthrough event interface/IRC, and the physical location. The event is documented live with webcams, and communication feeds and logs. Go to the event page at http://noemata.net/adundas/breakthrough/ deep thoughts Ad undas, latin: to the waves. Expression used in relation to failure and loss. Here the term is used also in another sense, of a communication layer on a lower level (than failure and loss), likened to an UDP datagram protocol(2) in some sense in its stateless, unreliable service, often used in streaming applications; though here the destination doesn't have to be specified; actually in our use nothing have to be specified. More than stating merely with mcluhan the medium is the message this might implement a physical W.A.S.T.E protocol (pynchonian and/or the file sharing network application).(3) While the network application WASTE uses strong encryption to ensure that third parties cannot decipher the messages, here the encryption is performed by the medium itself - instead of message encryption we have medium encryption - J.L. Borges writes about two labyrinths, one of them being a desert, and Chuang-Tzu (Zhuangzi) uses the expression "hiding the world in the world"(9) - steganography as non-steganography(10). In the Pynchon W.A.S.T.E. communication system messages are distributed via trash bins (today called 'recycle bins'), which turns around ideas of form&content/text&context and other epistemological pairs; and here to the extent of uncycling them - one might then call it an 'uncycle bin', breaking the loop of medium/message, message/trash, failure/loss, sort of a hole, or another - deeper, primordial? - layer more in accord with the inform? (formless) of Bataille, rejecting ideas of both form and content and the futility of thinking within them (and about the formless itself).(4) Thus suggesting 'ad undas' also to mean to 'let go' (ressentiment, bad faith, master-slave) or to 'let be' and its janus-sided no will/will to nothing of the last man (robinson crusoe)(5); or the last will of no man (breakthrough, displacements, islands)(6); or again the negative as the strengthening element, glue, in (social) relations/communication, looking at communication from the unperspective of the formless, or the sea, which is already one, as if leaving communication redundant or reflective as with the Solaris sea(7). technology The network protocol of ad undas consists of the methods listening, gleaning, and littering. ? * listening. a passive, receptive state of being sensitive to surroundings, to the degree of being immersed and displaced, reflected, even lost, delirious. interpretation of incoming messages - what is a message? - turning it towards another implementation of a paranoiac-critical machine(11) - of which the first one might have been eniac, the first general-purpose electronic computer. the ability of the brain to perceive links between things which rationally are not linked. The listening asks what is a message (paranoia) to ask what is a message is to ask about the medium (critical). Dal? described the paranoiac-critical method as a "spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena". see ganzfeld procedure below. ? * gleaning(12). the gleaning layer is built on top of the listening layer, collecting left-overs, marine debris(13) that appears significant to the network regarded as messages from the sea. the paranoiac-critical listening layer, expanding the conventional message data packet, is listening for unforseen communication in unspecified formats. Gleaning takes place as the messages appears as messages via the detour of the paranoiac-critical listening medium. messages are picked up, collected, computerized if possible and finally made public to reach a unique receiver. the listening/gleaning operator is called an 'uncorker', an uncorking of messages in regard to gleaning, and an 'uncorking of form' within the listening layer. ? * littering. sending messages to the sea. one the one side the law might call this littering, on the other side a W.A.S.T.E. protocol deliberately distribute its messages as litter as a form of encryption. a littering operator is called a 'corker', as in corking messages, and when it comes to the form layer (listening) it is viewed as as an uncycling of events. a corker is uncycling events, an uncorker is recycling them. vibrate 'tourists' The sea shore setting as a ganzfeld, complete field, of sky, horizon, sea... the divide line of main european cultures apollean/dionysian, a uniform gravitational line - an event horizon for rationality, soft noise, unpatterned sensory stimulation... with the ganzfeld effect(14) the brain amplifies neural noise in order to look for the missing visual signals. The noise is interpreted in the higher visual cortex and give rise to hallucinations. when it comes to listening, or to the abstract function of understanding and interpretation it would give rise to messages as an recycling of events. "in a typical ganzfeld experiment(15) a 'receiver' is left in a room relaxing in a comfortable chair with halved ping-pong balls over the eyes, having a red light shone on them. The receiver also wears a set of headphones through which white or pink noise (static) is played." ganzfeld experiments have yielded results that deviate from randomness to a significant degree, and that these results present some of the strongest quantifiable evidence for telepathy to date.(16) "The term breakthrough describes a sudden shift in understanding or technologies, and, finally, a clearing (Lichtung), an entry into unknown and unmapped territories. An enclosure is breached allowing access to another, totally unforeseen state or space. Communication is thus implied, a new form of exchange, perhaps between two otherwise unconnected domains, between the living and the dead, between many worlds. What does the sheer possibility of a breakthrough imply for communication between the past and the future?"(17). Space tourism could be done with ganzfeld uncycling as opposed to a Space Opera and the Sea Org's eternal return of the same. W. Burroughs on scientology(18)- "There is a basic incompatibility between any organization and freedom of thought". Extreme social networking: members of the Sea Org sign an employment contract with the organization for one billion years. Sea Org members, in accordance with Scientology beliefs, are expected to return to the Sea Org when they are reborn. The motto of the Sea Org is, "Revenimus" or "We Come Back" in Latin.(19). Burroughs' "vibrate 'tourists'" - dislocation of the traveller and the private subconsciousness, an uncycling of the organization of thought, islands, ad undas versus revenimus, the tourist of a ganzfeld vibrates in the absence of returns. you start off in something familiar, like this banal sea send and social network cycle of status updates and what's on your mind streams of consciousness already breathing exhaustion and bored tourism, into an unsettling and unpatterned vibration of neural noise stimulation, the paranoiac-eniac-critical-schizophreniac soft machine - listen, glean, litter - background noise to foreground figure, the psychoanalytical gleaning of failures or uncycled messages, grounded. Aural, tactile media: materialized, not visual. one might view the ganzfeld as tactile, as a materialization of thought, more than 'noemata' the ridiculous organizational object of thought, in its absence of returns. the aural field or its ganzfeld would also yield the tactile, as opposed to the visual detachment. the dislocation of tourists, uncycling the visual and private sea, seen as a deceptive perspective meetingpoint, a point of view, one finds the aural, vibrations, even more, or less, dislocated through listening, through the tactility of unpatterned matter, number and mass, gleaned and littered as lost and found unforseen communication. ad undas is part of the project "Internet killed the video arts, Nerve endings : Neverendings, Stream of conscious nets / Dreams of consciousness, I am from the gaps in my thinking" supported by Art&Technology @ Norwegian Cultural Council. footnotes 2 http://en.wikipedia.org/wiki/User_Datagram_Protocol 3 http://en.wikipedia.org/wiki/WASTE 4 http://radicalart.info/informe/ 5 nietzsche-deleuze: the truth-sayer: all is vain - to will nothing - no will - will to nothing - the man who wills to go under 6 http://1010.co.uk/org/breakthrough.html : The term breakthrough describes a sudden shift in understanding or technologies, and, finally, a clearing (Lichtung), an entry into unknown and unmapped territories. An enclosure is breached allowing access to another, totally unforeseen state or space. Communication is thus implied, a new form of exchange, perhaps between two otherwise unconnected domains, between the living and the dead, between many worlds. What does the sheer possibility of a breakthrough imply for communication between the past and the future? 7 http://en.wikipedia.org/wiki/Solaris_(novel) : The planet, called Solaris, is covered with a so-called "ocean" that seems to really be a single organism covering the entire surface. The ocean shows signs of a vast but strange intelligence, which can create physical phenomena in a way that science has difficulty explaining. The alien mind of Solaris is so inconceivably different from human consciousness that all attempts at communication are doomed (the "alienness" of aliens was one of Lem's favourite themes; he was scornful about portrayals of aliens as humanoid). 9 But if you could hide the world in the world, so that there was nowhere to which it could be removed, this would be the grand reality of the ever-during Thing. --Book VI: Part I, Section VI, 6. Other translations: i) You think you do right to hide little things in big ones, and yet they get away from you. But if you were to hide the world in the world, so that nothing could get away, this would be the final reality of the constancy of things. ii) Hiding something small within something larger might seem like the appropriate thing to do, yet anything could still be carted off. If a man were to hide everything in the world within the world, there would be no place left for anything to be removed to. Living things are already constantly in this great situation. 10 http://en.wikipedia.org/wiki/Steganography#Digital_steganography - "Image of a cat extracted from above image" - how to put the cat in the tree, disappearing chesire cat. 11 http://en.wikipedia.org/wiki/Paranoiac-critical_method 12 http://en.wikipedia.org/wiki/Gleaning 13 http://en.wikipedia.org/wiki/Marine_debris 14 http://en.wikipedia.org/wiki/Ganzfeld_effect 15 http://en.wikipedia.org/wiki/Ganzfeld_experiment 16 Dean I. Radin (1997). The Conscious Universe: The Scientific Truth of Psychic Phenomena. HarperOne.ISBN 0-06-251502-0 17 Breakthrough workshop, _____-micro research [berlin] http://1010.co.uk/org/breakthrough.html 18 William Burroughs: Ali's Smile - Naked scientology. 1972 19 http://en.wikipedia.org/wiki/Sea_Org : : : post distribuert via: : [ e - k u n s t ?] : : url | http://e-kunst.no : listeadresse | e@e-kunst.no : kontaktadresse | listmaster@e-kunst.no From bureaud at altern.org Fri Jun 26 21:21:50 2009 From: bureaud at altern.org (Annick Bureaud) Date: Fri Jun 26 21:17:27 2009 Subject: [spectre] Festival @rt Outsiders 2009 In-Reply-To: <000901c9f66e$834bfb00$83661201@marcowwf1hbdmb> References: <000901c9f66e$834bfb00$83661201@marcowwf1hbdmb> Message-ID: <4A451FCE.9080609@altern.org> Sorry, I sent it from the wrong email address. Annick 1st Announcement Festival @rt Outsiders 2009 www.art-outsiders.com (web site under construction) (Un)Inhabitable? Art of Extreme Environments September 9 > October 11 2009 Wenesday ? Sunday / 11 am-8 pm Maison Europ?enne de la Photographie. 5-7, Rue de Fourcy, 75004 Paris. Metro: Saint Paul or Pont Marie The 2009 edition of the @rt Outsiders Festival ?celebrating this year its tenth anniversary?focuses on extreme environments. These are environments that were, until recently, uninhabited by human beings and that contemporary science and technology turn into "inhabitable" places (Antarctica, underwater world, outer space, deserts); but also those that are becoming "uninhabitable" due to the impacts of our way of life (pollution, technological accidents, economical pressures and global warming). "(Un)Inhabitable? ? Art of Extreme Environments" presents works that explore the meaning of living in extreme environments, in the imaginary realm as well as in the physical one, in the political, social and environmental fields as well as in the poetic ones. Artists : Howard Boland & Laura Cinti ; Anne Brodie ; Peter Cusack ; Stephen Eastaugh ; Shiro Matsui ; Connie Mendoza ; Hu Jie Ming ; Forrest Myers ; Lucy + Jorge Orta ; Bradley Pitts ; Andrea Polli ; Catherine Rannou ; Ana Rewakowicz ; Yang Yi. Curators : Jean-Luc Soret, artistic director of the @rt Outsiders Festival. Annick Bureaud, theoretician and art critic, director of Leonardo/Olats. Press : Yannick Le Guillanton Tel : ++ 33/1 44 78 75 20 E-Mail : le.guillanton [@] art-outsiders.com From ll at detritus.net Fri Jun 26 21:43:12 2009 From: ll at detritus.net (ll@detritus.net) Date: Fri Jun 26 21:44:15 2009 Subject: [spectre] announcing nula - http://nula.cc/ Message-ID: this announcement is being sent to you because we think you may be interested in it. if you don't want to receive anymore messages from us, do nothing. this is a one-time mailing. however, if you find this message of interest, you may subscribe to future mailings by sending a message to: subscribe@nula.cc announcing nula http://nula.cc/ i am pleased to announce the existence of a nascent project of mine which i call nula. the word 'nula' means 'zero' or 'nothing' in several languages; notably czech, which i point out only because i am based in prague. nula is a filecast, which is like a podcast, except that any kind of downloadable file may be offered. new files appear at irregular intervals, and may consist of sound files, video files, collections of images, or readings; but not strictly limited only to these categories. nula filecasts generally consist of an assemblage of fragments that form a coherent whole (an assertion that will no doubt be tested repeatedly). fragments may consist of field recordings, found material, (almost) forgotten cultural fragments; in short, anything that i find interesting is considered fair game. the esthetic impulse behind nula filecasts will emphasize "showing" or "alluding" rather than "expressing". nula resists using copious wordage to describe or explain the items you will find. we prefer that these items speak for themselves as much as possible, and that the audience will arrive at their own understanding of them, should they choose to give their attention. get nula the first nula filecast is now avaiable for download. find it at: http://nula.cc/ -- selecting "current" will always give you the most recent filecast. interact with nula nula welcomes comments from visitors. comments are moderated. send your comments about this filecast or anything about nula to: comment@nula.cc please note that comments are understood to be for public consumption. if you wish to communicate with us privately, use: editor@nula.cc subscribe to the nula rss feed: http://nula.cc/xml.xml follow nula on twitter: http://www.twitter.com/nulacc show your support for nula: http://www.cafepress.com/nula pass it on even if you are not particularly interested in this kind of work, please consider passing this announcement on to someone who you think might be. From n0name at gmx.de Sat Jun 27 11:06:56 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Sat Jun 27 11:08:13 2009 Subject: [spectre] :-| n0name nachrichten #141 Message-ID: <20090627090656.113190@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| :-| n0name nachrichten #141 Sa., 27.06.2009 11:04 CET *Inhalt/Contents* 1. Von: Matze Schmidt Betreff: Dearest Tinkebell, Datum: 25. Juni 2009 Nicht An: tinkebell(at)tinkebell.com 2. Debord - La Soci?t? du spectacle.srt als .txt 5 30 KB, ca. 18 DIN A4-Seiten ------------------------------------------------------------------------ 1. Debord - La Soci?t? du spectacle.srt als .txt 5 866 00:51:57,679 --> 00:52:00,298 Ich habe lange auf diesen Befehl gewartet, Sir, 867 00:52:00,653 --> 00:52:04,365 - den ich selbstverst?ndlich nicht geh?rt habe. - Selbstverst?ndlich nicht! 868 00:52:07,443 --> 00:52:08,881 Falls Sie scheitern, 869 00:52:09,317 --> 00:52:12,282 versichere ich Ihnen, dass die Mitglieder des Kriegsgerichts 870 00:52:12,413 --> 00:52:14,980 jene M?nner sein werden, mit denen wir durch das Shenandoa Valley geritten sind. 871 00:52:15,175 --> 00:52:16,934 Ich werde sie selbst aussuchen. 872 00:52:17,876 --> 00:52:19,656 Shenandoa 873 00:52:21,238 --> 00:52:25,672 Ich frage mich, wie die Geschichtsschreibung ?ber Shenandoa urteilen wird. 874 00:52:27,104 --> 00:52:28,809 Der Sieg der Bourgeoisie 875 00:52:28,972 --> 00:52:31,61158:36 ist der Sieg der zutiefst geschichtlichen Zeit, 876 00:52:31,710 --> 00:52:33,017 weil sie die Zeit 877 00:52:33,165 --> 00:52:36,538 der ?konomischen Produktion ist, die die Gesellschaft 878 00:52:36,669 --> 00:52:39,154 fortw?hrend und von Grund auf ver?ndert. 879 00:52:39,560 --> 00:52:41,969 Solange die agrarische Produktion 880 00:52:42,118 --> 00:52:45,148 die haupts?chliche Arbeit bleibt, n?hrt die zyklische Zeit, 881 00:52:45,279 --> 00:52:47,669 die auf dem Grund der Gesellschaft gegenw?rtig bleibt, 882 00:52:47,850 --> 00:52:50,731 die verb?ndeten Kr?fte der Tradition, 883 00:52:50,861 --> 00:52:52,816 die die Bewegung hemmen. 884 00:52:52,959 --> 00:52:56,200 Aber die unwiederbringliche Zeit der b?rgerlichen ?konomie 885 00:52:56,282 --> 00:52:57,868 vernichtet diese ?berreste 886 00:52:57,999 --> 00:52:59,797 in der ganzen Weite der Welt. 887 00:52:59,937 --> 00:53:02,715 Die Geschichte, die bis dahin allein 888 00:53:02,927 --> 00:53:05,871 als die Bewegung der Individuen der herrschenden Klasse erschien 889 00:53:06,139 --> 00:53:09,021 und folglich als Geschichte von Ereignissen geschrieben wurde, 890 00:53:09,218 --> 00:53:12,812 wird jetzt als die allgemeine Bewegung begriffen, 891 00:53:13,143 --> 00:53:17,361 und in dieser unerbittlichen Bewegung werden die Individuen geopfert. 892 00:53:18,524 --> 00:53:21,894 Die Geschichte, die ihre Grundlage in der politischen ?konomie entdeckt, 893 00:53:22,057 --> 00:53:25,644 kennt jetzt die Existenz dessen, was ihr Unbewusstes war, 894 00:53:25,870 --> 00:53:28,141 das aber trotzdem noch das Unbewusste bleibt, 895 00:53:28,255 --> 00:53:30,606 das sie nicht ans Licht ziehen kann. 896 00:53:30,925 --> 00:53:33,726 Nur diese blinde Vorgeschichte, 897 00:53:33,987 --> 00:53:36,978 ein neues Verh?ngnis, das kein Mensch beherrscht, 898 00:53:37,168 --> 00:53:40,018 hat die Waren-?konomie demokratisiert. 899 00:53:44,349 --> 00:53:46,916 So machte die Bourgeoisie die Gesellschaft 900 00:53:47,014 --> 00:53:50,985 mit einer unwiederbringlichen geschichtlichen Zeit bekannt und zwang sie ihr auf, 901 00:53:51,120 --> 00:53:53,204 verweigert ihr aber deren Gebrauch. 902 00:53:53,679 --> 00:53:56,390 ?Somit hat es eine Geschichte gegeben, aber es gibt keine mehr?, 903 00:53:56,560 --> 00:53:59,324 weil die Klasse der Eigent?mer der ?konomie, 904 00:53:59,481 --> 00:54:02,131 die nicht mit der ?konomischen Geschichte brechen kann, 905 00:54:02,331 --> 00:54:05,072 auch als eine unmittelbare Bedrohung 906 00:54:05,284 --> 00:54:08,053 jede andere unwiederbringliche Verwendung der Zeit verdr?ngen muss. 907 00:54:08,512 --> 00:54:10,023 Die herrschende Klasse, 908 00:54:10,196 --> 00:54:13,635 die aus Spezialisten des Besitzes der Dinge besteht, 909 00:54:13,831 --> 00:54:16,839 die dadurch selbst ein Besitz der Dinge sind, 910 00:54:16,954 --> 00:54:18,495 muss ihr Schicksal verkn?pfen 911 00:54:18,668 --> 00:54:21,093 mit der Aufrechterhaltung dieser verdinglichten Geschichte, 912 00:54:21,282 --> 00:54:25,526 mit der Permanenz einer neuen Unbeweglichkeit in der Geschichte. 913 00:54:26,659 --> 00:54:30,100 Zum ersten Mal ist der Arbeiter an der Basis der Gesellschaft 914 00:54:30,304 --> 00:54:33,354 nicht mehr materiell der Geschichte fremd, 915 00:54:33,567 --> 00:54:38,210 denn jetzt ist es ihre Basis, durch die sich die Gesellschaft unwiederbringlich fortbewegt. 916 00:54:38,424 --> 00:54:42,643 In der Forderung, die geschichtliche Zeit, die es macht, zu erleben, 917 00:54:42,871 --> 00:54:44,392 findet das Proletariat 918 00:54:44,490 --> 00:54:48,394 das einfache, unvergessliche Zentrum seines revolution?ren Projektes; 919 00:54:48,562 --> 00:54:51,242 und jeder der bis heute niedergeschlagenen Versuche, 920 00:54:51,334 --> 00:54:53,155 dieses Projekt durchzuf?hren, 921 00:54:53,294 --> 00:54:55,310 kennzeichnet einen m?glichen Ausgangspunkt 922 00:54:55,467 --> 00:54:57,802 des neuen geschichtlichen Lebens. 923 00:55:03,708 --> 00:55:05,957 Mit der Entwicklung des Kapitalismus 924 00:55:06,104 --> 00:55:09,385 wird die unwiederbringliche Zeit weltweit vereinheitlicht. 925 00:55:09,629 --> 00:55:12,166 Die Weltgeschichte wird Wirklichkeit, 926 00:55:12,346 --> 00:55:16,368 denn die ganze Welt wird unter der Entwicklung dieser Zeit versammelt. 927 00:55:16,700 --> 00:55:20,011 Aber die Geschichte, die ?berall und zugleich dieselbe ist, 928 00:55:20,240 --> 00:55:24,458 ist erst noch die innergeschichtliche Ablehnung der Geschichte. 929 00:55:24,786 --> 00:55:29,637 Es ist die in gleiche abstrakte St?cke geschnittene Zeit der ?konomischen Produktion, 930 00:55:29,818 --> 00:55:33,458 die sich auf dem ganzen Planeten als der gleiche Tag ?u?ert. 931 00:55:33,747 --> 00:55:37,655 Vereinheitlichte unwiederbringliche Zeit ist die Zeit des Weltmarkts 932 00:55:37,818 --> 00:55:40,548 und folglich die des Weltspektakels. 933 00:55:43,072 --> 00:55:46,097 Die irreversible Zeit der Produktion ist zun?chst 934 00:55:46,211 --> 00:55:48,075 das Ma? der Waren. 935 00:55:48,255 --> 00:55:51,624 Daher ist die Zeit, die sich offiziell weltweit 936 00:55:51,771 --> 00:55:55,613 als die generelle Zeit der Gesellschaft behauptet, 937 00:55:55,863 --> 00:55:59,913 und dabei nur die speziellen Interessen bedeutet, die sie bilden, 938 00:56:00,106 --> 00:56:02,329 lediglich eine besondere Zeit. 939 00:56:08,298 --> 00:56:11,234 Als ein und dieselbe Str?mung entwickeln sich die Klassenk?mpfe 940 00:56:11,328 --> 00:56:13,533 der langen revolution?ren Epoche, 941 00:56:13,674 --> 00:56:16,273 die durch den Aufstieg der Bourgeoisie er?ffnet wurde, 942 00:56:16,468 --> 00:56:19,738 und das Denken der Geschichte, die Dialektik, 943 00:56:19,949 --> 00:56:24,278 das Denken, das nicht mehr bei der Suche nach dem Sinn 944 00:56:24,451 --> 00:56:27,652 des Bestehenden stehen bleibt, sondern sich zur Erkenntnis der Aufl?sung 945 00:56:27,783 --> 00:56:28,859 alles Bestehenden erhebt, 946 00:56:28,989 --> 00:56:32,461 und in der Bewegung alle Trennung aufl?st. 947 00:56:35,506 --> 00:56:38,760 Dieses geschichtliche Denken ist noch das Bewusstsein, 948 00:56:38,956 --> 00:56:40,346 das immer zu sp?t kommt 949 00:56:40,575 --> 00:56:43,893 und die Rechtfertigung post festum verk?ndet. 950 00:56:44,252 --> 00:56:48,157 Es hat die Trennung daher nur im Gedanken aufgehoben. 951 00:56:48,337 --> 00:56:50,773 Das Paradox, das darin besteht, 952 00:56:50,920 --> 00:56:52,801 den Sinn jeder Realit?t 953 00:56:52,948 --> 00:56:54,288 bis zu ihrer geschichtlichen Vollendung zur?ckzustellen, 954 00:56:54,403 --> 00:56:56,440 und zugleich zu enth?llen, dass dieser Sinn 955 00:56:56,563 --> 00:56:59,660 sich selbst zur Vollendung der Geschichte hin bildet, 956 00:56:59,833 --> 00:57:01,628 ergibt sich aus der einfachen Tatsache, 957 00:57:01,777 --> 00:57:04,052 dass der Denker der b?rgerlichen Revolutionen 958 00:57:04,179 --> 00:57:06,368 des 17. und 18. Jahrhunderts 959 00:57:06,501 --> 00:57:08,464 in seiner Philosophie 960 00:57:08,595 --> 00:57:11,259 nur die Vers?hnung mit deren Ergebnis gesucht hat. 961 00:57:56,425 --> 00:58:01,031 Wenn das Proletariat durch seine eigene Existenz in Taten offenbart, 962 00:58:01,203 --> 00:58:04,447 dass sich dieses Denken der Geschichte nicht vergessen hat, 963 00:58:04,652 --> 00:58:06,632 ist die Ablehnung des Schlusses 964 00:58:06,763 --> 00:58:09,902 zugleich auch die Best?tigung der Methode. 965 00:58:11,887 --> 00:58:13,936 Der Mangel der Marxschen Theorie 966 00:58:14,084 --> 00:58:17,092 ist nat?rlich der Mangel des revolution?ren Kampfes 967 00:58:17,255 --> 00:58:19,053 des Proletariates seiner Epoche. 968 00:58:19,265 --> 00:58:25,187 Die Arbeiterklasse im Deutschland von 1848 hat nicht die Revolution in Permanenz ausgerufen; 969 00:58:25,351 --> 00:58:28,456 die Kommune wurde in der Isolierung besiegt. 970 00:58:28,665 --> 00:58:32,108 Die revolution?re Theorie konnte daher noch nicht 971 00:58:32,239 --> 00:58:34,756 zu ihrem eigenen vollst?ndigen Dasein gelangen. 972 00:58:36,296 --> 00:58:38,480 Alle theoretische Unzul?nglichkeit 973 00:58:38,594 --> 00:58:41,830 bei der wissenschaftlichen Verteidigung der proletarischen Revolution kann, 974 00:58:42,003 --> 00:58:45,014 sowohl was den Inhalt als was die Form der Darstellung angeht, 975 00:58:45,143 --> 00:58:46,794 zur?ckgef?hrt werden auf eine 976 00:58:46,958 --> 00:58:50,439 Identifizierung des Proletariats mit der Bourgeoisie 977 00:58:50,663 --> 00:58:54,146 unter dem Gesichtspunkt der revolution?ren Machtergreifung. 978 00:58:54,147 --> 00:58:55,147 General Golz? 979 00:58:55,772 --> 00:58:58,772 Von Jordan? Ja, lesen Sie vor ! 980 00:59:11,604 --> 00:59:13,087 Zu sp?t, Duval ! 981 00:59:13,877 --> 00:59:16,750 Das hei?t wir sind erledigt. Es ist uns diesmal nicht gelungen. 982 00:59:18,800 --> 00:59:22,751 Schade, ja, zu schade 983 00:59:25,052 --> 00:59:28,960 Die zwei einzigen Klassen, die tats?chlich der Marxschen Theorie entsprechen, 984 00:59:29,124 --> 00:59:33,056 die zwei reinen Klassen, zu denen die gesamte Analyse des ?Kapital? hinf?hrt, 985 00:59:33,203 --> 00:59:35,289 die Bourgeoisie und das Proletariat, 986 00:59:35,423 --> 00:59:38,853 sind zugleich die beiden einzigen revolution?ren Klassen der Geschichte, 987 00:59:39,005 --> 00:59:41,078 aber unter verschiedenen Bedingungen: 988 00:59:41,477 --> 00:59:43,695 die b?rgerliche Revolution hat stattgefunden, 989 00:59:43,949 --> 00:59:46,487 die proletarische Revolution ist ein Projekt, 990 00:59:46,752 --> 00:59:49,200 das auf der Grundlage der vorangegangenen Revolutionen entstand, 991 00:59:49,390 --> 00:59:51,653 sich jedoch von ihr qualitativ unterscheidet. 992 00:59:51,957 --> 00:59:55,720 Wenn man die Originalit?t der geschichtlichen Rolle der Bourgeoisie ?bersieht, 993 00:59:55,886 --> 00:59:58,531 verdeckt man die konkrete Originalit?t 994 00:59:58,641 --> 01:00:00,326 des proletarischen Projekts, 995 01:00:00,459 --> 01:00:01,845 das nur dann etwas erreichen kann, 996 01:00:02,018 --> 01:00:04,403 wenn es seine eigenen Farben tr?gt und 997 01:00:04,593 --> 01:00:07,899 die ?Ungeheuerlichkeit [seiner] eigenen Zwecke? kennt. 998 01:00:09,192 --> 01:00:11,051 Die Bourgeoisie ist zur Macht gelangt, 999 01:00:11,247 --> 01:00:14,224 weil sie die Klasse der sich entwickelnden ?konomie ist. 1000 01:00:14,438 --> 01:00:18,312 Das Proletariat kann seinerseits die Macht sein, aber nur 1001 01:00:18,492 --> 01:00:20,475 wenn es zur Klasse des Bewusstseins wird. 1002 01:00:21,057 --> 01:00:23,372 Das Reifen der Produktivkr?fte 1003 01:00:23,490 --> 01:00:25,673 kann eine solche Macht nicht garantieren, 1004 01:00:25,883 --> 01:00:29,823 auch nicht auf dem Umweg der gesteigerten Enteignung, die dieses Reifen mit sich bringt. 1005 01:00:30,111 --> 01:00:32,086 Die jakobinische Eroberung des Staates 1006 01:00:32,200 --> 01:00:34,277 kann nicht das Instrument des Proletariats sein. 1007 01:00:34,434 --> 01:00:35,958 Keine Ideologie kann ihm helfen, 1008 01:00:36,073 --> 01:00:40,064 Teilziele in generelle Ziele zu verkleiden, 1009 01:00:40,253 --> 01:00:46,003 denn es kann keine teilweise Wirklichkeit bewahren, die tats?chlich ihm geh?rte. 1010 01:00:48,039 --> 01:00:50,625 Diese ideologische Entfremdung der Theorie ist 1011 01:00:50,773 --> 01:00:53,951 folglich au?erstande, die praktische Bew?hrung des 1012 01:00:54,109 --> 01:00:56,959 von ihr verratenen einheitlichen geschichtlichen Denkens wiederzuerkennen, 1013 01:00:57,113 --> 01:00:59,361 wenn eine solche Bew?hrung 1014 01:00:59,502 --> 01:01:01,655 im spontanen Kampf der Arbeiter pl?tzlich hervortritt; 1015 01:01:01,864 --> 01:01:04,625 sie kann lediglich dazu beitragen, 1016 01:01:04,755 --> 01:01:07,273 ihre ?u?erung und ihre Erinnerung zu unterdr?cken. 1017 01:01:07,518 --> 01:01:11,720 Diese im Kampf aufgetauchten geschichtlichen Formen 1018 01:01:11,834 --> 01:01:13,739 sind jedoch gerade das praktische Milieu, 1019 01:01:13,886 --> 01:01:16,731 das der Theorie fehlte, um wahr zu sein. 1020 01:01:16,894 --> 01:01:19,208 Sie sind eine Forderung der Theorie; 1021 01:01:19,358 --> 01:01:22,030 die jedoch nicht theoretisch formuliert worden war. 1022 01:01:22,240 --> 01:01:23,240 Der Sowjet 1023 01:01:23,358 --> 01:01:25,821 war keine Entdeckung der Theorie. 1024 01:01:25,972 --> 01:01:28,726 Und schon die h?chste theoretische Wahrheit 1025 01:01:28,915 --> 01:01:31,843 der Internationalen Arbeiter Assoziation 1026 01:01:32,039 --> 01:01:34,627 war ihr eigenes arbeitendes Dasein. 1027 01:01:43,104 --> 01:01:47,894 Du wirst dann wissen, wie sehr das Brot der Fremden den Geschmack des Salzes hat, 1028 01:01:48,246 --> 01:01:51,139 und welch widriger Durchgang es ist, 1029 01:01:51,343 --> 01:01:55,168 die Treppen der Fremden hinab- und hinaufzusteigen. 1030 01:01:57,162 --> 01:02:01,200 Doch die am schwersten zu ertragende Last f?r dich, 1031 01:02:01,817 --> 01:02:05,757 das wird die schlechte und unangemessene Gesellschaft sein, 1032 01:02:06,158 --> 01:02:10,482 mit der zusammen du in dieses Tal des Exils hinunterfahren wirst. 1033 01:02:13,415 --> 01:02:17,306 So dass es nach all dem eine Ehre sein wird, 1034 01:02:17,715 --> 01:02:21,574 dass du ganz f?r dich allein deine Partei gewesen sein wirst. 1035 01:02:25,416 --> 01:02:27,243 Derselbe geschichtliche Moment, 1036 01:02:27,416 --> 01:02:30,810 in dem der Bolschewismus in Russland f?r sich selbst siegte, 1037 01:02:30,981 --> 01:02:35,411 und die Sozialdemokratie siegreich f?r die alte Welt k?mpfte, 1038 01:02:35,580 --> 01:02:37,458 bezeichnet die vollendete Entstehung 1039 01:02:37,627 --> 01:02:38,934 einer Ordnung der Dinge, 1040 01:02:39,076 --> 01:02:42,351 welche im Mittelpunkt der Herrschaft des modernen Spektakels steht: 1041 01:02:42,572 --> 01:02:44,604 die Arbeiterrepr?sentation 1042 01:02:44,801 --> 01:02:47,866 hat sich radikal der Klasse entgegensetzt. 1043 01:02:48,471 --> 01:02:52,576 Jene, die einen Staatskapitalismus errichten wollen, 1044 01:02:52,821 --> 01:02:57,411 als Eigentum einer totalit?ren B?rokratie, ohne die R?te auszuschalten 1045 01:02:57,656 --> 01:03:02,473 oder jene, die die Klassengesellschaft abschaffen wollen, 1046 01:03:02,708 --> 01:03:07,498 ohne alle Gewerkschaften und spezialisierten hierarchischen Parteien zu verurteilen 1047 01:03:07,775 --> 01:03:11,584 werden sich nur eine kurze Zeit halten k?nnen. 1048 01:03:13,432 --> 01:03:15,059 Die stalinistische Epoche 1049 01:03:15,274 --> 01:03:18,315 enth?llt die letzte Realit?t der B?rokratie: 1050 01:03:18,557 --> 01:03:21,589 Sie ist die Fortf?hrung der Macht der ?konomie, 1051 01:03:21,825 --> 01:03:25,417 die Erhaltung des Wesentlichen der Warengesellschaft 1052 01:03:25,597 --> 01:03:27,886 n?mlich der Arbeit als Ware. 1053 01:03:28,173 --> 01:03:30,576 Das ist der Beweis der unabh?ngigen ?konomie, 1054 01:03:30,801 --> 01:03:32,333 die die Gesellschaft so weit beherrscht, 1055 01:03:32,513 --> 01:03:34,923 dass sie f?r ihre eigenen Ziele 1056 01:03:35,054 --> 01:03:37,871 die Klassenherrschaft wiederherstellt, die sie notwendig braucht, 1057 01:03:38,469 --> 01:03:40,766 das bedeutet, dass die Bourgeoisie 1058 01:03:40,946 --> 01:03:43,627 eine autonome Macht geschaffen hat, 1059 01:03:43,823 --> 01:03:45,941 die, solange diese Autonomie besteht, 1060 01:03:46,067 --> 01:03:48,921 so weit gehen kann, dass sie ohne Bourgeoisie auskommt. 1061 01:03:49,350 --> 01:03:51,736 Die totalit?re B?rokratie ist nicht 1062 01:03:51,878 --> 01:03:54,365 ?die letzte Klasse-mit-Eigentum der Geschichte? 1063 01:03:54,491 --> 01:03:56,319 im Sinne Bruno Rizzis, 1064 01:03:56,523 --> 01:03:59,720 sondern lediglich eine ersatzweise herrschende Klasse 1065 01:03:59,869 --> 01:04:01,934 in der Waren-Wirtschaft. 1066 01:04:02,255 --> 01:04:04,766 Das schwach entwickelte kapitalistische Privateigentum 1067 01:04:04,940 --> 01:04:09,355 wird durch ein vereinfachtes, nicht so vielgestaltiges Nebenprodukt ersetzt, 1068 01:04:09,585 --> 01:04:14,004 konzentriert als kollektives Eigentum der b?rokratischen Klasse. 1069 01:04:14,380 --> 01:04:17,205 Diese unterentwickelte Form einer herrschenden Klasse 1070 01:04:17,340 --> 01:04:20,512 ist auch Ausdruck der ?konomischen Unterentwicklung 1071 01:04:20,659 --> 01:04:24,501 und kennt keine andere Perspektive, als diesen Entwicklungsr?ckstand 1072 01:04:24,648 --> 01:04:26,969 in bestimmten Gegenden der Welt aufzuholen. 1073 01:04:27,230 --> 01:04:32,302 Die nach dem b?rgerlichen Modell der Trennung organisierte Arbeiterpartei 1074 01:04:32,505 --> 01:04:35,446 hat den hierarchisch-staatlichen Rahmen 1075 01:04:35,560 --> 01:04:39,206 f?r diese Erg?nzungsaufgabe der herrschenden Klasse geschaffen. 1076 01:04:42,843 --> 01:04:46,145 Die machthabende totalit?r-ideologische Klasse 1077 01:04:46,304 --> 01:04:48,695 ist die Macht einer verkehrten Welt: 1078 01:04:48,842 --> 01:04:49,965 je st?rker sie ist, 1079 01:04:50,091 --> 01:04:52,432 um so mehr behauptet sie, dass sie nicht existiert, 1080 01:04:52,644 --> 01:04:56,388 und ihre St?rke dient ihr zun?chst dazu, ihre Nichtexistenz zu behaupten. 1081 01:04:56,609 --> 01:04:58,735 Nur in diesem Punkt ist sie bescheiden, 1082 01:04:58,916 --> 01:05:01,700 denn ihre offizielle Nichtexistenz muss auch 1083 01:05:01,727 --> 01:05:06,160 mit dem ?nec plus ultra? (?Nicht mehr weiter?) der geschichtlichen Entwicklung zusammenfallen, 1084 01:05:06,301 --> 01:05:10,508 das man gleichzeitig angeblich ihrer unfehlbaren F?hrung verdanken soll. weiter im n0name newsletter #142 ------------------------------------------------------------------------ 2. Von: Matze Schmidt Betreff: Dearest Tinkebell, Datum: 25. Juni 2009 Nicht An: tinkebell(at)tinkebell.com Ich koennte jetzt schreiben: Du Hure, ist Dir klar, dass du irgendwie sterben wirst dafuer, dass Du die Hassmail geschrieben hast? Auf deine MySpace-Identitaet scheisse ich. Dass Du fuer Fair-Trade bist und gegen Kinderarbeit und dem Buddhismus, dieser Leidenssklaverei, huldigst und alle Wesen liebst, hilft Dir wenig. Das gute Web 2.0 ist VERGANGENHEIT, hat nie existiert und gab es NIE. Kein Tier auf den Buechern von O'Reilly bringt den vom Benutzer generierten Mehrwert wieder, das ist vorbei, die von Netzwerken multiplizierten Effekte (http://www.oreilly.de/ catalog/web2strategyger/toc.html) sind laercherliche Fontainen (http://www.koert.com/work/datafountain) der Boersenkurse im Wind. Aber vielleicht hat Koert van Mensvoort ja recht, und man muss das Paradox leben und umdeuten. Onlinemenschen, zu Hause nett, im Show-Netz zu nett, anonyme Killer. Allerdings ist Koeperlichkeit/Physis und das Materiale im Gegensatz zum Daten-Symbolischen auch Mensvoort's Thema. Es muessen schon echte Koeperlichkeiten herauskommen. Steigende und fallende Waehrungskurse in Form von Fontainen deuten auf die Anmaszung des Phantastischen, auf die morbide Schoenheit von gekauften und verkauften Krediten. Aber muss hier moderiert werden? Mensvoort schlaegt nicht ohne Zynsimus gegenueber dem menschenverbindenden Internet das Gespraech vor: Jetzt, wo ich dich kenne, du Hassmailer, komme ich vielleicht auf einen Kaffee vorbei. Aber auch das, der produktive Widerspruch kann die Repressive Toleranz, leb Dich aus und zwar wortwoertlich, nicht stoppen. Gehirnwaesche und Kanalisierung sehen sich zum Verwechseln aehnlich. http://www.flickr.com/photos/silvertje/1843698352/ = Koert van Mensvoort & Arjo Kramer (Director Legal & Business Affairs at SBS Broadcasting B.V.) oder Arjo Klamer (The Value of Culture) ...? Ist das die Demaskierung des semi-oeffentlichen A-Diskurses in der investigativ-analytischen Auseinandersetzung mit gesellschaftlichen (Tabu-)Themen? SCHEISSE! Scheiss nicht drauf! Die Demaskiererin muss sich ebenfalls selbst demaskieren, um Identitaet fest zu stellen. Und sie muss den anderen mit der noetigen Verstaerkung vorspielen was diese tun. Bist du scheisse! Du Opfer. ?Bist Du taeter?. Das Substantiv wird adjektivisch. Aus der Substanz des Subjekts wird Beschaffenheit oder Beziehung, aber die Festlegung auf die immerwaehrende soziale "Rolle" des Subjekts endet an dieser Stelle. Du bist wie ein Taeter, taeterhaft und Prototaeter, aber kein Taeter. 700 Seiten _Dearest Tinkebell,_ mit dem ganzen ausgekotzen FremdHASS und SelbstHASS aendert auch nichts an moerderischen Mentaliaeten. Der Mord kommt mir hoch, Tinkebell hat den Tod gezeigt oder etwas, das wie ein symbolischer Tod aussieht. Der darf nicht sein. Was der Praeparator macht oder der Metzger muss im Verborgenen bleiben oder staendig aufgeklaert werden. Man koennte meinen, Tinkebell haette nicht nur Tiere aufgerissen, enthaeutet, umgestuelpt, um sie weiter zu verarbeiten, in Beutel oder Taeschchen oder Stofftiere, die man umdrehen kann, das Innen nach Aussen, das dann ein Anderes ist, aus einem Hund wird ein Katze, also Spiel-Tiere mit Identitaetswechsel, weiterzuverarbeiten in die wirklichen Spiel- und Launezeuge, die sie sind, Haustiere als "Partner", die sie nicht mehr sind, sondern sie hat zusammen mit Coralie Vogelaar auch das 'Konzept' der isolierten Persoenlichkeitsperson aufgerissen, das originaere immer originelle Individuum, um zu sehen was fuer eine Scheisse in Deinem Gerede zustandekommt. Die Scheisse, das Tote, mit der man umgehen muss. Aber klar, da Du selber Kuenstlerin bist, haelst Du Dich fuer keine Sklavin. Das Image des Kreativen ist die Freiheit. Die kann man sofort haben. Eroeffne ein Profil. Du liebst Deine Kinder und Deine Familie und die Dich lieben. Diese ganze Ich-Spiegelungsscheisse kotzt mich an. Wenn Du Vegetarierin bist, ist das noch keine Garantie fuer Deine Aufgeklaertheit oder Deine Emazipation von der Ware, die nie gelingen kann solange die Ware warenhaft ist. Oder ist es nur Dein Monster, das fuer Dich spricht? Dein Text, selbst der ist nicht Deiner, der ist Dein Koerper, den Du verkaufen musst, ohne wirklich Lohn dafuer zu bekommen. Denn die Logik des zweiten Internet ist ja, dass jeder fuer seine Produktivitaet bezahlt. In moeglichst grossen Lettern, heilig und auf jeden Fall mystisch und Fotos gegen die Erkenntis, umgesetzt in nur symbolisches Handeln, Handeln ohne zu handeln aber mitten im Handel. STIRB! Du Monster. Du bist Dein Laecheln nicht wert. Du liebst Deinen Hund? Und ist er Dein Objekt, bist Du sein Objekt? Ist Dein Hund Dein Ding? Und bist Du sein Ding: http://pauwenwitteman.vara.nl/Archief- detail.113.0.html?&tx_veguestbook_pi1[pointer]=8&tx_ttnews[tt_news]= 11191&tx_ttnews[backPid]=111&cHash=2b51618765 ? "Mit welchen Mitteln kann man ueberhaupt noch was aus den Leuten rausholen?" Fruehstueck im Pelz. Ueber die Pelztasse, gebaut von Meret Oppenheim, geht Tinkebell nicht unbedingt hinaus. Das Buch mit allen E-Mailadressen und Postadressen der vielleicht echten Menschen ist geschrieben worden von denen, die es nie schreiben wollten. Da ist die Nutzergenerierte Kunst, die wir alle nicht wollten. Das soziale Readymade gegen die den Alltag romantisierende ganzheitlich poetischen Lebensform der Surrealisten, gegen die Begabtheit der Kuenstler. Was man braucht sind Suchmaschinen und redaktionelle Arbeit! Ausloeser muss kein scheiss Kunstwerk sein, keine Provokation, kein Setting. Der Mensch als Ware ist Web: http://www.fashionmodeldirectory.com/images/identify/0_1214457463.jpg Oder wie war das noch? Schullehrer sind inzwischen Coaches ihrer Schueler, Politiker neuerdings Moderatoren zwischen Kapital und Arbeit, Manager sowieso Kuenstler. Der einzige Unterschied besteht darin, einen Satz wie "Warum bringst du nicht auch deine Mutter um und machst eine Geldboerse aus ihr" nicht zu zensieren, sondern ihn lesbar zu machen. Ihn also in die Allgemeinheit zu ueberfuehren. Die Online-Exhibitionisten, die so moerderisch laecheln (http://fast. mediamatic.nl/f/sjnh/image/757/77394-400-525.jpg), kriegen sich nie. Eine Defetischisierungskampagne kann da helfen. Wurde hier jemand entlarvt? Die Person als Personschau, als Maske? Ist hinter der Maske des Charakters einer falschen Welt die richtige Person auffindbar, die unentfremdet sich zeigt, hinter der sich nichts mehr verbirgt?: http://commons.wikimedia.org/wiki/File: Rembrandt_Van_Rijn,_Die_Anatomiestunde_des_Dr._Nicolaes_Tulp.jpg oder http://www.onlinekunst.de/rinder/schlachtung/768_rembrandt_r_ ochse.jpg ... Loesen wir die Dinge zusammen mit Niels Huijbregts von XS4ALL ohne Stress, ohne Ueberprodukt? Dem faellt auf, dass die sozialen Netze in 3d umschlagen. Etwas, was die "Access for all"-Bewegung immer wollte, aber nicht so. Der MeinRaum, Rueckzug ins Oeffentliche und Offenbarungseid. Junge Maenner und Frauen kopieren auf Fotos die Fotos von XXX-Onlineportalen, die sie gefaelligst nur zu beschicken haben aber nicht demokratisch kontrollieren duerfen. Eine demokratische Kontrolle der Mitttel waere moeglicherweise ein Anfang vom Ende des sauberen Profits der freundlichen Zugangsanbieter. Doch die Artikulationsform Porno bleibt verboten weil ihre Praxis die Zucht und Ordnung der Libido stoert, und ist deshalb geil. Die Angst vor der Kinderpornographie ist in Wahrheit die Angst vor dem Verlust der Kontrolle seitens der herrschenden Macht, die das Netz sicher machen will, um den realen Markt fuer den unmenschlichen Porn nicht reell werden zu lassen, der er ist. Die folgliche Zensur, also Verbot, ist Verdraengung, wirklich Zensur, also Ueberwachung, also Krisenreaktion und das Zugestaendnis, dass Kinder im Rechtsstaat zu laechelnden Huren und Hehlern und Sklaven erzogen werden. Zu Tiermenschenrechtlern, supernetten Antihumanisten. "Dieser Lifestyle ist inzwischen eine echte Revolution geworden", sagt Che Guevaras Enkelin Lydia Guevara (siehe People for the Ethical Treatment of Animals http://www.peta.de/web/lydiaguevara.2336.html). Die Tierrechtler "bekaempfen die Sonderrolle des menschlichen Tiers" und sprechen auch mal vom "Holocaust auf Ihrem Teller". Fazit: Im Internet bin ich kein Hund. Im Gegenteil, in der anonymen Invidualvermassung und Enthemmung bin ich gesellschaftliches Wesen mit dringender Reflektionsoption. Wenn die Antispeziesisten, also die wahren wahren Tierfreunde den Dualisimus Mensch-Tier ablehnen und gegen Menschen zu handeln beginnen, erkennen sie ihre eigene menschliche Sonderstellung nicht, die sie zwingt, anders zu sein als jedes Wesen ohne Bewusstsein -- auch wenn Gehirnforscher eben dieses Menschen nun absprechen und Fleischefresser das wiederum als Kraenkung abtun. PETA tut so, als waeren Rechte und Leben fuer Menschen durchgesetzt und Gesellschaft frei, das fuer Tiere zu tun obwohl nur ein gesamtoekologischer Blick mit einer Kritik an der kapitalistischen Produktionsweise die moerderischen Verhaeltnisse angehen kann. Radikale Tierliebe fuer den "Frieden auf Erden" ist eher eine Ersatzreligion.* Tinkebells Ansatz ist da weniger didaktische Aufklaerung als Spiegelung. Tinkebell schrieb auf den Ruecken ihre Buches "Looove TINKEBELL.". Truegerisch! _______________ * Hier ist Jutta Ditfurths Buch _Entspannt in die Barbarei: Esoterik, (Oeko-)Faschismus und Biozentrismus_ empfehlbar. Matze Schmidt Tinkebell und Coralie Vogelaar. _Dearest Tinkebell,_. Amsterdam, 2009. ISBN 978 90 89101 29 7 ======================================================================== Sie erhalten den n0name newsletter, weil sie da sind!/You get the n0name newsletter, because you are there! *Bitte weiterleiten!/Please forward!* Archiv: http://www.n0name.de/newsletr.html (c) 1999-2009 n0name, die Autorinnen & Autoren und die Maschinen Unterstuetzt von XPECT MEDIA http://www.xpect-media.de Sponsored by FONDS Dank an >top e.V. ------------------- Ende des n0name newsletter #141 -------------------- -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From info at apo33.org Sun Jun 28 13:36:57 2009 From: info at apo33.org (APO33) Date: Sun Jun 28 13:37:25 2009 Subject: [spectre] Reminder--> 3 & 4 of July --> RAINFOREST OF DAVID TUDOR Message-ID: <20090628133657.13881e0rblpr6g3o@apo33.org> DON'T FORGET TO BOOK YOUR TICKET ONLINE!!!! ////////////////////////////////////////////////////////////////////////////// A10lab, Area10, Apo33, Noise=Noise, Beyond Signal, Fibrr Records & Sound Research Practice, Goldsmiths presents: ////////////////////////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!! RAINFOREST IV - DAVID TUDOR !!!!!!!!!!!!!!!!!!!!!!!!!!!! "a collaborative environmental work, spatially mixing the live sounds of suspended sculptures and found objects, with their transformed reflections in an audio system. " /////////////////////////////////////////////////////////////////////////////// PERFORMANCE & INSTALLATION 3rd & 4th of July 2009 - from 2pm to 23pm ?10 (online booking http://www.wegottickets.com) ?12 (on the door) at AREA10 PROJECT SPACE Eagle Wharf Peckham Hill Street London - SE15 5JT (White building behind the Library) Buses: 12, 36, 37, 63, 78, 436, 345, 177, 312, 343 Train: Peckham Rye Station /////////////////////////////////////////////////////////////////////////////// "In 1973 I made "Rainforest IV" where the objects that the sounds are sent through are very large so that they have their own presence in space. I mean, they actually sound locally in the space where they are hanging as well as being supplemented by a loudspeaker system. The idea is that if you send sound through materials, the resonant nodes of the materials are released and those can be picked up by contact microphones or phono cartridges and those have a different kind of sound than the object does when you listen to it very close where it's hanging. It becomes like a reflection and it makes, I thought, quite a harmonious and beautiful atmosphere, because wherever you move in the room, you have reminiscences of something you have heard at some other point in the space. It's (can be) a large group piece actually, any number of people can participate in it. It's important that each person makes their own sculpture, decides how to program it, and performs it themselves. Very little instruction is necessary for the piece. I've found it to be almost self-teaching because you discover how to program the devices by seeing what they like to accept. Its been a very rewarding type of activity for me. It's been done by as large a group as 14 people. So that was how our Rainforest was done.? David Tudor Performed by RYAN JORDAN JULIEN OTTAVI KASPER T TOEPLITZ JEAN-BAPTISTE THIEBAUT JOHN BOWERS DOMINIQUE LEROY PHILIP JULIAN CHRIS WEAVER JENNY PICKETT RYO IKESHIRO DAWN SCARFE ANDY WHEDDON DUNCAN RAVENHALL ANTONIS ANTONIOU and more Thanks to ResonanceFM for their support! more informations: http://www.a10lab.info/rainforest ////////////////////////////////////////////////////////////////////////////// Who is David Tudor? David Tudor was born in Philadelphia, PA, in 1926. He studied with H. William Hawke (organ, theory), Irma Wolpe Rademacher (piano) and Stephan Wolpe (composition and analysis).His first professional activity was as an organist, and he subsequently became known as one of the leading avante-garde pianists of our time. Tudor gave highly acclaimed first or early performances of worksby contemporary composers Earle Brown, Sylvano Bussotti, Morton Feldman, Karlheinz Stockhausen, Christian Wolff, Stephan Wolpe, and La Monte Young, among others. Tudor began working with John Cage in the early fifties, as a member of the Merce Cunningham Dance Company and with Cage's Project of Music for Electronic Tape. Tudor gradually ended his active career as a pianist, turning exclusively to the composition of live electronic music. As a composer, Tudor chose specific electronic components and their interconnections to define both composition and performance drawing upon resources that were both flexible and complex. Tudor was one of four Core Artists who collaborated on the design of the Pepsi Pavilion for Expo '70, Osaka, Japan, a project of Experiments in Art and Technology, Inc. Many of Tudor's compositions have involved collaborative visual forces: light systems, laser projections, dance, theater, television, film. Tudor's last project, Toneburst: Maps and Fragments, was a collaboration with visual artist Sophia Ogielska. Tudor's several collaborations with visual artist Jacqueline Monnier included the development of a kite environment installed at the Whitney Museum (Philip Morris, NYC) in 1986, at the exhibition "Klangraume" in Dusseldorf in 1988, and at the Jack Tilton Gallery in New York City in 1990. Other collaborators have included Lowell Cross, Molly Davies, Viola Farber, Anthony Martin, and Robert Rauschenberg. Tudor had been affiliated with the Merce Cunningham Dance Company (MCDC) since its inception in the summer of 1953. In 1992, after Cage?s death, Tudor took over as Music Director of MCDC. Merce Cunningham has commissioned numerous works from Tudor, including Rainforest I (1968); Toneburst (1974); Weatherings (1978); Phonemes (1981); Sextet for Seven (1982); Fragments (1984); Webwork (1987), Five Stone Wind (1988), Virtual Focus (1990); Neural Network Plus (1992); and most recently Soundings: Ocean Diary (1994) for what was John Cage's last conception, Ocean. http://www.emf.org/tudor/ /////////////////////////////////////////////////////////////////////////////// Musicians & Artists websites: http://jennypickett.co.uk http://doc.gold.ac.uk/~ma701rj/ http://www.noiser.org http://www.apo33.org http://jbthiebaut.free.fr/ http://www.myspace.com/tonesucker http://www.leftright.org/ http://www.cmx.org.uk/ http://www.dawnscarfe.co.uk/ http://resonancefm.com/ http://www.ry-om.net/index.htm http://www.myspace.com/aseaofsound http://www.myspace.com/antonioua ******************************************************************************* -- AKA THE NOISER & NANOFAMAS "the world is noise" http://www.noiser.org http://www.apo33.org http://www.a10lab.info http://fibrr.apo33.org http://ecos.crealab.info http://www.a10lab.info/mutation http://www.a10lab.info/scieprotocol -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From nc-agricowi at netcologne.de Mon Jun 29 07:46:28 2009 From: nc-agricowi at netcologne.de (artNET) Date: Mon Jun 29 07:47:07 2009 Subject: [spectre] netEX: calls & deadlines -->July 2009 Message-ID: <20090629074628.8DA6D8D3.32AF8C24@192.168.0.3> netEX: calls & deadlines -->July 2009 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents calls & deadlines 04 Calls: 2009 deadlines internal 16 Calls: July 2009 deadlines external 9 Calls: ongoing external/internal ------------------------------------------------ Calls & deadlines ---> ------------------------------------------------ 2009: deadlines internal Deadline: 30 September A Virtual Memorial - memorial project environments is looking for artists who work on the subject "SHOAH" in digital media, primarily videoart/filmart, but also netart, soundart, digital photography and media installation http://www.nmartproject.net/netex/?p=662 Deadline: 1 September CologneOFF - Cologne Online Film Festival is looking for film and video submissions for its 5th festival edition to be launched in November 2009 on the topics "violence" & "taboo" http://www.nmartproject.net/netex/?p=1030 special section for German film & videos http://www.nmartproject.net/netex/?p=694 **Deadline 1 September CologneOFF Online Film Festival sucht deutsche Autoren von Kurzfilmen und -videos f?r ein Feature im Rahmen des 5. Festivalausgabe, welche im November 2009 ver?ffentlicht wird http://www.nmartproject.net/netex/?p=694 *extended Deadline 31 August 2009 Cinematheque - streaming media project environments call: Flash & Thunder - Flash as a medium and tool for artistic creations http://www.nmartproject.net/netex/?p=408 ------------------------------------------------ July 2009 deadlines: external ------------------------------------------------ 31 July Pantheon Xperimetal Film festival 8.0 Nicosia/Cyprus http://www.nmartproject.net/netex/?p=728 31 July Riders on the Train - Axiom Gallery - MA/USA http://www.nmartproject.net/netex/?p=1246 31 July Transmediale 10 Berlin/Germany http://www.nmartproject.net/netex/?p=1075 31 July Short Film Festival Leuven/Belgium http://www.nmartproject.net/netex/?p=1180 31 July Going Underground 8 - Berlin/Germany http://www.nmartproject.net/netex/?p=996 31 July AZA Intern. Short Film Festival Thessaloniki/Greece http://www.nmartproject.net/netex/?p=1086 31 July Voices from the Water - Film Festival Bangalore/India http://www.nmartproject.net/netex/?p=1018 18 July Balmoral Scholarships 2010 http://www.nmartproject.net/netex/?p=1122 15 July 23rd Images Festival Toronto/Ca http://www.nmartproject.net/netex/?p=1173 15 July Elektronentoto- Video Contest - Open Source Festival D?sseldorf/Germany http://www.nmartproject.net/netex/?p=1252 15 July 3rd International Film Festival L?Aquila/Italy http://www.nmartproject.net/netex/?p=987 13 July Screengrab 2009 - James Cook Inivesity Townsville/Australia http://www.nmartproject.net/netex/?p=1249 7 July Int. Short Film Festival - SEDICICORTO - Forli/Italy http://www.nmartproject.net/netex/?p=1190 5 July Audience09 Festival Syracuse/NY - USA http://www.nmartproject.net/netex/?p=1196 3 July Exhibition: Suversive Correspondance Bristol/UK http://www.nmartproject.net/netex/?p=1214 1 July Betting on Shorts Festival 2009 London/UK http://www.nmartproject.net/netex/?p=992 ----------------------------------------------- Ongoing calls: external/internal ----------------------------------------------- -->Videos for Bivouac Projects Sumter/USA -->OUTCASTING - web based screenings -->Films and video screenings Sioux City (USA) -->Laisle screenings Rio de Janeiro/Brazil -->Videos for Helsinki based video gallery - 00130 Gallery -->Web based works for 00130 Gallery Helsinki/Finland -->Project: Repetition as a Model for Progression by Marianne Holm Hansen -->US webjournal Atomic Unicorn seeks netart and video art for coming editions -->TAGallery and more deadlines on http://www.nmartproject.net/netex/?page_id=4 ----------------------------------------------- NetEX - networked experience http://netex.nmartproject.net # calls in the external section--> http://www.nmartproject.net/netex/?cat=3 # calls in the internal section--> http://www.nmartproject.net/netex/?cat=1 ----------------------------------------------- # This newsletter is also released on http://www.nmartproject.net/netex/?cat=9 # netEX - networked experiences is a free information service powered by [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media from Cologne/Germany # info & contact: info (at) nmartproject.net From n0name at gmx.de Mon Jun 29 10:09:19 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Mon Jun 29 10:10:09 2009 Subject: [spectre] Betreff: Dearest Tinkebell, Message-ID: <20090629080919.176280@gmx.net> Von: Matze Schmidt Betreff: Dearest Tinkebell, Datum: 25. Juni 2009 Nicht An: tinkebell(at)tinkebell.com Ich koennte jetzt schreiben: Du Hure, ist Dir klar, dass du irgendwie sterben wirst dafuer, dass Du die Hassmail geschrieben hast? Auf deine MySpace-Identitaet scheisse ich. Dass Du fuer Fair-Trade bist und gegen Kinderarbeit und dem Buddhismus, dieser Leidenssklaverei, huldigst und alle Wesen liebst, hilft Dir wenig. Das gute Web 2.0 ist VERGANGENHEIT, hat nie existiert und gab es NIE. Kein Tier auf den Buechern von O'Reilly bringt den vom Benutzer generierten Mehrwert wieder, das ist vorbei, die von Netzwerken multiplizierten Effekte (http://www.oreilly.de/ catalog/web2strategyger/toc.html) sind laercherliche Fontainen (http://www.koert.com/work/datafountain) der Boersenkurse im Wind. Aber vielleicht hat Koert van Mensvoort ja recht, und man muss das Paradox leben und umdeuten. Onlinemenschen, zu Hause nett, im Show-Netz zu nett, anonyme Killer. Allerdings ist Koeperlichkeit/Physis und das Materiale im Gegensatz zum Daten-Symbolischen auch Mensvoort's Thema. Es muessen schon echte Koeperlichkeiten herauskommen. Steigende und fallende Waehrungskurse in Form von Fontainen deuten auf die Anmaszung des Phantastischen, auf die morbide Schoenheit von gekauften und verkauften Krediten. Aber muss hier moderiert werden? Mensvoort schlaegt nicht ohne Zynsimus gegenueber dem menschenverbindenden Internet das Gespraech vor: Jetzt, wo ich dich kenne, du Hassmailer, komme ich vielleicht auf einen Kaffee vorbei. Aber auch das, der produktive Widerspruch kann die Repressive Toleranz, leb Dich aus und zwar wortwoertlich, nicht stoppen. Gehirnwaesche und Kanalisierung sehen sich zum Verwechseln aehnlich. http://www.flickr.com/photos/silvertje/1843698352/ = Koert van Mensvoort & Arjo Kramer (Director Legal & Business Affairs at SBS Broadcasting B.V.) oder Arjo Klamer (The Value of Culture) ...? Ist das die Demaskierung des semi-oeffentlichen A-Diskurses in der investigativ-analytischen Auseinandersetzung mit gesellschaftlichen (Tabu-)Themen? SCHEISSE! Scheiss nicht drauf! Die Demaskiererin muss sich ebenfalls selbst demaskieren, um Identitaet fest zu stellen. Und sie muss den anderen mit der noetigen Verstaerkung vorspielen was diese tun. Bist du scheisse! Du Opfer. ?Bist Du taeter?. Das Substantiv wird adjektivisch. Aus der Substanz des Subjekts wird Beschaffenheit oder Beziehung, aber die Festlegung auf die immerwaehrende soziale "Rolle" des Subjekts endet an dieser Stelle. Du bist wie ein Taeter, taeterhaft und Prototaeter, aber kein Taeter. 700 Seiten _Dearest Tinkebell,_ mit dem ganzen ausgekotzen FremdHASS und SelbstHASS aendert auch nichts an moerderischen Mentaliaeten. Der Mord kommt mir hoch, Tinkebell hat den Tod gezeigt oder etwas, das wie ein symbolischer Tod aussieht. Der darf nicht sein. Was der Praeparator macht oder der Metzger muss im Verborgenen bleiben oder staendig aufgeklaert werden. Man koennte meinen, Tinkebell haette nicht nur Tiere aufgerissen, enthaeutet, umgestuelpt, um sie weiter zu verarbeiten, in Beutel oder Taeschchen oder Stofftiere, die man umdrehen kann, das Innen nach Aussen, das dann ein Anderes ist, aus einem Hund wird ein Katze, also Spiel-Tiere mit Identitaetswechsel, weiterzuverarbeiten in die wirklichen Spiel- und Launezeuge, die sie sind, Haustiere als "Partner", die sie nicht mehr sind, sondern sie hat zusammen mit Coralie Vogelaar auch das 'Konzept' der isolierten Persoenlichkeitsperson aufgerissen, das originaere immer originelle Individuum, um zu sehen was fuer eine Scheisse in Deinem Gerede zustandekommt. Die Scheisse, das Tote, mit der man umgehen muss. Aber klar, da Du selber Kuenstlerin bist, haelst Du Dich fuer keine Sklavin. Das Image des Kreativen ist die Freiheit. Die kann man sofort haben. Eroeffne ein Profil. Du liebst Deine Kinder und Deine Familie und die Dich lieben. Diese ganze Ich-Spiegelungsscheisse kotzt mich an. Wenn Du Vegetarierin bist, ist das noch keine Garantie fuer Deine Aufgeklaertheit oder Deine Emazipation von der Ware, die nie gelingen kann solange die Ware warenhaft ist. Oder ist es nur Dein Monster, das fuer Dich spricht? Dein Text, selbst der ist nicht Deiner, der ist Dein Koerper, den Du verkaufen musst, ohne wirklich Lohn dafuer zu bekommen. Denn die Logik des zweiten Internet ist ja, dass jeder fuer seine Produktivitaet bezahlt. In moeglichst grossen Lettern, heilig und auf jeden Fall mystisch und Fotos gegen die Erkenntis, umgesetzt in nur symbolisches Handeln, Handeln ohne zu handeln aber mitten im Handel. STIRB! Du Monster. Du bist Dein Laecheln nicht wert. Du liebst Deinen Hund? Und ist er Dein Objekt, bist Du sein Objekt? Ist Dein Hund Dein Ding? Und bist Du sein Ding: http://pauwenwitteman.vara.nl/Archief- detail.113.0.html?&tx_veguestbook_pi1[pointer]=8&tx_ttnews[tt_news]= 11191&tx_ttnews[backPid]=111&cHash=2b51618765 ? "Mit welchen Mitteln kann man ueberhaupt noch was aus den Leuten rausholen?" Fruehstueck im Pelz. Ueber die Pelztasse, gebaut von Meret Oppenheim, geht Tinkebell nicht unbedingt hinaus. Das Buch mit allen E-Mailadressen und Postadressen der vielleicht echten Menschen ist geschrieben worden von denen, die es nie schreiben wollten. Da ist die Nutzergenerierte Kunst, die wir alle nicht wollten. Das soziale Readymade gegen die den Alltag romantisierende ganzheitlich poetischen Lebensform der Surrealisten, gegen die Begabtheit der Kuenstler. Was man braucht sind Suchmaschinen und redaktionelle Arbeit! Ausloeser muss kein scheiss Kunstwerk sein, keine Provokation, kein Setting. Der Mensch als Ware ist Web: http://www.fashionmodeldirectory.com/images/identify/0_1214457463.jpg Oder wie war das noch? Schullehrer sind inzwischen Coaches ihrer Schueler, Politiker neuerdings Moderatoren zwischen Kapital und Arbeit, Manager sowieso Kuenstler. Der einzige Unterschied besteht darin, einen Satz wie "Warum bringst du nicht auch deine Mutter um und machst eine Geldboerse aus ihr" nicht zu zensieren, sondern ihn lesbar zu machen. Ihn also in die Allgemeinheit zu ueberfuehren. Die Online-Exhibitionisten, die so moerderisch laecheln (http://fast. mediamatic.nl/f/sjnh/image/757/77394-400-525.jpg), kriegen sich nie. Eine Defetischisierungskampagne kann da helfen. Wurde hier jemand entlarvt? Die Person als Personschau, als Maske? Ist hinter der Maske des Charakters einer falschen Welt die richtige Person auffindbar, die unentfremdet sich zeigt, hinter der sich nichts mehr verbirgt?: http://commons.wikimedia.org/wiki/File: Rembrandt_Van_Rijn,_Die_Anatomiestunde_des_Dr._Nicolaes_Tulp.jpg oder http://www.onlinekunst.de/rinder/schlachtung/768_rembrandt_r_ ochse.jpg ... Loesen wir die Dinge zusammen mit Niels Huijbregts von XS4ALL ohne Stress, ohne Ueberprodukt? Dem faellt auf, dass die sozialen Netze in 3d umschlagen. Etwas, was die "Access for all"-Bewegung immer wollte, aber nicht so. Der MeinRaum, Rueckzug ins Oeffentliche und Offenbarungseid. Junge Maenner und Frauen kopieren auf Fotos die Fotos von XXX-Onlineportalen, die sie gefaelligst nur zu beschicken haben aber nicht demokratisch kontrollieren duerfen. Eine demokratische Kontrolle der Mitttel waere moeglicherweise ein Anfang vom Ende des sauberen Profits der freundlichen Zugangsanbieter. Doch die Artikulationsform Porno bleibt verboten weil ihre Praxis die Zucht und Ordnung der Libido stoert, und ist deshalb geil. Die Angst vor der Kinderpornographie ist in Wahrheit die Angst vor dem Verlust der Kontrolle seitens der herrschenden Macht, die das Netz sicher machen will, um den realen Markt fuer den unmenschlichen Porn nicht reell werden zu lassen, der er ist. Die folgliche Zensur, also Verbot, ist Verdraengung, wirklich Zensur, also Ueberwachung, also Krisenreaktion und das Zugestaendnis, dass Kinder im Rechtsstaat zu laechelnden Huren und Hehlern und Sklaven erzogen werden. Zu Tiermenschenrechtlern, supernetten Antihumanisten. "Dieser Lifestyle ist inzwischen eine echte Revolution geworden", sagt Che Guevaras Enkelin Lydia Guevara (siehe People for the Ethical Treatment of Animals http://www.peta.de/web/lydiaguevara.2336.html). Die Tierrechtler "bekaempfen die Sonderrolle des menschlichen Tiers" und sprechen auch mal vom "Holocaust auf Ihrem Teller". Fazit: Im Internet bin ich kein Hund. Im Gegenteil, in der anonymen Invidualvermassung und Enthemmung bin ich gesellschaftliches Wesen mit dringender Reflektionsoption. Wenn die Antispeziesisten, also die wahren wahren Tierfreunde den Dualisimus Mensch-Tier ablehnen und gegen Menschen zu handeln beginnen, erkennen sie ihre eigene menschliche Sonderstellung nicht, die sie zwingt, anders zu sein als jedes Wesen ohne Bewusstsein -- auch wenn Gehirnforscher eben dieses Menschen nun absprechen und Fleischefresser das wiederum als Kraenkung abtun. PETA tut so, als waeren Rechte und Leben fuer Menschen durchgesetzt und Gesellschaft frei, das fuer Tiere zu tun obwohl nur ein gesamtoekologischer Blick mit einer Kritik an der kapitalistischen Produktionsweise die moerderischen Verhaeltnisse angehen kann. Radikale Tierliebe fuer den "Frieden auf Erden" ist eher eine Ersatzreligion.* Tinkebells Ansatz ist da weniger didaktische Aufklaerung als Spiegelung. Tinkebell schrieb auf den Ruecken ihre Buches "Looove TINKEBELL.". Truegerisch! _______________ * Hier ist Jutta Ditfurths Buch _Entspannt in die Barbarei: Esoterik, (Oeko-)Faschismus und Biozentrismus_ empfehlbar. Matze Schmidt Tinkebell und Coralie Vogelaar. _Dearest Tinkebell,_. Amsterdam, 2009. ISBN 978 90 89101 29 7 www.tinkebell.com aus: n0name nachrichten #141 Sa., 27.06.2009 11:04 CET -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From a.ludovico at neural.it Mon Jun 29 10:21:33 2009 From: a.ludovico at neural.it (Alessandro Ludovico) Date: Mon Jun 29 10:22:11 2009 Subject: [spectre] new Neural issue #33, Scripting Green Message-ID: The new printed Neural issue #33, "Scripting Green" is available. . . . . . . . . . . . . . . . . . . . . . . . . . 1 YEAR SUBSCRIPTION! 3 issues Europe, 30,90 Euros - World, 54,50 U.S. Dollars. http://www.neural.it/subscribe.phtml . . . . . . . . . . . . . . . . . . . . . . . . . BACK ISSUES: http://www.neural.it/art/2006/01/neural_back_issues.phtml . . . . . . . . . . . . . . . . . . . . . . . . . [Neural #33 contents] http://www.neural.it/art/2009/04/post_3.phtml . . . . . . . . . . . . . . . . . . . . . . . . . . Amy Franceschini / Futurefarmers interview, . Beatriz da Costa interview, . HeHe interview, . Transmediale report, .news: X-Train, Dead Pixel in Google Earth, TimeStopper, Suffering Machine, Thumbarumba. .reviews: .. books/dvds: White Heat Cold Logic, Optical Vacuum, New Media in the White Cube and Beyond, Synthetic Times: Media Art China, nkdlunch.mp4, tapetrff.mp4. .centerfold: 'Common Flowers' by S.Fukuhara and G.Tremmel. . . . . . . . . . . . . . . . . . . . . . . . . . . Jacob Kirkegaard interview, . The Owl Project interview, . news: MusMusopen, Decryptopattern, Sound Chaser, Strobovj, Felix's Machines. . reviews: .. books/dvds/floppys: The Movement of People Working, Nocturne, Trax Rednight/Notterossa, Explicit Content Only, Harmonic Ratio. .. cd: AtomTM, Shinkei / Luigi Turra, Pioneers-The Beginning Of Danish Electronic Music, Domenico Sciajno, Yaco, Monoton, DNE, Phroq, Rhythm, Muslimgauze, Ibitsu, Michael Peters, Israel M, Mikhail, Source Records 1-6 Music Of The Avant Garde 1968-1971, Pato Thanos Chrysakis, The Smiling Buddhas, Frank Rothkamm, Nicolas Bernier). . . . . . . . . . . . . . . . . . . . . . . . . . . Guerrilla Gardening interview, . Esther Polak interview, . Eco-Pornography and the Alt-Economy, . news Wikileaks, Internet-avgift, Bicycle Built for Two Thousand, Oil Prospecting, Feral Trade. .. books: FLOSS+Art, Wizzywig, volume 1: phreak, volume 2:hacker, Cyberchiefs, Animal Spirits, Experimental Geography, -- Alessandro Ludovico Neural Magazine - English (http://neural.it/) Italian (http://www.neural.it/neural_it/) Latest Printed Issue - http://www.neural.it/art/2008/03/neural_29.phtml Subscribe - http://www.neural.it/subscribe.phtml From geert at xs4all.nl Mon Jun 29 14:15:32 2009 From: geert at xs4all.nl (Geert Lovink) Date: Mon Jun 29 14:16:08 2009 Subject: [spectre] Society of the Query: INC Conference on Culture & Politics of Search (Amsterdam, Nov 13-14) Message-ID: Society of the Query conference: 13 - 14 November 2009 Location: Trouw Amsterdam Organized by the Institute of Network Cultures More info and material on: http://networkcultures.org/wpmu/query/ In the information society the current reality is an increasing dependence on technological resources to create order and to find meaning in a gigantic quantity of online data. Searching has surpassed browsing and surfing as main activity on the web. This development turned the search engine into our most significant point of reference. Its focus on efficiency and expansion of services tends to veil the nature of the technology as well as underlying (corporate) ideologies. In this query driven society, The Society of the Query conference seeks to analyze what impact our reliance on resources to manage knowledge on the Internet has on our culture. The theory of a semantic web lurking around the corner revives the ?human vs. artificial intelligence?-debate. The centralizing web demands to critically question the distribution of power, the diversity and accessibility of web content, while promising alternatives for the dominant paradigm surface in peer-to-peer and open source initiatives. Finally, the question arises what role politics and education, after having invested substantially in media intelligence, can play in the creation of an informed users? group. For two days, the Society of the Query conference aims to zoom in on some of the essential themes surrounding web search by critical analysis and the contextualization of developments in interface design and the organization of knowledge. The Institute of Network Cultures seeks to achieve this specifically by uniting researchers, theorists, activists, artists and professionals working in this area and by creating a platform for not only realized projects and recent research, but also for open questions and predictions. Conference Themes Society of the Query Digital Civil Rights and Media Literacy Alternative Search (1) Art and the Engine Googlization of Everyday Life Alternative Search (2) Society of the Query Because the web lacks editorial monitoring, we have become more dependent on technological resources when trying to find meaningful content within the vast amount of data on the web. Traditional methods to decide what information is valuable and useful are absent. In recent years, people have become increasingly dissatisfied by Google?s PageRank-algorithm, which is based of the popularity of a web page. Also, new semantic layers have been added to the principal architecture of the web. This conference session will focus on ?searching? on the level of the software and will discuss the notion of the organization of knowledge within the theoretical framework of the humanities and computer science. Questions to be discussed in this session include: What is the history of the organization of knowledge? Which ideologies make up the foundations for the concept of ?ontology?? And, what role will human expertise play in the era of ?machine understanding?? Moderator: Geert Lovink Speakers: * Yann Moulier Boutang (F), editor of Multitude?s special issue on Google (May 2009). * Matteo Pasquinelli (NL), Author of Animal Spirits (2008) and Google?s PageRank: Diagram of the Cognitive Capitalism and Rentier of the Common Intellect? (2009). * Teresa Numerico (IT), (PhD in History of Science) is a researcher in Philosophy of Science at the University of Salerno, where she teaches New Media. * David Gugerli (CH), author of ?Suchmaschinen ? Die Welt als Datenbank? (2009). Digital Civil Rights and Media Literacy In 2005, John Batelle characterized Google as a ?database of intents?: a valuable archive of individual and collective wishes. As the number of services offered by search engines is expanding, large amounts of personal information are gathered, stored and used for commercial purposes. The current technological climate seems to be one in which the user is virtually unaware of who or what is behind the web applications they use on a daily basis. Questions to be discussed in this session include: How does the intermediary function of search engines threaten digital civil rights such as the right to privacy and freedom of expression? What role can politics play in protecting these rights? How can the way search engines are designed aid to protecting our autonomy? How will the legal framework concerning search engines be shaped? And, after substantial investments in media intelligence, how are these matters raised on a national and European level? Moderator: Caroline Nevejan Speakers: * Nart Villeneuve (CA), Open Net Initiative. * Joris van Hoboken (NL), doctoral candidate at the Institute for Information Law at the University of Amsterdam. His research focuses on digital civil rights and the legal framework concerning search engines. * Ippolita Collective (IT), Italian collective that recently published ?Luci e Ombre di Google? (2007), available in English as ?The Dark Side of Google?. Alternative Search (1) In response to a growing interest in alternative methods to search the web, this session will focus on three ?genres? of alternatives on the level of the user, the software and the network ? represented and compared by researchers. The first genre that is attended to will include the upcoming ?general purpose?-search engine, a search engine designed specifically with large audiences and competition with Google in mind. The second genre will focus on search methods that disregard the ?engine? as dominant paradigm. How promising are, for example, peer- to-peer and open source technologies with regards to the current search conditions and which alternatives for commercial and centralizing methods have already emerged? The third and final genre consists of specialized search engines, mostly targeting specific content. What can we learn, for instance, from search methods within certain web spheres, such as the blogosphere, or the flourishing area of mobile search? And, how is the field of visual search developing, looking beyond the tag as systematizing principle? Moderator: Eric Sieverts Speakers: * Matthew Fuller (UK), Goldsmiths College, will discuss alternative search engines and interventions within the field of artists. * Cees Snoek/Marcel Worring (NL), University of Amsterdam, focuses on visual search engines, competitions between universities in the US and Amsterdam, assignment for the search engine: find the red hat in the movie as fast as possible. * Ingmar Weber (NL/FR), post doctorate researcher in information retrieval at the Ecole Polytechnique F?d?rale de Lausanne in Switzerland. His doctoral research focused on efficient data structures and applications for an interactive search engine called ?CompleteSearch?. Art and the Engine Even during the web?s early stages, artists used this platform to produce and distribute a extensive diversity of media such as animation, programming, video, audio and games. While in the last decennium we have witnessed a shift from the ?directory? towards the algorithm, it is the art database that has been refining the directory model for years. What influence does Google?s omnipresence have over the production and distribution of web based art? How does art criticism manifest itself in the era of Google? And, how the can online artistic experience be preserved and made easily findable? While examining these issues, the Institute of Network Cultures will invite representatives of some of the largest art databases, such as the Rhizome ArtBase and the Whitney ArtPort, to discuss the latest developments in the classification, annotation and visualization of web based art. Concentrating on the latest developments within the field of graphic design, art and the architecture of information, additionally this session will address potential outcomes of search result design. Questions to be discussed in this session include: How can we achieve more advanced forms of interface design and search result design? What role do graphic and visual representations play in the conveyance of digital information? Do alternatives exist that can challenge the ?ranked list? as dominant type of search result presentation? And, how would the interface be able to stimulate new and progressive ways for the user to search, find and analyze data? Moderator: Sabine Niederer Speakers: * Lev Manovich (USA), UCSD professor, media theorist and initiator of Software Studies. * Daniel van der Velden (NL), Metahaven Design Research is a design and research agency in Amsterdam, that researches the potential power of ?bridging nodes?, the peripheral nodes in a network, and is implementing this theory into a prototype for a new kind of search engine. * Christopher Bruno (FR), artist. Produces polymorphic art inspired by network phenomena and globalization regarding image and language. * Allessandro Ludovico (IT), thoughts on the aftermath of the Google Will Eat Itself project. Googlization of Everyday Life Questions to be discussed in this session include: In what way does the hegemony of some of the bigger search engines influence the flow of information and the diversity and accessibility of web content? How does the current division of power influence the administration of informational sources. And, what are the results of the Google BookSearch agreement? Introduction and moderation by Andrew Keen Speakers: * Siva Vaidhyanathan (US), culture historian and Associate Professor in Media Studies and Law at the University of Virginia. Authored publications include ?The Anarchist in the Library? (2004) and the forthcoming ?The Googlization of Everything? (early 2010). * Stefan Weber (Vienna) on the dangers of plagiarism and Google?s role in the decline of education. * Benjamin Edelman (US), How Google and Its Partners Inflate Measured Conversion Rates and Increase Advertisers? Costs. Flarf Performance Alternative Search (2) In response to a growing interest in alternative methods to search the web, this session will focus on three ?genres? of alternatives on the level of the user, the software and the network ? represented and compared by researchers. The first genre that is attended to will include the upcoming ?general purpose?-search engine, a search engine designed specifically with large audiences and competition with Google in mind. The second genre will focus on search methods that disregard the ?engine? as dominant paradigm. How promising are, for example, peer- to-peer and open source technologies with regards to the current search conditions and which alternatives for commercial and centralizing methods have already emerged? The third and final genre consists of specialized search engines, mostly targeting specific content. What can we learn, for instance, from search methods within certain web spheres, such as the blogosphere, or the flourishing area of mobile search? And, how is the field of visual search developing, looking beyond the tag as systematizing principle? Moderator: Richard Rogers Speakers: * Florian Cramer (Rotterdam), head of the Master of Arts in Media Design program at the Piet Zwart Institute/ Willem de Kooning Academy in Rotterdam. Authored publications include the essay ?Animals that Belong to the Emperor: Failing Universal Classification Schemes from Aristotle to the Semantic Web? (2007). * Europeana Thought Lab (The Hague), Semantic Search Engine for Europeana * Stephen Pemberton (Amsterdam), chairman of the XHTML2 Working Group at W3C and researcher at the Center for Mathematics and Computer Science in Amsterdam. Project Showcase This segment of the conference will consist of the exhibition of specific projects addressing the theme of the search engine, and will be divided into two parts. During the conference, a display of computers and screens will be available on which the latest generation of search engines is installed. The Institute of Network Cultures seeks to give visitors the opportunity to discover search engines such as Wolfram Alpha, Quaero, Theseus and Autonomy. This will provide them with hands-on experience of the range of search methods discussed in the conference sessions. Furthermore, the Institute of Network Cultures plans to organize a concluding evening program to do justice to the diversity of artistic and activist projects that examine the role of the search engine in contemporary society. The works presented in the evening program will vary from browser extensions, alternative search engines and net art projects to videos and VJ performances. It is aspired that artists and developers will be present during this showcase to discuss and elaborate on their work with the audience. From info at cocacolas.eu Mon Jun 29 16:01:35 2009 From: info at cocacolas.eu (info@cocacolas.eu) Date: Mon Jun 29 16:02:02 2009 Subject: [spectre] Missing Message-ID: <4A48C93F.9090901@cocacolas.eu> + FOR IMMEDIATE RELEASE + MISSING /*"jokes and pranks are commons in art but what makes Missing is special is are funny" */Curated: *Davide Anni* - Alberto Savio - Anna Guzzi * Art & Technologies Center* street Forcello 38/a - Brescia Italia** 27 june - 27 july 2009 wednesday - thursday 14-18 official site: www.ualuba.org ARTIST: /Avanzi Elena, Avanzi Noemi, Abrami Cristina, Agliardi Anna, Barucco Claudia, Barbieri Nicol?, Baronchelli Eleonora, Bastianon Alberto, Bellini Homar, Bergamaschi Paolo, Bonetti Silvia, Bortolussi Martina, Barbieri Nicol?, Bellini Homar, Bonetti Silvia, Bjelic Vuk, Briosi Davide, Campagnolo Maschio Mirco, Cangianiello Federico, Caputo Alice, Castellani Marco, Chittolini Matteo, Comensoli Roberto, Caratti Monia, Cavalli Elisa, Cavasino Marco, Comini Pietro, Cossu Valentina, Di Rosa Giacomo, Di Maggio Ilaria, Faccoli Michele, Fumoso Filippo, Gatti Fabrizio, Guzzago Stefano, Gualeni Tania, Ghidini Alessandra, Gianfreda Andrea, Chiara Iadicicco, Marasini Cristina, Mazzoleni Giulia, Mizzotti Simone, Mesa Elena, Molinari Michael, Mor Roberto, Pagnoni Shirley, Pancheri Cristina, Pettinari Andrea, Poli Silvia, Pasotti Daniel, Radaelli Fernanda, Riccardi Serena, Rinaldi Domenica, Sudati Nicholas, Treccani Deborah, Tonolini Letizia, Giulia Valli, Vezzoli Paolo, Zampatti Andrea, Zandon? Chiara, Zanetti Sara, Zucchi Francesca, Kaley Thompson /_ Art & Technologies center_ /*"think an idea & make in action" */Center is born for activities for promotion, distribution and conservation ideas and innovative projects that uses the language of mass media,new media and new technologies in significant ways.It is not easy to define the idea, we could enclose it as a meeting point of several ideas/news, or as an observation laboratory on aspect of contemporary culture ------------------------------------------------------------------------ _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour From phd at paulohartmann.net Mon Jun 29 17:01:41 2009 From: phd at paulohartmann.net (paulohartmanndesign) Date: Mon Jun 29 17:02:13 2009 Subject: [spectre] IV Mobilefest 09 Calls - deadline july 15th In-Reply-To: <24463001.1246277846263.JavaMail.root@n29> References: <24463001.1246277846263.JavaMail.root@n29> Message-ID: <4A48D755.3070808@paulohartmann.net> Dear Spctre friends! We've extend Mobilefest call for papers/videos up to July 15th. Call for videos http://www.mobilefest.org/conteudo_eng.aspx?id=16 Call for papers: http://www.mobilefest.org/conteudo_eng.aspx?id=105 All the best, Paulo Hartmann CALL FOR PAPERS____________________________________________________ IV MOBILEFEST 2009 - International Festival of Mobile Art and Creativity Call for Papers, Projects, Prototypes and Products. THEME How can mobile technology contribute to democracy, culture, art, environment, peace, education, health and the Third Sector? KEY WORDS 3g, mobile applications, interactive architecture, electronic art, mobile activism, bluetooth, cyber culture, live cinema, mociology, culture, democracy, inclusion design, ecology, education, d-i-y, gprs, gps, LBS, innovation, mobile and wireless games, lbs, locative, geotagging, electronic music, mobile music, m-health,_m-payment, m-gov, mobile narrative, peace, interactive net performances with mobile and wireless devices, interchange, video production and distribution, augmented reality, open wireless, mesh, social nets, rfid, expanded classroom, health, sms, mobile streaming, wearable technolgies, tendencies, third-sector, citizen video, video call, TV on mobile, wi-fi, wi-max, zigbee, etc. INTERNATIONAL SEMINAR AND EXHIBITION This seminar attracts leading academics, researchers and other serious-minded people engaged in the pursuit of knowledge related to mobile technology. Mobilefest seeks papers for live presentation. For the participation at the exhibition with interactive installations, performances or urban interventions send a detailed technical rider: installation plan, photos, video and complete description. PAST TOPICS activism, art and technology, democracy, digital divide, ecology and e-waste, games and behavior, inclusive design, innovation, locative media, licensing, m-government, m-learning, mobile art, mobile marketing, mobile music, network culture, new forms of distribution, performance, rfid, video mobile production, wearable technology, wireless cities. CRITERIA Papers should be of an academic or serious research nature. Papers should address current topics of direct relevance to Mobilefest's theme. Abstracts should be at least 500 words. Final papers should be at least 1000 words long, and authors should be prepared to deliver a presentation limited to 45 minutes. TECHNICAL SPECIFICATIONS Papers may be written in Portuguese, Spanish or English. Abstracts and final papers should be sent as email attachments in .TXT, .RTF, .DOC or PDF format. Presentations must be delivered in Portuguese or English. Presentations will be limited to 45 minutes total. DEADLINE Abstracts must be received no later than 15th July 2009. Abstracts will be selected for presentation by 15th August 2009. Notification will be made via this website, as well as to the applicant's listed contact email. REGISTRATION FOR AUTHORS _ Registration must be received by 15th July 2009. Please submit the following information via email to 2009@mobilefest.org: Author's Full name: Email address: Optional 2nd email address: Postal address: City: State: Country: Postal Code: Landline telephone number: Mobile number: (Optional) University/Organisation/Company:_ Abstract Category (Please mark all that apply): ____Democracy ____Culture ____Art ____Environment ____Peace ____Education ____Health ____Third Sector ____All ** ** MOBILEFEST is a transdisciplinary event. The more interconnection of information, the better. Short biography of principal author: Abstract (minimum 500 words): CALL FOR VIDEOS____________________________________________________ IV MOBILEFEST 2009 - International Festival of Mobile Art and Creativity Call for mobile videos 2009 Mobilefest International Mobile Video Exhibition 17th to 28th September 2009 MIS - Museum of Image and Sound (Museu da Imagem e do Som) Sao Paulo, Brazil. THEME: How can mobile technology contribute to democracy, culture, art, environment, peace, education, health and the Third Sector? Mobilefest Call for Mobile Videos has a cultural emphasis and, thus, is not competitive by design. We seek the very best content possible to share broadly with our participants and via mobile technologies. The 2009 Call for Mobile Video is for professional filmmakers/videographers (writers/producers/directors), as well as amateurs (people that do not make their primary living in the film/video business). Mobilefest also seeks participation and contribution from artists, researchers and developers actively engaged in discovering new possibilities for uses of mobile media. OVERVIEW Today, several initiatives by non-governmental organizations (NGOs), universities, media centers, companies, governments and regular citizens all over the world use the new mobile technologies to promote democracy, culture, art, the environment, peace, education, health and the Third Sector. Mobilefest International Mobile Video Exhibition will screen selected narrative, documentary and experimental film/videos that support these. GENERAL SUBMISSIONS Films and videos submitted should relate to one or more of the stated Mobilefest general theme categories (democracy, culture, art, peace, the environment, education, health, and the Third Sector). Video about the environment is separately considered. 1. Professional Submissions Mobilefest seeks films/videos that may be narrative, documentary or experimental in nature, provided they relate to democracy, culture, art, peace, education, health and the Third Sector. They must be suitable for viewing on a small format, although they need not have been shot using mobile technology. Running time is not restricted. Films/videos can be independent, studio produced, or corporate sponsored. Criteria Submissions must be professionally produced/directed and may be submitted either by the writer, director or producer(s). Videos should have been completed during the previous year, although exceptions will be allowed with advance permission from Mobilefest organizers. Previously submitted entries may not be resubmitted. 2. Amateur Submissions Citizen filmmakers and videographers unite! Submit your creations that were made either using your mobile phone, or made for watching on a mobile. Whether telling a story or documenting something, you can submit your video as long as it relates to any of the themes of Mobilefest. ENVIRONMENT SUBMISSIONS A significant aspect of Mobilefest is its commitment to screen informative and consciousness-raising digital content (shot either by professionals or amateurs around the world) that encourages the mobilization of everyone to protect and preserve our planet for generations to come. Mobilefest calls on all mobile users around the world - professional, amateur, citizen journalists, etc. - to mobilize for the protection of the environment by sending noteworthy videos of the environment from their mobiles or computers. In addition to images that may reveal lack of respect towards our Earth - like illegal cutting of trees, water pollution, wild animal smuggling, or other irregularities - Mobilefest also seeks videos that show the beauties of nature to draw attention to what future generations will miss if we don't take action now to preserve and protect Mother Nature. Criteria - Only the rightful owner of material may submit it. Material may not be submitted by third parties on behalf of anyone else. - Submissions may include fiction and non-fiction films/videos that reflect the issue of environmental protection. - Submissions need not be professionally produced or directed. - Special attention will be given to documentary footage - either professional, amateur or citizen journalist - that captures environmental mistreatment. If your video documents acts being committed against the environment, please include date, approximate time and place of shooting, and total running time of the video. NEW MOBILE MEDIA POSSIBILITIES Mobile and wireless technologies are making it possible for artists of all kinds to stretch the boundaries of their creativity. Mobilefest encourages producers, developers and artists to explore their imagination in search of new artistic expression that uses current technology and hints at future possibilities for content production and distribution. Mobilefest Festival seeks artwork, video and mobile-related creativity that incorporates such technologies as GPS; 3G/4G access; music; wi-fi; scanning; video calls; micro-blogging; picture and video messaging; new applications; localized content; real-time image processing and recognition; augmented or mixed reality; streaming video sharing; and mobile TV. Criteria We are looking for innovative and unique submissions that defy easy categorization or prerequisites, so if you have something you believe we should include, please send us a brief description (up to 500 words) of your project or digital artwork and then we will contact you. Please send your email to videos2009@mobilefest.org, ATTN: Paulo Hartmann and Marcelo Godoy, and include the phrase NEW MEDIA POSSIBILITIES in the subject line. SHOWCASE OF MOBILE FESTIVALS WORLDWIDE From its very beginning in 2006 Mobilefest has built an international network of festivals that involve content production created by or for mobile applications. Our goal is to share with the Brazilian audience what others are doing concurrently around the world, and to present an expressive exhibition of the extraordinary emerging mobile video scene. Universities, media centers, cultural associations or companies that have produced or curated festivals about videos created for or by mobiles are encouraged to participate. We will work closely with foreign embassies and cultural centers of your country of origin so that the organizer/representative of your festival also can participate in Mobilefest International Seminar. Mobilefest receives extensive media coverage throughout Brazil. The festivals represented will be included in Mobilefest's official programme and have their logos published in the official catalogue. Past international festivals represented have included: . Mobifest Canada?(Canada) . Pocket Shorts?(England) . Pocket Films (France) . Arte Mov?(Brazil) . Microfilmes?(Portugal) . The 4th Screen?(USA) . FilMobile (UK) . MobilityFest (Colombia) To participate in the Exhibition of Mobile Festivals We request that you send us, by email, some background information about your festival, as well as a representative clip-reel of up to 1-hr. that characterizes the content and nature of your unique festival. Please see technical specifications below. Please send your email to videos2009@mobilefest.org, ATTN: Marcelo Godoy and Paulo Hartmann, Mobilefest organizers, and include the phrase SHOWCASE OF FESTIVALS in the subject line of your email. REGISTRATION/DEADLINE All submissions are due no later than 15th July 2009 Selections for screening will be announced on 15th August 2009, via this website and the registered director/producer also will be informed via email. Registration fee: Free Registration should be sent by email to videos2009@mobilefest.org, with the word REGISTRATION in the subject line, with the following information: Director's (Producer's) Full name: Email address: Optional 2nd email address: Postal address: City: State: Country: Postal Code: Landline telephone number: Mobile number: Description (maximum 200 words): Tags: Video Category (Please mark all that apply): ____Democracy ____Culture ____Art ____Environment ____Peace ____Education ____Health ____Third Sector ____All Short biography of submitting writer, director or producer: TECHNICAL SPECIFICATIONS FOR ALL SUBMISSIONS Subtitles If dialogue is not in Portuguese, English or Spanish, please include subtitles in one of these languages. Acceptable formats for all video submissions Digital: 3GP, MPEG2, AVI, MOV?Files. Can be up to 5Mb, with minimum resolution 128 x 96 pixels and maximum resolution 720 x 480 pixels. (Non-digital) Physical:?DVD, DV, Mini-DV, must be NTSC format. Videos should be accompanied by the following information: . A brief description (max. 200 words) . Technical information (including total running time; year shot); . Whether or not video has been broadcast and if so, where/when; . Names of primary production crew. Please submit this descriptive information as an email attachment in .RTF, .DOC or PDF format. Additionally, please include three (3) stills from the video in JPEG (640 x 480 pixels), no compression, from 100kb to 500kb, with 200 dpi resolution. HOW/WHERE TO SEND Videos up to 5 MB should be sent to: videos2009@mobilefest.org Videos up to 50MB can be sent to mobilefestfestival@gmail.com Videos over 50MB must be sent on physical media (DVD, DV, Mini- DV, NTSC-only), to the following address: Mobilefest R. Helena, 280, cj. 1107 Sao Paulo - SP - Brazil CEP 04552-050 ATTN: 50 MB+ video You must send your submission with some sort of tracking or return receipt (or proof of signature) to verify our receipt. Mobilefest cannot be responsible for materials that never arrive. Materials will not be returned. DO NOT SEND YOUR ONLY COPY!!! MOBILEFEST COLLECTION All materials sent will become part of Mobilefest's permanent video collection. You consent to its possible use in conventional or digital media, advertising and/or promotional materials for Mobilefest, or at any venues related to Mobilefest, including but not limited to school concerts, university functions, and social gatherings. In such instances where any recognizable portion of your video is used, Mobilefest will make best efforts to give credit to the writer, director or producer who originally submitted the material. QUESTIONS? Please email us at videos2009@mobilefest.org Important: Registrations will be considered complete and valid only when the festival receives the emailed registration form and corresponding DVD or video file (or physical entry). Registration forms must be submitted electronically. You may send an additional hard copy of your registration with a physical entry for identification purposes, but you must submit your official registration electronically. Paulo Hartmann skype: paulohartmann mobile: +5511 94531314 office: +5511 35257428 ((((((MOBILEFEST)))))) ~~~~~~~~~~~~~~~~~~~~~~ www.mobilefest.com .br Rua Helena 280, 1107 04552-050 Sao Paulo Brazil From heather.corcoran at fact.co.uk Mon Jun 29 18:13:52 2009 From: heather.corcoran at fact.co.uk (Heather Corcoran) Date: Mon Jun 29 18:14:21 2009 Subject: [spectre] Funded MA in Curating Contemporary Art - FACT, Liverpool & RCA Message-ID: <4A48E840.7010907@fact.co.uk> FACT (Foundation for Art and Creative Technology), Liverpool, the UK's leading organisation for commissioning, exhibiting, promoting and supporting artists' work in the fields of film, video, and new media - is currently advertising this great opportunity for a funded MA studentship in Curating Contemporary Art with RCA, London. Deadline July 13th: //Inspire MA (RCA) Curating Contemporary Art// A bursary of ?12,000-?15,000 p.a. will be paid for each two-year studentship If you're passionate about contemporary art and want to take a fresh look at the relationship between art, artists and visual culture this could be for you. From October 2009, the Royal College of Art?s Curating Contemporary Art Department will offer a new MA for aspiring curators from Black, Asian and Minority Ethnic backgrounds. This development of Arts Council England?s Inspire initiative will offer a vocational and academic curriculum with a professional placement in a museum or gallery over two years. Inspire at the RCA will provide a unique course of postgraduate study for those aiming to train as curators of contemporary art. For an application pack and more information please visit: http://www.rca.ac.uk/inspire PLEASE CIRCULATE WIDELY Your help is much appreciated -- Heather Corcoran Curator FACT 88 Wood Street Liverpool, L1 4DQ t: + 44 (0)151 707 4425 f: + 44 (0)151 707 4445 http://www.fact.co.uk Bookings: +44 (0)8707 583217 Information: +44 (0)151 707 4450 FACT is proud to be in LIVERPOOL, EUROPEAN CAPITAL OF CULTURE 2008 From m at 1010.co.uk Mon Jun 29 20:01:55 2009 From: m at 1010.co.uk (m) Date: Mon Jun 29 20:05:57 2009 Subject: [spectre] _____-micro_research workshops:19//Fluxus - Scheme livecoding, animation, games and plants with Dave Griffiths [UK] + performance Message-ID: A series of weekly working groups and workshops at _____-micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: July 4th 2PM: workshop: Fluxus - Scheme livecoding, animation, games and plants with Dave Griffiths [UK] at pickledfeet July 5th 8PM: performance: Fluxus live coding with Dave Griffiths and all participants at General Public Forthcoming matter: schmelzolan robots, software radio, hydrogen line, micro-cuisine, kitchen sink chemistry, Kicad, openEEG, fiction generation, thoughtography, org-mode ... contact if you're interested in leading [un]-related workshop. //<----------------------------------------------- July 4th 2PM: workshop: Fluxus - Scheme livecoding, animation, games and plants with Dave Griffiths [UK] at pickledfeet In this workshop you will find out about the emerging art form of livecoding and learn how to write simple scripts to create animations in 3D space. After an introduction to the scheme programming language and how to use it to build shapes and animate them, you will be let loose on prototype game code for groworld - a game still in production which takes elements from guerilla gardening, permaculture and plant growth. No previous programming experience required. Interest in games and plants a bonus :) Please install fluxus prior to the workshop, which you can find here: http://www.pawfal.org/fluxus/packages/ Windows version not recommended at present due to instability, an alternative is to use a bootable CD linux distro such as this one which will be made available on the day: https://devel.goto10.org/puredyne Details: http://www.pawfal.org/fluxus/ Cost: 10 euros (including food). Please email m@1010.co.uk to reserve a place (strictly limited) ///// July 5th 8PM: performance: Fluxus live coding with Dave Griffiths and all participants at General Public Dave Griffiths is one part of Slub: Slub sound emerges from slub software; melodic and chordal studies, generative experiments and beat processes. Process-based sonic improvisations; live generative music using hand crafted and live coded apps, scripts and l-systems in networked synchrony. With roots in UK electronica and tech culture, slub build their own software environments for creating music in realtime. Only custom composition and DSP software is used. Everything you hear is formed by human minds. Slub project their screens so that the audience are able to appreciate their live software development process, which does not adhere to industry quality control standards. They communicate using OSC over UDP and eyebrow gestures. The output ranges from extra slow gabba, through intelligent ambient to acid blues glitch. http://www.slub.org Free entry at: General Public Sch?nhauser Allee 167c U2 > Senefelder Platz ---_______ Background: Workshops led by field-expert practitioners extend over realms of code and embedded code, environmental code, noise, transmission and reception, and electromysticism. Workshops solely utilise free software and GNU toolbase. Practitioners at pickledfeet have included Martin Kuentz (prd@scrying.org), Julian Oliver (http://selectparks.net/), Derek Holzer (http://soundtransit.nl), Jeff Mann (http://jeffmann.com), Martin Howse (http://1010.co.uk), Fredrik Olofsson (http://www.fredrikolofsson.com/), Florian Cramer (http://cramer.plaintext.cc:70/), Brendan Howell, jo FRGMNT grys(http://tob.de.vu/), mikomikona http://www.zuviel.tv/mikomikona.html, Antony Hall (http://antonyhall.net), Gijs Gieskes (http://gieskes.nl/), Alexei Blinov (http://www.raylab.com), Valentina Vuksic (http://sei-personaggi-part2.ch/) _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk _____-micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/ http://pickledfeet.com From miki at mkf-lab.com Tue Jun 30 08:21:22 2009 From: miki at mkf-lab.com (miki fukuda) Date: Tue Jun 30 08:22:01 2009 Subject: [spectre] call for International Festival For Arts and Media Yokohama 2009 Message-ID: <4A49AEE2.9050903@mkf-lab.com> ::::: please forward to appropriate lists or persons ::::: Call for entries: International Festival For Arts and Media Yokohama 2009 CREAM Competition http://ifamy.jp/ Organizer: The Organizing Committee of the International Festival for Arts and Media Yokohama 2009 Purpose of CREAM Competition: International Festival For Arts and Media Yokohama 2009, a pioneer project of "Creative City Yokohama", could not be categorized as neither an ordinary film festivals nor a contemporary art exhibition. Along with the judges who are leading figures of diverse domains, this festival's CREAM competition program aims to propose a brand new visual expression and experience.Due to recent technological developments, we live our everyday lives surrounded by and connected to the world through various types of visual communication. Creating visual works is nothing out of ordinary nowadays and it is no longer a privilege for people who are involved in particular artistic activities but for every single one of us. CREAM competition craves a new visual expression, or works that cross the borderlines between different genres of art such as contemporary art, film, performing art, music and etc., and therefore inspire and influence the future generations. Submission of the Works: 1. The Competition is open to moving image works with experimental character and radical spirit of any genre.2. The Competition is open to moving image works of any format, such as screening, exhibition, performance, network-mediated works, outdoor projection, and etc.3. Everyone, regardless of age, gender or nationality, is eligible to enter the competition. Group work is also allowed.4. All works submitted should be completed no earlier than 1st of May 2008. Submission Process: Submission information is posted on the Festival's website. http://ifamy.jp 1. Read the Submission Agreement carefully before submitting your work 2. Fill in the Submission Form online, download, print and sign it.3. Applicants shall select the presentation manner of submitted work from three categories; Screening, Exhibition, and Other, and meet submission requirement of each category accordingly. Submission Period: Submission accepted from Friday, May 1st 2009 Must be received by Friday, July 31st 2009 Judging: Preliminary Selection: Scheduled in Mid August 2009 Final Selection: Scheduled in Mid September 2009 Announcement will be posted on the Festival's website. Prizes: CREAM PRIZE (One Award) \500,000 EXCELLENCE PRIZE (Multiple Awards) \100,000 Some awarded works will be screened or exhibited during the festival. Jury: *In order of the Japanese syllabary Juries for Preliminary Selection UKAWA Naohiro (visual director, artist, graphic designer, VJ) SEMBO Kensuke (artist, a member of "exonemo") TSUCHIYA Yutaka (film director, president of VIDEOACT!) Juries for Final Selection ASAI Takashi (president of UPLINK Co., producer, editor in chief of webDICE) OU Ning (film director, art director, critic) SHIKATA Yukiko (senior curator of NTT InterCommunication Center [ICC]) STUBBS, Mike (artist, director of FACT[Foundation for Art and Creative Technology]) SUWA Nobuhiro (film director, president of Tokyo Zokei University) YAMAMURA Koji (animation director, board member of the International Animated Film Association, professor of Tokyo University of the Arts) For more Information: http://ifamy.jp/en/competition.php ---------- miki fukuda miki@mkf-lab.com From nc-agricowi at netcologne.de Tue Jun 30 08:50:43 2009 From: nc-agricowi at netcologne.de (the-network) Date: Tue Jun 30 08:52:07 2009 Subject: [spectre] The Network events - July 2009 Message-ID: <20090630085043.9D97FEDE.625AF65B@192.168.0.3> [NewMediaArtProjectNetwork]:||cologne - www.nmartproject.net the experimental platform for art and new media from Cologne/Germany is happy to announce the July 2009 events 1. Experimental Film Festival - Image Contre Nature - http://www.p-silo.org/ Marseille/France 7-11 July 2009 opens the festival with CologneOFF - Cologne Online Film Festival as "Card Blanche" --> CologneOFF IV - Here We Are! - curated by Wilfried Agricola de Cologne featuring films by Dario Bardic (Croatia) , Nhieu Do (USA), Michael Fortune (Ireland) Miri Nishri (Israel), David Jakubovic (USA), Shoko Toda (Japan) Liu Wei (China), Yu Cheng Yu (Taiwan). 2. Video Art Festival Miden - www.festivalmiden.gr 10-12 July 2009 - Kalamata/Greece - is presenting "CologneOFF - Here We Are" - featuring films by Dario Bardic (Croatia), Giuseppe Girardi (Italy) Sinasi G?nes (Turkey), Mihai Grecu (Romania) David Jakubovic (USA), Miri Nishri (Israel) Felipe Matilla Alonso (Spain), Daniel Slattnes (Norway) Yin-Ling Chen (Taiwan), Jay Needham (USA), Nhieu Do (USA) and VideoChannel -Women Directors Cut 13:13:13 curated Wilfried Agricola de Cologne - featurig videos by Rahel Maher (Australia), Larissa Sansour (Palestine) Unnur A. Einarsdottir (Iceland), Oksana Shatalova/Alla Girik (Kazakhstan) Beatrice Allegranti (UK), Ina Loitzl (Austria) Johanna Reich (Germany) , Letitia El Halli Obeid (Argentina) Margarida Paiva (Portugal), Sonja VUK (Croatia) Clare Ultimo (USA), Nancy Atakan (Turkey) Silvia Cacciatori Filloy (Uruguay) 3. VideoFestival Celje Slovenia - 2-5. July 2009 http://videorats.org - is presenting "CologneOFF invites....". screening program Videofestival Miden - Kalamata/Greece --> Realities, surrealities and other crimes Greek video art curated by Gioula Papadopoulou - featuring videos by Nikos Pastras,, Yiannis Konstantinou, Giorgos Nasios Martha Koumarianou, Eva Poulopoulou, Leonidas Konstadinidis Ioanna Myrka, Anastasia Diavasti, Andreas Voussouras Nina Kotamanidou, Eileen Botsford, Kiki Petratou, Konstantinos Vaviloussakis Katerina Gaka, Anna Tsichli, Giorgos Itoudis, Danai Konstanta 4. VideoChannel - video project environments http://videochannel.newmediafest.org launches in July the feature of German videoart "Johanna Reich" - video artist from Cologne/Germany --> http://videochannel.newmediafest.org/blog/?page_id=273 5. FILE Hipersonica Festival - Sao Paulo/Brazil - 28 July - 30 August 2009 presents "soundPOOL - sound composition a challenge for imagiantion" curated by Wilfried Agricola de Cologne read more on --> http://soundlab.newmediafest.org/blog/?page_id=185 6. File - Electronic Language Festival - http://www.file.org.br Sao Paulo Brazil - 28 July - 30 Augist 2009 presents in the media art section the Agricola de Cologne videos --> Silent Cry (2008) - http://movingpictures.agricola-de-cologne.de/blog?page_id=47 and --> timedOUT (2008) - http://movingpictures.agricola-de-cologne.de/blog?page_id=44 7. Experimental Film Festival - Image Contre Nature - http://www.p-silo.org/ Marseille/France 7-11 July 2009 - presents the Agricola de Cologne films Encoded (2008) - --> http://movingpictures.agricola-de-cologne.de/blog?page_id=39 and One Day on Mars - --> http://movingpictures.agricola-de-cologne.de/blog?page_id=3 8. Video Art Festival Miden - www.festivalmiden.gr 10-12 July 2008 - Kalamata (Greece) - is presenting the Agricola de Cologne video - "Burning Phantom" --> http://movingpictures.agricola-de-cologne.de/blog?page_id=52 ----------------------------------------------------------------- CologneOFF - Cologne Online Film Festival - http://coff.newmediafest.org VideoChannel - video project environments - http://videochannel.newmediafest.org SoundLAB -sonic art project environments - http://soundlab.newmediafestorg Agricola de Cologne site - http://www.agricola-de-cologne.de are corporate parts of [NewMediaArtProjectNetwork]:||cologne - www.nmartproject.net the experimental platform for art and new media from Cologne/Germany info (at) nmartproject.net ----------------------------------------------------------------- From info at art-action.org Tue Jun 30 14:41:28 2009 From: info at art-action.org (Les Rencontres Internationales) Date: Tue Jun 30 14:42:46 2009 Subject: [spectre] OPENING INVITATION | EINLADUNG ZUR =?iso-8859-1?q?ER=D6FFNUNG?= | BERLIN, JUNE 30 - JULY 5 | Haus der Kulturen der Welt | SCREENINGS, EXHIBITION, DEBATES Message-ID: <4A4A07F7.27C3BEEA@art-action.org> 19. Rencontres Internationales Paris/Berlin/Madrid Junger Film und zeitgen?ssische Kunst 30. Juni - 5. Juli 2009 im Haus der Kulturen der Welt Eintritt frei http://art-action.org //////////////////////////////// Dienstag, 30. Juni, ab 19 Uhr @ Haus der Kulturen der Welt Eintritt frei EMPFANG, VORF?HRUNG, PARTY //////////////////////////////// Alle Filmbegeisterte und Kunstinteressierte sind vom 30. Juni bis 5. Juli 2009 herzlich zum interdisziplin?ren Festival Rencontres Internationales ins Berliner Haus der Kulturen der Welt eingeladen. Rencontres Internationales zeigt ein umfangreiches Programm aus Filmen, Videos und Medienkunst. 150 Beitr?ge aus Deutschland, Frankreich, Spanien und rund 50 weiteren L?ndern werden pr?sentiert ? neue Entdeckungen zwischen Kino und zeitgen?ssischer Kunst, die von kreativen Dokumentarfilmen ?ber neue Fiktion bis zu Experimentalvideos reichen. Darunter auch der franz?sisch-libanesische Kinofilm ?Je veux voir? mit Catherine Deneuve, der 2008 von Joana Hadjithomas and Khalil Joreige in Cannes vorgestellt wurde (Do, 2. Juli, 20 Uhr), und eine Dokumentation des spanischen Videok?nstlers und Velasquez-Preistr?gers Antoni Muntadas (So, 5. Juli, 20 Uhr). Der Eintritt zu allen Veranstaltungen ist frei. Das Festival besteht aus Filmscreenings, Videoparcours und Diskussionsrunden, sogenannte Runde Tische. Die Festivalleiter Nathalie H?non und Jean-Fran?ois Rettig kuratierten 22 Filmscreenings. Eingeladen wurden neben bekannten Filmautoren auch junge Nachwuchsk?nstler: Der armenische Filmemacher Artavazd Pelechian, von Jean-Luc Godard als einer der weltweit gr??ten Cineasten bezeichnet, pr?sentiert vier seiner Kurzfilme und ist selbst anwesend (Fr, 3. Juli, 20 Uhr). Der portugiesische Regisseur Pedro Costa zeigte seinen neuesten Film dieses Jahr in Cannes. Beim Filmscreening f?r das Berliner Publikum erh?lt er die ?Carte Blanche? ? ein eigens f?r diesen Abend zusammengestelltes Programm (Sa, 4. Juli, 20 Uhr). Zu sehen sind au?erdem viele Filmpremieren, unter anderem von dem franz?sischen Regisseur Philippe Grandrieux, der letztes Jahr bei den Filmfestspielen in Venedig beteiligt war (Mi, 1. Juli, 20 Uhr). Die Filmscreenings setzen verschiedene thematische Schwerpunkte: ?Nach dem Ende? beschreibt eine zeitgen?ssische Arch?ologie der Orte. Im ?Kino Revisited? werden Footage-Filme vorgestellt, die Kinozitate als erz?hlerisches Mittel einsetzen. ?Jenseits der Zeit? fokussiert auf das besondere Verh?ltnis von Film und Zeit. Der Videoparcours zum Thema ?Arbeitswert? stellt Filmk?nstler vor, die unterschiedliche Pr?sentationsformen zwischen Kinosaal und offenem Raum reflektieren. Zu sehen sind Videoarbeiten von Patrick Bernatchez (Kanada), Erik Moskowitz und Amanda Trager (USA), Noelle Pujol und Ludovic Burel (Frankreich), Manuel Saiz (Spanien). Zum Runden Tisch l?dt das Festival internationale K?nstler und Kuratoren ein, um gemeinsam die Bandbreite k?nstlerischen Schaffens aufzuzeigen und sich kritisch damit auseinanderzusetzen (Sa, 4. Juli, 14 Uhr und 18 Uhr). Rencontres Internationales findet jedes Jahr in Berlin und Paris statt, seit 2007 auch in Madrid. Die 19. Rencontres Internationales werden von der Stadt Berlin, dem B?ro des Bevollm?chtigten f?r die deutsch-franz?sische kulturelle Zusammenarbeit, der Stadt Paris und von Culturesfrance unterst?tzt und entsteht in Zusammenarbeit mit dem Haus der Kulturen der Welt. Mehr Informationen zum Festival-Programm unter: http://www.art-action.org Kontakt: info@art-action.org From ab at mikro.in-berlin.de Tue Jun 30 12:02:04 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue Jun 30 15:43:26 2009 Subject: [spectre] (fwd) ACAF July Lectures: Vlad Nanca, Rana Dasgupta, Raimi Gbadamosi Message-ID: Subject: July Lectures: Vlad Nanca, Rana Dasgupta, Raimi Gbadamosi From: "Alexandria Contemporary Arts Forum" Date: Mon, 29 Jun 2009 12:16:59 +0000 (UTC) A.K.A. EDUCATION? - Art Known as Education A Program of Events & Projects Running May - October 2009 PLEASE DOWNLOAD A.K.A. EDUCATION? PRESS RELEASE IN ENGLISH/ARABIC AT THE FOLLOWING LINK: http://akaedu-acaf.wikispaces.com/pdfs PUBLIC LECTURES IN JULY 2009 ?Vlad Nanca lives and works in Bucharest? A talk by Vlad Nanca, Saturday 4 July 7 pm ABSTRACT Vlad Nanca will deliver a presentation on his work and his personal course as an artist, drawing attention towards utilizing DIY (do it yourself) methods and tactics in pursuing an art career (self education, exhibiting, networking). Vlad Nanca (BIO) Vlad Nanca (1979) lives and works in Bucharest. Artist and sometimes curator Nanca studied photography and video at the University of Arts in Bucharest. Drawing on the environment and influence of Bucharest life, he documents urbanity through his photography. He is the founder of the Bukresh blog(bukresh.blogspot.com) and is actively involved in the progression of the city?s art-scene hosting ?home galleries? (2020 homegallery 2003-2007, Apartamentul 17 2008-) and curating exhibitions (Wait 2006, Back to the future/Cu Spatele la Viitor 2007, at Galeria Noua, Bucharest) to encourage and support local artists by offering a platform to show their work. Utilizing different mediums his varying projects employ political and cultural codes, often using word-play to evoke a rethinking of nostalgia, referencing Romania?s recent past, and challenging the current social and political climate (I do not know what union I want to belong to anymore, Original Adidas, Terrorist Balloon, Proposal for the National Redemption Cathedral, etc). Recently Nanca successfully collaborated with other artists as with Janek Simon in Remix (Raster Gallery, Warsaw, Poland) and with Mircea Nicolae and Nicoleta Esinencu for two site specific installations in Chisianu Moldova (part of the Inteventii 3 festival). Lecture by Rana Dasgupta 12 July 2009, 7 pm ABSTRACT Author of two novels, Rana Dasgupta nonetheless feels that he is working in a waning cultural form. The inescapable centrality of human character to the novel makes it difficult to bend fiction to the condition of the twenty-first century, and condemns the novel, too often, to besiegement and nostalgia. In this lecture, he will tell stories that novels cannot tell - and explain why he draws his inspiration less from literature than from the art world. What is at stake is the question of a contemporary global "citizenship," and the role of various creative practices in elaborating new forms of being. Rana Dasgupta (BIO) Rana Dasgupta was born in England in 1971. Having lived in France, Malaysia and the United States, he moved to Delhi in 2001. He is the author of "Tokyo Cancelled" (2005) and "Solo" (2009). ?Art and the Nation State? A Lecture by Raimi Gbadamosi, 19 July, 7 pm ABSTRACT Raimi Gbadamosi will look at art as a device for constructing the social self, determined by the polis, not governing bodies. What is the role of the monument as against the public sculpture? How is art made in isolation transformed into an instrument of nation building? What is the role of international exhibitions and art fairs in projecting the image of the nation state? How does the diplomatic and in some cases military apparatus of the nation state affect the consumption of and placement of art and artists on the world stage? What does the nation benefit from supporting culture financially and diplomatically when the monies made rarely circulate beyond a small group, and the credit goes to the individual artist? What is the place of ephemeral works in the nation?s image of itself? What does the artist give up when they choose to inadvertently represent the nation? Where do ephemera and ephemeral practices fit in the creation of national and social construction? Raimi Gbadamosi (BIO) Raimi Gbadamosi is an artist, writer and curator. He received his Doctorate in Fine Art from the Slade School of Fine Art,. He is a member of the Interdisciplinary Research Group 'Afroeuropeans', University of Leon, Spain, and the 'Black Body' group, Goldsmiths College, London. He is also on the Editorial board of Third Text. Recent national and international shows and events include: ARCO Madrid 2009; Tentativa De Agotar Un Lugar Africano, CASM, Barcelona 2008; Human Cargo, Plymouth Museum & Art Gallery, Plymouth 2007; Port City, Arnolfini, Bristol 2007. ARCO 2009, Madrid/. Work media including multiples, music, websites, writing and audience participation. Works creates debate, instead of representing preconceived concerns defined by specific social, cultural and political cant. Books include: incredulous; ordinary people; extraordinary people; contents; Drink Horizontal; Drink Vertical; The Dreamers' Perambulator; and four word. The Republic (www.the-republic.net) negotiates the meeting of language and social constructions. Recent essays include: The Not-So New Europeans, Wasafiri UK (current issue), and The Delight of Giant-Slayers: Or Can Artists Commit Their Lives to Paper? ArtMonitor, Sweden. Alexandria Contemporary Arts Forum (ACAF) 10 Hussein Hassab Street, Flat 6, Azarita, Alexandria, Egypt T: +20 (0)3 480 41 45, E: office@acafspace.org www.acafspace.org Opening times: Open during events/exhibitions from 1 ? 9 pm, otherwise by appointment only. The ?A.K.A. Education?? program is supported by The Embassy of the Kingdom of the Netherlands, Cairo and Pro Helvetia, Cairo <> Alexandria Contemporary Arts Forum (ACAF) - 10 Hussein Hassab Street, Flat # 6, Azarita, Alexandria, -, Egypt From abureaud at gmail.com Fri Jun 26 17:02:47 2009 From: abureaud at gmail.com (Annick Bureaud) Date: Wed Jul 1 09:28:53 2009 Subject: [spectre] Festival @rt Outsiders 2009 - 1st Announcement Message-ID: <4A44E317.7050904@gmail.com> 1st Announcement Festival @rt Outsiders 2009 www.art-outsiders.com (web site under construction) (Un)Inhabitable? Art of Extreme Environments September 9 > October 11 2009 Wenesday ? Sunday / 11 am-8 pm Maison Europ?enne de la Photographie. 5-7, Rue de Fourcy, 75004 Paris. Metro: Saint Paul or Pont Marie The 2009 edition of the @rt Outsiders Festival ?celebrating this year its tenth anniversary?focuses on extreme environments. These are environments that were, until recently, uninhabited by human beings and that contemporary science and technology turn into "inhabitable" places (Antarctica, underwater world, outer space, deserts); but also those that are becoming "uninhabitable" due to the impacts of our way of life (pollution, technological accidents, economical pressures and global warming). "(Un)Inhabitable? ? Art of Extreme Environments" presents works that explore the meaning of living in extreme environments, in the imaginary realm as well as in the physical one, in the political, social and environmental fields as well as in the poetic ones. Artists : Howard Boland & Laura Cinti ; Anne Brodie ; Peter Cusack ; Stephen Eastaugh ; Shiro Matsui ; Connie Mendoza ; Hu Jie Ming ; Forrest Myers ; Lucy + Jorge Orta ; Bradley Pitts ; Andrea Polli ; Catherine Rannou ; Ana Rewakowicz ; Yang Yi. Curators : Jean-Luc Soret, artistic director of the @rt Outsiders Festival. Annick Bureaud, theoretician and art critic, director of Leonardo/Olats. Press : Yannick Le Guillanton Tel : ++ 33/1 44 78 75 20 E-Mail : le.guillanton [@] art-outsiders.com -- ------------------------ Annick Bureaud (abureaud@gmail.com) tel/fax : 33/(0)1 43 20 92 23 mobile/cell : 33/(0)6 86 77 65 76 Leonardo/Olats : http://www.olats.org ------------------------- From oliverodomenico at libero.it Mon Jun 29 06:59:38 2009 From: oliverodomenico at libero.it (oliverodomenico) Date: Wed Jul 1 09:28:55 2009 Subject: [spectre] ZOOart 2009 Message-ID: all info/photos www.zooart.it ZOOart ZOOincitt? and ManifestaZOOne 2009, international exhibition of contemporary art - Cuneo As summer arrives we see the start of the ZOOart contemporary art exhibition to be held in Cuneo from the 2-19 of July. This year is the eighth edition. The exhibition has renewed itself with new ideas and strategies, adapting to the changing world. The first new aspect is its international focus, which began in previous exhibitions but will be further extended this year, confirming its European identity, featuring many international art works, from many European nations and the United States. On the national front a selection by the ZOOart curators has been made featuring new young Italian artists that are predominantly emerging in the contemporary arts scene. In this way, ZOOart is an authentic window into the rich local arts scene that interconnects with the international realm. Another new aspect is the collaboration with the Albertina Academy of Turin, which allows young artists to be supported and given visibility from the very beginning of their artistic journey, something the exhibition has followed in the last few years. For this exhibition five artists have been selected from those presented from the Academy, creating a culture and synergy of artistic learning and promotion. Due to their success the lounge area and artistic workshop area ZOOkids for children will return this year on Thursday and Friday in the first three weeks of July. In addition guided tours of the gallery will continue each Friday from 9 o?clock in the evening so viewers may understand and investigate the works displayed. The exhibition will be inaugurated on Thursday the 2nd of July at 9 o?clock in the evening, and similar to the previous years the exhibition will remain open for three weeks with aspects of the exhibition changing every week. The artists selected this year are: -Week 1, Thursday the 2nd to Sunday the 5th of July from 9-12 in the evening: Paolo Turco, Veronica Bellei, Giulio Zanet, Alessandro Beluardo, Eliana Frontini, Carla Crosio, EPVS, Lee Ahram, Elodie Paladino, Francesco Ozzola, Lucia Amalia Maggio, Massimo Spada, Jonas Zagorskas, Hondatrza Fraga, Gabriel Shalom, Francesca Ferreri and Max Zarri. -Week 2, Thursday the 9th to Sunday the 12th of July from 9-12 in the evening: Semira Forte, Francesca Sibona, Eilis Murphy, Roberto Del Pol, Michela Del Degan, Valentina Maggi, Julia Mastrogiacomo, Daniela Spagna Musso, C?line Trouillet, Annamaria Di Giacomo, Jonas Seaman. -Week 3, Thursday the 16th to Sunday the 19th of July from 9-12 in the evening: Riccardo Muroni, Cinzia Ceccarelli, Cosimo Veneziano, Allison Maletz, Lia Cecchin, Debora Fede, Damiano Fenoglio, Donald Abad, Jeremy Neuman, Emilio Romano. During the evenings of inauguration a Betulla records DJ provides music. A recent addition to this artistic exhibition will be to spread it through the city, throughout the historical centre. The new proposal cityZOO is supported by the businesses of via Roma in Cuneo in collaboration with Art.ur.. 4 works will be exhibited in the historical centre in via Roma and in the civic library, an artistic display that coincides with the artistic exhibition in the historical centre. The artists will create works specifically for via Roma, the young Tuscan artist Giacomo Casprini will mount a bright installation on the fa?ade of a historical palace. The Mondovi artist Nefertari Di Cianni will create a sentimental happening under the porticos. The German artist romana EPVS will place a colourful and playful installation between via Roma and via Barbaroux and the Korean artist who was adopted by the city of Niece, Lee Ahram?s are particularly delicate works will be exhibited inside parts of the civic library in via Cacciatori delle Alpi. The works of cityZOO will be visable from the 2nd to the 30th of July. During the second week the projects selected for the third international ExZOObition (mainfestaZOOne) will be places in urban areas of Cuneo in the form of 6x3 meter public notices. Participating artists are from all over Europe. This years theme for the MaifestaZOOne is ?r-evolution?. This visually represents a theme from this years Cuneo international literature festival Scrittorincitt? with which ZOOart collaborates, in order to bring attention to the socio-economical issues of this delicate time in history. During this crisis, it is perhaps necessary to seek the evolution of political, economical and social systems to improve the current situation. The theme ?r-evolution?, also brings homage to Charles Darwin, the bicentenary of his birth was celebrated last February. The winning works of the ManifestaZOOne will be hung from the 2nd of July, the date of the ZOOart inauguration, in the Fesia Gardens, but will be visible throughout the city from the 9th of November during the Scrittorincitt? festival. >From this year the IED (European Design Institute of Turin) will also participate in selecting the works. The prestigious international school of design, fashion, visual arts and communication has shown interest in this project from Cuneo that is unique within Italy, it promotes an artistic message in public spaces where a commercial product would typically be displayed. In the last exhibition artists and graphic designers from across Europe participated showing that Cuneo is a city that invigorates young creative energy. This year the winners are: 1st prize: Edoardo Valle, Como - 2nd prize: Claudio Buglioni, Fucecchio - 3rd prize: Diego Viada, Cuneo selected: Giovanni Balletta, Gaeta - Pamela Campagna e Thomas Scheiderbauer L-able, Siviglia - Fr?d?ric Garnier, Troyes - Daniela Lotti, Firenze - Leila Mariani, Milano - Nathaniel Rackowe, Londra - Danilo Ruggeri, Bologna - Stefano Tedioli, Ravenna. In conclusion we also make note that as well as on our official website, extracts from our exhibition will also be shown on Facebook, Twitter and Youtube so that all the persons who can?t physically visit the exhibition, but who are interested, will have all the material available for viewing on the internet as well as our contact details if any questions arise. Technical Data: Title: ZOOart and manifestaZOOne 2009 Organizers: Art.ur Association in collaboration with the Cuneo Township Partners: Piedmont Region, Cuneo Province, CRC Foundation, CRT Foundation, Turin Albertina Accadamy, GAI, IED of Turin, The Gaia of Busca collection. Technical sponsors: Publiproget Alba, Milano Insurance Cuneo, Mollo srl Alba, SOL Group, Cuneo, businesses of via Roma, Castelmar Cuneo. Media partners: CUNEO7 and cuneocronaca.it Location: Corso Giovanni XXIII, Cuneo. Inauguration: Thursday 2, 9,16 July 2009 at 9pm Dates: from the 2-5, 9-12, 16-19 of July 2009 from 9pm-12am. Web: www.zooart.it e-mail: pqemi@tiscali.it, zooarte@gmail.com info: +39 339 6908997 Free entry From editor at intertheory.org Tue Jun 23 23:40:43 2009 From: editor at intertheory.org (Nicholas Ruiz III) Date: Wed Jul 1 09:28:57 2009 Subject: [spectre] intertheory - manuscript call Message-ID: <580889.84784.qm@web308.biz.mail.mud.yahoo.com> anacademic press of cultural theory, fiction and criticism Book proposals should include, at a minimum, the following information: 1. Table of contents and chapter-by-chapter descriptions (one page per chapter) 2. Sample chapters; including the introduction and at least two chapters. 3. Current curriculum vitae (if the book is a collection of essays, include a list of contributors' affiliations). 4. Manuscript specifics, including estimated length, delivery date, and any special requirements (e.g., artwork, tables, photographs, film stills). 5. Please expect an approximate response time of one to three months. Proposals should be sent to: manuscripts@intertheory.org Nicholas Ruiz III, Ph.D Editor, Kritikos http://intertheory.org From helen.hehe at free.fr Tue Jun 30 17:19:45 2009 From: helen.hehe at free.fr (helen evans) Date: Wed Jul 1 09:28:58 2009 Subject: [spectre] Cette semaine =?windows-1252?q?=E0_Ars_Longa_=3A_Conf=E9rence_=22?= =?windows-1252?q?Surveillance_et_contre-surveillance=22?= Message-ID: <4A4A2D11.1040603@free.fr> La saison se termine ? Ars Longa avec l'exposition ? Siren Shields ? *jusqu'au 18 juillet*. Apr?s l'incroyable /Police Party/ du 21 juin, notre dernier ?v?nement de la saison, une intervention sur les dispositifs de contr?le utilis?s par les artistes des ann?es 60 ? aujourd'hui. Conf?rence "Surveillance et contre-surveillance" Mercredi 1er juillet ? 19h Avec Anne Zeitz en pr?sence de HeHe (Helen Evans, Heiko Hansen) Mod?ratrice : Judith Lavagna Anne Zeitz parlera de la r?appropriation de la technologie de surveillance et de contr?le chez les artistes contemporains, de Bruce Nauman et Peter Weibel ? Harun Farocki et Alain Declercq. Artiste, chercheuse et membre de l'?quipe de recherche Esth?tique des Nouveaux M?dias de l'Universit? Paris 8 (EDNM), elle a organis? l'exposition "Mouvement-observation-contr?le" ainsi qu'un cycle de films pour le Goethe-Institut Paris en 2008 "SIREN SHIELDS" du Collectif HeHe ( Helen Evans et Heiko Hansen ) Exposition du 22 juin au 18 juillet 2009 Prenant le contre-pied des repr?sentations symboliques de la police dans notre soci?t?, le duo HeHe (Helen Evans et Heiko Hansen) pr?sente ? Ars Longa un dispositif alliant radar de contr?le invers? et ballet de sir?nes, t?l?vision sous contr?le et gyrophare g?ant. Non sans humour, c'est en observateur averti que le collectif redistribue les r?les en donnant au citoyen la possibilit? de g?n?rer de nouveaux modes d'appropriation, que ce soit dans un espace public, devant un ?cran, ou une exposition. L'exposition "Siren Shields" prend comme point de d?part la cr?ation d'un logiciel permettant l'enregistrement de sons de sir?nes, "Siren Shield v1 2009", fruit de la r?sidence 2008 d'Helen Evans et Heiko Hansen ? Ars Longa. Depuis plusieurs ann?es, le collectif d?veloppe une pratique artistique pluridisciplinaire centr?e sur les enjeux sociaux et ?cologiques contemporains, pla?ant toujours le spectateur au c?ur de ses pr?occupations. *Pour plus d'informations: http://www.arslonga.fr/ http://www.hehe.org/