From play at ubermorgen.com Fri May 1 10:04:10 2009 From: play at ubermorgen.com (UBERMORGEN.COM) Date: Fri May 1 10:05:12 2009 Subject: [spectre] =?iso-8859-1?q?The_Sound_of_eBay=3A_1001_Songs_Release?= =?iso-8859-1?q?_-_Cr=F3nica_043=7E2009?= Message-ID: <47B8B5C2-F2B3-4704-9DA6-D048ACB23DC4@ubermorgen.com> Cr?nica is delighted to present the ?1001 Songs of eBay? its longest ever Unlimited Release running to a total of 2 days, 3 hours, 41 minutes and 26 seconds or over 4 GB of generative funkiness http://www.cronicaelectronica.org/?p=043 unlimited & free download Pressrelease http://www.cronicaelectronica.org/pr/pr043~2009.pdf Purchase Woodcut prints (Ed 47) http://www.cronicaelectronica.org/?p=043l ++ The Sound of eBay ZKM | Center for Art and Media Karlsruhe YOU_ser 2.0: Celebration of the Consumer, 01.05-30.08.2009 Visualcoding: LIA, Soundcoding: Stefan Nussbaumer http://www.sound-of-ebay.com/visualcoding.html ++ yours truly UBERMORGEN.COM Email officeR@ubermorgen.com http://www.ubermorgen.com Mobile +43 650 930 00 61 -- Superenhanced http://www.ipnic.org/superenhanced + Black n White : P'retty Ugly http://www.ubermorgen.com/BlacknWhite Rencontres Internationales - http://tinyurl.com/cf826g Tabacalera - future National Centre for Visual Arts Madrid - until May 16 From marc.garrett at furtherfield.org Fri May 1 12:22:48 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri May 1 12:24:20 2009 Subject: [spectre] Play on Meaning? - Computer games as art. In-Reply-To: References: Message-ID: <49FACD78.6020208@furtherfield.org> Play on Meaning? - Computer games as art. Article by Edward Picot. http://www.furtherfield.org/displayreview.php?review_id=345 Featuring: The Princess Murderer by Geniwate and Deena Larsen The Free Culture Game by Molleindustria The Marriage by Rod Humble Samorost 2 by Amanita Design The Graveyard by Tale of Tales Gravitation by Jason Rohrer Edward Picot discusses the controversies that arise when computer games meet artistic purpose. Taking us through a detailed analysis of some emblematic examples of computer games that slip into the realm of art, he unfolds the strategies, motivations and critical issues. Computer games enjoy a special position in the canon of new media art. One of the most distinctive features of new media is its interactivity, and because computer games are inherently interactive they have always attracted a good deal of attention from new media theoreticians. They seem to offer the opportunity to create art forms which are participative rather than dictatorial in structure, and thus to redefine the relationship between artist and audience. No longer will audience-members simply act as passive recipients of whatever the artist chooses to put in front of them: instead, through their interactivity, they will become co-creators. This article is co-published by Furtherfield.org (www.furtherfield.org) and The Hyperliterature Exchange (http://hyperex.co.uk). From lotu5 at resist.ca Fri May 1 22:22:26 2009 From: lotu5 at resist.ca (dj lotu5) Date: Fri May 1 22:23:46 2009 Subject: [spectre] mixed relations by Elle Mehrmand and Micha Cardenas Message-ID: <49FB5A02.6030706@resist.ca> I?m so happy to share the news that mixed relations, a project proposed by myself and Elle Mehrmand, is the recipient of a grant from the University of California Institute for Research in the Arts! This is the next big project I?ll be working on for the next year. You can read a brief description of the project here? mixed relations by Elle Mehrmand and Micha C?rdenas * */?The partners do not precede their relating: all that is, is the fruit of becoming with.?/ -Donna Haraway, When Species Meet mixed relations is a collaboration between Elle Mehrmand and Micha C?rdenas consisting of a series of performances that explore the relations between bodies and technology within mixed realities. The performances will focus on using the body as an instrument and as a site of exploration for performance in mixed realities. The goal is to look at bodies in relation to each other in these realities, as well as in relation to their instruments and to the technologies which extend and multiply them, sonically, visually and physically. The project will involve two people performing in actual and virtual space. It will include explorations of a number of technologies which bring the body into mixed realities, outside of its daily boundaries, beyond the skin. Live audio synthesis will be achieved using Max/MSP to respond to body movements. These movements will be detected through various technologies including marker based motion capture, flex sensors, pressure sensors, light sensors, accelerometers and the Nintendo Wii. The performers? body movements will be mirrored and extended into online 3D networked environments such as Second Life and Opensim, which will be projected into the physical performance space. Simultaneously, live realtime video will be streamed into the virtual performance space, from cameras that are attached to the performers? bodies. Scaled projections, scale models in virtual space and the projection of virtual instruments onto actual objects will be used to create a mixing of the actual and virtual, blurring the lines between the two. The performances will explore themes of affective tension and anticipation, techno-fetishism, and D.I.Y. cyborg bodies. Our main inspirations come from the history and traditions of performance art, such as Marina Abramovic and Ulay, Stelarc and Orlan, so we see art concerned primarily with bodies in relation, and the body and technology as the main works we are in conversation with. While much performance art has looked at relations between people, or has engaged with motion capture technologies, mixed relations seeks to combine the rapidly spreading cultural phenomenon of embodied interfaces, exemplified in the Nintendo Wii, with live collaborative improvisational performance. Through the usage of networked online environments, the bodies of the performers are multiplied and folded, immersed in multiple locations and realities at once, creating another layer of relation. The mixing of realities in this project can be seen as paralleling or exploring of our own personal experiences of queer mixing of genders and sexualities, queering new media. Virtual worlds such as Second Life are facilitating the development of new identities and genders, which - as of yet - allow for unimagined relations and relationships. Through the use of mixed reality technologies in performance, mixed relations seeks to look closely at these new relationships and how they affect our everyday lives and our horizons of possibility. Comment at: http://bang.calit2.net/tts/2009/05/01/mixed-relations-won-the-ucira-emerging-fields-award/ * * // More about UCIRA here: http://www.ucira.ucsb.edu/ From ab at mikro.in-berlin.de Mon May 4 10:07:52 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon May 4 10:16:40 2009 Subject: [spectre] Nam June Paik Archive Goes to the Smithsonian Message-ID: from: http://www.nytimes.com/2009/05/01/arts/design/01voge.html?_r=3 Nam June Paik Archive Goes to the Smithsonian Clunky black-and-white television sets and 1960s record players; early video projectors and decades-old Polaroid cameras - things that were long ago relegated to the electronic graveyard - are precious and priceless in the world created by the artist Nam June Paik (1932-2006). Mr. Paik, who pioneered video art, spent more than five decades creating an idiosyncratic variety of works, including robots, musical compositions, video sculptures and installations. Coining the phrase the "electronic superhighway" in 1974, he saw the artistic possibilities of technology long before most people. So receiving Mr. Paik's coveted archives as a gift from the artist's estate is the art world equivalent of winning the lottery. The estate asked a group of museums for proposals on how each would use the archive. Out of a group that included the Museum of Modern Art, the J. Paul Getty Museum, the Solomon R. Guggenheim Museum and the Whitney Museum of American Art, it chose the Smithsonian American Art Museum. From paul at paul-brown.com Mon May 4 10:28:55 2009 From: paul at paul-brown.com (Paul Brown) Date: Mon May 4 10:30:56 2009 Subject: [spectre] Nam June Paik Archive Goes to the Smithsonian Message-ID: <84238729-AED1-4F8C-9F3B-EF6B587D6DF7@paul-brown.com> (Reposted from Spectre - see below) from: http://www.nytimes.com/2009/05/01/arts/design/01voge.html?_r=3 Nam June Paik Archive Goes to the Smithsonian Clunky black-and-white television sets and 1960s record players; early video projectors and decades-old Polaroid cameras - things that were long ago relegated to the electronic graveyard - are precious and priceless in the world created by the artist Nam June Paik (1932-2006). Mr. Paik, who pioneered video art, spent more than five decades creating an idiosyncratic variety of works, including robots, musical compositions, video sculptures and installations. Coining the phrase the "electronic superhighway" in 1974, he saw the artistic possibilities of technology long before most people. So receiving Mr. Paik's coveted archives as a gift from the artist's estate is the art world equivalent of winning the lottery. The estate asked a group of museums for proposals on how each would use the archive. Out of a group that included the Museum of Modern Art, the J. Paul Getty Museum, the Solomon R. Guggenheim Museum and the Whitney Museum of American Art, it chose the Smithsonian American Art Museum. ______________________________________________ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre ==== Paul Brown - based in OZ April to June 2009 mailto:paul@paul-brown.com == http://www.paul-brown.com OZ Landline +61 (0)7 5443 3491 == USA fax +1 309 216 9900 OZ Mobile +61 (0)419 72 74 85 == Skype paul-g-brown ==== Visiting Professor - Sussex University http://www.cogs.susx.ac.uk/ccnr/research/creativity.html ==== From gif at 220hex.org Mon May 4 15:58:08 2009 From: gif at 220hex.org (h220) Date: Mon May 4 16:13:12 2009 Subject: [spectre] Piksel09 :: Call for Projects Message-ID: <200905041558.09462.gif@220hex.org> [[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]] ** Piksel09 november 19-22 2009 Bergen, Norway [[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]] Piksel [1] 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. This years event - Piksel09 - continues the exploration of free/libre and open source technologies and it?s myriad of expressions within the arts. Piksel09 is organised in collaboration with Gallery 3,14 [2] and Lydgalleriet [3] which will host this years exhibitions, Bergen Kunstmuseum [4] hosting the presentations and panels, and Bergen Kunsthall/Landmark [5] hosting the evening events. [[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]] ** open CALL for PROJECTS For the exhibitions and other parts of the programme we currently seek projects in the following categories: 1. Installations Projects to be included in the exhibitions at Galleri 3,14 and Lydgalleriet. The works must be programmed by and running on free and open source software and/or open/DIY hardware. 2. Audiovisual performance Live art realised by the use of free and open source software. We specially encourage live coding and open/DIY hardware projects to apply. 3. Presentations Innovative DIY hardware and audiovisual software tools or software art released under an open licence. (Also includes presentations of artistic projects realised using these technologies.) 4. Workshops Hands on workshops utilising free software and/or open/DIY hardware for artistic use. !!!!!!!!!! Deadline - july 15. 2009 !!!!!!!!!! Please use the online submit form at: http://piksel.no/ocs or send documentation material - preferably as a URL to online documentation with images/video to piksel09 [AT] piksel [DOT] no [[[[[[[[[[[[[[[[[[]]]]]]]]]]]]]]]] Contact: Piksel att: Gisle Fr0ysland Georgernes Verft 12 5011 Bergen Norway More info: http://www.piksel.no Piksel09 is supported by Arts Council Norway, City of Bergen Cultural Office, Hordaland County Cultural Office and others. links: [1] http://www.piksel.no [2] http://www.stiftelsen314.com [3] http://www.lydgalleriet.no [4] http://www.bergenartmuseum.no [5] http://www.kunsthall.no/default.asp?k=6 -- From hatam at drfz.de Mon May 4 16:27:57 2009 From: hatam at drfz.de (Farah Hatam) Date: Mon May 4 16:27:20 2009 Subject: [spectre] Concert_Mai8_Berlin_at NK Message-ID: <7BE519A9765D854BA7A088320F84A37A03A9F038@mail.drfz.de> Concert on MAI 8 DOORS OPEN 21.30 CONCERTS START 22 UHR SHARP NK Elsen str 52 2HH 12059 Berlin Germany myspace.com/enka52 MONNO myspace.com/monnosound IDIOT SWITCH myspace.com/idiotswitch LIQUID TAIL myspace.com/koyxen myspace.com/birdsofdelay From m at 1010.co.uk Tue May 5 00:04:10 2009 From: m at 1010.co.uk (m) Date: Tue May 5 00:07:41 2009 Subject: [spectre] xxxxx_micro_research workshops:16_17: Horror Vacui//Jamming through Runtime Message-ID: <1vr44jad.fsf@xxxxx.xxxxx> A series of weekly working groups and workshops at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: May 9th 2PM: Horror Vacui - careful experimentation with monitor cathode ray tubes [with Jo FRGMNT Grys] May 16th/17th: THE WHITE VISITATION [DORTMUND] May 23rd 2PM: Jamming through Runtime [workshop and performance with Valentina Vuksic] May 30th 2PM: RFID sniffer and RFIDuino [with Marc Boon] Forthcoming matter: 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. //<----------------------------------------------- May 9th 2PM: Horror Vacui - careful experimentation with monitor cathode ray tubes [with Jo FRGMNT Grys] This workshop is concerned with the re-use of VGA/CRT monitors as experimental devices. It covers basic considerations of electronic vacuum technology, particle acceleration, de- & re-construction praising the empty space. Danger, sparks & entertainment! Practical experiments will be performed including VGA signal generation, interference, signal injection, modification, graphical animation without computer. Participants are free to bring: - old VGA monitors - Arduino or equivalents with arduino 0012 installed (0015 produces some jitter due to optimisations) (http://www.arduino.cc) - GNU/Linux, Mac OS, Windows - cut off VGA cables. Additional monitors, equipment and Arduino-equivalents will be available. Printed documentation/sourcecode will be delivered Jo Grys (aka FRGMNT) is a lowtech/hitech noise scientist who lives & works in Berlin. http://tob.de.vu Fee: 10 euros (all materials and food!) Please email m@1010.co.uk to reserve a place (strictly limited) ---_______ 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) ua. xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From istha at nimk.nl Tue May 5 11:47:53 2009 From: istha at nimk.nl (Marieke Istha) Date: Tue May 5 11:49:24 2009 Subject: [spectre] Update speakers Symposium Positions in Flux Message-ID: <4A000B49.7060409@nimk.nl> Symposium Positions in flux: On the changing role of the artist and institution in the networked society Symposium venue: Trouwgebouw Amsterdam, Wibautstraat 131, Amsterdam http://www.trouwamsterdam.nl Friday, May 8th, 2009 9:00 - 18:00 hrs Organised by the Netherlands Media Art Institute The symposium will center on some of the major questions regarding the current and future development of contemporary art and digital culture: Which impact has art on politics and can it contribute to the solution of conflicts? How does the wide spread of digital technologies influence the creation of art and mould individual digital cultures? Are there new models of art production and curating coming up? The three panel discussions follow a clear thematic scheme and try to bring in as much expertise and viewpoints as possible. The conference language is English. More information: http://www.nimk.nl/en/index_agenda.php?cat=l&id=297 Live stream: http://www.nimk.nl Live chat: http://www.nimk.nl/chat LAST UPDATE SPEAKERS Art goes politics Wafaa Bilal, artist (IQ/USA) Hans Bernhard (at), artist, UEBERMORGEN.COM Knowbotic Research, artist group (D/CH), artist in residence at NIMk 2008/09 Moderated by Chris Keulemans, writer and journalist (NL) New territories and cultures of the digital Nat Muller, independent curator and critic (NL) Bronac Ferran (UK), researcher, consultant and founding member of bricolabs Marcus Neustetter, media artist, curator and co-founder of Trinity Session (SA) P?ter Gy?rgy, theoretician, advisor of Kitchen Budapest (HU) Moderated by Rob van Kranenburg, thinker, networker and author (NL/B) Open Source ? A scheme for art production and curating? Jaromil, dyne.org and researcher at NIMk Femke Snelting (NL) and Ren?e Turner (USA), De Geuzen Marcos Garcia, director of Interactivos, Medialab Prado (E) Joasia Krysa, curator, founder of KURATOR (P/UK) Moderated by Josephine Bosma, theoretician and critic (NL) During the lunch break intervention by Silver & True REGISTRATION: 9:00 - 9:45 hrs ENTRANCE: 15 euro (Students 10 euro). RESERVATIONS: Please make reservations by sending you name and contact information to jkamp@nimk.nl Here we are ? There we go Special opening 30 years NIMk open house weekend May 8, 9:30 p.m. The Netherlands Media Art Institute is celebrating its 30th anniversary! We are doing so with an open house on 8, 9 and 10 May, a long weekend full of discussions, artist talks, performances, installations, tours and a party. On Friday May 8 we invite everybody to see the preview of the installations which are presented at the institute during the weekend with a special opening of the installation of Marnix de Nijs, Exploded views ? Remapping Firenze and the installation of Jan van Nuenen, Physics Distorter 1.1. See the final program: http://www.nimk.nl/en/index_agenda.php?cat=l&id=298 Netherlands Media Art Institute Keizersgracht 264 1016 Ev Amsterdam http://www.nimk.nl From redazione at digicult.it Tue May 5 13:47:50 2009 From: redazione at digicult.it (Redazione Digicult) Date: Tue May 5 13:48:37 2009 Subject: [spectre] Direct Digital | a new media art event Message-ID: <03ba01c9cd77$51a3ee70$81661201@marco> Sorry for any crossposting Digicult presents: Direct Digital | a new media art event Modena | Carpi (Italy) - 30th May > 28th June 2009 presented by: Artegenti in collaboration with: Movimenta with the precious contribution of: Fondazione Cassa di Risparmio di Modena www.directdigital.org | www.digitaldirection.org | http://www.digicult.it/En/2009/DirectDigital.asp ________________________________________ Direct Digital Exhibition | Live media | Workshop | Cinema | Contest Direct digital is a new media art event presented by the cultural association Artegenti, which will take place from 30th May 2009 to 28th June 2009 in Modena and Carpi (Italy), in the Ex-Ospedale Sant'Agostino and in Palazzo Pio, under the conception and artistic direction of Gilberto Caleffi. Direct Digital will be presented in preview on Saturday the 8th of May with a live exhibition of the visionary musician Dm Stith at the Circolo Zuni in Ferrara. Direct Digital proposes a thick calendar of five sections, Exhibition, Live Media, Workshop, Cinema, Contest in order to show a detailed perspective of the most recent developments of art and creativity linked to the use of digital technologies. The event, at its first edition, aims at becoming a benchmark for those who are interested in knowing, proposing and creating moments of meetings between contemporary art and digital innovation. In the last years the spread of informatics has brought to a revolution that is still in progress, both regarding the instruments and the ways of making art, and the modalities of production and display of the creative act. A constant contamination and reprocessing of the languages is destroying the boundaries among the different forms of artistic expression and, at the same time, is perceiving the viewer as an active character, involved in multiple forms of participation: live media, networking, interactive exhibitions, interaction, urban design. Direct Digital puts together in a multidisciplinary platform the most interesting expressions of these creativity forms, in order to allow to an heterogeneous and full of artists, fans and thinkers audience, to meet and exchange views about making art in the digital age. THE EXHIBITION Exhibition is the section dedicated to the exhibition of contemporary and digital art Il canto del corpo elettrico (The singing of the electrical body), organized by Gilberto Caleffi, that will take place in Modena at Ex-Ospedale Sant'Agostino and in Carpi at Palazzo dei Pio from 30th May to 28th June, and that will be presented to the journalists 29th May. The title of the exhibition is based on a verse by Walt Whitman, rearranged by Ray Bradbury, dedicated to the relationship between art and new technologies applied to the fields of animation, video, music and design. The "digital" wants to stimulate a language commixture which is shown in a selection of artworks divided into two major sections, video art and interactive art, hosting some of the most relevant names of the contemporary artistic experimentation: Nam June Paik, Bill Viola, Andy Warhol, Douglas Gordon, Philippe Parreno, Sam Taylor-Wood, Tony Oursler, Chris Levine, Julian Opie, Gina Czarnecki, Heinrich Gresbeck, Golan Levin, Rafael Lozano-Hemmer, Takahiro Matsuo, Jin-Yo Mok, Kenichi Okada, Agostino Di Scipio, Mimmo Rotella. The video art section puts together authors that come from different periods and spheres, comparing them through their works in order to find a common interest in time, memory, perception and duplication, elaborated through the electronic languages. They analyse the relationship among human beings, art and metaphysic dimension through the handling of languages and materials. By altering time and space notions, the artists succeed in modifying the original organization of the communicative flow, and transform the consumer object in artistic experimentation's matter. The artist feeds his own imaginary of atmospheres, suggestions and quotations taken from mass communication, and re-edits them in his own artwork that becomes, in this way, remainder of his individual experience and mirror of his own time. The exhibition also includes a section dedicated to the relationship between interactive art and pop culture. Interactive art analyses the relation between human beings and technology, studies the relationships among the available technologies, combining them with human necessities and desires in the contest of everyday experience. The exhibition path Il canto del corpo elettrico does not want to come to a conclusion, but it wants to create a chance to make questions about the interaction between human beings and technology, and between human beings and communication means, throughout the questions and the reflections stimulated by the artworks. The exhibition catalogue, by Marco Mancuso and Claudia D'Alonzo and realized with the support of Nuova Grafica, is a further instrument of this analysis, thanks to its critical texts and inedited interviews of the artists of the exhibition. LIVE MEDIA SECTION The section Live Media presents a series of performance events, located in different places in Modena, Carpi and Ferrara, all of which are dedicated to the several expressions created by the meeting between music and digital technology, from the clubbing scene to the experimentation, with the participation of international artists such as: Agf + Delay, Pantha Du Prince, Hauschka, Ben Frost, Murcof + Francesco Tristano, Dm Stith, Thomas Fehlmann + Eraldo Bernocchi, A Hawk And A Hacksaw, Telefon Tel Aviv, Badge and Talkalot, Giardini Di Mir?. First appointment of the event is the celestial folk of David Michael Stith, who will perform on Friday 8th May at 21.30 in at the Circolo Zuni in Ferrara during the Direct Digital preview. Electronic pearls of the duet Agf/Delay and the oneiric dance of Pantha Du Prince, will fill the spaces of Teatro delle Passioni of Modena with sound matter, on Friday 29th May, from 21.30. The interbreeding between electro music and acoustic instruments of Hauschka aka Bertlmann meets the experimental Icelandic music of Ben Frost in the live of Saturday 30th May, at 21.00, in Carpi at the Cortile d'Onore of Palazzo del Pio, while on Monday 1st June at 21.30 again Cortile d'Onore will host the spiritual resonances of Murcof and Francesco Tristano. The euphoric atmospheres of the old European East enliven the spaces of Auditorio San Rocco in Carpi, thanks to the music of A Hawk And A Hacksaw on Wednesday 10th June at 21.00. On Wednesday 17th June, at the Teatro delle Passioni in Modena, Thomas Fehlmann, Eraldo Bernocchi and Petulia Mattioli will perform in a live show totally inedited, commissioned on purpose by Direct Digital for this event, whose recording will be edited by the label Rare Noise. The warm and wrapping sound of Badge and Talkalot and Telefon Tel Aviv will be the protagonist on Friday 19th June, from 22.00 at Vibra, in Modena; while Saturday 27th June Giardini di Mir? present their live Il fuoco, in Carpi at Piazzale Re Astolfo. WORKSHOP Workshop section is developed in three meetings, 28th May, 5th June and 26th June 2009, dedicated to the crucial themes of the new media art with the presence of international speakers, such as Golan Levin, Marco Mancuso, Paolo Rigamonti, Boris Debackere, Lucredia Cippitelli, Emidio Clementi, Paolo Nori, Emiliano Colasanti. A series of moments dedicated to the presentation of projects, to the production of ideas and to reflections about creative software and about the relationship among art, interaction design and audiovisual design. The Cinema section presents a wide overview of the audiovisual ever-developing forms of art, that follow the quick developments of the society and the technologies. The appointments will talk about these mutations, trying to find, in the multiplicity of aspects and languages, shared themes such as: the creation of new narrative settings, new links between the concepts of time and space allowed by the digital world, the experimentation of senses and perceptive boundaries. The artwork selection will include: feature films, short films, video clips, digital animations, live cinema. CONTEST Finally, Direct Digital proposes the contest Digital Direction, opened until the 10th May 2009, addressed to the young under 35 artists. The project is based on the loan of four contemporary artworks by Mimmo Rotella, an artist directly connected with the theme of the event, and who is recognized as a maestro for a new generation of digital artists. Sorprendente Marilyn (2004), Pazzo per le donne (2004), Giovent? bruciata (2004), Marlon Brando (2004), will be a source of inspiration for the creation of original and unpublished works of new media arts. The contest winners will see their works/projects exhibited in Direct Digital 2009 alongside the originals by Mimmo Rotella. ________________________________________ Direct Digital is organised by Artegenti in collaboration with Movimenta. The event is possible thanks to the precious contribution of Fondazione Cassa di Risparmio di Modena. | Under the patronage of Comune di Carpi, Comune di Modena, Provincia di Modena, Regione Emilia Romagna. | The technical sponsor of the event are Nuova Grafica and Santimone. | Event Partner: IED-Istituto Europeo di Design, Artivive Festival, Node Festival, Emilia Romagna Teatro Fondazione, San Rocco Arte e Cultura, Arci Modena, Arci Ferrara, Vibra, Mattaoio, Kalinka, Cookies. | Media Partner: Digicult, My Space, Next Exit, Kult. ________________________________________ Marco Mancuso New Media Culture and Digital Arts 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 seamascain at gmail.com Tue May 5 19:09:25 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue May 5 19:28:21 2009 Subject: [spectre] A Northern Ireland poet Message-ID: <6f1e9ee40905051009o22c362c6v425a70827298cdc1@mail.gmail.com> _______________ ALONE IN THE BACK CAF?, a new chapbook by Paul Murphy, has been published by Survivors' Poetry in London, England. The chapbook was funded and sponsored by the Esm?e Fairbairn Foundation. Paul Murphy was born in Belfast, Northern Ireland in 1965. He studied at the University of Warwick, gaining a B.A. in Film and Literature. >From there he went to Queen?s University in Belfast to study for an M.A. on T.S.Eliot and the French philosopher Jacques Lacan. Murphy has been writer-in-residence at the Albert-Ludwig Universitat, Freiburg im Breisgau, in Baden-Wurtemburg, in Germany. He also writes philosophy and enjoys working on the interface between poetry and philosophy. Paul Murphy's previous book, IN THE LUXEMBOURG GARDENS, was published by the University of Salzburg Press, in Salzburg, Austria. Also, Murphy's book T.S. ELIOT'S POSTMODERNIST COMPLAINT was published by Postpressed in Australia (www.postpressed.com.au). Paul Murphy has read from his work in Paris, Cambridge, Galway and Belfast. He is at the moment writing an oral history of the Black Forest. The cost of Paul Murphy's ALONE IN THE BACK CAF? is ?4.00 (or $8.00) and may be ordered from Survivors' Poetry at http://survivorspoetry.com/SP_Shop/index.php?productID=141 ... or directly by postal mail to Survivors? Poetry, Studio 11, Bickerton House, 25-27 Bickerton Road, Archway, London, England, N19 5JT Survivors? Poetry, a British non-profit established in 1991, promotes the writing of survivors of traumatic distress. Survivors' Poetry is in a unique position to act on its vision of a society in which survivors can work towards emotional and mental stability through the discipline and truth to self that is a prerequisite for the imaginative expression in language of traumatic experiences. Survivors? Poetry actively supports and promotes the sheer linguistic talent that many survivors bring to their insight into their own condition and that of others. Respectfully, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From sebastien.bourdeauducq at lekernel.net Wed May 6 13:33:24 2009 From: sebastien.bourdeauducq at lekernel.net (=?utf-8?q?S=C3=A9bastien_Bourdeauducq?=) Date: Wed May 6 13:34:29 2009 Subject: [spectre] Hacker Space Fest deadline extended, May 12th Message-ID: <200905061333.25048.sebastien.bourdeauducq@lekernel.net> We would like to thank everyone who submitted proposals for the second Hacker Space Festival. They were very interesting ; and thanks to you we will be able to organize an excellent festival this year again. However, to make this event even better, we extended the submission deadline to May 12th, in order to fill the few remaining slots. We especially expect more workshops (on any subject) and technical conferences. Read the call for proposals: http://www.hackerspace.net/call-for-proposals And even if you don?t submit anything, you are very welcome to attend the HSF! From emonk at eliot.priv.at Wed May 6 15:18:03 2009 From: emonk at eliot.priv.at (Aileen Derieg) Date: Wed May 6 15:28:02 2009 Subject: [spectre] Strange turn of events in the European Capital of Culture Message-ID: <20090506151803.n6rxz09i4g000skg@eliot.at> For the year of European Capital of Culture Linz 2009, the city of Linz, Austria, has a new slogan: "Linz changes" This is not the kind of "change" we were prepared for: Events in the current European Capital of Culture Linz 2009 took a strange turn last Friday, when the alternative May 1st demonstration was first stopped and then violently broken up by police. There is a collection of press reports (mostly in German, but some translations can be provided) and videos here: http://antifa.servus.at/pressespiegel The Alliance Against Police Violence and for Freedom of Demonstration formed spontaneously in reaction, which is meanwhile supported by over 100 organizations and more than 300 individuals. On Friday, 8 May 2009, there will be a press conference at 11 am and a demonstration starting at 4 pm. Below is an English translation of the statement from the Alliance. Contact address: gegenpolizeigewalt@servus.at Alliance Declaration, Linz, 3 May 2009 Against Police Violence and for Freedom of Demonstration Alliance Against Police Violence Condemns the Excessive Police Action on May 1st We were shocked and appalled to learn on 1 May 2009 that the officially authorized alternative May Demonstration was prevented and broken up by the Linz police. The right to demonstrate is a constitutional right and an essential cornerstone of our democracy. According to the police, a violation of the ban on masks, in other words a regulation offense, was the reason for the police intervention. As numerous photos and videos unequivocally document, however, no one can be seen masked from the beginning to the end of the period that they were surrounded by the police. Why the police continue to maintain this statement is a mystery to us. And even if some individuals had been masked in the beginning, this cannot justify such a forceful intervention ? including against those seeking to mediate. The general mood in the anti-fascist bloc, as confirmed by numerous witnesses, was peaceful and calm. The demo would have taken place as it has every year, there have never been problems before. Why the police speak of an unprecedented potential for danger is thoroughly incomprehensible. The subsequent escalation ? attacks with clubs and pepper spray on the part of the police ? just like the brutal arrests, was unprovoked and wholly excessive. The mistreatment of the vice-rector of the Art University, Rainer Zendron, documented on ORF film material, is only one example of the scandalous proceedings of the police. Other people arrested were treated substantially more brutally. The ORF video shows a policeman beating a demonstrator over a dozen times. The demonstrator consequently required treatment in the city hospital. All of this happened while neo-nazis ? with raised hands ? strolled largely unhindered through the city, stopping by not only the May 1st Demo, but also a picnic organized by an association for children. At this time it is still unclear whether the escalation on the part of the police was due to the director of operations being unable to cope with the situation on site, or whether the escalation was intentional. We expressly welcome the investigation announced the Security Director Li?l, and we are certain that the analysis of the different source material will reveal the cause of the events of May 1st. The events of May 1st are not only highly alarming in terms of democracy, they also counter the attempts of the City of Linz to present itself as an open city of culture. We call for a full investigation and account of the police operation, an immediate halt of the legal proceedings, and a return to democratic rules of engagement and freedom of demonstration. The Alliance Against Police Violence was spontaneously formed and is already supported by 110 organizations and over 300 individuals. (as of 5 May 2009, 9:30 pm) From marc.garrett at furtherfield.org Wed May 6 16:11:47 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Wed May 6 16:13:21 2009 Subject: [spectre] Game of War Weekend at HTTP Gallery 16-17th May 2009. In-Reply-To: <49A2B376.6080508@furtherfield.org> References: <49A2B376.6080508@furtherfield.org> Message-ID: <4A019AA3.4040804@furtherfield.org> Join the Class Wargames Crew for Game of War Weekend at HTTP Gallery. 16-17th May 2009 http://www.http.uk.net/events/gameofwar/ The Situationist Raoul Vaneigem famously wrote "There are no more artists since we've all become artists. Our next work of art is the construction of a full-blooded life." - The Revolution of Everyday Life. In this tradition, Class Wargames present two days of making and playing Guy Debord's The Game of War. Debord, leader of the Situationist International, developed the game while in exile after the May '68 Revolution, and came to regard it as his most important project. For Debord, The Game of War wasn?t just a game - come and learn how to fight and win against the oppressors of the spectacular society! Join the Class Wargames crew, Richard Barbrook, Fabian Tompsett, Ilze Black and others, in redefining political and contextual territories. Come along on Saturday to learn the intricacies of the game by making your own board from recycled materials. Then come back on Sunday to play the game and participate in a discussion between political theorist and author Dr. Richard Barbrook of Class Wargames and author and programmer Alex Galloway of RSG, developer of Kriegspeil, a digital version of the Game of War, who will participate online from New York. The discussion will be chaired by Marc Garrett, co-director of Furtherfield.org and HTTP Gallery. The discussion will be featured in 'Artists RE:thinking Games', due to be published in September 2009, compiled and edited by furtherfield.org in collaboration with Fact.co.uk. Free Entry: Booking Essential RSVP ale[AT]furtherfield[DOT]org Saturday 16th May 12-5pm Make your own board from recycled materials and learn the rules. Sunday 17th May 12-5pm Play the game and join the discussion with Richard Barkbrook and Alex Galloway For more information about the event please visit HTTP Gallery website. To take part in the game please RSVP to ale[AT]furtherfield[DOT]org Game of War Weekend Schedule: Day 1 - 12-5pm Saturday 16th May. 12.00 meet and great 12.15 introduction (Fabian/Richard) 12.30 building your own game 15.00 learning to play/ preparing the teams 17.00 day is over Day 2 - 12-5pm Sunday 17th May. 12.00 meet and great and introduction 13.00 playing the game in team 16:30 Online Discussion - Richard Brabrook & Alex Galloway 17.00 day is over / drinks More info: The Game of War is a Clausewitz simulator: a Napoleonic-era military strategy game where armies must maintain their communications structure to survive - and where victory is achieved by smashing your opponent?s supply network rather than by taking their pieces. For Debord, The Game of War wasn?t just a game - it was a guide to how people should live their lives within Fordist society. Come learn how to fight and win against the oppressors of spectacular society! Dr. Richard Barbrook is a senior lecturer in the School of Social Sciences, Humanities and Languages at the University of Westminster. In 2007 he published his study of the political and ideological role of the prophecies of artificial intelligence and the information society: Imaginary Futures. Richard is a trustee of Cybersalon and a founding member of Class Wargames. He is currently carrying out research into the politics of ludic subversion. More info: http://www.imaginaryfutures.net and http://www.theclassofthenew.net. Alexander R. Galloway is an author and programmer. He is Associate Professor or Media, Art and Communication at New York University; author of Protocol: How Control Exists After Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture (Minnesota, 2006), and a new book coauthored with Eugene Thacker called The Exploit: A Theory of Networks (Minnesota, 2007). a founding member of the software collective RSG and creator of the Carnivore and Kriegspiel projects. More info: http://cultureandcommunication.org/galloway/ Ilze Black is an artist and curator of media arts: http://www.hivenetworks.net & http://www.take2030.net Fabian Tompsett, London Psychogeographical Association and author: http://www.unpopular.demon.co.uk/lpa/organisations/lpa.html Class Wargames are playing Guy Debord?s The Game of War in public using a replica of his original 1977 design for the board game; it is committed to subverting the ideological mechanisms which are used to keep us in line. The Class Wargames players are Dr. Richard Barbrook, University of Westminster; Ilze Black, Waterman?s Art Gallery; Lucy Blake, Software Developer; Mark Copplestone, Copplestone Castings; Rod Dickinson, Artist; Fabian Tompsett, Class War 1985; and Alex Veness, University of the Arts. http://www.classwargames.net/ Contact: Ale, HTTP Gallery email: ale[AT]furtherfield[DOT]org HTTP Gallery Unit A2, Arena Design Centre 71 Ashfield Road London N4 1LD +44(0)2088022827 http://http.uk.net/ From jruxton at subtletechnologies.com Wed May 6 08:06:09 2009 From: jruxton at subtletechnologies.com (jim) Date: Wed May 6 17:04:15 2009 Subject: [spectre] Subtle Technologies Festival 2009 investigates "networks" Message-ID: <1241589969.27880.30.camel@jimslaptop> Subtle Technologies 2009, Toronto, June 10th to 14th This year Subtle Technologies investigates the theme of "networks". Early Bird discounted passes to the 12th annual Subtle Technologies Festival are available until May 11th. In the past year we have witnessed the rapid decline of the worlds economy. Our lives are networked at an unprecedented level. From the global economy to the way we communicate networks touch our lives daily. This year Subtle Technologies will investigate networks from diverse points of view. Artist's, designers and scientists come together and share their work, insights and techniques over 5 days and evenings. Some of the highlights include: A 2 day workshop on using open source software for producing and streaming audio and video content. Participants will learn how to use APODIO, a Gnu/Linux multimedia distribution developed by the workshop instructor Julien Ottavi http://www.noiser.org/noise/doku.php . This workshop is presented in partnership with the Ontario College of Art and Design. A 3 day Symposium with presentations by artists and scientists on a variety of topics such as hacker networks, community based wireless networks, viral networks, biochemical networks, social networks, neural networks, collaboration networks etc. An evening of performance featuring War Mail by Jeremy Bailey,A networked performance on Second Life by Second Front,The Pauline Oliveros / Ione / Chris Chafe trio in networked performance, Ukiyo - Moveable World by Johannes Birringer This year Subtle Technologies partners with Luminato to present a conversation between physicist/author Lee Smolin, theatre director Marianne Weems and mathematician/playwright John Mighton. The discussion will delve into the art and a science of our networked lives. An exhibition entitled Transmute features two ?mixed reality? projects that explore the economic and cultural intersection of Second Life and the bio-world. The works are by artists Lynne Heller and duo Scott Kildall and Victoria Scott. This exhibition is Co-Presented by the University of Toronto Art Centre. A networking party featuring a premier performance of 10 Tenori-On's . The Tenori-On has been dubbed the "new digital musical instrument of the 21st Century". It will be an interesting evening of music and mingling. To get information and to purchase passes to the festival visit http://www.subtletechnologies.com -- Jim Ruxton Festival Director Subtle Technologies Festival jim@subtletechnologies.com www.subtletechnologies.com Twitter: @SubtleTech From Jim at spacestudios.org.uk Wed May 6 18:50:22 2009 From: Jim at spacestudios.org.uk (Jim Prevett) Date: Wed May 6 18:52:52 2009 Subject: [spectre] Simon Blackmore Talk | SPACE | London Message-ID: Join us for drinks and a talk by the first PermaCultures artist in residence Simon Blackmore. Simon will talk about his previous work and his residency at SPACE. Thursday 7 May 6.30pm During his time at SPACE Blackmore adapted an open source rapid prototyping machine to convert electro-magnetic activity (such as electro-magnetic frequencies as used by mobile phones) into beautiful animated drawings. Blackmore creates sculptures with a lo-fi aesthetic drawing on influences from woodworking, hobby style electronics and open source software. The time consuming process of these works aims to question the role of the individual in relation to the mechanisms of a technologically driven society. Alongside his solo practice Blackmore collaborates with Antony Hall and Steve Symons under the name 'Owl Project'. Combining rustic woodworking, electronics and experimental music, pieces such as 'Sound Lathe', 'Log1ks' and 'ilogs' have been exhibited and demonstrated live nationally and internationally. http://www.simonblackmore.net http://www.owlproject.com/ London and Berlin based artist Nick Laessing has been selected for the next PermaCultures residency. Also at SPACE for First Thursday 6pm - 9pm Join in with Belgrade based art activist collective Skart in an informal evening of creative collaboration! Skart's current retrospective exhibition 'On the Origin of Wishes' will be open for late night viewing. Jim Prevett Emergent Technologies Producer [ s p a c e ] 129-131 Mare Street London E8 3RH 020 8525 4339 Mobile number 07951405466 jim@spacestudios.org.uk www.spacestudios.org.uk Current Exhibition: SKART: The Origin of Wishes 4th April - 22nd May, 2009 A retrospective exhibition of Belgrade art activist group ?KART documenting their socially engaged collaborative practice over the past 20 years. Art Services Grants Ltd Reg Charity #267021 Reg in England & Wales #1157240 Reg Office: 129 - 131 Mare Street From inke.arns at snafu.de Wed May 6 20:49:02 2009 From: inke.arns at snafu.de (Inke Arns) Date: Wed May 6 20:54:19 2009 Subject: [spectre] Awake Are Only the Spirits, PHOENIX Halle Dortmund, 15 May 2009, 19:00 References: <00C30E11-1A10-4302-8480-A4704B4417E4@hmkv.de> Message-ID: <91FF655E-BFB0-4FC2-BB94-28279F451DC2@snafu.de> (Please scroll down for German version) ?Awake Are Only the Spirits? - On Ghosts and Their Media Hartware MedienKunstVerein at PHOENIX Halle Dortmund 16 May ? 18 October 2009 Thu+Fri 16:00-20:00, Sat+Sun 11:00-20:00 OPENING: FRIDAY, 15 MAY 2009, 19:00 At first glance, the subject of the exhibition ?Awake Are Only the Spirits? ? On Ghosts and Their Media seems somewhat outmoded: the presence of the supernatural, the manifestations of spirits, and (trans)communication with the beyond facilitated by technical media. The exhibition is based on the audio-tape archive of Friedrich J?rgenson who discovered the so-called Electronic Voice Phenomenon (EVP) in 1959. Taking as starting point the lively interest shown in the subject by contemporary artists, the show aims to tell a ?ghost story? that explores the question of why, for all our enlightenment, irrational capabilities are regularly ascribed to the new media and technologies of a given time ? for instance, the ability to act as a channel for messages from the beyond. All of the projects by the twenty-two international artists participating in the exhibition question in some way or another the existence of ghosts, they explore the integration of new media and technologies in spiritualist contexts, make visible or perceptible the invisible and trace the political implications as well as the aesthetics of such contemporary trans-communication phenomena. Inke Arns, Thibaut de Ruyter FURTHER INFORMATION http://www.hmkv.de/dyn/e_program_exhibitions/detail.php? nr=3689&rubric=exhibitions& OPENING WEEKEND PROGRAM Friday, 15 May 2009 17:00 Finissage Barbara Meisner, "Berge im Bunker", Schamp & Schmal?er, Tullstr. 5, 44263 Dortmund Friday, 15 May 2009, PHOENIX Halle Dortmund 19:00 exhibition opening ?Awake Are Only the Spirits? - with: Birgit J?rder, Mayor of the City of Dortmund (Welcome), Dr. Ingrid Stoppa- Sehlbach, State Chancellory of North-Rhine-Westfalia (Greeting), Dr. Inke Arns, exhibition curator and artistic director of HMKV, and Thibaut de Ruyter, exhibition curator (on the exhibition) 21:00 dj adorno future Saturday, 16 May 2009, PHOENIX Halle Dortmund 12:00-20:00 Martin Howse (GB): ?The White Visitation?, workshop (please register) 14:00 Tom McCarthy (GB): ?C? (reading from his new book ?transmission, death, technology? to be published in 2010) 16:00 Michael Esposito (US): Lecture about phantom airwaves / research about ghosts' voices 18:00 Inke Arns / Thibaut de Ruyter: Exhibition tour with the curators 20:00 Erik B?nger (SE): ?A Lecture on Schizophonia? (performance) Sunday, 17 May 2009, PHOENIX Halle Dortmund 12:00-19:00 Martin Howse: ?The White Visitation?, workshop (please register) 16:00 Guided exhibition tour (in German) PARTICIPATING ARTISTS Lucas & Jason Ajemian (US) Archive of an Anonymous Ghost-Seer (DE), curated by hans w. koch Sam Ashley (US) Corinne May Botz (US) Erik B?nger (SE) Damien Cadio (FR) Michael Esposito (US) Nina Fischer/Maroan el Sani (DE) Agn?s Geoffray (FR) Kathrin G?nter (DE) Carl Michael von Hausswolff (SE) Tim Hecker (CA) Susan Hiller (GB) Martin Howse (GB) International Necronautical Society (GB) Friedrich J?rgenson (SE) Joep van Liefland (NL) Chris Marker (FR) Jorge Queiroz (PT) Scanner (GB) Jan Peter E.R. Sonntag (DE) Suzanne Treister (GB) THE EXHIBITION IS GENEROUSLY SUPPORTED BY Der Ministerpr?sident des Landes NRW Kunststiftung NRW Kulturb?ro Stadt Dortmund dortmund-project Institut Francais - CULTURESFRANCE Mondriaan Stichting NRW Kultursekretariat PHOENIX LEG Dyrup GmbH RUAG - Aerospace Services GmbH Media partner: Heinz How to get to PHOENIX Halle Dortmund Adress: Hochofenstr. / Ecke Rombergstr., Dortmund H?rde With public transport: From Dortmund's main railway station take the subway line U41 in the direction of Clarenberg and get off at "H?rde Bhf", walk ten minutes via Hochofenstr. until you reach PHOENIX Halle With car: On the B54 take the exit H?rde, drive east in the direction of H?rde on Nortkirchenstr., turn left at the corner of Felicitasstr. and continue until PHOENIX Halle. Access from the direction of H?rde via Hochofenstr. ------------------------------------ GERMAN ------------------------------------ ?Wach sind nur die Geister? - ?ber Gespenster und ihre Medien Ausstellung des Hartware MedienKunstVerein in der PHOENIX Halle Dortmund 16. Mai ? 18. Oktober 2009 Do+Fr 16-20 Uhr, Sa+So 11-20 Uhr ER?FFNUNG: FREITAG, 15. MAI 2009, 19:00 UHR Die Ausstellung ?Wach sind nur die Geister? - ?ber Gespenster und ihre Medien widmet sich einem auf den ersten Blick unzeitgem??en Thema: Es geht um die Pr?senz des ?bernat?rlichen, um die Anwesenheit von Geistern und eine durch technische Medien erm?glichte (Trans-) Kommunikation mit dem ?Jenseits?. Auftakt der Ausstellung ist das Tonbandarchiv von Friedrich J?rgenson, dem Entdecker des so genannten Electronic Voice Phenomenon (EVP) im Jahr 1959. Ausgehend von dem regen Interesse zeitgen?ssischer K?nstlerInnen an dem Thema fragt die Ausstellung, warum trotz unserer Aufgekl?rtheit in regelm??igen Abst?nden den jeweils neuen Medien und Technologien irrationale F?higkeiten zugeschrieben werden ? wie z.B. ein Kanal f?r Botschaften aus dem ?Jenseits? zu sein. Die Ausstellung zeigt 22 internationale k?nstlerische Positionen, die nach der Existenz von Geistern fragen, sich f?r den Einsatz neuer Medien und Technologien in spiritistischen Zusammenh?ngen interessieren, sich mit der Sicht- oder Wahrnehmbarmachung von Unsichtbarem besch?ftigen und den politischen Implikationen sowie der ?sthetik solcher Ph?nomene zeitgen?ssischer Transkommunikation nachsp?ren. Inke Arns, Thibaut de Ruyter AUSF?HRLICHE INFORMATIONEN http://www.hmkv.de/dyn/d_programm_ausstellungen/detail.php? nr=3685&rubric=ausstellungen& PROGRAMM ZUM ER?FFNUNGSWOCHENENDE Freitag, 15. Mai 2009 17:00 Finissage Barbara Meisner, "Berge im Bunker", Schamp & Schmal?er, Tullstr. 5, 44263 Dortmund Freitag, 15. Mai 2009, PHOENIX Halle Dortmund 19:00 Ausstellungser?ffnung ?Wach sind nur die Geister? - es sprechen: Birgit J?rder, B?rgermeisterin der Stadt Dortmund (Begr??ung), Dr. Ingrid Stoppa-Sehlbach, Staatskanzlei des Landes Nordrhein-Westfalen (Gru?wort), Dr. Inke Arns, Kuratorin der Ausstellung und k?nstlerische Leiterin des HMKV, und Thibaut de Ruyter, Kurator der Ausstellung (zur Ausstellung) 21:00 dj adorno future Samstag, 16. Mai 2009, PHOENIX Halle Dortmund 12:00-20:00 Martin Howse (GB): ?The White Visitation?, Workshop (mit Voranmeldung) 14:00 Tom McCarthy (GB): ?C? (Lesung aus seinem im n?chsten Jahr erscheinenden Buch zum Thema ?transmission, death, technology?) 16:00 Michael Esposito (US): Vortrag ?ber Geisterstimmen-Forschung 18:00 Inke Arns / Thibaut de Ruyter: Kuratorenf?hrung durch die Ausstellung 20:00 Erik B?nger (SE): ?A Lecture on Schizophonia? (Performance) Sonntag, 17. Mai 2009, PHOENIX Halle Dortmund 12:00-19:00 Martin Howse: ?The White Visitation?, Workshop (mit Voranmeldung) 16:00 F?hrung durch die Ausstellung K?NSTLERINNEN UND K?NSTLER DER AUSSTELLUNG Lucas & Jason Ajemian (US) Archiv eines anonymen Geistersehers (DE), kuratiert von hans w. koch Sam Ashley (US) Corinne May Botz (US) Erik B?nger (SE) Damien Cadio (FR) Michael Esposito (US) Nina Fischer/Maroan el Sani (DE) Agn?s Geoffray (FR) Kathrin G?nter (DE) Carl Michael von Hausswolff (SE) Tim Hecker (CA) Susan Hiller (GB) Martin Howse (GB) International Necronautical Society (GB) Friedrich J?rgenson (SE) Joep van Liefland (NL) Chris Marker (FR) Jorge Queiroz (PT) Scanner (GB) Jan Peter E.R. Sonntag (DE) Suzanne Treister (GB) DIE AUSSTELLUNG WIRD GEF?RDERT DURCH Der Ministerpr?sident des Landes NRW Kunststiftung NRW Kulturb?ro Stadt Dortmund dortmund-project Institut Francais - CULTURESFRANCE Mondriaan Stichting NRW Kultursekretariat PHOENIX LEG Dyrup GmbH RUAG - Aerospace Services GmbH Medienpartner: Heinz Wegbeschreibung PHOENIX Halle Dortmund Adresse: Hochofenstr. / Ecke Rombergstr., Dortmund H?rde Mit ?PNV: Von Dortmund Hbf mit der U-Bahn U41 in Richtung Clarenberg bis zur Station H?rde Bhf, dann 10 Min. Fu?weg, Zugang zur PHOENIX Halle ?ber die Hochofenstr. Mit dem PKW: Von der B54 die Ausfahrt H?rde nehmen, Richtung H?rde auf der Nortkirchenstr. fahren und dann links in die Felicitasstr. abbiegen. Aus Richtung H?rde Einfahrt ?ber die Hochofenstr. ------------------------------------------------ Hartware MedienKunstVerein (HMKV) Guentherstr. 65 (Buero) 44143 Dortmund/Germany T ++49 - 231 - 823 106 info@hmkv.de www.hmkv.de From kovats at transmediale.de Wed May 6 23:46:33 2009 From: kovats at transmediale.de (stephen kovats) Date: Wed May 6 23:48:13 2009 Subject: [spectre] transmediale Award 2010 - Call for Entries Message-ID: <178705F0-8222-48A2-B6DB-BE190823EF08@transmediale.de> // transmediale Award 2010 // // Vilem Flusser Theory Award 2010 // transmediale.10 festival for art and digital culture berlin 03 - 07 February 2010 CTM - club transmediale.10 festival for adventurous music and related visual arts 29 January - 6 February 2010 _Call for Entries_ :: Deadline: 31 July 2009 :: Award Ceremony: 6 February 2010, Haus der Kulturen der Welt, Berlin Complete call, registration information and online submission form at: http://www.transmediale.de/en/call2010-main As leading international festivals for art and digital culture as well as adventurous music and related visual arts, respectively, transmediale and CTM (club transmediale) are inviting submissions to the transmediale Award Competition 2010 and the Vilem Flusser Theory Award 2010. Invited are art works, projects and positions that respond to the challenges of our rapidly changing digital, technological and networked cultures. The transmediale Award seeks innovative, experimental and visionary works across a wide scope of form, process and practice that embrace, question and enrich our understanding and relationship to our immersed media and technologically driven society. Entries that exemplify new and critical forms of digital expression and interaction are encouraged, as are works from countries and regions in which digital art and culture are emergent. Submissions of art works for both festivals participate in the transmediale Award 2010 while theoretical abstracts, papers and research oriented positions are invited for the Vilem Flusser Theory Award, with prizes totaling 10.000 EURO. ************************************************************************ ************ transmediale presents and pursues the advancement of artistic positions reflecting on the socio-cultural, political and creative impact of new technologies, network practices and digital innovation. As a festival aiming to define the contours of contemporary digital culture, it seeks out artistic practices that not only respond to scientific or technical developments, but that shape the way in which we think about and experience the technologies which impact virtually all aspects of our daily lives. As such, transmediale understands media technologies as cultural and aesthetic techniques that need to be embraced in order to comprehend, critique, and shape global societies. ____________________________________________________________ CTM (club transmediale) is dedicated to contemporary electronic, digital and experimental music and sound creation, as well as the diverse range of artistic activities and social practises that develop within and connect to those audio cultures. Thus, the festival reflects on the agency of contemporary sound creation within the cultural fabric of society and its technological and social transformations. It explores the intersections of contemporary music and audio art with other artistic forms and cultural fields. A special emphasis is put on the creative use of new technologies, the interplay of sound with other media formats, the situational potential of live performances, the formation of social networks, and the advancement of a positive form of globalization. ____________________________________________________________ Previous transmediale Award winners have included renowned artists such as Herman Asselberghs, Shilpa Gupta, Graham Harwood / Richard Wright / Matsuko Yokokoji, Zhou Hongxiang, Istvan Kantor, Thomas Koener, Julia Meltzer/David Thorne, Agnes Meyer-Brandis, Netochka Nezvanova, schoenerwissen, ubermorgen.com, Adrian Ward, Herwig Weiser and 242.pilots. The Vilem Flusser Theory Award, in collaboration with the _Vilem_Flusser_Archive of the University of Arts (UdK) Berlin, has been awarded to Simon Yuill (2008), Denis Roio aka jaromil and Brian Holmes (2009). Jury of the transmediale Award 2010 are Michelle Kasprzak (Edinburgh), Jose Luis de Vicente (Barcelona/Madrid), Li Zhenhua (Beijing/Zurich), Yves Bernard (Brussels), Doreen Mende (Berlin/ Karlsruhe). Vilem Flusser Theory Award 2010 advisory committee members include Marcel Marburger (_Vilem_Flusser_Archive, Berlin), Oliver Grau (Danube University Krems) and Sabeth Buchmann (Academy of Fine Arts, Vienna) transmediale Advisory Board are Alex Adriaansens (Rotterdam), Dr. Marie Cathleen Haff (Berlin), Prof. Saskia Sassen (New York), Yukiko Shikata (Tokyo). transmediale is a project of the Kulturprojekte Berlin GmbH, in cooperation with the House of World Cultures and funded by the German Federal Cultural Foundation. CTM is a project by DISK / club transmediale GbR funded by Hauptstadtkulturfonds and DISK Initiative Bild & Ton e.V. We look forward to your proposals, and apologies if you have already received this announcement through other channels, stephen kovats artistic director -------------------------------------------------------- transmediale.10 | 3 - 7 feb 2010 festival for art and digital culture berlin transmediale Award 2010 submissions: http://www.transmediale.de/en/call2010-main -------------------------------------------------------- klosterstr. 68 - 10179 berlin - germany fon +49 30 24749 761 fax +49 30 24749 763 http://www.transmediale.de kulturprojekte berlin gmbh aufsichtsratsvorsitzender volker heller gesch?ftsf?hrer moritz van d?lmen amtsgericht berlin charlottenburg, HRB 41312 B -------------------------------------------------------- From ab at mikro.in-berlin.de Thu May 7 10:05:28 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu May 7 10:46:47 2009 Subject: [spectre] Call: Pixilerations festival, Providence, Rhode Island Message-ID: Date: Wed, 6 May 2009 20:00:01 -0400 From: Maya Allison http://www.pixilerations.org/ Pixilerations is a New Media festival in Providence, Rhode Island that investigates the state of New Media arts through installations, concert performance and film/video screenings. The festival is part of the larger FirstWorks Festival held each fall (www.first-works.org), Providence's multidimensional performing arts festival. Pixilerations is produced by FirstWorks in collaboration with the Rhode Island School of Design and Brown University and 5 Traverse Gallery. Now in its sixth year, Pixilerations showcases groundbreaking work in digital music and art. Last year's festival, Pixilerations [v.5]: fragments & (w)holes, presented innovative works by over sixty artists from the United States, Germany, France, South Africa and the Netherlands, and featured guest artists Gail Wight and Heidi Kumao. SUBMISSION REQUIREMENTS: THE SUBMISSION PERIOD FOR WORK IS APRIL 21- MAY 21, 2009. All applicants must complete an online submission form on the Pixilerations website. (NOTE: Login is required. Request login upon following this link: http://continue2.cs.brown.edu/pixil.) Applicants are invited to submit a total of two works for consideration. A separate application for each work is required. From istha at nimk.nl Thu May 7 13:27:19 2009 From: istha at nimk.nl (Marieke Istha) Date: Thu May 7 13:31:19 2009 Subject: [spectre] Reminder: Stream and symposium chat =?windows-1252?q?=96_Position?= =?windows-1252?q?s_in_flux?= Message-ID: <4A02C597.3090308@nimk.nl> On Friday, May 8, the symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will take place at the Trouw in Amsterdam. The symposium is organised by the Netherlands Media Art Institute. The symposium is streamed live. You will find the stream on the symposium's page on http://www.nimk.nl We invite you to actively contribute to the debate through the chat. So called chat agents at the symposium will follow and respond to your online questions and comments and will bring them to the attention of the audience and panel. Chat address: http://www.nimk.nl/chat We are hoping for a critical and inspiring discussion. Please find the full program and start times on the NIMk website. http://www.nimk.nl Netherlands Media Art Institute Keizersgracht 264 1016 EV Amsterdam The Netherlands From drew at futuresonic.com Thu May 7 23:20:41 2009 From: drew at futuresonic.com (Drew Hemment) Date: Thu May 7 23:25:22 2009 Subject: [spectre] Art Spotlights at Futuresonic 2009 Message-ID: <15B8D11A-6D89-4CF6-870B-AC9D922A7669@futuresonic.com> Futuresonic 2009 Art Spotlights Urban Festival of Art, Music and Ideas 13-16 May Manchester UK http://www.futuresonic.com/art Futuresonic's 2009 art programme is more ambitious and relevant than ever, featuring thirty international artists and ten world premiers. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Spotlights |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reading The Report Amy Balkin (US) City Centre. 14-16 May Join volunteer readers in the first attempted public recital of the most recent report by the Intergovernmental Panel on Climate Change (IPCC). Sign up for a 20 minute public reading slot on the artist website. http://www.futuresonic.com/balkin |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reds Against Greys Pt II Elin Wikstrom (SE) Manchester Art Gallery. 16 May 1.15pm-4pm A conceptual art event combining performance art, a special film screening, inspirational talks on plant/animal migration, and the match players from Wigan and District Wheelchair Tag Rugby Club. http://www.futuresonic.com/Wikstrom |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Environment 2.0 exhibition at CUBE Various Artists CUBE. 13-23 May Includes artworks that make visible and tangible outcomes of our actions at a local level, artworks conceived as social interventions, and artworks which arise out of a sustained engagement and dialogue between artists and scientists. http://www.futuresonic.com/env20exhibition |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Urban Prospecting Jon Cohrs (US) City Centre. 14-16 May Start at CUBE and head out across the city to prospect for oil using an art device with Jon Cohrs. Sign up online for Thursday, Friday or Saturday prospecting sessions. http://www.futuresonic.com/cohrs |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 100 Years Of Climate Change Yara El-Sherbini / Drew Hemment (UK) City Centre. Date dependent on weather Taking you on a night-time journey to experience 100 years of climate change in 100m. Date announced 10th May and confirmed 24 hours in advance, sign up online to take part. http://www.futuresonic.com/100yearsofclimatechange |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Ackroyd & Harvey in conversation with James Marriott Ackroyd & Harvey / James Marriott (UK) Castlefield Gallery. 14 May 6pm-8pm Radical German artist Joseph Beuys and his 7000 Oaks artwork form the basis for this exchange between artists Ackroyd & Harvey and James Marriott of PLATFORM. http://www.futuresonic.com/ackroyd-harvey-marriott |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Imagine Cleo Evans (UK) Liverpool Cathdral. 16 May 12pm, 12.30pm, 1pm Following on from Liverpool's Capital of Culture year, John Lennon's Imagine will ring out across Liverpool on the world's highest and heaviest peal of bells at Liverpool's Anglican Cathedral. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| CUBE Late Opening CUBE. Fri 15 May Till 10pm A late gallery opening also featuring live performances by Owl Project (UK) and performances and talks by Yamaha and Royal College of Art (UK). |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Tours at CUBE Futuresonic has invited external curators and the artists themselves to give tours of the exhibition. CUBE. 14-16 May 2pm, 6pm |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. 13-16 May, Manchester UK http://www.futuresonic.com The Delegate Pass is the gateway to the Futuresonic festival and the Social Technologies Summit. Dont miss out! http://www.futuresonic.com/delegates All Art events and exhibitions are free. In 2010 Futuresonic will return as FutureEverything #futr09 Futuresonic 2009 Art Spotlights Urban Festival of Art, Music and Ideas 13-16 May Manchester UK http://www.futuresonic.com/art Futuresonic's 2009 art programme is more ambitious and relevant than ever, featuring thirty international artists and ten world premiers. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Spotlights |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reading The Report Amy Balkin (US) City Centre. 14-16 May Join volunteer readers in the first attempted public recital of the most recent report by the Intergovernmental Panel on Climate Change (IPCC). Sign up for a 20 minute public reading slot on the artist website. http://www.futuresonic.com/balkin |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reds Against Greys Pt II Elin Wikstrom (SE) Manchester Art Gallery. 16 May 1.15pm-4pm A conceptual art event combining performance art, a special film screening, inspirational talks on plant/animal migration, and the match players from Wigan and District Wheelchair Tag Rugby Club. http://www.futuresonic.com/Wikstrom |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Environment 2.0 exhibition at CUBE Various Artists CUBE. 13-23 May Includes artworks that make visible and tangible outcomes of our actions at a local level, artworks conceived as social interventions, and artworks which arise out of a sustained engagement and dialogue between artists and scientists. http://www.futuresonic.com/env20exhibition |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Urban Prospecting Jon Cohrs (US) City Centre. 14-16 May Start at CUBE and head out across the city to prospect for oil using an art device with Jon Cohrs. Sign up online for Thursday, Friday or Saturday prospecting sessions. http://www.futuresonic.com/cohrs |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 100 Years Of Climate Change Yara El-Sherbini / Drew Hemment (UK) City Centre. Date dependent on weather Taking you on a night-time journey to experience 100 years of climate change in 100m. Date announced 10th May and confirmed 24 hours in advance, sign up online to take part. http://www.futuresonic.com/100yearsofclimatechange |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Ackroyd & Harvey in conversation with James Marriott Ackroyd & Harvey / James Marriott (UK) Castlefield Gallery. 14 May 6pm-8pm Radical German artist Joseph Beuys and his 7000 Oaks artwork form the basis for this exchange between artists Ackroyd & Harvey and James Marriott of PLATFORM. http://www.futuresonic.com/ackroyd-harvey-marriott |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Imagine Cleo Evans (UK) Liverpool Cathdral. 16 May 12pm, 12.30pm, 1pm Following on from Liverpool's Capital of Culture year, John Lennon's Imagine will ring out across Liverpool on the world's highest and heaviest peal of bells at Liverpool's Anglican Cathedral. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| CUBE Late Opening CUBE. Fri 15 May Till 10pm A late gallery opening also featuring live performances by Owl Project (UK) and performances and talks by Yamaha and Royal College of Art (UK). |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Tours at CUBE Futuresonic has invited external curators and the artists themselves to give tours of the exhibition. CUBE. 14-16 May 2pm, 6pm |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. 13-16 May, Manchester UK http://www.futuresonic.com The Delegate Pass is the gateway to the Futuresonic festival and the Social Technologies Summit. Dont miss out! http://www.futuresonic.com/delegates All Art events and exhibitions are free. In 2010 Futuresonic will return as FutureEverything #futr09 From galerija.galzenica at globalnet.hr Fri May 8 10:58:38 2009 From: galerija.galzenica at globalnet.hr (galerija galzenica) Date: Fri May 8 11:22:41 2009 Subject: [spectre] Galerija Galzenica (Velika Gorica/Zagreb, Croatia), Open Call for Proposals in 2010 Message-ID: <4A03F43E.1010304@globalnet.hr> In his book Century, Alain Badiou describes the 20th century as the century determined by politics and art. On the one hand, revolutionary politics, resolved to end all the contradictions of modernity, and, on the other hand, uncompromised art, resolved to equally participate with other social practices in creating the future. What marks the 20th century, claims Badiou, is the moment in which the artistic and political project meet and intersect; at one point it seems that art has more political value and impact than politics, and that politics had more beauty than art. Therefore, the whole 20th century in art is a criticism of representation. In that criticism, the visual arts have advanced the most. The avant-garde was new, it expressed the present and announced the future; all the rest was old, classical, conservative and represented the past. That constant confrontation of ?old? and ?new?, Badiou claims, resulted with an unsolved tension, some form of non-dialectic disjunction, without synthesis. Following Badiou?s thesis that the 21st century deserves some form of conjunction, some form of resolving the constant tension, some and-and? not or-or, we invite you to participate with your works and projects in Galerija Gal?enica?s 2010 programme. We hope that the questions below will help. Does today?s artistic representation carry the same problems as in the 20th century? Is painting still a simulation? Or is it a simulation of a simulation, or both? Do we still have to choose between painting and action, or are we allowed to equally use both as artistic tools? Do the so called new media bring about some form of change into this, for Badiou, typically modern paradigm of artistic invention? How does iconoclasm for the 21st century look like ? if it exists? If the art of the 20th century has exhausted itself in implementing its own emancipation, what options does it have in today?s global society? Does it have the option, as in anti-globalist demonstrations or the blockade of the Faculty of Philosophy and Social Sciences in Zagreb, of representing some form of background fortification before the clash with the police, a reprieve between two actions? Or does it have the option to simply guarantee for the visual attractiveness of the event and its representation in the media? Please, send proposals (artistic and curatorial works and projects) to the address galzenica@gmail.com. by July 1st. The results of the Open Call will be known by July 15 2009. More: www.galerijagalzenica.info -- Pu?ko otvoreno u?ili?te Velika Gorica GALERIJA GAL?ENICA Trg Stjepana Radi?a 5 HR - 10410 Velika Gorica tel:+385 1 6221 122 / fax: 6226 740 www.galerijagalzenica.info From minimamedia at web.de Fri May 8 11:16:38 2009 From: minimamedia at web.de (Peter) Date: Fri May 8 11:23:26 2009 Subject: [spectre] LIVE music, 8th, MAY 09, 20h:xNoBBQx + B Unit Message-ID: <4A03F876.3090405@web.de> minimamedia.de presents: Friday, 8th of May || start 20:00 h sharp || @ White Rabbit Berlin/Galerie der K?nste: xNoBBQx Great Australian experimental lo-fi free form rock duo, always destroying structures, falling in pauses of de-collage noises, swelling up again to intensive geniously New Blockaderish dense textured sounds from the junkyard. xNoBBQx are Matt Earle (breakdance the dawn label, xwave, stasis duo, sun of the seventh sister' & muura) on guitar and Nick Dan (pulled out records) on drums! http://pulledout.org/ http://www.myspace.com/xnobbqx http://www.youtube.com/watch?v=UbchlD8j2ZY B Unit Are JD Zazie (Semerssuaq, Sistemi Audiofobici Burp) on cd players, turntables and mix, Mat Pogo (Jealousy Party, Sistemi Audiofobici Burp) on actual and recorded vocals, recorded piano and mix, and P. Schlewinsk (ex Bolz'n, minimamedia mailorder) on drums mixes together an exploring blend of real time manipulated field recordings, grindcore abstractions, free jazz gore parodies, and frantic semi acoustic freeform fantasies! http://virb.com/bunit http://www.burpenterprise.com/burp/ http://www.minimamedia.de/ Performance Starts: 20 Uhr /Ends: 22.30 Uhr White Rabbit Berlin/ Galerie der K?nste Potsdamer Strasse 98 10875 Berlin U-1: Kurf?rstenstrasse/U-2 B?lowstrasse - Metro-Bus: M29/M48/M85 bis Potsdamer Br?cke From m at 1010.co.uk Fri May 8 16:02:51 2009 From: m at 1010.co.uk (m) Date: Fri May 8 16:04:51 2009 Subject: [spectre] * Breakthrough. Saturday 27th June 2009. Call for projects [Berlin] Message-ID: ** Description Breakthrough proposes an experimental, interdisciplinary event constructing a new field of research and play. Breakthrough signals the skewed extension and plain rupture with a series of earlier actions [London, Bergen, Berlin] exploring the material basis of technology and expanding on the practice of life coding. 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. ** Call for projects/actions: Breakthrough calls for projects which perform, describe and construct (in process) a rupture or breaking through of the projects of rationalism and capital of past or future intention. Projection and play with time space co-ordinate points is encouraged. Potential actions investigations could very well extend into: practical endophysics, sound and radio wave transitions, diagrammatic formation, clustering and islanding, simulations coding and exploration, biologic interface, crashing, brain writing, construction, environmental steganography, data forensics, escape hatch literature, novel geometry description, life coding, interrupt theatre, pornographic coding, amateur radio astronomy Breakthrough will be prepared within a three day workshop in Berlin, towards the construction of a one day event distributed across the city, and maintained with a strict scheduling and interrupt system backbone (micro-FM and Internet). Please submit short messages of intent to: m@1010.co.uk by 29 May 2009. Breakthrough is supported by Hauptstadtkulturfonds, Berlin 2009 ** Postscript: 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] From hight at 34n118w.net Sat May 9 01:41:36 2009 From: hight at 34n118w.net (hight@34n118w.net) Date: Sat May 9 01:42:27 2009 Subject: [spectre] vuk cosic and the "line of influence" exhibition has just gone live Message-ID: www.binarykatwalk.net/art/art.html Binarykatwalk is an online exhibition space for experimental digital work. Each edition will feature artists from around the world and from different points in the spectrum of new media. "The Line of Influence" This edition is a series of artists selected to show their work alongside who influenced them and those they see as rising to prominence. This is not an ordinary exhibition, but instead a chance to show how ideas and works progress over time and how no artist is a solitary force out there. The artists selected have opened doors for others and have stayed true to a particular path with their work. Each artist has selected their companions in their showcase to paint an arrow in time, if you will, and to tell the tale of communication and ideas in time. We begin with the joker prince of new media, Vuk Cosic From qrndnc at yahoo.it Sat May 9 12:00:33 2009 From: qrndnc at yahoo.it (Domenico Quaranta) Date: Sat May 9 12:04:03 2009 Subject: [spectre] Prague Biennale - Hyperlucid Message-ID: <32AAC8CA-F356-46C2-A0B5-C608348F28A1@yahoo.it> HYPERLUCID Training to live in a new reality Curated by: Domenico Quaranta For: Prague Biennale 4 Karlin Hall, Thamova 8 - Praga 8 May 14 - July 26, 2009 Directors and General Curators: Helena Kontova and Giancarlo Politi General Editor / Curatorial Advisor: Nicola Trezzi Official website: http://www.praguebiennale.org/ ARTISTS: Alterazioni Video; Gazira Babeli; Shane Hope; Miltos Manetas; Gerhard Mantz; Eva and Franco Mattes; UBERMORGEN.COM; Damon Zucconi. Reality is not the one we were used to anymore. Media infiltrate it more and more, and fill up our dreams, which usually come when our eyes are open. Wide open. In the frame of ?Expanded Painting?, H Y P E R L U C I D is an exhibition collecting works born on the invisible edge between two different levels of reality (apparent reality and media reality), and documenting the continuous trespassing from one level to the other. The walls in between are more and more porous, and sometimes even the more lucid gaze can't help but wonder which level of reality it is looking at in a particular moment. All of us had this feeling, in front of 9/11 pictures. Media don't produce simulacra anymore: they produce events, history, life. They overwhelm us with icons, brands, pixellated images of tortures, wars, outrages. The hardest fight happens there. They help us to construct new levels of reality, both abstract and hyperreal, and to get used to them. Finally, videogames are the places of our training: there, through more and more complex social and narrative dynamics, and through a photorealism which even overcomes our playing needs, we forget how to recognize simulation, and we exercise our brain for the next step: the one in which, between tangible reality, simulated reality and media reality there are no barriers anymore, but only the sheets, translucent and easy to pass through, of a chinese shadows theater. We took the last train to the world of Perky Pat, and there is no way to come back. H Y P E R L U C I D doesn't collects paintings. Here, painting is not a medium, but a cultural frame, a context of reference for the new generation of the image makers. Alterazioni Video, Gazira Babeli, Shane Hope, Miltos Manetas, Gerhard Mantz, Eva and Franco Mattes, UBERMORGEN.COM and Damon Zucconi, no longer paint: they shoot, they manipulate, they code, they make scripts, sometimes they fight with other virtual characters. Yet, in the end, they produce images. MORE INFOS & DOWNLOADABLE IMAGES: http://www.domenicoquaranta.net/hyperlucid.html CATALOGUE TEXT: http://www.domenicoquaranta.net/hyperlucid/HYPERLUCID_catalogue_text.pdf --- Domenico Quaranta mob. +39 340 2392478 email. qrndnc@yahoo.it home. vicolo San Giorgio 18 - 25122 brescia (BS) web. http://www.domenicoquaranta.net/ "Computers are incredibly fast, accurate and stupid. Human beings are incredibly slow, inaccurate and brilliant. Together they are powerful beyond imagination." Albert Einstein From n0name at gmx.de Sun May 10 15:24:43 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Sun May 10 15:26:34 2009 Subject: [spectre] 0-) n0name nachrichten #136 Message-ID: <20090510132443.186920@gmx.net> ... .+++++CCCMMMMMMMMMMMMMMMMCCC+++ CMMMMMMMCCCCC+++++++..........+++++CCMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM CMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMCCCCCCCCCCCCCCCCCCCCCCCCMMC CCCCCCCCCCCCMMMMMMMMMMMMMMMMMMMMMMCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+ ++CCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCCC+++++++++..................++++++ ........++++++++++++++++++++++++++++.................................... ........................................................................ ........................................................................ ........................................................................ ........................................................................ ........................................................................ .............................................. ..... .......................... DEUTSCHE MEDIENkulturtheorei |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-) n0name nachrichten #136 So., 10.05.2009 12:20 CET *Inhalt/Contents* 1. verteidigt das Portal der Fantasie aus: _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_ (Fortsetzung aus nn #136) 2. 2010 - Das Jahr, in dem wir die Krise bekommen Rezension von Sabine Nuss. _Copyright & Copyriot_ 40 voraussichtlich im n0name newsletter #142 24 KB, ca. 7 DIN A4-Seiten ------------------------------------------------------------------------ 1. verteidigt das Portal der Fantasie (Fortsetzung aus im n0name newsletter #135) Als Fokus des Aufeinandertreffens gegensaetzlicher Konzepte fuer schoep-ferische Taetigkeiten mit und in den computerzentrierten Medien haben sich die Handhabung wie die Gestaltung von _Interfaces_ herausgestellt. Jene Grenze zwischen Mediennutzern und Medienapparaten, die im Deutschen treffender Schnittstelle heiszt, trennt und verbindet zugleich zwei unterschiedliche Welten: einerseits diejenige der an den Maschi-nen Taetigen, andererseits diejenige der aktiven Maschinen und Pro-gramme. Die technologische Entwicklung wie auch die dominanten Medienkonzepte der 1990er liefen darauf hinaus, die Grenze zwischen beiden unmerklich zu machen. Man sollte einen Computer benutzen lernen, ohne zu merken, dass man es mit einer algorithmisch aufge-bauten Maschine fuer Kalkulationen und Simulationen zu tun hat. Man sollte in eine so genannte virtuelle Realitaet von Bildern und Toenen ein-tauchen koennen, ohne zu spueren und noch mehr: ohne zu wissen, dass man es mit einer praezise vorstrukturierten, berechneten Konstruktion von Oberflaechen und Zeitverlaeufen zu tun hat. Die Computer wur-den fuer ihre Benutzer wie eine _camera obscura_ inszeniert, an deren Ef-fekten man sich erfreuen und mit der man arbeiten kann, zu deren Funktionsweise man aber keinen Zugang mehr benoetigt. Gegen eine reibungslose technologische und semiologische Ergonomie experimen-tierten einige Kuenstler im Verbund mit Programmierern, Physikern und Ingenieuren daran, auch mit den fortgeschrittenen Technologien Dramaturgien der Differenz weiterhin zu ermoeglichen und zu entfal-ten. In Nachfolge der klassischen Film- und Videoavantgarden insis-tierten sie darauf, dass die Computerwelten als kuenstlich gebaute zugaenglich bleiben. Die Schnittstellen zu ihnen in Spannung zu den Welten auszerhalb der Maschinen zu konstruieren, sollte den Genuss dieser Medienwelten erhoehen und nicht vermindern. 297 Unter "eingreifendem Denken" verstand #Brecht# eine Alternative zum optionalen Denken, das die wahre Welt als Warenwelt permanent einfordert. Sein #"Kleines Organon zum Theater"# von 1948 ist ein theo-retisches und praktisches Plaedoyer fuer eine operationale Dramaturgie, eine dramatische Kunst, die nicht nur zur Illusionierung und Reini-gung einlaedt, sondern beim Genuss das Denken nicht aussetzen laesst, Sinne und Verstand nicht als Gegner betrachtet, sondern als miteinan-der ringende Kraefte eines aufregenden Gesellschaftsspiels, das wir Kunst nennen koennen. Ein vergleichbares _Organon_ zur Schnittstelle gibt es noch nicht. [9] Wohl aber entwickeln sich kraftvolle kuenstlerische Praxen einer Dramaturgie der Differenz, innerhalb und auszerhalb der Datennetze. Markanterweise sind es gerade Gruppen wie das fuenfkoep-fige nordamerikanische _Critical Art Ensemble_ oder das deutsch-oesterrei- chische Terzett _Knowbotic Research_, die an solchen Konzepten seit etwa zehn Jahren kontinuierlich arbeiten. Ihre Projekte sind konsequent zwischen den Disziplinen kuenstlerische Theorie und Praxis angesie-delt; die #Kritik vereinheitlichender Technologiepolitik# ist wichtiger Be-standteil. Perry Hoberman aus dem New Yorker Stadtteil Brooklyn gehoert zu den wenigen Einzelakteuren zeitgenoessischer Produktion von Kunst mit und durch Medien, denen die Gratwanderungen zwischen techni- scher Faszination und eingreifendem Denken auszerhalb der Netze ge- lingen. Seine Installation "Cathartic user interface" (1995) bedient oberflaechlich den Bedarf nach raschen Entladungen von Frustratio- nen und Aggressionen im Umgang mit den aeuszeren Schnittstellen der Heimcomputer und ihrer Produzenten. Wie in anderen Arbeiten zu- vor [10] greift er auch hier auf eine rudimentaere Erfahrung aus der All-tagskultur zurueck, in diesem Fall das Ballwerfen auf gestapelte Blech-dosen, wie es die Besucher seiner Installation von den Jahrmaerkten kennen. Treffer werden dabei gewoehnlich mit _gadgets_ als Belohnung gratifiziert. Beim "kathartischen Nutzerinterface" sind die Konserven durch Computertastaturen ersetzt. Trifft man eine der aktiven Tasten, wird man nicht durch ein Artefakt belohnt, das aus einer Welt auszer-halb des Spiels stammt. Die Gratifikationen, die als technische Bilder auf die mit den _keyboards_ bestueckte Projektionswand geworfen wer- 298 den, stammen aus der Welt der Maschinen und Programme selbst. Es sind ironische Benutzeranweisungen oder #Fehlermeldungen, satiri- sche Verschiebungen#der graphischen Benutzeroberflaechen, Gesichter der Agenten der PC-Industrie. Durch die koerperliche Aktion des hefti-gen Werfens auf die Objekte der Angst und des Widerwillens wird kurz-zeitig ein befreiendes Gefuehl hervorgerufen. Aber die erhoffte Katharsis tritt nicht ein. Die Gratifikationsofferte ist eine aus der Welt der Ma-schinen und Programme, die durch die physische Aktion nur in ihrer visuellen Erscheinung attackiert werden kann. Ein Kurzschluss im ky-bernetischen System: Der programmierten und standardisierten Welt ist nicht durch den Maschinensturm beizukommen. Der war schon im vorletzten Jahrhundert nicht erfolgreich. In diese Welt ist nur wirksam einzugreifen, indem man ihre Handlungsgesetze lernt und sie zu ueber-laufen oder zu unterlaufen versucht. Man muss die Position des Teil-nehmers eines Jahrmarktspektakels verlassen und zu einem Operateur innerhalb der technischen Welt werden, der an ihrer Andersartigkeit mitarbeiten kann. Fuer die kuenstlerische Praxis mit Computern bedeu-tet das insbesondere, die Codes zu lernen, mit denen sie funktionieren. Gastev hat allerdings fuer die Techno-Avantgarde der 1920er schon de-monstriert, dass diese Position nicht unbedingt identisch sein muss mit derjenigen der Programmierer selbst. Dass es sich bei dem "cathartic user interface" um eine Installation handelt, in der mehrere Besucher zugleich taetig werden koennen, ist ein wichtiger Bestandteil des Konzepts, das in den meisten Arbeiten Hober-mans zum Tragen kommt. Die aktive Anwesenheit verschiedener Per-sonen, die in einem zwielichtigen Handlungsraum miteinander korres-pondieren, fuehrt zu Interaktionen zwischen den Besuchern, wie sie im dunklen Kubus Kino so nicht moeglich sind. Auch dies ist als ein _expan-ded cinema_ der besonderen Art begreifbar ------------------------------------------------------------- | Wirksame Verbindungen zu den #Peripherien# herzustellen, | | ohne sie in die Zentren integrieren zu wollen, kann dabei | | helfen, die Medienwelten offen und veraenderlich zu hal- | | ten. | ------------------------------------------------------------- 299 Die modernen audiovisuellen Massenmedien etablierten sich zuerst in den industriellen Zentren. Als Innovationen wurden Kino und Fernse- hen in Berlin, London, New York und Paris durchgesetzt, Wir haben uns daran gewoehnt, Mediengeschichte aus der Perspektive solcher Me- tropolen zu denken, zu schreiben und dargestellt zu bekommen. Diese Sichtweise fuehrt in eine Sackgasse, nicht zuletzt deshalb, weil die de-zentralisierten und vernetzten Mediensysteme die industriellen und fi-nanziellen Metropolen nicht mehr in der Weise benoetigen, wie es bei den Massenmedien der Fall war. Der Einstieg Japans in den westlichen Markt hat schon erhebliche Verschiebungen bewirkt. Mit ihrer Kon-zentration auf mobile und elektronische Medienartefakte begannen ja-panische Unternehmen nach dem Zweiten Weltkrieg, die geographi-schen Verhaeltnisse in medienoekonomischer Hinsicht betraechtlich zu veraendern. Diese Tendenz verstaerkt sich weiter. #Seoul oder Singapur haben gerade erst damit angefangen, in die hegemonialen Verhaeltnisse aus der fernoestlichen Peripherie einzugreifen.# Viele der aktuellen Soft-wareloesungen werden zwar noch ueber nordamerikanische Korporatio-nen lukrativ vermarktet, aber nicht mehr primaer dort entwickelt. Die Auto- und Schwerindustrie, mit der Europas Westen oekonomisch stark geworden ist, eignet sich nicht als Modell fuer die Herstellung extrem fluechtiger Produkte als Dienstleistungen. Die Medienwelten der Tele-matik sind so ubiquitaer, wie ihre Konstrukteure prinzipiell mobil und nomadisch geworden sind. Die Suchbewegung durch die Tiefenzeit des technischen Hoerens und Sehens, zu dem sich im Verlauf der Untersuchung das technische Kom- binieren als weiterer Fokus hinzugesellt hat, engagiert sich fuer eine dop-pelte #Verschiebung der geographischen Aufmerksamkeit: vom Norden zum Sueden und vom Westen zum Osten.# Mit dem Markt haben diese Verlagerungen zunaechst nichts zu tun. Zugespitzt formuliert stammen die philosophischen und praktischen Grundlegungen fuer den Bau der modernen Medienwelten aus dem Fernen Osten, vor allem aus den frue-hen Hochkulturen Chinas, sowie aus den Regionen um das Mittelmeer, aus Kleinasien, Griechenland, den arabischen Laendern und ihren Vor-posten im suedlichen und suedwestlichen Europa. Am Beispiel der Ent-wicklung von Konzepten und Artefakten zur Optik haben wir die Bewe- 302 gung in groben Zuegen verfolgen koennen. Von den in etwa parallelen Anfaengen in China, den griechischen Inseln und Sizilien ueber die Reak-tivierung und Erweiterung dieses Wissens durch arabische Forscher um die erste Jahrtausendwende verschoben sich die Aktivitaeten und ihre Verdichtungen allmaehlich nach Norden. Die sueditalienische Me-tropole Neapel wirkte in der fruehen Neuzeit als ein Durchlauferhitzer fuer die diversen Versuche der magischen Aneignung der Dinge und der Kenntnisse ueber sie. Im Norden und im Nordosten traten verstaerkt die toskanischen Staedte und vor der Wende zum 17. Jahrhundert das Prag Rudolfs II. als Drehscheiben astronomischen, mathematischen und technischen Wissens auf den Plan, mit Verbindungen zu London, Ox-ford, Cambridge, Paris, aber auch dem polnischen Krak?w. Mit dem Netzwerk des jesuitischen Ordens als intellektueller Avantgarde und dem Vatikan als Ordnungszentrale avancierte im 17. Jahrhundert Rom zu der Metropole, in der das von der katholischen Kirche akzeptierte Wissen um die neuen Medienwelten gesammelt, ausgewertet und welt-weit wieder verteilt wurde. Den Sueden degradierte der Vatikan mehr und mehr zur Peripherie. In weltanschaulicher Konkurrenz zu Rom profilierten sich Paris mit seinen katholischen Minimalisten und fruehen rationalistischen Aufklaerern, die klassischen Universitaetsstaedte Eng-lands, London und die Hochburgen des liberalen Geistes in den Nie-derlanden. Die Ketzer flohen vor den Verfolgungen der Inquisition und hinterlieszen an den Orten, in denen sie voruebergehend aufgenom-men wurden, ihre Spuren. Insofern markiert das "Electricorum" des roemischen Rhetorikprofessors Mazzolari einen fulminanten Hoehe-punkt, zugleich aber auch schon das vorlaeufige Ende dieser geographi-schen Ordnung. In der lateinischen Hymne auf die Elektrizitaet von 1767 wurde alles Wissen ueber diese neue Welt, die fuer die Medien so ent- scheidend werden sollte, noch einmal gesammelt und in einer elektri- schen Fernschreibmaschine technisch vergegenstaendlicht. Aber die zeitgemaeszen Protagonisten des Poems stammten bereits aus ganz an- deren Orten: aus Dubrovnik, aus Philadelphia oder aus dem hollaendi- schen Leiden. Mit Ritter, Chudy und Purkyne geriet zur 18. Jahrhundertwende eine Region verstaerkt in die Aufmerksamkeit, die bis dahin vor allem 304 Beachtung gefunden hatte, wenn aus ihr hervorragende Forscher und Lehrer, die es sich leisten konnten, in die Universitaetsstaedte Nordita-liens, nach Rom oder Paris zum Studium oder zum Unterricht zogen: das heutige Polen, Ungarn, Tschechien, mit ihren extrem wechselvol-len Geschichten von Fremdherrschaften verschiedenster Art. Ihre Na-turwissenschaftler und Ingenieure wanderten nun zum Studium und zur Lehre teilweise noch in die akademischen Hochburgen Oesterreichs, aber vor allem in die Universitaetsstaedte im thueringischen und saechsi-schen Osten Deutschlands, nach Dresden, Halle, Jena oder Leipzig. Die brutalen Einschnitte des Kriegs und der Nachkriegsgeschichte haben dazu beigetragen, dass die Verbindungen zu den oestlichen Orten und Archiven des Wissens und Modellierens fuer Jahrzehnte abgebrochen waren. Wie dem zum Trotz entwickelt sich seit Mitte der 1990er an der Grenze zwischen dem deutschen Westen und Osten die Medienfakultaet der Bauhaus-Universitaet Weimar zu einem der avanciertesten Lehr-und Forschungsinstitute. Tiefer greifend noch waren die Brueche gegenueber der einstigen rus- sischen Wissenschafts-, Technik- und Kunstmetropole St. Petersburg. Die Trennungen wirkten hier ueber acht Jahrzehnte in doppelter Weise, zum einen als harsche politische und ideologische Abwendung von al-lem Westlichen, zum anderen als Verschiebung innerhalb Russlands. Moskau wurde zur Zentrale der politischen Macht und damit auch zum Fokus nationaler wie internationaler Aufmerksamkeit. Seit zehn Jah-ren existiert mit dem "Theremin Center" am Staatlichen Moskauer Konservatorium wieder ein Laboratorium fuer die Erforschung und Er-probung neuer kuenstlerisch-medialer Formen. Es wurde benannt nach dem Erfinder eines der ersten elektronischen Musikinstrumente, das gaenzlich ohne Beruehrung und nur ueber die Beeinflussung elektro-ma-gnetischer Wellen durch die Finger- oder Handstellungen des Spielers funktioniert. Lenin liesz sich das Instrument 1922 im Kreml erstmals vorfuehren. Erfunden hat es der Physiker und Musiker Lev Sergeivich Termen allerdings 1920 in St. Petersburg, waehrend seiner Zeit als Leiter des Labors am dortigen physikalisch-technischen Institut. Durch Brian Wilsons legendaere Komposition "Good Vibrations" fuer die Beach Boys sind seine seltsam heulenden Klaenge in die Geschichte der Popmusik 305 eingegangen. Unter dem Projekttitel "Forgotten future" hat Andrej Smirnov, der Leiter des "Theremin Centers", damit begonnen, die Kraft der alten Erfindungen wieder in das aktuelle Spiel mit den technischen Illusionen einzubringen. Herausragende Kuenstlerinnen wie Anna Ku-leichov verbinden die aesthetischen Ideen der russischen Kinetiker, Kubofuturisten und Suprematisten mit aktueller elektronischer Kon-zept- und Performancekunst. Nicht nur aus dem neuen Moskauer Laboratorium heraus veraendert sich die vertraut gewordene Geographie allmaehlich wieder. Die junge Kunstszene St. Petersburgs begann schon in den Jahren der Perestrojka damit, intellektuelle Verbindungen zu den Hinterlassenschaften der Techno-Avantgarde der 1920er herzustellen. In einem riesigen Hinter-hofgebaeude in der Pushkinskaja-Strasze residiert nicht nur die provo-kante "neoakademische" Schule Timur Novikovs, sondern arbeitet auch das "Techno-Art Center", das von Alla Mitrofanova und Irena Ak-tuganova geleitet wird und in dessen "Galerie 21" unter schwierigsten infrastrukturellen Bedingungen medienkuenstlerische Projekte reali-siert und die Debatten um sie gepflegt werden. Die "Intermedia"-Abtei-lung an der Budapester Akademie der Kuenste nahm ihre Arbeit bereits im Herbst 1990 auf, vor Beginn der meisten akademischen Initiativen im Westen, und hat mittlerweile, zusammen mit dem ihr verbundenen "Center for Communication and Culture", einen internationalen Ruf fuer die Entwicklung auszergewoehnlicher Medienprojekte erlangt. Mi-kloes Peternaek, der Direktor beider Institute, konzentriert sich in seiner Arbeit unermuedlich darauf, die Anschluesse der neuen Medienwelten an die Reichtuemer der ungarischen Technik- und Kulturgeschichte wieder herzustellen. "Die Zukunft ausgraben" hiesz 2001 ein Symposium in Prag, das Jan Evangelista Purkyne und seinen Entdeckungen fuer das technische Visionieren gewidmet war. Jan Svankmajer sorgt mit seinen virtuosen Animations- und Spielfilmen seit Jahrzehnten dafuer, dass die Verbindungen avancierter Medienwelten zur Tiefenzeit der Prager Al-chemisten, Magier und Manieristen kraftvoll vorstellbar blieben. "Alice" (1987), ((Faust>) (1994) oder "The Conspirators of Pleasure" (1996) sind nur drei der juengeren filmischen Meisterwerke aus der _mun-dus animatus_ des Prager Surrealisten, fuer die deutsche Kinos leider ver- 307 ------------------------------------------------------------------------ 2. 2010 - Das Jahr, in dem wir die Krise bekommen Der Titel ist phrasenhaft, aber die Eckdaten sind passend: 1967, zur Zeit der schon doch ja grossen Krise des Kapitals in der BRD wurde _2001 - Odyssee im Weltraum_ gedreht, 1999 war das Jahr, in dem der Boom der IT-Branche (damals "Neue Oekonomie" genannt und von der Lovink-Schule im Umfeld des "Toywars" als "Tulipomania" gegeiszelt) von 1995 bis 2000 den meisten suspekt wurde, jedenfalls genaehrt von apokalyptischen Jahrtausendwende-Fantasien, 2001 wurde angeblich die Welt am Ort der damals noch erfolgreichsten/erhitztesten Boerse (New York) im September neu geordnet, 2010 sollte die europaeische Agenda zum Abschluss gekommen sein und die EU das staerkste Land der Welt. Interessant ist, dass die Ost-West-Teilung der Welt, 1984, im Jahr des ersten Wuerfels "Macintosh", noch ganz klar einer Friedensbotschaft bedurfte, waehrend also die atomare Bedrohung gross war und Apple wenigstens im Video gegen den Ueberwachungsstaat von Microsoft stand. Allerdings sah Arthur C. Clarke's Buch diese nicht vor, und die Konkurrenz der Nationen ist noch laut dem Text auf der Videohuelle von _2010 - Das Jahr, in dem wir Kontakt aufnehmen_ von damals eine zwischen China und der Kooperation (!) der UdSSR mit den USA. Und auch Hans-Werner Sinn vom deutschen Ifo Institut fuer Wirtschaftsforschung weisz: "Wir werden fruehestens im Winter 2010 da sein, wo die USA im letzten Herbst waren [...]." Das bedeutet, dass das amerikanische Raumschiff noch etwas schneller ist, als unseres. Und wirklich, wo _2001_ alles versagte, nicht sagte, aber verbilderte, also anders sagte (?) und mystisch, religioes die rationalen Codes austrieb, oder das Versagen des Rationalen, repraesentiert von HAL, zumindest auf rationalistische Double-binds zurueckfuehrte (HAL konnte berechnend seinen Befehlen nicht zugleich gehorchen und nicht gehorchen und zerstoerte dann eine Variable durch Toeten), da wo die Krise der Kommunikation und des Sprechens im reellen Jahr nach dem Zusammenbruch des New Economy ins Jenseits der siegreichen Konsumwelt fuehrte, naemlich zu den Sternen, klaert _2010_ plappernd in den Requisiten von 1967, also im Jahr, in dem die EU die Krise oder die Krise die EU erreicht hat, gnadenlos auf. Wenn man nun die im Buergertum herrschende Angst vor der Apokalypse, wie Linke auf den Bahamas vielleicht formulieren wuerden, nimmt und auf der Suche nach den sich selbst deutenden Zeichen, des immer in der Krise befindlichen Kapitalismus sucht, und alles fein vermengt, haben wir in _2010_ dem Film und 2010 dem Jahr etwas vorliegen, was die Remix-Kopie von 2001 dem Jahr, dem angeblichen Beginn des ersten (?) Krieges im 21. Jahrhundert und _2001_ dem Film sein koennte. Gibt es selbstentlarvende Artefakte? Ich erinnere mich an den Film _Creature_ (ebenfalls 1984) mit Klaus Kinski, einem _Alien_-Verschnitt mit leichten Solaris Anleihen, in dem relativ fesche Raumanzuege wie in _2001_ getragen werden, "Nazi"-Kinski aber einen proportional viel zu grossen Helm traegt und das Budget fuer einen naturalistischen Ausserirdischen=Kapitalisten nicht mehr gereicht hat. Im Film (_2010_), wo alle Antworten im Computer liegen und der lustige Held sie nur noch aus ihm herausholen muss, der Computer der Tempel und die Maschine des Rationalen der Mission Aufklaerung, den keine Schuld trifft und der nach 2001 (Film und Realitaet) endlich rehabilitiert wird, kann ja schlieszlich doch immer und zugleich nie das eintreffen, was mit der CeBIT und dem neuen Breitband 2008 den Massen versprochen wurde, 2 Mio. Arbeitsplaetze und jedem ein DSL 1000 (max. Download: 1024 kbit/s, max. Upload: 128 kbit/s). Das Versagen ist das Versprechen. Die Botschaft kommt von oben, sie lautet Klassenbruderschaft -- in _2010_ retten sich die sowjetischen Kosmonauten mit den US-amerikanischen Astronauten vor dem schwarzen Loch, welches der Galaxis eine neue zweite Sonne gebiert. Wo Kubrick Naturwissenschaft an kosmische Grenzen bringt und Wissen mit dem grossen Unerklaerlichen konfrontiert, Wissen also unueberschreitbare Grenzen hat (Physik endet wo Gott anfaengt), da wird der rehablitierte Rechner in knapp zwei Jahren die unhinterschreitbare filmische Grenze des jetzigen Wissens sein medialisiert-organisiert in einer Maschine, die im Gegensatz zum Film aber nicht geopfert werden kann, um den Tod nah zu erfahren. Die Konkurrenz der Nationen wurde dargestellt als verrueckte Bedrohung (verrueckter Computer, verrueckte Russen) mit der Heilsbotschaft einer geeinten Menschheit. 2010 - Das Jahr, in dem uns die Krise bekommen, wird das eher banal korrigieren, ohne "Lux Aeterna" (Ewiges Licht), sprich ohne Gott. Der Tod Gottes und der Uebermensch sind dann Thema des Links-Nietzscheanischen Seminars. Ali Emas ======================================================================== 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 #136 -------------------- -- Neu: GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate + Telefonanschluss f?r nur 17,95 Euro/mtl.!* http://dslspecial.gmx.de/freedsl-surfflat/?ac=OM.AD.PD003K11308T4569a From n0name at gmx.de Sun May 10 15:31:54 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Sun May 10 15:32:50 2009 Subject: [spectre] 0-) n0name nachrichten #137 Message-ID: <20090510133154.186890@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-) n0name nachrichten #137 So., 10.05.2009 12:21 CET *Inhalt/Contents* 1. Debord - La Soci?t? du spectacle.srt als .txt 1 2. verteidigt das Portal der Fantasie aus: _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_ (Fortsetzung aus nn #136) 31 KB, ca. 18 DIN A4-Seiten ------------------------------------------------------------------------ 1. Debord - La Soci?t? du spectacle.srt als .txt 1 Zunaechst einmal muss die srt und die Filmdatei den absolut identischen Namen haben (vor dem Punkt) und im gleichen Ordner liegen. 1 00:00:05,795 --> 00:00:09,095 Die Gesellschaft des Spektakels 2 00:00:10,836 --> 00:00:13,384 Geschrieben und realisiert von Guy Debord 3 00:00:13,718 --> 00:00:16,562 nach seinem Buch ?Die Gesellschaft des Spektakels? 4 00:00:46,645 --> 00:00:49,975 In Entwendung schon vorher existierender Filme 5 00:00:50,219 --> 00:00:52,561 ist von folgenden Werken Gebrauch gemacht worden: 6 00:01:11,413 --> 00:01:15,276 ebenso von Werken einer bestimmten Zahl 7 00:01:15,535 --> 00:01:18,136 b?rokratischer Filmemacher sogenannter sozialistischer L?nder. 8 00:01:25,348 --> 00:01:32,253 Der Kommentar des vorliegenden Films, fertiggestellt im October 1974, besteht zur G?nze aus Ausz?gen der Erstausgabe von ?Die Gesellschaft des Spektakels? (1967) 9 00:01:40,446 --> 00:01:43,619 Weil jedes besondere Gef?hl 10 00:01:44,035 --> 00:01:46,878 nur Teil des Lebens 11 00:01:47,019 --> 00:01:49,618 und nicht das ganze Leben ist, 12 00:01:49,854 --> 00:01:52,210 brennt das Leben darauf sich zu verstr?men 13 00:01:52,587 --> 00:01:55,689 ?ber die Mannigfaltigkeit der Gef?hle 14 00:01:56,129 --> 00:02:00,158 und sich in dieser Gesamtheit des Verschiedenen wiederzufinden. 15 00:02:00,472 --> 00:02:03,715 In der Liebe existiert das Getrennte noch, 16 00:02:04,045 --> 00:02:07,343 aber nicht mehr als getrennt : da vereint, 17 00:02:07,626 --> 00:02:10,752 und der Lebende begegnet dem Lebenden. 18 00:02:13,069 --> 00:02:16,956 Dieser Film ist Alice Becker-Ho gewidmet 19 00:02:25,901 --> 00:02:30,946 Das ganze Leben der Gesellschaften, in welchen die modernen Produktionsbedingungen herrschen 20 00:02:31,154 --> 00:02:35,315 erscheint als eine ungeheure Sammlung von Spektakeln. 21 00:02:35,728 --> 00:02:38,570 Alles was unmittelbar erlebt wurde 22 00:02:38,706 --> 00:02:42,119 ist in eine Vorstellung entwichen. 23 00:02:43,352 --> 00:02:46,688 Die Bilder, die sich von jedem Aspekt des Lebens abgetrennt haben, 24 00:02:46,824 --> 00:02:48,585 verschmelzen in einen gemeinsamen Lauf, 25 00:02:48,729 --> 00:02:52,073 in dem die Einheit dieses Lebens nicht wiederhergestellt werden kann. 26 00:02:52,215 --> 00:02:54,723 Die teilweise betrachtete Realit?t 27 00:02:54,835 --> 00:02:57,472 entfaltet sich in ihrer eigenen allgemeinen Einheit 28 00:02:57,583 --> 00:02:59,884 als abgesonderte Pseudo-Welt, 29 00:03:00,012 --> 00:03:02,517 Objekt der blo?en Kontemplation. 30 00:03:02,660 --> 00:03:06,830 Die Spezialisierung der Bilder der Welt findet sich vollendet 31 00:03:07,046 --> 00:03:09,475 in der autonom gewordenen Bildwelt wieder, 32 00:03:09,674 --> 00:03:12,936 in der sich das Verlogene selbst belogen hat. 33 00:03:13,165 --> 00:03:15,035 Das Spektakel ?berhaupt, 34 00:03:15,115 --> 00:03:17,352 als konkrete Verkehrung des Lebens, 35 00:03:17,551 --> 00:03:21,177 ist die eigenst?ndige Bewegung des Unlebendigen. 36 00:03:22,584 --> 00:03:26,495 Das Spektakel stellt sich zugleich als die Gesellschaft selbst, 37 00:03:26,589 --> 00:03:28,344 als Teil der Gesellschaft 38 00:03:28,448 --> 00:03:31,036 und als Vereinigungsinstrument dar. 39 00:03:31,156 --> 00:03:33,281 Als Teil der Gesellschaft ist das Spektakel ausdr?cklich der Bereich, 40 00:03:33,440 --> 00:03:37,435 der jeden Blick und jedes Bewusstsein auf sich zieht. 41 00:03:37,634 --> 00:03:40,047 Aufgrund dieser Tatsache, dass dieser Bereich abgetrennt ist, 42 00:03:40,174 --> 00:03:43,690 ist er der Ort des get?uschten Blicks und des falschen Bewusstseins; 43 00:03:43,969 --> 00:03:46,142 und die Vereinigung, die es bewirkt, 44 00:03:46,293 --> 00:03:48,915 ist nichts anderes als eine offizielle Sprache 45 00:03:49,040 --> 00:03:51,051 der verallgemeinerten Trennung. 46 00:03:52,307 --> 00:03:55,181 Seguy (B?rokrat der CGT) nach dem Streik 68 zu den Arbeitern: 47 00:03:55,268 --> 00:03:57,278 Wir haben viel erreicht, 48 00:03:57,419 --> 00:04:01,402 aber es ist auch noch viel zu tun. 49 00:04:03,530 --> 00:04:06,800 Das Spektakel ist nicht ein Ganzes von Bildern, 50 00:04:06,902 --> 00:04:12,570 sondern ein durch Bilder vermitteltes gesellschaftliches Verh?ltnis zwischen Personen. 51 00:04:13,337 --> 00:04:16,117 In seiner Totalit?t begriffen, ist das Spektakel 52 00:04:16,253 --> 00:04:20,910 zugleich das Ergebnis und die Zielsetzung der bestehenden Produktionsweise. 53 00:04:21,110 --> 00:04:23,587 Es ist kein Zusatz zur wirklichen Welt, 54 00:04:23,730 --> 00:04:25,887 kein aufgesetzter Zierat. 55 00:04:26,101 --> 00:04:30,153 Es ist das Herz des Irrealismus der realen Gesellschaft. 56 00:04:30,448 --> 00:04:32,724 In allen seinen besonderen Formen: 57 00:04:32,836 --> 00:04:34,834 Information oder Propaganda, 58 00:04:34,977 --> 00:04:38,461 Werbung oder unmittelbarer Konsum von Zerstreuungen 59 00:04:38,612 --> 00:04:40,354 ist das Spektakel 60 00:04:40,514 --> 00:04:43,981 das gegenw?rtige Modell des gesellschaftlich herrschenden Lebens. 61 00:04:44,316 --> 00:04:46,761 Es ist die allgegenw?rtige Behauptung 62 00:04:46,943 --> 00:04:52,632 der in der Produktion und ihrem koroll?ren Konsum bereits getroffenen Wahl. 63 00:04:53,407 --> 00:04:57,137 Die Trennung selbst geh?rt zur Einheit der Welt, 64 00:04:57,385 --> 00:04:59,638 zur globalen gesellschaftlichen Praxis, 65 00:04:59,813 --> 00:05:02,833 die sich in Realit?t und Bild aufgespalten hat. 66 00:05:02,977 --> 00:05:04,418 Die gesellschaftliche Praxis, 67 00:05:04,583 --> 00:05:07,738 vor die sich das autonome Spektakel stellt, 68 00:05:07,895 --> 00:05:11,555 ist auch die das Spektakel umfassende wirkliche Totalit?t. 69 00:05:12,212 --> 00:05:14,449 Aber die Aufspaltung dieser Totalit?t 70 00:05:14,568 --> 00:05:19,672 verst?mmelt sie so sehr, dass sie das Spektakel als ihren Zweck erscheinen l?sst. 71 00:05:20,608 --> 00:05:24,321 In der wirklich verkehrten Welt ist das Wahre 72 00:05:24,458 --> 00:05:27,111 ein Moment des Falschen. 73 00:05:28,860 --> 00:05:31,017 Seinen eigenen Begriffen nach betrachtet, 74 00:05:31,163 --> 00:05:34,069 ist das Spektakel die Behauptung des Scheins 75 00:05:34,173 --> 00:05:37,806 und die Behauptung jedes menschlichen, d.h. gesellschaftlichen Lebens 76 00:05:37,900 --> 00:05:39,628 als eines blo?en Scheins. 77 00:05:39,829 --> 00:05:42,706 Aber die Kritik, die die Wahrheit des Spektakels trifft, 78 00:05:42,857 --> 00:05:46,060 entdeckt es als die sichtbare Negation des Lebens; 79 00:05:46,252 --> 00:05:47,913 als eine Negation des Lebens, 80 00:05:48,097 --> 00:05:50,509 die sichtbar geworden ist. 81 00:05:58,158 --> 00:06:01,900 Das Spektakel stellt sich dar als eine ungeheure, unbestreitbare 82 00:06:02,041 --> 00:06:04,789 und unerreichbare Positivit?t. 83 00:06:05,053 --> 00:06:06,922 Es sagt nichts mehr als: 84 00:06:07,050 --> 00:06:08,520 ?Was erscheint, das ist gut; 85 00:06:08,624 --> 00:06:10,749 und was gut ist, das erscheint.? 86 00:06:10,876 --> 00:06:13,378 Die durch das Spektakel prinzipiell geforderte Haltung 87 00:06:13,538 --> 00:06:15,661 ist diese passive Hinnahme, 88 00:06:15,852 --> 00:06:17,786 die es schon faktisch erwirkt hat 89 00:06:17,914 --> 00:06:20,406 durch seine Art, unwiderlegbar zu erscheinen, 90 00:06:20,542 --> 00:06:23,498 durch sein Monopol des Scheins 91 00:06:24,041 --> 00:06:26,886 Das Spektakel unterjocht sich die lebendigen Menschen, 92 00:06:27,069 --> 00:06:30,338 insofern die ?konomie sie g?nzlich unterjocht hat. 93 00:06:30,536 --> 00:06:34,227 Es ist nichts als die sich f?r sich selbst entwickelnde ?konomie. 94 00:06:34,397 --> 00:06:37,390 Es ist der getreue Widerschein der Produktion der Dinge 95 00:06:37,510 --> 00:06:41,072 und die ungetreue Vergegenst?ndlichung der Produzenten. 96 00:06:41,368 --> 00:06:44,532 Da, wo sich die wirkliche Welt in blo?e Bilder verwandelt, 97 00:06:44,668 --> 00:06:47,258 werden die blo?en Bilder zu wirklichen Wesen 98 00:06:47,448 --> 00:06:51,650 und zu den wirkenden Motivierungen eines hypnotischen Verhaltens. 99 00:06:53,328 --> 00:06:57,172 Je nachdem wie die Notwendigkeit gesellschaftlich getr?umt wird, 100 00:06:57,402 --> 00:06:59,738 wird der Traum notwendig. 101 00:07:00,006 --> 00:07:04,009 Das Spektakel ist der schlechte Traum der gefesselten, modernen Gesellschaft, 102 00:07:04,244 --> 00:07:07,735 der schlie?lich nur ihren Wunsch zu schlafen ausdr?ckt. 103 00:07:07,951 --> 00:07:11,654 Das Spektakel ist der W?chter dieses Schlafes. 104 00:07:13,184 --> 00:07:16,445 Die Tatsache, dass die praktische Macht der modernen Gesellschaft 105 00:07:16,539 --> 00:07:18,275 sich von selbst abgehoben 106 00:07:18,400 --> 00:07:21,793 und sich ein selbst?ndiges Reich im Spektakel fixiert hat, 107 00:07:21,931 --> 00:07:24,709 ist nur aus dieser anderen Tatsache, 108 00:07:24,866 --> 00:07:28,850 dass diese m?chtige Praxis immer noch selbstzerrissen 109 00:07:29,121 --> 00:07:32,936 und sich selbst widersprechend geblieben war, zu erkl?ren. 110 00:07:34,625 --> 00:07:37,245 Die ?lteste gesellschaftliche Spezialisierung ist es, 111 00:07:37,396 --> 00:07:39,186 die Spezialisierung der Gewalt, 112 00:07:39,402 --> 00:07:41,431 die an der Wurzel des Spektakels liegt. 113 00:07:41,574 --> 00:07:43,140 Das Spektakel ist somit 114 00:07:43,260 --> 00:07:47,109 eine spezialisierte T?tigkeit, die f?r die Gesamtheit der anderen 115 00:07:47,297 --> 00:07:51,550 Es ist die diplomatische Repr?sentation der hierarchischen Gesellschaft vor sich selbst, 116 00:07:51,738 --> 00:07:53,933 wo jedes andere Wort verbannt ist. 117 00:07:54,077 --> 00:07:57,625 Hier ist das Modernste auch das Archaischste. 118 00:07:58,095 --> 00:08:00,859 Die verallgemeinerte Entzweiung des Spektakels 119 00:08:01,003 --> 00:08:03,632 ist untrennbar vom modernen Staat, 120 00:08:03,791 --> 00:08:07,722 ? d.h. von der allgemeinen Form der Entzweiung in der Gesellschaft ?, 121 00:08:07,889 --> 00:08:10,503 dem Produkt der Teilung der gesellschaftlichen Arbeit... 122 00:08:10,691 --> 00:08:13,613 und dem Werkzeug der Klassenherrschaft. 123 00:08:16,685 --> 00:08:17,883 Im Spektakel 124 00:08:18,059 --> 00:08:20,791 stellt sich ein Teil der Welt vor der Welt dar, 125 00:08:20,903 --> 00:08:22,445 und ist ?ber sie erhaben. 126 00:08:22,589 --> 00:08:26,421 Das Spektakel ist nur die gemeinschaftliche Sprache dieser Trennung. 127 00:08:26,590 --> 00:08:28,476 Was die Zuschauer miteinander verbindet, 128 00:08:28,620 --> 00:08:31,591 ist nur ein irreversibles Verh?ltnis zum Zentrum selbst, 129 00:08:31,716 --> 00:08:33,165 das ihre Vereinzelung aufrechterh?lt. 130 00:08:33,316 --> 00:08:35,282 Das Spektakel vereinigt das Getrennte, 131 00:08:35,457 --> 00:08:38,350 aber nur als Getrenntes. 132 00:08:40,394 --> 00:08:43,078 Der Arbeiter produziert nicht sich selbst, 133 00:08:43,270 --> 00:08:46,130 sondern eine unabh?ngige Macht. 134 00:08:46,354 --> 00:08:49,597 Der Erfolg dieser Produktion, ihr ?berfluss, 135 00:08:49,757 --> 00:08:53,638 kehrt zum Produzenten als ?berfluss der Enteignung zur?ck. 136 00:08:54,143 --> 00:08:57,603 Die ganze Zeit und der ganze Raum seiner Welt werden ihm 137 00:08:57,785 --> 00:09:00,698 bei der Akkumulation seiner entfremdeten Produkte fremd. 138 00:09:00,941 --> 00:09:03,194 Eben die Kr?fte, die uns entgangen sind, 139 00:09:03,353 --> 00:09:06,619 zeigen sich uns in ihrer ganzen Macht. 140 00:09:08,522 --> 00:09:10,600 Der von seinem Produkt getrennte Mensch 141 00:09:10,734 --> 00:09:12,381 produziert immer machtvoller. 142 00:09:12,509 --> 00:09:15,365 alle Einzelheiten seiner Welt 143 00:09:15,585 --> 00:09:19,271 und findet sich dadurch immer mehr von seiner Welt getrennt. 144 00:09:19,515 --> 00:09:22,679 Je mehr sein Leben jetzt sein Produkt ist, 145 00:09:22,799 --> 00:09:25,895 um so mehr ist er von seinem Leben getrennt. 146 00:09:26,714 --> 00:09:28,907 Das Spektakel ist das Kapital, 147 00:09:29,049 --> 00:09:32,742 das einen solchen Akkumulationsgrad erreicht, dass es zum Bild wird. 148 00:09:33,000 --> 00:09:38,977 Man k?nnte diesem Film noch einen gewissen Wert zuerkennen, 149 00:09:39,429 --> 00:09:45,803 wenn er den bisherigen Rhytmus beibehielte; das tut er aber nicht. T?tigkeiten spricht. 150 00:09:47,895 --> 00:09:49,240 Die kritische Theorie. 151 00:09:49,381 --> 00:09:52,257 muss sich in ihrer eigenen Sprache mitteilen. 152 00:09:52,736 --> 00:09:54,925 Diese Sprache ist die Sprache des Widerspruchs, 153 00:09:55,116 --> 00:09:57,561 die in ihrer Form dialektisch sein muss, 154 00:09:57,672 --> 00:09:59,973 wie sie es in ihrem Inhalt ist. 155 00:10:00,276 --> 00:10:02,257 Sie ist Kritik der Totalit?t 156 00:10:02,392 --> 00:10:04,383 und geschichtliche Kritik. 157 00:10:04,637 --> 00:10:07,290 Sie ist kein ?Nullpunkt des Schreibens?, 158 00:10:07,441 --> 00:10:09,096 sondern seine Umkehrung. 159 00:10:09,438 --> 00:10:11,659 Sie ist keine Negation des Stils, 160 00:10:11,786 --> 00:10:14,215 sondern der Stil der Negation. 161 00:10:18,113 --> 00:10:19,399 In ihrem Stil selbst 162 00:10:19,547 --> 00:10:22,385 ist die Darlegung der dialektischen Theorie 163 00:10:22,526 --> 00:10:26,224 nach den Regeln der herrschenden Sprache 164 00:10:26,397 --> 00:10:28,980 und f?r den von ihnen anerzogenen Geschmack ein ?rgernis und ein Greuel, 165 00:10:29,188 --> 00:10:32,300 weil sie in der positiven Verwendung der bestehenden Begriffe 166 00:10:32,496 --> 00:10:34,722 zugleich auch das Verst?ndnis [film: - Welcher Gang - Von Intellektuellen !] 167 00:10:34,847 --> 00:10:36,994 ihrer wiedergefundenen flie?enden Bewegung, 168 00:10:37,146 --> 00:10:39,790 ihren notwendigen Untergang einschlie?t. 169 00:10:40,342 --> 00:10:42,978 Dieser Stil, der seine eigene Kritik enth?lt, 170 00:10:43,154 --> 00:10:46,238 muss die Herrschaft der gegenw?rtigen Kritik 171 00:10:46,334 --> 00:10:48,075 ?ber ihre ganze Vergangenheit ausdr?cken. 172 00:10:48,267 --> 00:10:51,606 Durch ihn bezeugt die Darlegungsweise der dialektischen Theorie 173 00:10:51,702 --> 00:10:54,786 den negativen Geist, der in ihr steckt. 174 00:10:54,994 --> 00:10:59,948 Die Wahrheit ist nicht ?so, wie das Werkzeug von dem dortigen Gef??e wegbleibt [...]? (Hegel) 175 00:11:00,082 --> 00:11:02,399 Dieses theoretische Bewusstsein der Bewegung, 176 00:11:02,526 --> 00:11:06,476 in dem die Spur der Bewegung selbst gegenw?rtig sein muss, 177 00:11:06,640 --> 00:11:09,621 ?u?ert sich durch die Umkehrung der etablierten 178 00:11:09,731 --> 00:11:11,647 Beziehungen zwischen den Begriffen 179 00:11:11,804 --> 00:11:16,603 und durch die Entwendung aller Errungenschaften der fr?heren Kritik. 180 00:11:17,472 --> 00:11:19,342 Die Ideen verbessern sich. [film: Wir sind verloren !] 181 00:11:19,470 --> 00:11:21,750 Die Bedeutung der Worte tr?gt dazu bei. 182 00:11:21,906 --> 00:11:23,824 Das Plagiat ist notwendig. 183 00:11:23,976 --> 00:11:25,669 Der Fortschritt impliziert es. 184 00:11:25,837 --> 00:11:28,313 Es h?lt sich dicht an den Satz eines Verfassers, 185 00:11:28,425 --> 00:11:30,263 bedient sich seiner Ausdr?cke, 186 00:11:30,407 --> 00:11:32,020 beseitigt eine falsche Idee, [film: Zur?ck !] 187 00:11:32,132 --> 00:11:34,624 ersetzt sie durch die richtige. 188 00:11:36,662 --> 00:11:39,250 Die Entwendung ist die fl?ssige Sprache [film: Halt !] 189 00:11:39,378 --> 00:11:41,296 der Antiideologie. [film: Feiglinge! Ihr habt ...] 190 00:11:41,591 --> 00:11:43,381 Sie erscheint in der Kommunikation, [film: ... eure Genossen verlassen!] 191 00:11:43,597 --> 00:11:45,940 die wei?, dass sie nicht beanspruchen kann, [film: Folgt mir !] 192 00:11:46,081 --> 00:11:49,421 irgendeine Garantie in sich selbst und endg?ltig zu besitzen. weiter im n0name newsletter #138 ------------------------------------------------------------------------ 2. verteidigt das Portal der Fantasie (Fortsetzung aus im n0name newsletter #136) schlossen blieben. [11] Polen hatte - mit der Filmschule in Lodz als Zentrum - schon in den 1970ern eine eigene Schule von Videokuenst- lern hervorgebracht. [12] Unter der Diktatur Jaruzelskis emigrierten einige ihrer Protagonisten, wie Zbigniew Rybczynski, in den Westen und bereicherten dort die Szene des experimentellen Films ebenso wie die kommerzielle Welt des Rock-Videos. Andere, wie Josef Robakowski, entschieden sich dafuer, unter politisch und technisch schwierigen Be-dingungen in Polen weiterzumachen. Die Biennale in Wroclaw hat sich in den 1990ern zur wichtigen Drehscheibe fuer Ost-West-Beziehungen in der kuenstlerischen Welt der elektronischen Medien entwickelt. Das Festival _WRO 2000_ fand in jenem Gebaeude der alten Universitaet statt, das in seinem Turm eine der ersten astronomischen Beobachtungssta-tionen Europas beherbergte. Die Medienaktivisten der russischen, Pol-nischen, tschechischen oder ungarischen Szene beginnen die wert-vollsten Bestandteile ihrer Museen und Archive an das fortgeschrittene technische und mediale Wissen des Westens anzukoppeln oder lassen es sich erneut eigenstaendig entfalten. Ende der 1960er fanden nahezu parallel zwei Ausstellungen statt, die es sich zur Aufgabe gemacht hatten, auf je besondere Art die Wech-selverhaeltnisse zwischen Wissenschaft, Technologie, Kunst und Me-dien zu thematisieren. Der schwedische Kurator Pontus Hulten organi-sierte am New Yorker _Museum of Modern Art_ "The Machine". Das war ein Rueckblick auf die Avantgarden der zurueckliegenden Jahrzehnte des Zeitalters der Mechanik. In einem minimalen Appendix wurden aber auch Kuenstler und Ingenieure eingeladen, gemeinsame Experimente mit elektronischen Instrumenten und dem Computer vorzustellen. In dem kiloschweren Katalog mit metallenem Einband drohen die ausge-stellten elektronischen Projekte am Ende in blaeulicher Schrift auf wei-szem Grund zu verschwinden. [13] Aber es war ein Anfang, zusammen mit Jasia Reichardts unscheinbarerer Ausstellung im Londoner _Insti-tute of Contemporary Arts_, die ebenfalls 1968 stattfand" Ihr Titel ent-raetselt sich fuer die An-Archaeologie als ein hoechst willkommenes Ge-schenk. Die Ausstellung hiesz "Cybernetic Serendipity". Serendip ist eine fruehere Bezeichnung fuer Ceylon. Serendipity bezeichnet im Eng-lischen das Glueck, durch Zufall wertvolle Dinge zu finden oder zu erfin- 308 den. Der Begriff soll durch den Schriftsteller Horace Walpole gepraegt worden sein, in dessen Maerchen "The three Princes of Serendip" die Helden staendig Dinge entdecken und erfinden, nach denen sie nie- mand gefragt hat. [15] Diese beiden Ausstellungen und ihre Buecher sind Legende, die meis- ten der Pioniere rudimentaerer digitaler Graphik oder computergesteu- erter Installationen bereits vergessen. Das ambitionierteste Ereignis dieser Art fand indessen nur knapp drei Jahre spaeter in der Zagreber _ga-Ierije grada_ statt. Unter dem Titel "dijalog sa strojem" (Dialog mit der Maschine) trafen sich hier zum ersten Mal Kuenstlerinnen und Kuenst-ler, Wissenschaftler und Wissenschaftlerinnen aus west- und osteuro-paeischen Laendern, den USA und Japan, um ihre verschiedenen Zu-gaenge zu programmierter Kunst zu diskutieren. Unter vielen anderen stellte der Wiener Marc Adrian ein Programm vor, das er zusammen mit Gottfried Schlemmer und dem Programmierer Horst Wegschnei- der entwickelt hatte. Durch einen 162-11-Computer von IBM wurden Textfragmente aus populaeren Zeitschriften nach einem Zufallsprinzip syntaktisch neu geordnet. Die von der Maschine nach den Regeln des Programms montierten Texte wurden dramatisch, durch Schauspieler (a, b und c), rezitiert. "c: duerfen sich kreuzpunkte nicht verlieben? himmel beschwatzen koerperfrisch telefonleitungen. das muessen sie auch haben! aber wer sagt denn seinem kind wirklich, was das ist: himmel? peinlichkeiten liquidieren muede baeuche oder doch nicht? / a: trinken sie peinlichkeiten! frauen finden unabhaengige geschmaecker. die martinis kennen keine langeweile. / b: duerfen sich frauen nicht ver-lieben? zungen schneiden knospig kreuzpunkte. was geschah mit dem schoensten titelbildmaedchen der sowjetzone? " [16] Im Norden Italiens streiten der Medientheoretiker und -aktivist Tommaso Tozzi sowie das Netzwerk-Duo 0100101101101.org fuer eine staerkere Integration der avancierten Technologien in die politische und akademische Kultur. In Venedig baut Fabrizio Plessi seit Jahrzehnten schoene barocke Videoskulpturen. Im Hinblick auf den Sueden ist eine erneute Verschiebung der Geographie indessen noch schwer vorstell-bar. Das liegt an gravierenden oekonomischen Problemen und man-gelnden technischen Infrastrukturen. Es hat aber auch damit zu tun, 310 dass die juengsten innovatorischen Schuebe im Sektor der Medientech- nologien Resultate von sozialen und kulturellen Prozessen sind, die den suedeuropaeischen Gesellschaften eher fremd sind. Die Arbeit und das Spiel an den individuellen Endstationen der Monitore und Daten- netze finden in Vereinzellung statt, und sie sind im Wesentlichen immer noch von geschlossenen Architekturen abhaengig, die an die globalen Netze angeschlossen sind. Der imaginaere Aufenthalt im w/w/w besitzt fuer Angehoerige einer Alltagskultur, die sich traditionell stark ueber die Oeffentlichkeit der Straszen und Plaetze und die orale Kommunikation definiert, noch wenig Attraktivitaet. Lediglich das _handy_, mit dem man die am meisten geschaetzten Formen des Austauschs mit den Anderen technisch erweitert praktizieren kann, bildet hier eine Ausnahme. In Suedamerika stellt sich diese Situation wiederum betraechtlich anders dar. Insbesondere in denjenigen Laendern, deren tele-kommunikative Systeme ueber laengere Perioden fuer die Nutzer diktatorisch einge-schraenkt waren, wie in Argentinien oder Brasilien, ist die Praesenz des _Internets_ bereits weit in den urbanen Alltag hinein vorgedrungen. In den besser gestellten Stadtgebieten von Buenos Aires oder Sao Paulo findet man regelrechte Supermaerkte fuer den Zugang zum w/w/w. Das sind Verkaufsstationen fuer Zeit. #Der Besitzer stellt die Infrastruktur und die Terminals zur Verfuegung, ueber die der Kunde sich an das globale Datennetz anschlieszen lassen kann. Dieser bezahlt wie beim Eintritt in die Phantasiemaschine Kino.# Das einstige Zentrum der magischen Naturforscher und Erfinder phantastischer Medienwelten, Neapel, spielt in der aktuellen Medien- geographie keine Rolle. Das, was in den Datennetzen als Simulation angestrebt wird, das so wenig wie moeglich geordnete und restringierte Neben- und Ineinander mannigfaltiger Identitaeten, ist hier Realitaet des Alltags, mit allen seinen Inkompatibilitaeten, Desastern und Genuss versprechenden Ueberraschungen. So behaelt die Stadt Portas den Sta-tus, den sie schon fuer viele fruehere Generationen von Intellektuellen hatte. Sie ist Ort der Sehnsucht, vor allem fuer diejenigen, die aus dem satten und wohl geordneten Norden stammen. In Herbert Achtern-buschs Film "Das Andechser Gefuehl" (1974) ist der vom Regisseur ge-spielte Gymnasiallehrer gerade vom Freistaat Bayern zum Beamten auf 311 Lebenszeit ernannt worden. Das stuerzt ihn in tiefe Depression und Ver-zweiflung. Anstatt zum gemeinsamen familiaeren Mittagessen kommt es in der Kueche zu einem heftigen Streit mit seiner Ehefrau, in den auch die Geliebte des Lehrers verwickelt wird. Von der Gattin mit einem riesi-gen Fleischmesser attackiert, sinkt er auf den gekachelten Kuechenbo-den nieder und haucht, vor den Fueszen seiner Geliebten, mit den Wor-ten sein Leben aus: "Neapel sehen und sterben". Der ebenfalls praesente Priester, gespielt von dem Filmregisseur und heutigen Direktor der Ber-liner Film- und Fernsehakademie Reinhard Hauff, wurde zuvor in den Garten vertrieben. -------------------------------------------------------------- | #Die wichtigste Voraussetzung fuer die Gewaehr von relativ | | machtfreien Raeumen in den Medienwelten besteht darin, | | auf den Anspruch der Besetzung ihres Zentrums zu ver- | | zichten.# | -------------------------------------------------------------- In der Tiefenzeit der Medien lassen sich zwei Modelle beobachten, die den Spannungen entsprechen, die Georges Bataille in den 1930ern un- ter dem Eindruck des Faschismus und des Stalinismus mit seinem Vor- schlag zur "Aufhebung der Oekonomie" aufmachte. #Einer dem Para- digma der Produktivitaet verpflichteten Oekonomie der Zurichtung, die zunaechst im Projekt des industriellen Kinos und Fernsehens und vor- laeufig im post-industriellen [17] Phaenomen des _Internets_ muendete, steht eine Oekonomie der Freundschaft gegenueber. Die erste dient der Effekti-vierung von Systemen, ihrem Schutz oder auch dem Angriff gegen an-dere konkurrierende Systeme. Die zweite verhaelt sich gegenueber der ersten subversiv und ist luxurioes. Sie bedarf keiner Legitimation, wie das Vergnuegen und die Kunst keine solche benoetigen. Sie entfaltet sich, oder es gibt sie nicht. Sie existiert in und neben der hegemonialen Oeko-nomie.# Selbst in denjenigen Medienwelten, die sich in empfindlicher Naehe zur Macht entwickelten, der Telekommunikation und der Krypto-graphie als ihr Spezialfall, war diese andere Oekonomie mit groszem Er- findungsreichtum praesent. Von der "Polygraphia" des Trithemius ueber die Vorschlaege zur Fernverstaendigung Portas bis hin zum "Ortsfor- 312 scher" Kessiers und der elektrischen Fernschreibmaschine Bozzolis wa- ren die Konzepte bis ins konzeptuelle Detail hinein von der Sorge um den Freund motiviert, der sich an einem nicht zugaenglichen Ort auf- halten musste. In der ersten Haelfte der 1990er erlebte das _Internet_ eine kurze eu-phorische Phase. Jeder, der Zugang zu einem Computer und einem Telefonanschluss hatte, konnte weitgehend unzensiert Botschaften verschicken und empfangen. #Auf die neuen medialen Netze wurden politische und kuenstlerische Utopien des freien Austauschs jenseits von Markt- und Machtstrukturen projiziert.# Die junge Szene der internatio-nalen Netzwerker akzeptierte die alten Grenzen der konkurrierenden Systeme von vornherein nicht. Im Gegenteil, Verbindungen zu den zu-naechst wenigen frei zugaenglichen und an die internationalen Datenlei-tungen angeschlossenen Computer in Osteuropa herzustellen, hatte fuer ihre Aktivitaeten hoechste Prioritaet. Das war Bestaetigung und zu-gleich Test der demokratischen Potenziale, die man in den nun massen-haft zugaenglich gemachten telematischen Netzwerken vermutete. Fuer die Bewohner der groszen Staedte in denjenigen Laendern, in denen die politischen und oekonomischen Umwandlungen sich unter den Zeichen des globalen Marktes relativ friedlich vollzogen, wurden sie die schnells- ten Anschluesse an die Marktplaetze des Westens. Fuer diejenigen, die, beispielsweise im Kosovo oder in Albanien, unter Krieg und Verfolgung zu leiden hatten, waren es die einzigen Verbindungen, die der Zensur nicht ohne weiteres zugaenglich waren. 1996 begann das _Syndicate Net- work_ als "ein translokales Netzwerk, das auf persoenlichen Beziehungen beruht und auf einer gesunden Mischung aus Uneinigkeit, Respekt und Solidaritaet, die jede gute Freundschaft charakterisiert . . . Das #Syndicate# hat seine Wurzeln in den taktischen Medienverbilnden, die Individuen und Gruppen auf beiden Seiten des Eisernen Vorhangs und unter ihm hindurch miteinander verbanden, jenseits massenmedialer Aufmerk-samkeit." [18] Auch diese Verhaeltnisse etablierten sich. Einer der Hoehe-punkte in den bisherigen Aktivitaeten des _Syndicates_ war der "Deep Europe Workshop", der 1997 innerhalb der Internet-Plattform der _docu-menta X_ in Kassel stattfand. 15 der Syndikalisten aus verschiedenen Laendern West- und Osteuropas diskutierten hier unter den Augen der 313 Weltoeffentlichkeit ihre Vorstellungen eines durch Netzwerke der wech- selseitigen Achtung verbundenen Mitteleuropas. Auch die Subszene der vernetzten Medienwelten, fuer die Syndicate nur ein Beispiel von vielen ist, [19] transformiert sich zu Beginn des neuen Jahrzehnts. Die Etablierung des World Wide Web als globaler au- diovisueller Dienstleistungsbetrieb, der alles zu kommerzialisieren ver-steht, was auf ein massenhaftes Nutzerinteresse stoeszt, inklusive von Datendienstleistungen am Rande der Illegalitaet, hat die Identitaet eines hochintelligenten Lumpenproletariats fragwuerdig werden lassen. Gleichwohl haben die engagierten Initiativen dazu beigetragen, die Op- tion auf eine nicht hierarchisierte Oeffentlichkeit heterogener Bezie-hungen auch im Hinblick auf die technisch avancierten Medienwelten offen zu halten. Es ist kein Scheitern, dass sie nicht zum zentralen Mo-dell der so genannten Informationsgesellschaft wurde. #Die Oekonomie der Freundschaft besitzt keine Verallgemeinerungsfaehigkeit. Sie entfal-tet sich in und quer zu den etablierten Beziehungen und ist in der Regel nicht von Dauer. Sie muss immer wieder neu eingerichtet werden.# -------------------------------------------------------------- | Das Problem, eingreifende Medienwelten sich vorstellen, | | sie analysieren und schoepferisch entwickeln zu koennen, | | besteht weniger darin, einen passenden Rahmen dafuer zu | | definieren, als darin, sie sich mit und in der Zeit entwi- | | ckeln zu lassen. | -------------------------------------------------------------- ======================================================================== 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 #137 -------------------- -- Neu: GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate + Telefonanschluss f?r nur 17,95 Euro/mtl.!* http://dslspecial.gmx.de/freedsl-surfflat/?ac=OM.AD.PD003K11308T4569a From marika at incident.net Sun May 10 21:40:04 2009 From: marika at incident.net (Marika Dermineur) Date: Sun May 10 21:40:43 2009 Subject: [spectre] V.O.S.T. OV/OT EXHIBITION PERFORMANCES SCREENINGS BRUSSELS 21/05 Message-ID: <4A072D94.9040405@incident.net> > V.O.S.T. OV/OT > http://vost.nl > http://ovot.fr > BRUSSELS:21-31 > MAY09iMAL&NOVA > Vernissage2105 / Exhibition at iMAL, from thursday 21 to sunday 31 May 2009 Saturday 23 May: screenings and AV performances at Nova Cinema http://imal.org / Exposition ? iMAL, du jeudi 21 au dimanche 31 mai 2009 Samedi 23 mai: projections et performances au Nova Cinema http://ovot.fr / Tentoonstelling in iMAL, van donderdag 21 tot zondag 31 mei 2009 Zaterdag 23 mei: Films en Performances in Nova Cinema http://vost.nl Avec/Met/With: Martin Arnold . Armel Barraud . Pierre Bismuth . Frederico Camara . Jordi Colomer . DEMOLECULARISATION . Christoph Draeger . Reynald Drouhin . Yan Duyvendak . Mario Garc?a Torres . Omer Fast . Xavier Gautier . Pierre Huyghe . Kuda.org . Florence Lazar . Danilo Mandic . Julie Morel & Jocelyn Cottencin . ProjectSinge . Nicolas Provost . RYbN . Anri Sala . Keith Sanborn . Antoine Schmitt . Peter Tscherkassky . Virgil Widric . Commissaires: Alexis Chazard & Marika Dermineur. / V.O.S.T. OV/OT explores the connections between cinema, video art and digital art: Subtitles and dubbing are discreet, intermediate and functional elements of the cinema industry, used by artists for movies appropriation and diversion. This program gives in Brussels a central place to language, transcription and translation. / V.O.S.T. OV/OT explore les relations entre le cin?ma, l?art vid?o et l?art num?rique: le sous-titre et le doublage, ces ?l?ments discrets, interm?diaires et fonctionnels de l?industrie du cin?ma apparaissent comme des br?ches par lesquelles les artistes d?tournent et s?approprient les films. Cette programmation bruxelloise donne une place centrale au langage, ? la transcription et ? la traduction. / OV/OT V.O.S.T. onderzoekt de relatie tussen film, video-kunst en digitale kunst en richt zich op ondertiteling en nasynchronisatie. Via deze bescheiden, intermediaire en functionele elementen van de filmindustrie, leiden de kunstenaars de films om, en eigenen ze zich toe. Dit programma in Brussel geeft een centrale plaats aan taal, transcriptie en vertaling. > iMAL Center for Digital Cultures and Technology 30 Quai des Charbonnages Koolmijnenkaai 30, 1080 Brussel Metro Comte de Flandre, Graaf van Vlaanderen, Tram 51 http://www.imal.org 21 - 31 mai/mei/may 2009 Vernissage: 21 mai/mei/may / Open from wednesday to sunday Exhibition 14:00-20:00 Screenings 20:00 / Ouvert du mercredi au dimanche Exposition de 14h ? 20h S?ances de projections ? 20h / Open vanaf woensdag tot zondag Tentoonstelling van 14u tot 20u Filmprojecties om 20u > Soir?e/Evening V.O.S.T. OV/OT @ NOVA CINEMA 23/05 20:00-24:00 Performances audio-visuelles / AV performances Dans le cadre du cycle / in het kader van ?Imaginary Property? info & tarif: http://nova-cinema.org - Avec le soutien de / Met de steun van La cellule Arts Num?riques, Minist?re de la Communaut? fran?aise de Belgique From nc-agricowi at netcologne.de Mon May 11 08:34:54 2009 From: nc-agricowi at netcologne.de (VCH) Date: Mon May 11 08:35:36 2009 Subject: [spectre] Video Prints - video art from Greece on VideoChannel Message-ID: <20090511083454.E95C5DCC.85938901@192.168.0.3> VideoChannel - video project environments http://videochannel.newmediafest.org is happy to launch on 11 May 2009 a new video art feature online, entitled: "Video Prints" - Greek video art curated by Gioula Papadopoulou, curator of "Videoart Festival Miden", Kalamata/Greece, featuring video works by Eileen Botsford, Giorgos Dimitrakopoulos, Nikos Giavropoulos Leonidas Konstantinidis, Yiannis Konstantinou, Ioanna Myrka Gioula Papadopoulou, Andreas Sitorego, Margarita Stavraki Panayota Tzamourani, George Vaviloussakis, Konstantinos Vaviloussakis To enter this feature go to--> http://videochannel.newmediafest.org/blog/?page_id=247. An article about Videoart Festival Miden (Kalamata/Greece) on netMAXX -networked magazine - http://maxx.nmartproject.net/?p=34 is completing this feature together with 3 interviews with artists/directors included in the feature on VIP - VideoChannel Interview Project - http://vip.newmediafest.org/?p=205 and finally the inclusion of the videos on VAD - Video Art Database - http://vad.nmartproject.net/?p=403 Full article see on --> http://videochannel.newmediafest.org/blog/?p=393 -------------------------------------------------------------------------- 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 ab at mikro.in-berlin.de Mon May 11 13:47:25 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon May 11 14:00:40 2009 Subject: [spectre] (fwd) Schloss Balmoral Scholarships: Call for applications Message-ID: K?nstlerhaus Schlo? Balmoral BALMORAL ANNOUNCES! Call for applications for the Balmoral Scholarships and the Foreign and Exchange Scholarships for 2010 Application period for 2010 scholarships: May 15 to July 18, 2009 (date of postmark) http://www.balmoral.de I. International Residence Scholarships at the K?nstlerhaus Schlo? Balmoral Six residence scholarships will be awarded to international visual artists. The scholarship lasts 6 months. All of them begin in April 2010 and are endowed with 1,200 euros a month and include free accommodation at the K?nstlerhaus Schlo? Balmoral. II. National Project Scholarship The project scholarship, which is not tied to any site, will be awarded to a national visual artist. The project scholarship lasts for 6 months and begins in April 2010. It is endowed with 1,200 euros a month. Applicants for the project scholarship must be permanent residents of the Federal Republic of Germany. The artistic project should be capable of realization within the scholarship period of 6 months so that it can be shown at the annual exhibition of the scholarship holders. III. Curator Scholarship at the K?nstlerhaus Schlo? Balmoral To foster dialog between research and art, Balmoral awards a residence scholarship to a young scholar in the humanities (preferably art theory) for a curatorial project to be developed by the scholarship holder and the K?nstlerhaus Schlo? Balmoral. The scholarship lasts 6 months and begins in April 2010. It is endowed with 1,200 euros a month and includes free accommodation at the K?nstlerhaus Schlo? Balmoral. IV. Foreign and Exchange Scholarships The following attractive scholarships are offered exclusively for artists who were born in, studied in, or live in Rhineland-Palatinate: * One six-month scholarship for TrAIN, University of the Arts London * One six-month scholarship for New York * Two six-month scholarships for the Cit? Internationale des Arts, Paris * One five-month scholarship for the K?nstlerhaus Schloss Wiepersdorf in the state of Brandenburg * One three-month scholarship for the ?cole Nationale Sup?rieure d'Art Dijon, Burgundy The foreign and exchange scholarships are endowed with 1,200 euros a month - 1,500 euros a month for the Cit? des Arts. Eligibility Eligible to apply for the International Residence Scholarships at the K?nstlerhaus Schlo? Balmoral and the National Project Scholarship are international artists of any age from the disciplines of painting, sculpture, installation, drawing, printmaking, design, photography, video, new media and landscape art. The preconditions for all scholarships with the exception of the Curator Scholarship are a completed course of study in art (M.F.A.) and one to three years (depending on the respective scholarship) of continuous artistic work after the conclusion of the studies. Applications are also possible for autodidacts distinguished by special artistic achievements, as documented by exhibitions and prizes. The curator scholarship is awarded to persons who are no older than 35 or whose university degree (at least M.A., preferably Ph.D.) was completed no more than 5 years ago. To foster artistic dialog and interdisciplinary collaboration, knowledge of German, English or French is expected. For the Curator Scholarship, the mastery of the German language and good knowledge of English of French is essential. Awarding of Scholarships A jury of specialists will award all of the scholarships, taking into consideration the developmental potential of the applicant's artistic or theoretical work. The names of the jurors will be made known after they make their selection. Additional information and PDF application forms will be available on our homepage http://www.balmoral.de from May 15, 2009 on. Applications must be made with these application forms. Other applications will not be considered. Dr. Dani?le Perrier Business Managing Artistic Director K?nstlerhaus Schlo? Balmoral Tel. 02603/9419-0 Fax 02603/9419-16 info@balmoral.de http://www.balmoral.de From ab at mikro.in-berlin.de Mon May 11 13:57:18 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon May 11 14:01:01 2009 Subject: [spectre] (fwd) open call: Plastik Art&Science Message-ID: Date: Mon, 11 May 2009 07:36:10 +0800 Subject: open call From: open call To be here and there: general relativity and quantum physics [Plastik Art&Science] http://art-science.univ-paris1.fr/ The first volume of [Plastik] on line brings together and confronts the experiences of artists who illustrate, complete and enrich one of the most important ongoing debates in physics today, i.e. the incompatibility of quantum theory with general relativity. General relativity is a geometric theory of gravitation, now part of numerous applications. Amongst these, the GPS has a temporal correction algorithm which is based on the general theory of relativity. Although the theory of relativity is able to describe the Universe to a large extent, it does not, however, fit in with the Standard Model (and its extensions) of particle physics. Quantum physics, on the other hand, can describe the Universe on a microscopic level, and depends on the notion of wave-particule duality (quantum particles behave as waves and as particles). The fundamental forces are transmitted by particles called "interacting quanta". The applications of quantum physics are omnipresent in post-industrial society, most notably through the transistor, the fundamental device on which all computers and electronic systems are based, but also through LASERs and nanotechnology. Some innovative theories, such as the quantum theory of gravitation, string theory and their extensions, mark a new way of thinking of a complete description of the Universe. The utopian goal consists of unifying these two pillars of modern science which are the most evolved and the most apt to explain the Universe. In this view it would indeed be possible to bring about every physicist's dream of unifying in a single theory the ultimate equation that could explain the Universe. Just like physicists, some artists attempt to interpret what is infinitely large, while others base their artworks on the infinitely small. The epistemological approaches and visual means used by artists to obtain such objectives are radically different. Artists of today are concerned by the applications of locative media, as well as questions of energy, electromagnetic fields and the consequences of time-space curvature. Independently of any direct collaboration with scientists, avant-garde artists of every era have been confronted to the progress of science and its techniques, as well as that of languages that are inevitably created for their use. Nowadays the same kind of artist continues to search for the artistic specificity of scientific discovery, and the possibilities of combinations and hybridisation between art and science. The sciences have an active influence on art, but are also decrypted, explored, diverted and influenced by artists. The relationship between art and science, which we aim to analyse through this publication, can take the form of: a collaboration between artists and scientists - appropriation and exploration of scientific procedures by artists - visual propositions echoing the scientific problems - scientific research based on a hypothesis formulated through a work of art. Deadline for articles: Please send your articles by email to plastic.art.science@gmail.com before the 15th of June, 2009. R?daction [Plastik] plastik.art.science@gmail.com CERAP - Universit? Paris I Panth?on-Sorbonne 47 rue des Bergers 75015 Paris - France Olga Kisseleva olga.kisseleva@univ-paris1.fr From iliyana at crowriver.net Mon May 11 14:54:55 2009 From: iliyana at crowriver.net (Iliyana Nedkova) Date: Mon May 11 14:55:21 2009 Subject: [spectre] First artwork on YouTube by prominent Polish artist Julita Wojcik In-Reply-To: <2577BEC1-F2FC-48C4-879A-F0F1214A1AEC@crowriver.net> References: <2577BEC1-F2FC-48C4-879A-F0F1214A1AEC@crowriver.net> Message-ID: <99852B9C-252C-404F-A76D-62BD2B8FD787@crowriver.net> Figure Skating | Julita Wojcik until 26 July 2009 http://www.youtube.com/Thresholdartspace The dedicated Threshold artspace YouTube channel is home to 'Figure Skating' ? the first artwork to appear on YouTube by prominent Polish artist Julita Wojcik. Wojcik was invited by Horsecross to exhibit 'Figure Skating' on the Threshold artspace YouTube channel as part of her first solo exhibition at a public institution in the UK. Wojcik's solo exhibition 'Domestic Modernism' curated by Iliyana Nedkova and Urszula Sniegowska runs at Threshold artspace, Perth until 26 July 2009. For further details please visit http://www.horsecross.co.uk/about/threshold-artspace/ From ab at mikro.in-berlin.de Mon May 11 20:20:35 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon May 11 20:31:21 2009 Subject: [spectre] (fwd) amber 2009 festival, Istanbul, Nov 2009 Message-ID: amber'09 Art and Technology Festival 6-15 November 2009 "(un)Cyborgable?" call for interactive installations deadline: 1st of August 2009 http://www.a-m-b-e-r.net organised by BIS - Body-Process Arts Association: http://www.a-m-b-e-r.org/ related blog: http://dugumkume.org/en/ From chiarapassa at gmail.com Fri May 8 16:54:18 2009 From: chiarapassa at gmail.com (Chiara Passa) Date: Tue May 12 08:39:24 2009 Subject: [spectre] Espacio Enter Canarias-call for digital art & culture! Message-ID: English version below ------------------------------ ESPACIO ENTER CANARIAS es un Encuentro Internacional de todos los sectores relacionados con el arte y la cultura digital, de las ideas que nos permitir?n dise?ar el futuro y de la innovaci?n tecnol?gica. www.espacioenter.com Fecha: 22 al 27 de septiembre 2009; lugar: Tenerife. Islas Canarias; Espacios: TEA, Espacio de las Artes y Auditorio de Tenerife; Directores: Montse Arbelo y Joseba Franco; Organiza: ART TECH MEDIA. Patrocinador principal: Septenio, Gobierno de Canarias; Colabora: Cabildo de Tenerife... Acoger? aquellas expresiones art?sticas contempor?neas relacionadas con la innovaci?n y los nuevos medios, as? como el Simposio Future Now. Entre los objetivos previstos destacamos el impulso al desarrollo de la alianza estable entre Arte, Ciencia, Innovaci?n, Tecnolog?a, Empresa, la Sociedad y las Instituciones para, juntos, construir una aut?ntica Sociedad del Conocimiento para todos. Convocatorias abiertas hasta 30 de junio 2009: -Arte-Ciencia-innovaci?n: Communidades Digitales- Storytelling geoespacial- Artificial Life- Software Art- Arte Transg?nico- Arte Generativo- Videojuegos- Rob?tica- Open Source- Animaci?n,2D, 3D- Videocreaci?n- Net-art- Blog, videoblog- Creaci?n para plataformas m?viles- Videodanza. ir a inscripci?n arte_ciencia_innovaci?n> -Festival Internacional Cine Digital Experimental: Largometraje-Cortometraje-Cine3D-Animaci?n- Web- 60seg ir a inscripci?n festival_internacional_cine_digital_experimental> -Convocatoria STAGE: Performance- Teatro nuevos medios- Danza nuevos medios- Innovaci?n ?ltimas Tendencias-Desarrollos web 2.0,3.0- Otros ir a inscripci?n convocatoria_Stage> -Convocatoria ADVANCE MUSIC: DJ?S- Wj?S- Electronic Music- Experimental Music- Live Visual Sessions- Streaming Music- Sesiones Experimentaci?n Sonora ir a inscripci?n convocatoria_Advance_Music> -------------------------------------------------------------------------------------------------------------------------------------------------------------------- ESPACIO ENTER CANARIAS is a International Meeting for all sectors related to art and digital culture, for ideas that will allow us to design the future of technological innovation. www.espacioenter.com Dates: 22th to 27th september 2009; Place: Tenerife. Canary Island; Headquaters: TEA, Espacio de las Artes and Auditorio de Tenerife; Directors: Montse Arbelo and Joseba Franco; Organiza: ART TECH MEDIA. Principal Sponsor: Septenio, Gobierno de Canarias; Collaborator: Cabildo de Tenerife... It will embrace contemporary artistic expression related to innovation and new media and also the Future Now Simposium. It aims to strengthen the linkage between Art, Science, Innovation, Technology and Enterprise in order to construct Knowledge Society for all citizens. Calls open until 30th june 2009: -Art-Science-Innovation: Digitals Communities- Storytelling geoespacial- Artificial Life- Software Art- Transgenic Art- Generative Art- Videogamess- Robotic- Open Source- Animation,2D, 3D- Videocreation- Net-art- Blog, Videoblog- Creation for mobile platforms- Videodance. go to registration form: art_science_innovation> -Internacional Digital Experimental Cinema Festival: Film- Webfilm-3D_Cinema- Short Film- Animation- 60seg go to registration form: internacional_digital_cinema_experimental> -STAGE call: Performance- Theatre new media- Dance new media- Fashion Innovations- Web development 2.0, 3.0- Others go to registration form: Stage_call> -ADVANCE MUSIC call: DJ?S- Wj?S- Electronic Music- Experimental Music- Live Visual Sessions- Streaming Music- Experimental Sound Sessions go to registration form: Advance_Music_call> -- Chiara Passa chiarapassa@gmail.com http://www.chiarapassa.it http://www.ideasonair.net http://twitter.com/jogador Skype: ideasonair From miga at o-o.lt Thu May 7 01:38:32 2009 From: miga at o-o.lt (Mindaugas Gapsevicius) Date: Tue May 12 08:42:37 2009 Subject: [spectre] Migrating Art Academies: Transgression Message-ID: <4A021F78.2040407@o-o.lt> Press Release Migrating Art Academies: Transgression May 5th-22nd, Poitiers, Berlin, Cologne, Vilnius, Nida Organisers: European School of Visual Arts (EESI) Kunsthochschule f?r Medien (KHM) Vilnius Academy of Arts (VDA) The second stage (Transgression) of Migrating Art Academies commenced on May 5th. Students from art universities of three countries, viz. Germany, France and Lithuania, will live and create "on the road": they will travel by campers and will collect various data "discovered" on the road with the help of sensors. Berlin, Vilnius and Nida will become the meeting places where workshops will be held, sound project Dusk, Day, Dawn will be presented and student group projects will be developed, while the obtained results will be revealed in the public presentation to be held in Vilnius railway station. Transgression symbolises stepping beyond limits and discovering new forms. It seeks to change habitual routines of the students, thus allowing them to discover fresh expressions of creativity. During the trip, data will be collected using sound, light, vibration or thermal sensors for the implementation of student group projects. Students will describe their discoveries made and experiences gained on the trip in their blog http://www.migaa.eu/vilnius-trip/. German students will be engaged in project Sliding Window based on the determination of collected data by the choice of the equipment being used and the settings deliberately or accidentally applied to it. The French team will be engaged in project Hospitality, which will analyse the role of hospitality in modern societies beyond borders. Fieldworks will emphasise the importance of practical work in the natural environment, rather than in a laboratory or studio, and will be the point of reference for the Lithuanian team. During this session, students of all three universities will first meet in Berlin where joint workshops will be held. On Friday, project Dusk, Day, Dawn containing sounds collected during the trip will be presented in Berlin; sound sessions will be presented at dawn, at midday and at dusk. This will be followed by the trip to Vilnius where group projects of students of each university will be further developed; the obtained results will be revealed in the public presentation in railway station spaces. Then the students will head for the inspiring Lithuanian locality of Nida. The Migrating Art Academies project aims to provide a new learning model uniting habitual routines and new co-operation forms. With slogan mixed reality for better education the students will have an opportunity to work in space in-between virtual and real, the usual domestic environment and new places. By travelling and exploring the surrounding environment, the students will visit several European capitals of culture, viz. Vilnius, Linz and Essen (Ruhrgebiet). For more information visit http://www.migaa.eu Contact person: Mindaugas Gapsevicius, project co-ordinator E-mail: info@migaa.eu; tel.: +49 (0)30 76211322; +49 (0)179 5462260. From drew at futureeverything.org Thu May 7 23:12:25 2009 From: drew at futureeverything.org (Drew Hemment) Date: Tue May 12 08:42:38 2009 Subject: [spectre] Art Spotlights at Futuresonic 2009 Message-ID: Futuresonic 2009 Art Spotlights Urban Festival of Art, Music and Ideas 13-16 May Manchester UK http://www.futuresonic.com/art Futuresonic's 2009 art programme is more ambitious and relevant than ever, featuring thirty international artists and ten world premiers. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Spotlights |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reading The Report Amy Balkin (US) City Centre. 14-16 May Join volunteer readers in the first attempted public recital of the most recent report by the Intergovernmental Panel on Climate Change (IPCC). Sign up for a 20 minute public reading slot on the artist website. http://www.futuresonic.com/balkin |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reds Against Greys Pt II Elin Wikstrom (SE) Manchester Art Gallery. 16 May 1.15pm-4pm A conceptual art event combining performance art, a special film screening, inspirational talks on plant/animal migration, and the match players from Wigan and District Wheelchair Tag Rugby Club. http://www.futuresonic.com/Wikstrom |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Environment 2.0 exhibition at CUBE Various Artists CUBE. 13-23 May Includes artworks that make visible and tangible outcomes of our actions at a local level, artworks conceived as social interventions, and artworks which arise out of a sustained engagement and dialogue between artists and scientists. http://www.futuresonic.com/env20exhibition |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Urban Prospecting Jon Cohrs (US) City Centre. 14-16 May Start at CUBE and head out across the city to prospect for oil using an art device with Jon Cohrs. Sign up online for Thursday, Friday or Saturday prospecting sessions. http://www.futuresonic.com/cohrs |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 100 Years Of Climate Change Yara El-Sherbini / Drew Hemment (UK) City Centre. Date dependent on weather Taking you on a night-time journey to experience 100 years of climate change in 100m. Date announced 10th May and confirmed 24 hours in advance, sign up online to take part. http://www.futuresonic.com/100yearsofclimatechange |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Ackroyd & Harvey in conversation with James Marriott Ackroyd & Harvey / James Marriott (UK) Castlefield Gallery. 14 May 6pm-8pm Radical German artist Joseph Beuys and his 7000 Oaks artwork form the basis for this exchange between artists Ackroyd & Harvey and James Marriott of PLATFORM. http://www.futuresonic.com/ackroyd-harvey-marriott |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Imagine Cleo Evans (UK) Liverpool Cathdral. 16 May 12pm, 12.30pm, 1pm Following on from Liverpool's Capital of Culture year, John Lennon's Imagine will ring out across Liverpool on the world's highest and heaviest peal of bells at Liverpool's Anglican Cathedral. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| CUBE Late Opening CUBE. Fri 15 May Till 10pm A late gallery opening also featuring live performances by Owl Project (UK) and performances and talks by Yamaha and Royal College of Art (UK). |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Tours at CUBE Futuresonic has invited external curators and the artists themselves to give tours of the exhibition. CUBE. 14-16 May 2pm, 6pm |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. 13-16 May, Manchester UK http://www.futuresonic.com The Delegate Pass is the gateway to the Futuresonic festival and the Social Technologies Summit. Dont miss out! http://www.futuresonic.com/delegates All Art events and exhibitions are free. In 2010 Futuresonic will return as FutureEverything #futr09 Futuresonic 2009 Art Spotlights Urban Festival of Art, Music and Ideas 13-16 May Manchester UK http://www.futuresonic.com/art Futuresonic's 2009 art programme is more ambitious and relevant than ever, featuring thirty international artists and ten world premiers. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Spotlights |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reading The Report Amy Balkin (US) City Centre. 14-16 May Join volunteer readers in the first attempted public recital of the most recent report by the Intergovernmental Panel on Climate Change (IPCC). Sign up for a 20 minute public reading slot on the artist website. http://www.futuresonic.com/balkin |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Reds Against Greys Pt II Elin Wikstrom (SE) Manchester Art Gallery. 16 May 1.15pm-4pm A conceptual art event combining performance art, a special film screening, inspirational talks on plant/animal migration, and the match players from Wigan and District Wheelchair Tag Rugby Club. http://www.futuresonic.com/Wikstrom |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Environment 2.0 exhibition at CUBE Various Artists CUBE. 13-23 May Includes artworks that make visible and tangible outcomes of our actions at a local level, artworks conceived as social interventions, and artworks which arise out of a sustained engagement and dialogue between artists and scientists. http://www.futuresonic.com/env20exhibition |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Urban Prospecting Jon Cohrs (US) City Centre. 14-16 May Start at CUBE and head out across the city to prospect for oil using an art device with Jon Cohrs. Sign up online for Thursday, Friday or Saturday prospecting sessions. http://www.futuresonic.com/cohrs |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| 100 Years Of Climate Change Yara El-Sherbini / Drew Hemment (UK) City Centre. Date dependent on weather Taking you on a night-time journey to experience 100 years of climate change in 100m. Date announced 10th May and confirmed 24 hours in advance, sign up online to take part. http://www.futuresonic.com/100yearsofclimatechange |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Ackroyd & Harvey in conversation with James Marriott Ackroyd & Harvey / James Marriott (UK) Castlefield Gallery. 14 May 6pm-8pm Radical German artist Joseph Beuys and his 7000 Oaks artwork form the basis for this exchange between artists Ackroyd & Harvey and James Marriott of PLATFORM. http://www.futuresonic.com/ackroyd-harvey-marriott |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Imagine Cleo Evans (UK) Liverpool Cathdral. 16 May 12pm, 12.30pm, 1pm Following on from Liverpool's Capital of Culture year, John Lennon's Imagine will ring out across Liverpool on the world's highest and heaviest peal of bells at Liverpool's Anglican Cathedral. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| CUBE Late Opening CUBE. Fri 15 May Till 10pm A late gallery opening also featuring live performances by Owl Project (UK) and performances and talks by Yamaha and Royal College of Art (UK). |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Art Tours at CUBE Futuresonic has invited external curators and the artists themselves to give tours of the exhibition. CUBE. 14-16 May 2pm, 6pm |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. 13-16 May, Manchester UK http://www.futuresonic.com The Delegate Pass is the gateway to the Futuresonic festival and the Social Technologies Summit. Dont miss out! http://www.futuresonic.com/delegates All Art events and exhibitions are free. In 2010 Futuresonic will return as FutureEverything #futr09 From Info at edith-russ-haus.de Mon May 11 13:34:53 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Tue May 12 08:42:41 2009 Subject: [spectre] Kristin Lucas, Performance - Lecture | 12. Mai 2009, 19 Uhr Message-ID: <4A082976.9ACC.00AE.0@edith-russ-haus.de> Morgen im Edith-Russ-Haus f?r Medienkunst: 12. Mai 2009, 19 Uhr Performance - Lecture Kristin Lucas, I don`t know how software feels, but I think she doesn?t feel like this Bericht zum Stand des vom Edith-Russ-Haus f?r Medienkunst gef?rderten Projekts ?Version? Am 5. Oktober 2007 wurde Kristin Lucas zur aktuellsten Version ihrer Selbst, als ihr vor einem kalifornischen Gericht eine Namens?nderung von Kristin Sue Lucas zu Kristin Sue Lucas genehmigt wurde. Sie begr?ndete ihren Antrag damit, sich ?refreshen? zu wollen. In ihrem Vortrag berichtet Lucas dar?ber, welche Strategien sie einsetzt, um zu verstehen welche Implikationen, Limitationen und Vorz?ge es hat, die neueste Version seiner Selbst zu sein. Dazu unterhielt sie sich mit Rechtsexperten, Philosophen, Medientheoretikern, Erkenntnistheoretikern, Genetikern, Zwillingen, Doppelagenten, Wiedergeborenen, Reinkarnations- Bekennern, und weiteren mehr. In englischer Sprache. Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de **************************************************************************************** Tomorrow at the Edith-Russ-Site for Media Art: 12 May 2009, 7 p.m. Performance - Lecture Kristin Lucas, I don`t know how software feels, but I think she doesn?t feel like this Report about the current state of the projekt ?Version?, which is supported by the Edith-Russ-Site for Media Art In english If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de *** Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de From director at eaf.asn.au Tue May 12 10:25:55 2009 From: director at eaf.asn.au (EAF Director) Date: Tue May 12 10:26:54 2009 Subject: [spectre] =?iso-8859-1?q?EAF_presents_Mark_Siebert=A0and_Fleur_E?= =?iso-8859-1?q?lise_Noble=A0?= Message-ID: <5eb15a0bc7a6157b9692e6307ee83bc6@eaf.asn.au> The Experimental Art Foundation is pleased to present the work of two artists: ? Mark Siebert? Forever 27 Fleur Elise Noble? Work in Progress?[version 1: drawing installation]? Curated by Melentie Pandilovski Opening 6pm Thursday 14 May. 15 May ? 13 June Artists talks 2pm Friday 15 May From May to September the exhibitions at the EAF focus on the work of artists from Adelaide.?Generally emerging, they've begun to attract attention. Their concerns are varied and include questions around taste, saturated image culture, popular (and not so) music, technologically altered and alternate senses, and the processes of making work - the perennial 'What for?' ?First up, Mark Siebert, Forever 27, & Fleur Elise Noble,?Work in Progress [version 1: a drawing installation] both open on Thursday 14 May. ?To be followed by Tristan Louth-Robins & Shoot Collective in June-July, and Bridget Currie \ Paul Sloan in August-September. Mark Siebert's Forever 27 is an installation that includes a series of photographs and watercolours that explores the cult of the rock star and the ill fated age of 27 years. The photographs emulate the deaths of the rock stars Siebert considers the ?most famous? ? Janis Joplin, Robert Johnson, Jimi Hendrix, Brian Jones, Kurt Cobain and Jim Morrison. Currently aged 27, Mark Siebert?s work has a kind of morbid fascination with slacker music culture, laconic, and laid wa-a-ay back. In 2007 he exhibited Fan Letters, a series of poorly-typed letters to rock stars that had a definite conceptual art feel about them. Amusing?and sometimes deliberately dumb, the letters touch on belonging, identity, and celebrity. ? Stan Mahony writes; ?Almost everything is a matter of taste these days. Taste is a serious business, and Mark Siebert know it. // Taste equals art plus identity, and if art and identity aren?t the bones themselves, they?re pretty close. For Siebert, the idea of taste is so horribly fraught that to go anywhere near it is to risk unleashing all manner of frightening demons? (Forever 27?catalogue essay). CV Bio Mark Siebert has shown his work in several galleries including: Greenaway Art Gallery, Adelaide; The Contemporary Art Centre of South Australia; The Experimental Art Foundation, Adelaide; Substation, Singapore; Starkwhite, Auckland, New Zealand, Firstdraft Gallery, Sydney; Downtown Art Space, Adelaide; Bus Gallery, Melbourne; Raw Space, Brisbane; and MOP Projects, Sydney. He was one of the co-directors of Downtown Art Space until it closed in December of 2007. In 2007 he published a book of fan letters (of the same title) to the musicians that have ?given [him] so much?.?Mark Siebert is represented by Greenaway Art Gallery, Adelaide. Fleur Elise Noble works with film, animation, puppetry, projection?and performance, primarily through the filter of drawing process.?Work in Progress is a three-dimensional drawing installation that unravels in time and space like a theatre production, exploring the performative possibilities of image and creation. In this work, film and animation occupy the stage as a spatial entity, extending from their usual relationship with the rectangle and the two dimensional surface.?Work in Progress [version 1: drawing installation] is the first draft of The 2-Dimensional Life of Her, a 40 minute theatre production showing at the Queens Theatre, May 18-23, during Come Out Festival. Roy Ananda writes; ?Like the ?Just-So? stories of Rudyard Kipling, Work in Progress is a pourquoi story: a poetic and fantastical retelling of the origins of Noble?s figurative drawings and sculptures. The work posits a richly imagined parallel world where drawings reproduce themselves, drift between surfaces and move in and out of three dimensions. Elegant clay sculptures are chopped up and reconfigured as gangly, lurching marionettes. Sheets of paper suspended in space appear thickly laden with marks, only to be scrubbed clean, revealing windows into yet another parallel reality where the laws of physics are different still? (Work in Progress catalogue essay). CV Bio Fleur Elise Noble studied on a full scholarship at Adelaide Central School of Art where she received her Batchelor of Visual Art (Honors) in 2006. She was also offered a scholarship from the New York Studio School of Drawing Painting and Sculpture where she studied for 1 year in 2005. Fleur has been the recipient of numerous of grants and awards. She has exhibited in New York, Adelaide and Perth, and has been involved in performative projects in Edinburgh, Brisbane, Hobart and New Zealand.? further >? (artist?s website) fleurelisenoble.com ------------------------------------------------------------------------ ------------------------------------- EXPERIMENTAL ART FOUNDATION LION ARTS CENTRE, NORTH TERRACE [WEST END] ADELAIDE SOUTH AUSTRALIA11-5 TUES-FRI; 2-5 SATURDAY | +61 8 8211 7505 info@eaf.asn.au? www.eaf.asn.au The EAF is assisted by the Australian Government through the Australia Council for the arts, its arts funding and advisory body, and by the South Australian Government through Arts SA.?The EAF is also supported through the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. This is #110 eaf.asn.au mailout! To unsubscribe reply to info@eaf.asn.au with stop it! in the subject. From joris at v2.nl Tue May 12 10:37:30 2009 From: joris at v2.nl (V2_) Date: Tue May 12 10:38:00 2009 Subject: [spectre] V2_Test_Lab: Fashionable Technology 20/05/2009 Message-ID: <4A09354A.5050604@v2.nl> V2_Events: Test_Lab: Fashionable Technology* V2_ Ground floor, Eendrachtsstraat 10, Rotterdam. May 20, 2009 8 p.m. Admission: free. *The term Fashionable Technology is coined by Sabine Seymour. This event will be streamed live at http://live.v2.nl Featuring: Sabine Seymour (AT/US), Mark Coeckelbergh (B/NL), Aram Bartholl (DE), Cutecircuit: Francesca Rosella and Ryan Genz (UK), and KOBAKANT: Mika Satomi and Hannah Perner-Wilson (JP/AT). Clothing is an aspect of the human physical appearance with considerable social significance. Styles, logos and prints mediate our self-expression and publicly communicate our personal tastes and preferences. Popular ways of doing so reflectwhat is in fashion, which is under constant change due to new developments in fabrics, construction methods,ancillary objects, and their (re-)combination by fashion designers. Recent advances in wearable technology have resulted in a variety of technologies that seamlessly connect to the human body, or are integrated into clothing (such as shape memory alloys, soft circuits, and embedded displays). As a result, more and more fashion designers are turning to the field of wearable technology fornew developments. While these progressive fashion designers are currently setting the trend in fashionable technology with,what can broadly be considered, innocent implementations (such as embedded iPods, integrated LEDs, and adaptive contours), many artists and designers prophesize more provocative scenarios for the future of such technology. These artists foresee that this trend will eventually have an unprecedented social impact, due to the wide-ranging possibilities for self-expression, connectivity, and public communication of innovative fashionable technologies. The scenarios for fashionable technology sketched by these artists provoke philosophical discussionas to the social impact that such developments may have. Will the public display of Twitter messages on our clothing open up new opportunities for social engagement? Will this stimulate physical proximity or rather deter us from it? Would we share the same private information as we often do in online networks when we publicly display these messages on our bodies? How desirable are scenarios for more intimate fashionable technologies, such asmobile transmission of fashion-mediated physical sensations? And what happens when these garments fall prey to fashion hackers?! This edition of Test_Lab is organized in collaboration with Rotterdam's acclaimed philosophy cafe Arminius Denkcafe. 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 director at eaf.asn.au Tue May 12 10:58:42 2009 From: director at eaf.asn.au (EAF Director) Date: Tue May 12 11:25:23 2009 Subject: [spectre] new exhibitions at EAF Message-ID: <99d77daa87d0f0be43cc73330510208c@eaf.asn.au> The Experimental Art Foundation is pleased to present the work of two artists: ? Mark Siebert? Forever 27 Fleur Elise Noble? Work in Progress?[version 1: drawing installation]? Curated by Melentie Pandilovski Opening 6pm Thursday 14 May. 15 May ? 13 June Artists talks 2pm Friday 15 May From May to September the exhibitions at the EAF focus on the work of artists from Adelaide.?Generally emerging, they've begun to attract attention. Their concerns are varied and include questions around taste, saturated image culture, popular (and not so) music, technologically altered and alternate senses, and the processes of making work - the perennial 'What for?' ?First up, Mark Siebert, Forever 27, & Fleur Elise Noble,?Work in Progress [version 1: a drawing installation] both open on Thursday 14 May. ?To be followed by Tristan Louth-Robins & Shoot Collective in June-July, and Bridget Currie \ Paul Sloan in August-September. Mark Siebert's Forever 27 is an installation that includes a series of photographs and watercolours that explores the cult of the rock star and the ill fated age of 27 years. The photographs emulate the deaths of the rock stars Siebert considers the ?most famous? ? Janis Joplin, Robert Johnson, Jimi Hendrix, Brian Jones, Kurt Cobain and Jim Morrison. Currently aged 27, Mark Siebert?s work has a kind of morbid fascination with slacker music culture, laconic, and laid wa-a-ay back. In 2007 he exhibited Fan Letters, a series of poorly-typed letters to rock stars that had a definite conceptual art feel about them. Amusing?and sometimes deliberately dumb, the letters touch on belonging, identity, and celebrity. ? Stan Mahony writes; ?Almost everything is a matter of taste these days. Taste is a serious business, and Mark Siebert know it. // Taste equals art plus identity, and if art and identity aren?t the bones themselves, they?re pretty close. For Siebert, the idea of taste is so horribly fraught that to go anywhere near it is to risk unleashing all manner of frightening demons? (Forever 27?catalogue essay). CV Bio Mark Siebert has shown his work in several galleries including: Greenaway Art Gallery, Adelaide; The Contemporary Art Centre of South Australia; The Experimental Art Foundation, Adelaide; Substation, Singapore; Starkwhite, Auckland, New Zealand, Firstdraft Gallery, Sydney; Downtown Art Space, Adelaide; Bus Gallery, Melbourne; Raw Space, Brisbane; and MOP Projects, Sydney. He was one of the co-directors of Downtown Art Space until it closed in December of 2007. In 2007 he published a book of fan letters (of the same title) to the musicians that have ?given [him] so much?.?Mark Siebert is represented by Greenaway Art Gallery, Adelaide. Fleur Elise Noble works with film, animation, puppetry, projection?and performance, primarily through the filter of drawing process.?Work in Progress is a three-dimensional drawing installation that unravels in time and space like a theatre production, exploring the performative possibilities of image and creation. In this work, film and animation occupy the stage as a spatial entity, extending from their usual relationship with the rectangle and the two dimensional surface.?Work in Progress [version 1: drawing installation] is the first draft of The 2-Dimensional Life of Her, a 40 minute theatre production showing at the Queens Theatre, May 18-23, during Come Out Festival. Roy Ananda writes; ?Like the ?Just-So? stories of Rudyard Kipling, Work in Progress is a pourquoi story: a poetic and fantastical retelling of the origins of Noble?s figurative drawings and sculptures. The work posits a richly imagined parallel world where drawings reproduce themselves, drift between surfaces and move in and out of three dimensions. Elegant clay sculptures are chopped up and reconfigured as gangly, lurching marionettes. Sheets of paper suspended in space appear thickly laden with marks, only to be scrubbed clean, revealing windows into yet another parallel reality where the laws of physics are different still? (Work in Progress catalogue essay). CV Bio Fleur Elise Noble studied on a full scholarship at Adelaide Central School of Art where she received her Batchelor of Visual Art (Honors) in 2006. She was also offered a scholarship from the New York Studio School of Drawing Painting and Sculpture where she studied for 1 year in 2005. Fleur has been the recipient of numerous of grants and awards. She has exhibited in New York, Adelaide and Perth, and has been involved in performative projects in Edinburgh, Brisbane, Hobart and New Zealand.? further >? (artist?s website) fleurelisenoble.com From drew at futuresonic.com Tue May 12 12:35:08 2009 From: drew at futuresonic.com (Drew Hemment) Date: Tue May 12 12:35:35 2009 Subject: [spectre] Date Announced - world's biggest bubble blowing climate experiment Message-ID: Join Futuresonic and the Met Office / Hadley Centre in the bubble blowing climate experiment, Climate Bubbles. Prepare your bubbles... the date has been announced, and the bubble blowers of Manchester are about to set forth on the world's first mass-participation bubble-blowing soap-tastic citizen-science experiment! http://www.futuresonic.com/bubbles Open to anyone, all you need to do is make/get some bubble mixture and play two bubble games, The Bubble Chase & The Bubble Race Climate Bubbles is a locative media-meets-citizen science project by Drew Hemment, Alfie Dennen and Carlo Buontempo. http://www.futuresonic.com/env20 |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| When & Where? |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| DATE ANNOUNCED: midday, Fri 15 - midday, Sat 16 May Blow your bubbles anytime from midday, Fri 15 to midday, Sat 16 May (confirmed 48 hours in advance). 24 hours for Bubble Racing and Chasing: we need lots of measurements at different times of the day (and night) over this 24 hour period. The best conditions for the experiment are during the daytime (11.00am-15.00pm) but a fun idea is to have a Bubbles Breakfast, or you may want to blow bubbles after work or school. Take part anywhere across Greater Manchester, we want races in as many different places as possible. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Help spread the word! |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Please ask your Facebook friends - plus families, colleagues and neighbours - to join in with the world's first bubble blowing locative media climate experiment, Climate Bubbles. Join the Facebook group http://www.facebook.com/group.php?gid=73305977659 Change your profile picture to Climate Bubbles, and help spread the word!! If you use Twitter, send a Tweet including the hash tags #futr09 #bubbles. "Blow bubbles to help Met Office and Futuresonic model urban climate #futr09 #bubbles http://bit.ly/Q78G8" |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| How? |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Bubble Chase & The Bubble Race are two bubble games that enable people across the city of Manchester to map air flow and the urban climate. Upload your results to our website and give the Met Office a snapshot of Manchester?s Urban Heat Island. Make your own bubble kit to protect the environment using our download instructions. Or pick a bubble kit from Futuresonic 2009 venues, or buy one from a shop. Learn all about the bubble games here http://www.futuresonic.com/bubbles Download instructables at http://www.futuresonic.com/climateBubblesInstructions |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic 2009 Urban Festival of Art, Music & Ideas 13-16 May, Manchester UK http://www.futuresonic.com World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. For information on other Environment 2.0 projects at Futuresonic 2009 visit http://www.futuresonic.com/env20 In 2010 Futuresonic will return as FutureEverything #futr09 From seamascain at gmail.com Tue May 12 22:00:15 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue May 12 22:00:49 2009 Subject: [spectre] Assembling in the eternal network Message-ID: <6f1e9ee40905121300h2aac704fqc59fd89d75556048@mail.gmail.com> _______________ "NONE OF THE ABOVE : Assembling, Collaborating and Publishing in the Eternal Network" A CALL FOR PARTICIPATION, to poets and artists ... In an ambitious assembling-style project, Minnesota Center for Book Arts invites any and all to send 125 copies of anything that will fit into a 9" x 12" envelope. This project is in conjunction with MCBA?s upcoming exhibition "None of the Above : Assembling, Collaborating and Publishing in the Eternal Network." An assembling project represents the ultimate in democratic art. Everything submitted will be included in the publication (or series of publications, depending on how many people participate). In return for your efforts, you receive a selection of 89 different works created by others who participate. What to send? Any means of expression is fine (paper, CDs, stickers, popsicle sticks) but it can be no larger than 8.5" x 11" (21.6 cm x 27.9 cm) and 1/8" thick (.3 cm). It can be folded, stitched, crushed, flattened, etc. Shrunk-via-shrink-ray submissions are okay. If you need a theme, submissions will be compiled in publications titled "None of the Above." How?s that for clear direction? How many to send? Submit 125 copies. 89 of these will go to other participants. Additional copies will be archived, distributed to donors/volunteers, and a small number will be sold as a fundraiser for MCBA. What else to send? So that we can send you your copy of the publication, include a sheet of paper with your name and postal address. Also include $5 in U.S. funds ? checks payable to Minnesota Center for Book Arts ? to cover the cost of envelopes and postage. Where to send ... "None of the Above," c/o Minnesota Center for Book Arts, 1011 Washington Avenue South, Suite 100, Minneapolis, Minnesota, U.S.A., 55415 Deadlines: If we receive submissions by August 21, 2009, they will be displayed as part of the associated exhibition. To be included in the publication, submissions must be received no later than October 24, 2009. A special collating event will occur at MCBA on Saturday, October 24, 2009. For those who would like to participate, you may bring your 125 copies that evening rather than mailing. Then there is no fee. Please e-mail Jeff Rathermel, MCBA?s Artistic Director, at jrathermel@mnbookarts.org by October 16, 2009 if you will be participating. Arrive at 7:00 p.m., assembly lines commence at 7:30 p.m. Yours for the poetry of assembling, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From emonk at eliot.priv.at Wed May 13 13:04:57 2009 From: emonk at eliot.priv.at (Aileen Derieg) Date: Wed May 13 13:25:55 2009 Subject: [spectre] Art University Linz institutes a new award Message-ID: <20090513130457.819r94x5cc4w8w4g@eliot.at> [For background and more information about police violence at the May 1st demo in Linz, see: http://gegenpolizeigewalt.servus.at] We cordially invite you to the award of the ?Goldenes Rueckgrat/Golden Backbone? on 19 May 2009 at 7 pm in the large hall of the Offenes Kulturhaus Upper Austria Dametzstrasse 30, 4020 Linz It cannot be that civil courage is politically penalized in our country. Especially in times of crisis, in which media and politics like to appeal to the fundamental principles of human communality, it is a scandal that a member of our community is punished and subjected to political pressure for attempting to prevent violence against someone weaker. We specifically refer to the events of 1 May 2009 in Linz and to the arrest of the Vice Rector of the Art University, Rainer Zendron. The few statements from politicians that have made it into the media have all been personal attacks ? see, for instance, commentaries in the newspaper OOe Nachrichten from 4 May 2009 ? and only a few public voices spoken up in his defence. Therefore, it is up to us as committed members of the Art University Linz to put Rainer Zendron as a person and in his importance for the way our university works into the right light. For this reason, we have initiated a distinction that is to be awarded annually starting this year to those persons who have especially distinguished themselves by their outstanding civil courage. This prize is to be ceremoniously awarded on 19 May 2009 at 7 pm in the large hall of the Offenes Kulturhaus Upper Austria to Vice Rector Rainer Zendron. In this way, we seek to demonstrate not only that we take a position as a united body ? as the university ? on this situation set in motion by the incident on May 1st, but also to express solidarity with the victims of police violence and arbitrariness, who unfortunately have no lobby in the media. We are an educational institution! And we will not accept being put under pressure, neither from the media nor from party politics! And we call for the charges against Rainer Zendron and the other persons arrested on 1 May 2009 to be dropped! -- From heather.corcoran at fact.co.uk Wed May 13 14:38:00 2009 From: heather.corcoran at fact.co.uk (Heather Corcoran) Date: Wed May 13 14:38:30 2009 Subject: [spectre] Paul B. Davis at Seventeen, London Message-ID: <4A0ABF28.7050801@fact.co.uk> PAUL B. DAVIS [BEIGE] DEFINE YOUR TERMS (OR KANYE WEST FUCKED UP MY SHOW) WEDNESDAY 27TH MAY - SATURDAY 4TH JUL 2009 PRIVATE VIEW - Thursday 28th May www.seventeengallery.com 17 KINGSLAND ROAD LONDON E2 8AA Paul B. Davis' probing, contemplative second solo show at SEVENTEEN represents a bold step forward for the artist...though not necessarily one he expected to take. It was instigated by a semi-voluntary rejection of a practice that, until very recently, was central to his creative output and figured prominently in his debut exhibition at the gallery - Intentional Computing (2007). A curious turn of events led to this unforeseen repudiation and redefinition of practice: 'I woke up one morning in March to a flood of emails telling me to look at some video on YouTube. Seconds later saw I Kanye West strutting around in a field of digital glitches that looked exactly like my work. It fucked my show up...the very language I was using to critique pop content from the outside was now itself a mainstream cultural reference.' Contentiously dubbed 'datamoshing', (or 'compression aesthetics', as Davis prefers to describe it), this practice ultimately emerged out of artefacts inherent in the compression algorithms of digitally distributed media. Davis seized upon the glitchy pixellation that is often present while viewing YouTube clips or Digital TV, and repurposed it as a tool of cultural rupture. Alongside other artists such as Paper Rad, Sven Konig and Takeshi Murata, he engaged this effect as a tool for aestheticized intervention, a fresh framework for analysis, and a new visual language. In contemporary culture, mainstream media pilfering of independent artistic production is expected. Moreover, it's a generative force - renegade practice and/or methodology is forced into evolution by the appropriation of its pioneering techniques. But for Davis this perhaps inevitable incorporation by Kanye West, the self proclaimed 'voice of this generation', served as a trigger to directly engage his growing concern that current artistic methods for grappling with digital culture - hacks, remixes, and 'mash-ups' among them - are ill-equipped for sustaining serious and self-reflexive critical examination. As Davis has commented, 'These methods generate riffs...restatements or celebrations of existing cultural behaviours, and artists who use them are seemingly unable to either offer incisive alternatives or generate new cultural forms. I was one of these artists, making these riffs, and I'd come to realize their limitations.' Define Your Terms (or Kanye West Fucked Up My Show) concerns Davis' attempt to understand, react to, and depart from this crossroads. The works in the exhibition, many of which disavow his previous modes of hacking or mashing-up existing digital artefacts, have all been produced in the past two months, and will instead propose some alternate strategies for provocatively getting under the skin of Civilisation 2.0. In Codec (2009), Davis' created his own proprietary video compression/decompression algorithm, free of now-standardized templating and presets. This algorithm is - defiantly - unavailable for commercial use. With Critical Space Headgear (2009) a head-mounted video camera is fed to a head-mounted display, the resolution of camera output and viewed input being reduced to 320x200 pixels thereby creating a self-mediated 'reality' that's flattened in real-time to the same dimensions as YouTube. In The Symbol Grounding Problem (2009) Davis simultaneously ingests a bacon sandwich while defecating in a perspex box as philosopher Luciano Floridi narrates the viewer through what they see onscreen as the interaction of dynamic informational entities. Floridi asserts that as we move closer towards the singularity - the future point in which human consciousness merges with the consciousness of our machinic progeny - our own experiential trajectory in the physical world will become secondary to the interaction of informationally-modeled simulacrum. This inevitable futurity is reinforced while experiencing the most base, mundane of bodily functions - simply taking a poo. In this way, the works in this show are built. They are constructed out of whole cloth. There are no naive uses of technology here as they turn away from seemingly arbitrary, uninterrogated appropriation of digi-cultural artefacts and seek to offer alternative strategies for taking on the protocols of new media. In essence, Define Your Terms (or Kanye West Fucked Up My Show) is an exhibition about Davis breaking free from his own creative paradigm and setting forth a revivified agenda. Through radical reevaluation of his process, Davis has offered some new approaches for tackling the hovering questions that are relentlessly generated by this - our age of over-caffeinated cultural cycles, empty signifiers, and supreme technological oversaturation. Kanye West's recent video for his track Welcome To Heartbreak (2009): http://www.youtube.com/watch?v=UgZRU7360O8 Compression Study #1 (Untitled data mashup) by Paul B. Davis [BEIGE] and Jacob Ciocci (Paper Rad), 2007: http://www.youtube.com/watch?v=CWG5jqzYsEI Compression Study #4 (barney) by Paul B. Davis [BEIGE], 2007: http://www.youtube.com/watch?v=4iRKxK6suF0 BIO Lives and works in London, UK. Founded the BEIGE Programming Ensemble with Joe Beuckman, Cory Arcangel and Joseph Bonn. While still in college in the late 90s Davis pioneered the use of hacked video game cartridges as an art practice. His Nintendo work was premiered in 2000 and subsequently BEIGE members used hacked NES systems to create a distinct body of work that has been shown internationally. Davis created The BEIGE Cassette Jockey Championships, the world's only cassette tape-based performance competition, and performing as 'DJ Spin-Laden' is the only DJ to ever get thrown off stage at the Technics/DMC World DJ Championships. Recent projects include solo exhibitions in Milan and Chicago, performing music and wizardy in a duo with DJ LeDeuce [Thrill Jockey] known as The Potions, and DJ'ing in the elevator of the Akademie der Kunste, Berlin. Currently a lecturer in Fine Art at Goldsmiths College, working on his Ph.D, and producing beats for St. Louis rapper 'Wonton'. From hatam at drfz.de Wed May 13 15:30:48 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Wed May 13 15:31:21 2009 Subject: [spectre] Hackteria & Labhacking Workshop with Dusseiller & Koenig May30-June3 Berlin NK Message-ID: <380-220095313133048883@M2W002.mail2web.com> H a c k t e r i a & l a b h a c k i n g with Marc R. Dusseiller & Kaspar koenig Saturday 30 May - Wednesday 3 June 2009, 12.00-18.00 daily Location: eNKa / ElsenStr. 52 (2.Hof) Berlin, Germany Telephone: +49 (0)176 20626386 Course Participation fee: 100 euros Registration is required for this workshop and can only be done via email to: enka_nkATgmxDOTde Please register early to ensure a place. Places are limited to 16. For Workshop leaders Biographies and full description and additional reading go to myspace.com/enka52 Overview--Experimental make-workshop with multilayered outcome for people interested in sound, DIY-biology, microscopy and interaction of living microorganisms. Knowledge in physical computing, video and sound processing, electronics and puredata is welcome, but not compulsary. Description--In this workshop the experiments will take place in close-up view of microorganisms (e.g. water bears aka tardigrades,amoebae and collected organisms from urban environments), which appears to be a world by itself. Maybe due to the scaling and the amplification of a microscope, but maybe also due to all parameters of imagination that the microcosmos provokes. Growth and behaviour of these microscopic animals remind us of our own micro-macro-development. With the image and the movement of the organisms, the participants are encouraged to collect inspiration and bridge video and sound to what they experience with these small ???animalcules???, as termed by their first observer Leeuwenhoek in 1677. The participants will learn How to work with the usb-microscopes and hack webcams to be used as microscopes, observe the behaviour and motion of the waterbears and other microorganisms, find sounds from the lab equipment, hack into electronic devices to integrate into bioelectronic culture devices and build habitats for the animals. Also they will discover sounds from the different instrumentation and utilities of the laboratory. Recycle and compose arrangements for Lab-visual and Lab-sound scapes and benefit from a cross fertilization between the whole (scientific) equipment (you can bring your own too!) and an artistic metaphorical language. The outcome can be a video with a microscopic soundtrack, a living object with singing waterbears, a performance with laboratory sounds, or an openLab Hackteria installation. Material needed The participant should bring their own laptop/computer, a webcam with an adjustable lens and some general lab stuff they have access to. Material available various labware, glassware, petri-dishes, usb-microscopes, microorganisms, soldering stations, electronic parts, arduinos etc.. -------------------------------------------------------------------- myhosting.com - Premium Microsoft? Windows? and Linux web and application hosting - http://link.myhosting.com/myhosting From hatam at drfz.de Wed May 13 15:43:05 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Wed May 13 15:43:33 2009 Subject: [spectre] Theremin Sensors Workshop Nk Berlin with Andrei Smirnov May 18-22 Message-ID: <380-22009531313435708@M2W011.mail2web.com> Theremin Sensors Workshop with Andrei Smirnov = 5 days with final concert-presentation = Monday 18 May - Friday 22 May 2009, 12.00-18.00 daily Final presentation Saturday 22 May, 19.00 Location: eNKa / ElsenStr. 52 (2.Hof) Berlin, Germany Telephone: +49 (0)176 20626386 Course Participation fee: 100 euros Registration is required for this workshop and can only be done via email to: enka_nkATgmxDOTde, myspace.com/enka52 Please register early to ensure a place. Places are limited to 12. This intensive workshop offers hands-on introduction to interactive systems, based on the theremin-sensor technology developed by Andrei Smirnov and based on the same principle as a well known electronic musical instrument the Theremin, invented by Russian inventor Leon Theremin in 1919. The sensors are small and sensitive digital Theremins useful for numerous applications including motion tracking, gestural interfacing, monitoring of small variations of electrical capacitances related to any sorts of conductive materials and media, including metal objects, foil, liquids, water, human body, plants, metal threads, thin plastic films with metallization, all sorts of Christmas stuff etc. As a starting point of the workshop participants will convert their laptops into digital multichannel Theremins to develop further, during the workshop different interactive audio/video installations, motion capturing systems, unusual gestural interfaces, 3D Theremins, digital Terpsitones and other unusual musical instruments. The workshop is oriented on sound and media artists, composers and musicians, who have particular interest in sound art and interactive systems, forgotten history and musical technology in general. The theoretical introductions, which accompany a workshop, give detailed technical overview of sensor technology and construction, basic principles of operation of the theremin based systems, art and music applications, useful concepts and ideas, condensed historical content, mostly related to almost forgotten historical facts. Participants will learn = How to detect different sorts of motion and measure it = How to monitor very small variations of electrical parameters = How to deal with the data acquired = How to integrate these systems into musical performance, dance, video, sound and art installations = How to build multichannel sensor systems based on Arduino microcontrollers = How to program new instruments and perform with them Requirements Each participant should have a computer with an audio input and headphones. All computers and software should be configured and checked in advance (!). Minimal configuration 1. Laptop with PD or MAX/MSP installed 2. Stereo audio input 3. Personal headphones 4. All appropriate cables 5. Appropriate amount of power plugs Useful options Experienced participants interested in development of multichannel theremin-sensor systems should bring multichannel sound cards or Arduino microcontrollers which will be converted into multichannel USB theremins. For those who hate computers and interested in pure analog circuits some breadboards will be very useful. Software Participants should have some skills in PD or MAX/MSP programming. It is also possible to work with any favorite software, oriented on interactive systems development, which allow external control via OSC or MIDI (Supercollider, Isadora etc.). In all cases control data will be provided via MAX/MSP runtime or PD patches from instructor's library. It is important to remember that in many cases the use of extra software will result in significant increase of latency and other possible timing problems. Analog and digital USB sensors for testing, experimenting and performance as well as all appropriate software libraries will be provided by instructor as well as different stuff for antenna construction. -------------------------------------------------------------------- mail2web - Check your email from the web at http://link.mail2web.com/mail2web From seamascain at gmail.com Wed May 13 16:42:05 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Wed May 13 16:42:51 2009 Subject: [spectre] Breakthrough in Berlin Message-ID: <6f1e9ee40905130742s1f6762b4x9846704a0dfb1f0c@mail.gmail.com> _______________ BREAKTHROUGH IN BERLIN Saturday the 27th of June 2009 CALL FOR PROJECTS ... ** Description "Breakthrough" proposes an experimental, interdisciplinary event constructing a new field of research & play. "Breakthrough" signals the skewed extension & plain rupture with a series of earlier actions [in London, Bergen, Berlin] exploring the material basis of technology & expanding on the practice of life coding. The term "breakthrough" describes a sudden shift in understanding or technologies, & finally a clearing (Lichtung), an entry into unknown & 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 & the dead, between many worlds. What does the sheer possibility of a "breakthrough" imply for communication between the past & the future? "Breakthrough," as event, signals a change in direction, a pointing towards new ways of actively describing & creating the world. Within a complex mise en scene of workshops, lectures & performances, diverse artists & poets, theorists, researchers, & hackers collaborate in the creation of a "breakthrough" which can rupture the enclosure of scientific rationalism & enlightenment without recourse to named magic. http://www.piksel.no/2009/05/breakthrough-saturday-27th-june-2009-call-for-projects-berlin http://www.1010.co.uk/ ** Call for projects/actions: "Breakthrough" calls for projects which perform, describe & construct (in process) a rupture or breaking through of the projects of rationalism & endeavour of past or future intention. Projection & play with time space co-ordinate points is encouraged. Potential actions or investigations could very well extend into ... practical endophysics, sound & radio wave transitions, diagrammatic formation, clustering & islanding, simulations coding & exploration, biologic interface, crashing, brain writing, construction, environmental steganography, data forensics, escape hatch literature, novel geometry description, life coding, poetry coding, interrupt theatre, sexual coding, amateur radio astronomy, etc. "Breakthrough" will be prepared within a three day workshop in Berlin, towards the construction of a one day event distributed across the city of Berlin, & maintained with a strict scheduling & interrupt system backbone (micro-FM and Internet). Please submit short messages of intent to m@1010.co.uk by the 29th of May 2009. http://www.1010.co.uk/ "Breakthrough" is supported by Hauptstadtkulturfonds, Berlin 2009 http://www.hauptstadtkulturfonds.berlin.de/ ** Postscript: Byrne: "I do not want to get a long half-hour involvement about Faraday cages, diodes, or transistors & so on. Ken, in very simple language & very shortly, have you been able to break this thing technically?" Attwood: "Technically, no." [Voices From The Tapes. Peter Bander. 1973] ______________________________________________ a m b i t : networking media arts in scotland Multi-dimensionally, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From seamascain at gmail.com Wed May 13 18:33:04 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Wed May 13 18:33:39 2009 Subject: [spectre] The Haiku Foundation Message-ID: <6f1e9ee40905130933q629f9422q4cbbf06b8f0ead0a@mail.gmail.com> _______________ THE HAIKU FOUNDATION http://www.thehaikufoundation.org Dear Friends: The Haiku Foundation, a nonprofit organization whose mission is to archive the accomplishments of the first century of haiku in English and to create greater opportunities for its second, was chartered in the state of Virginia, USA, on 6 January 2009. It is a volunteer organization primarily designed to create and implement projects centered around haiku. Most haiku organizations have privileged the poet and her needs: education, publication, socialization. The Haiku Foundation instead seeks to foster the growth of haiku itself. This is where poets come when they want to give back. We are pleased to announce the public unveiling of our website. We hope you will visit it often and with pleasure. Please tell us how it serves you, and how it might serve you in the future. And most of all, we welcome your participation. Please join us to help us realize our goals. Jim Kacian The Haiku Foundation http://www.thehaikufoundation.org ... The Foundation appears to invite participation by a wide diversity of poets. And, it's web-site includes various examples by Marijan Cekolj, David Cobb, James W. Hackett, Jack Kerouac, Ezra Pound, and Richard Wright among other unexpected authors of haiku. In minimum, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From Info at edith-russ-haus.de Tue May 12 12:38:51 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Thu May 14 09:11:33 2009 Subject: [spectre] =?iso-8859-15?q?Er=F6ffnung_WEARABLE_TECHNOLOGY_=7C_13?= =?iso-8859-15?q?=2E_Mai_=28!=29_2009=2C_19_Uhr?= Message-ID: <4A096DD3.9ACC.00AE.0@edith-russ-haus.de> Sorry, in die erste Mail hatte sich ein kleiner Fehlerteufel eingeschlichen - das morgige Datum ist nat?rlich der 13. Mai!! Morgen im Edith-Russ-Haus f?r Medienkunst: 13. Mai 2009, 19 Uhr Er?ffnung WEARABLE TECHNOLOGY Tragbare Technik zwischen Mode und Kunst 13. - 17. Mai Er?ffnung der Ausstellung mit einer Einf?hrung von Susanne Jaschko (NIMk) In Kooperation mit dem Netherlands Institute for Media Art (NIMk) in Amsterdam pr?sentiert das Edith-Ru?-Haus f?r Medienkunst eine Ausstellung mit dem Titel *Tragbare Technologie - Mode, Funktion, Bewusstsein sch?rfen*. Sie zielt darauf ab, zur Verbreitung und Debatte um Kunst und Design im Bereich der tragbaren Technologien beizutragen. Tragbare Technologie befindet sich in einem interdisziplin?ren Feld an der Schnittstelle zwischen Design, Mode, Wissenschaft und Technologie, das Benutzer, Forscher, Praktizierende, Designer und Hersteller unter anderem aus dem Bereich des tragbaren und universellen Computing, intelligenter Kleidung, Mensch-Maschinen Interaktion, Modedesign und Textil- und Faserforschung zusammenbringt. Im Rahmen von: Festival ICH-MASCHINE / I-MACHINE Roboter - Performance - Fashion - Film 9. bis 17. Mai 2009 ?ffnungszeiten w?hrend des Festivals: 9. - 16. Mai, 12 - 21 Uhr Internationaler Museumstag: 17. Mai, 10 - 18 Uhr Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de **************************************************************************************** Tomorrow at the Edith-Russ-Site for Media Art: 13 May 2009, 7 p.m. Opening WEARABLE TECHNOLOGY Fashion, Function, Raising Awareness 13 - 17 May Opening of the exhibition with an introduction by Susanne Jaschko (NIMk) In cooperation with the Netherlands Institute for Media Art (NIMk) in Amsterdam the Edith-Russ-Site for Media Art presents the exhibition *Wearable Technology - Fashion, Function, Raising Awareness* NIMk aims to contribute to the distribution and debate of art and design in the field of wearable technology. Wearable technology is an interdisciplinary field at the intersection of design, fashion, science and technology, bringing together users, researchers, practitioners, designers, and manufacturers from the fields of wearable computing, smart clothing, ubiquitous computing, human-computer interaction, fashion design, textile and fiber science, among others. In the context of: Festival ICH-MASCHINE / I-MACHINE Roboter - Performance - Fashion - Film 9 - 17 May 2009 Opening hours during the festival: 9 - 16 May, 12 - 9 p.m. International Museum Day: 17 may, 10 a.m. - 6 p.m. If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de *** Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de From Info at edith-russ-haus.de Wed May 13 13:02:17 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Thu May 14 09:11:35 2009 Subject: [spectre] Vortrag WEARABLE COMPUTING | 14. Mai 2009, 19 Uhr Message-ID: <4A0AC4D2.9ACC.00AE.0@edith-russ-haus.de> ** High Priority ** Morgen im Edith-Russ-Haus f?r Medienkunst: 14. Mai 2009, 19 Uhr WEARABLE COMPUTING Eine Reise in der Alltag von morgen Vortrag von Dipl.-Inf. Erik Koch (Universit?t Bremen) Das Wearable Computing Paradigma h?lt bereits heute einen schleichenden Eingang in unser Leben. ?ber die ersten Schritte bis hin zu einer neuen Ansicht von Technologie und deren Bedeutung f?r unser Leben wird es eine kleine Zeitreise in die Zukunft geben. Wie sieht unser Leben Morgen aus? Was kann uns die *Neue Technik* bieten? All diese Fragen werden aufgeworfen. Veranstaltung im Rahmen von: Festival ICH-MASCHINE / I-MACHINE Roboter - Performance - Fashion - Film 9. bis 17. Mai 2009 ?ffnungszeiten w?hrend des Festivals: 9. - 16. Mai, 12 - 21 Uhr Internationaler Museumstag: 17. Mai, 10 - 18 Uhr Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de **************************************************************************************** Tomorrow at the Edith-Russ-Site for Media Art: 14 May 2009, 7 p.m. WEARABLE COMPUTING A travel in the everyday life of tomorrow Lecture by Dipl.-Inf. Erik Koch (University Bremen) In the context of: Festival ICH-MASCHINE / I-MACHINE Roboter - Performance - Fashion - Film 9 - 17 May 2009 Opening hours during the festival: 9 - 16 May, 12 - 9 p.m. International Museum Day: 17 may, 10 a.m. - 6 p.m. If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de *** Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de From drew at futureeverything.org Tue May 12 12:33:21 2009 From: drew at futureeverything.org (Drew Hemment) Date: Thu May 14 09:15:06 2009 Subject: [spectre] Date Announced - world's biggest bubble blowing climate experiment Message-ID: <3084C22B-17EA-4E0B-90AD-8ED71A35209C@futureeverything.org> Join Futuresonic and the Met Office / Hadley Centre in the bubble blowing climate experiment, Climate Bubbles. Prepare your bubbles... the date has been announced, and the bubble blowers of Manchester are about to set forth on the world's first mass-participation bubble-blowing soap-tastic citizen-science experiment! Open to anyone, all you need to do is make/get some bubble mixture and play two bubble games, The Bubble Chase & The Bubble Race Climate Bubbles is a locative media-meets-citizen science project by Drew Hemment, Alfie Dennen and Carlo Buontempo. http://www.futuresonic.com/bubbles |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| When & Where? |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| DATE ANNOUNCED: midday, Fri 15 - midday, Sat 16 May Blow your bubbles anytime from midday, Fri 15 to midday, Sat 16 May (confirmed 48 hours in advance). 24 hours for Bubble Racing and Chasing: we need lots of measurements at different times of the day (and night) over this 24 hour period. The best conditions for the experiment are during the daytime (11.00am-15.00pm) but a fun idea is to have a Bubbles Breakfast, or you may want to blow bubbles after work or school. Take part anywhere across Greater Manchester, we want races in as many different places as possible. |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Help spread the word! |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Please ask your Facebook friends - plus families, colleagues and neighbours - to join in with the world's first bubble blowing locative media climate experiment, Climate Bubbles. Join the Facebook group http://www.facebook.com/group.php?gid=73305977659 Change your profile picture to Climate Bubbles, and help spread the word!! If you use Twitter, send a Tweet including the hash tags #futr09 #bubbles. "Blow bubbles to help Met Office and Futuresonic model urban climate #futr09 #bubbles http://bit.ly/Q78G8" |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| How? |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Bubble Chase & The Bubble Race are two bubble games that enable people across the city of Manchester to map air flow and the urban climate. Upload your results to our website and give the Met Office a snapshot of Manchester?s Urban Heat Island. Make your own bubble kit to protect the environment using our download instructions. Or pick a bubble kit from Futuresonic 2009 venues, or buy one from a shop. Learn all about the bubble games here http://www.futuresonic.com/bubbles Download instructables at http://www.futuresonic.com/climateBubblesInstructions |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| The Festival |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Futuresonic 2009 Urban Festival of Art, Music & Ideas 13-16 May, Manchester UK http://www.futuresonic.com World premiers of astonishing artworks, an explosive city-wide music programme, and visionary thinkers from around the world. For information on other Environment 2.0 projects at Futuresonic 2009 visit http://www.futuresonic.com/env20 In 2010 Futuresonic will return as FutureEverything #futr09 From editor at intertheory.org Wed May 13 20:33:58 2009 From: editor at intertheory.org (Nicholas Ruiz III) Date: Thu May 14 09:15:06 2009 Subject: [spectre] Kritikos V.6 March-April 2009 Message-ID: <795242.47942.qm@web307.biz.mail.mud.yahoo.com> Kritikos V.6 March-April 2009 She is Late...(n.ruiz) http://intertheory.org/she.htm Nicholas Ruiz III, Ph.D Editor, Kritikos http://intertheory.org From nc-agricowi at netcologne.de Thu May 14 09:56:51 2009 From: nc-agricowi at netcologne.de (CologneOFF) Date: Thu May 14 09:57:31 2009 Subject: [spectre] CologneOFF V - call for entries Message-ID: <20090514095651.846807.C87A2828@192.168.0.3> Call for entries: Deadline: Tuesday, 1 September 2009 --------------------------- CologneOFF V - Taboo? Taboo! 5th edition of Cologne Online Film Festival http://coff.newmediafest.org is planned to be launched in November 2009 under 2 festival themes 1. Violence 2. Taboo ---------------------------------------------------- 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, Germany, The Netherlands Venezuela, Argentina, France Serbia, Spain, Poland, Belgium, Turkey, Greece, Mexico, Bosnia-Hercegovia, Armenia and others More info on http://coff.newmediafest.org ------------------------------------------- This call is released by netEX - networked experience http://netex.nmartproject.net . info (at) nmartproject.net ------------------------------------------- From ab at mikro.in-berlin.de Thu May 14 12:34:31 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu May 14 12:37:59 2009 Subject: [spectre] Fwd: Lovink: Political Work in the Aftermath of the New Media Arts Crisis Message-ID: (forwarded from nettime with geert's permission; -a) From: Geert Lovink Date: Mon, 11 May 2009 21:29:14 +0200 On the event of the Montevideo/Netherlands Media Art Institute 30th anniversary, departing curator Susanne Jaschko put together a one day symposium entitled Positions in Flux. R?gine Debatty at We Make Money Not Art blogged about it. Unfortunately, I was only able to attend the morning session. The event on May 8 2009 took place in Trouw Amsterdam, the followup of Club 11. From what I heard, Positions at Flux had a critical take towards the common media art discourse and asked relevant questions. It was a relief to see that the attention was, for once, not focused on history, preservation and conservation. Cultural heritage has already taken over way too much attention space- in part because this is one of the few areas where there is still plenty of funding. Sigh. Just for one day, no celebration of "medium religion" or "art meets science". Director Heiner Holtappels opened by noticing that new media art is not easily accepted by fine art. Traditional art has become eclecticism. According to Heiner, all art is technology based. The subject of the symposium was a visible break with the video art heritage that Montevideo has been known for. Politics topics, a courageous step? "Is there a future for us?" is a question not many institutions dare to ask. In the Dutch daily De Volkskrant of that day, ex-Montevideo curator Bart Rutten (now Stedelijk Museum) took up the role of expressing the ambivalent feelings of the Dutch art establishment towards the new but no longer young art form. Whereas he praised Montevideo's work, he himself had moved on. "You can ask yourself if Montevideo should continue to show only media art works. In this way they preserve their specialism. It was my main reason to leave." In Zero Comments I mapped the current challenges for new media arts. While society at large is inundated with (new) media, the art branch that deals with the digital moved itself in a ghetto. While this analysis still holds up, many in the sector openly admitted the shortcomings and are now putting in place strategies to escape the dead end street. Technology has lost its original fascination, while spreading even faster in society. Is this a reason enough to abandon the field? While experimentation with electronics and the digital might have lost its aura and the spirit of curiosity has somewhat fained, the field of new media arts at large is still growing, despite institutional setbacks here and there. What most participants shared was the feeling that, despite the intimidating institutional violence of the large players, museums will die or become a zoo if they do not deal with the Digital. Some say new media arts lacks the timeliness and the depth. Whereas ICA London closed its media lab, Laboral in the North of Spain, which opened in 2007, is now a large exhibition space, devoted to media art. Chairman Chris Keulemans emphasized that new media arts was always at it best when it criticized the media itself, with its codes and nodes. Each of the three presentations in the morning session gave a different answer to the question how relevant political work could be produced. The Iraqi-American artist Wafaa Bilal is known from his installation Domestic Tension, in which the artist lived in a gallery space for a month, pointed at by paint ball gun operated by web users. Shoot an Iraqi had 80 million visitors and, according to Bilal, was a "strange mix of aesthetic pain and pleasure." What made the work so popular was the power of viral connections, in particular through chatrooms and video he put online. What happened here was a confrontation between conflict zone and comfort zone, disengagement and engagement, virtual versus physical platform - both in the case of the artwork and war in Iraq itself. Bilal concluded that the body has its own language that is not in sync with the electronic reality. Bilal made a distinction between interactive works, in which the end-states is already determined, and dynamic pieces that are open ended. A lot of the old school new media art is interactive. Increased user participated was illustrated in Bilal's story of the 'virtual human shield', a group of people that gathered to protect the artist from being shot at. Dog or Iraqi was a month long online debate who gets waterboarded: a dog or an Iraqi? Bilal also briefly discussed his modded version of a 2003 US shooting game that he renamed into Virtual Jihadi. Instead of killing Sadam the user can now hunt GW Bush. This and other projects were documented in Wafaa Bilal, Shoot an Iraqi (City Light Books, San Francisco, 2008). Former Etoy Hans Bernard of Uebermorgen.com didn't show projects but read a text concerning the role of "European techno fine art avant garde." I am great fan of Uebermorgen. It's in fact becoming impossible to list all their interventions and hacks. Uebermorgen is all about "surreal outcomes", not bound by any medium. "The transformation from digital to physical is important. The work is not pop art, it is rock art. We are not activists, we are actionists." For a while seeking large audiences was a thrill, but that's no longer the main motivation. There is a new strategy for each new project. Bernard did his best to prove that Uebermorgen's intentions were neither political nor ideological. The aim should be Art, not Politics. Communication is the 9-5 job, but that not the passion. Bernard's insistence on the non-political status didn't convince. Uebermorgen's claim, not to have any political agenda, refers to an ancient, rigid definition that was already problematic in the late seventies when I studied political science. Maybe in Austria politics is still associated with corrupt parties and fat, ugly politicians but elsewhere in the world people use a much broader definition of "the political". His insistence on artistic freedom is amiable but the idea that once art becomes political it turns into politics and seizes to be art, simply doesn't hold. His separation between the private opinion of the artist as a citizen and the Artist as a public figure is problematic for the same reasons. Bernard's insistence that "perception and production need to separated" sounds good-but we all know that visual arts no longer operates outside "perception management." Autonomy, at least in the Dutch context, is the official state religion. We all anticipate aesthetic impact, even if we reject the categories of the day and undermine the dominant visual logic. Hans, there are no commissars anymore that control the ateliers. If there is any censor it's probably the Politically Correct Self. So, if we state, "in production we need to be free," there is no one who will stop us - but ourselves. Knowbotic Research, teaching and working in Zurich, was the third presenter. Their translocal distributed temporary works avoid-and seek- the Political in yet another manner. Christian Huebler showcased the Blackbenz Race project between Prishtina and Zurich, a city marketing proposal that was refused because of its negative image of the proper Swiss finance capital. The broader idea was to play with the Kosovo- Albanian-Swiss people that hover in-between places. Code words are fog, smoke, blurred spaces and multiple identities. The self-built stealth boat project has a similar intention. The micro audiences become actors here. Activism doesn't need more exposure and transparency. Art doesn't need moral outcry. The celebrity industry took over this role. Art questions and creates new spaces for reflection. What's required are slow spaces. All three projects showed that new media art "doesn't need to be a monade, merely celebrating itself." (Huebler) This is the age of entering other contexts, times and spaces-assisted by production houses that have in-house knowledge about the specificity, and the Eigenartigkeit, of digital technologies. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: http://mail.kein.org/mailman/listinfo/nettime-l # archive: http://www.nettime.org contact: nettime@kein.org From ab at mikro.in-berlin.de Thu May 14 14:10:25 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu May 14 14:19:16 2009 Subject: [spectre] (fwd) conf. Thinking Media, 11.-12.June, Prague Message-ID: Date: Thu, 14 May 2009 13:49:34 +0200 From: Katerina Krtilova *Medien denken. Medien - Begriffe - Bilder/ Mysleni medii. Pojmy - obrazy - media* 11. - 12.6. 2009, Prag Eine Tagung des ISEK (Institut f?r elektronische Kultur), Karls-Universit?t Prag, in Zusammenarbeit mit dem IKKM (Internationales Kolleg f?r Kulturtechnikforschung und Medienphilosophie) *Programm*: 11.6. 14:00 Jir(? Bystr(ick? : Pojem, obraz a medialita /Begriff, Bild und Medialit?t/ 15:00 Dieter Mersch : Das Medium der Zeichnung 16:30 Lorenz Engell : Kinematographische Agenturen /Kinematografick? agentury/ 17:30 Wolfgang Beilenhoff : Worte: verfilmt. Zur Intermedialit?t der Schrift im Avantgardefilm 12.6. 10:00 Jochen H?risch: Flussers Grundfrage: was sind und wie funktionieren Medien ? / 11:00 Miroslav Marcelli : Komunik?cia ako probl?m mnozstva /Kommunikation als Problem der Menge/ 14:00 Ivan Mucha : M?dia a technika /Medien und Technik/ 15:00 Erich H?rl : Die technologische Sinnverschiebung Wo: DigiLab, AVU U Akademie 4 Praha 7 From seamascain at gmail.com Thu May 14 19:24:40 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Thu May 14 19:29:26 2009 Subject: [spectre] Controversy in Dublin, Ireland Message-ID: <6f1e9ee40905141024i544d4ea5gb7a5d6e2b18ec99d@mail.gmail.com> _______________ Dublin Writers Festival http://www.dublinwritersfestival.com Dear Administrators, Once again the Dublin Writers Festival has excluded Irish-language writers from any meaningful participation in the Festival events and activities. This behaviour by the organizers is shameful, offensive, and imperious. Indeed, I call for a boycott of the Dublin Writers Festival. It is my intention to urge writers, artists, and other citizens (in Ireland, Britain, the U.S. and other countries) to withdraw any and all support from the Festival and its activities. I urge an earthquake of a protest campaign until there is a constructive remedy to this imperiousness! For creative diversity in Ireland, S?amas Cain http://alazanto.org/seamascain 323 Fourth Street, Cloquet, Minnesota, U.S.A., 55720 - 2051 Phone (in North America) : 218.879.8628 _______________ ---------- Forwarded message ---------- From: Gabriel Rosenstock Date: Wed, May 13, 2009 at 10:51 AM Subject: Dublin Festival Farce To: info@dublinwritersfestival.com Dublin Writers Festival http://www.dublinwritersfestival.com Greetings! I had hoped that the days of literary and linguistic apartheid were well over. Seemingly not. It would appear that your festival has boycotted Irish-language writers. How sad. Pathetic, really, given the fact that an anthology of contemporary Irish-language poetry and prose, AMANAIRIS, has appeared in Slovenian and was recently launched in the National Library, Dublin, and reported below in the Slovenian press. http://www.sta.si/en/vest.php?s=s&id=1389165 Mise, gan m?r?n measa agam oraibh, Gabriel Rosenstock _______________ Boycott and protest against the Dublin Writers Festival! S?amas Cain http://alazanto.org/seamascain _______________ From ixddxk at googlemail.com Thu May 14 20:56:52 2009 From: ixddxk at googlemail.com (ixddxk@googlemail.com) Date: Thu May 14 20:57:33 2009 Subject: [spectre] AUSREIHE presents: Electronic Music Concert at NK Berlin, Germany 23.05.2009 Message-ID: <9138B15B-4817-4B1C-ACAD-0E567B42C133@gmail.com> AUSREIHE presents: Electronic Music Concert http://ausreihe.com/ Yutaka Makino / Daisuke Ishida / Rashad Becker Date: 23rd May, 2009 Time: 21:00 open / 22:00 start Venue: NK http://www.myspace.com/enka52 Elsenstra?e 52, Neuk?lln 12059 Berlin, Germany 10 mins walk down Elsenstr from Treptower S-bahn or Buses 167, 104 stop Wildenbruch/ Harzer str. 10 mins walk from Rathaus Neuk?lln U7 or Bus 167 Wildenbruch/ Harzer str. U8 Hermannplatz Bus 171 to Elsenstr./ Harzer. Yutaka Makino http://www.yutakamakino.com/ Yutaka Makino is an artist and researcher currently based in Los Angeles. He seeks to amalgamate the historic precedents of computer music and science, involving research in spatial perception, complex dynamical systems and emergence. His works range from sculpture to sound works including performance, computer music composition and spatial sound installation. He has been working on spatial compositions for Wave Field Synthesis. His recent commission work, Amorphous for Wave Field Synthesis, was premiered at the International Gaudeamus Music Week 2008 with the Foundation Game of Life?s 192.8ch Wave Field Synthesis System. His works have been recognized/performed at numerous festivals and competitions internationally, including the Bourges International Competitions of Electroacoustic Music and Sound Art (France), MusikTriennale K?ln (Germany), the International Gaudeamus Music Week (The Netherlands), The Night of the Unexpected (The Netherlands), STRP Festival (The Netherlands) and Seoul International Computer Music Festival (South Korea) among others. In 2007, He was awarded the Prix Ton Bruyn?l for his composition, Cryosphere. With Takuro Mizuta Lippit of STEIM, he frequently performs as Audile. Daisuke Ishida http://isddsk.com/ Daisuke Ishida is a Berlin based artist working in the field of Sound- Art and NewMedia-Art. He started his artistic activities in 2000. His works seek to realize synthetic sound space, explore and emphasize the contraries "minimum-maximum", "rhythmic-arhythmic", "harmony- cacophony", "signal-noise" and "silence-audible moment". He pursues aesthetics and consequences of computer music and tries out boundaries of contemporary media and technologies. He participated in the MobLab project: Japanese-German media camp 2005. The SINE WAVE ORCHESTRA and The SINE WAVE QUARTET was founded by him, Ken Furudate, Kazuhiro Jo and Mizuki Noguchi in 2002, which received Honorary Mention in Digital Music category of the Prix ARS Electronica 2004. Daisuke Ishida has performed/exhibited/presented his installations / concerts / workshops / projects internationally such as InterCommunication Center[ICC](Japan), deaf - Dutch Electronic Art Festival(The Netherlands), transmediale(Germany), ART + COMMUNICATION WAVES - ARSENALS of the Latvian National Museum of Art(Latvia), Sendai Mediatheque(Japan), Yamaguchi Center for Arts and Media[YCAM](Japan), International Triennale of Contemporary Art YOKOHAMA(Japan), Japan Now modern performing arts festival(Germany), MART - Museum of Art, Rovereto and Trento(Italy), Interferenze new arts festival(Italy), ISEA - Inter-Society for the Electronic Arts(USA), steim(The Netherlands), La G?n?rale(France). Rashad Becker plays systematical music for hypothetical populations AUSREIHE http://ausreihe.com/ AUSREIHE is an independent organization dedicated to experimental electronic/computer music, founded in Berlin, Germany 2009 by Daisuke Ishida. From ajaco at xs4all.nl Fri May 15 15:43:07 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Fri May 15 15:43:40 2009 Subject: [spectre] Burgerwaanzin op patapoe radio. 88.3 FM http://freeteam.nl/patapoe zaterdag 16 Mei 2009 18:00 - 20:00 uur Eisler & Brecht special Message-ID: <4F9F9682-C2A0-46C8-BAD6-5717FC981A8F@xs4all.nl> Burgerwaanzin op patapoe radio. 88.3 FM http://freeteam.nl/patapoe zaterdag 16 Mei 2009 18:00 - 20:00 uur Eisler & Brecht special met o.a. Hilmar Thate liedern von Hosalla, Dessau & Eisler Die Mutter , Kantate von Hans Eisler fuer chor mezzospopraan bariton Mehrere Sprecher und zwei Klavieren - Elisabeth Breul sopraan, Enjoy! A. Andreas e: a.andreas@nictoglobe.com w: http://www.nictoglobe.com Andreas Jacobs e: ajaco@xs4all.nl w: http://www.nictoglobe.com From ewen at no-log.org Fri May 15 17:03:10 2009 From: ewen at no-log.org (Ewen Chardronnet) Date: Fri May 15 17:29:50 2009 Subject: [spectre] Futur en Seine - digital city festival in Paris Region - 29 may 7 june 2009 Message-ID: <4A0D842E.3070909@no-log.org> The International ?Futur en Seine? Festival Futur en Seine (www.futur-en-seine.org) is a new popular Festival of the Digital city, a unique cultural, technological and social event, which will take place from 29th May to 7th June in the city of Paris and Ile de France region. For ten days, across the city and region, you will be able to see, touch and interact with innovative technologies and applications which will be part of daily life in the digital city of the future. The scale and scope of the Festival is breathtaking: 10 full days, 40 venues, some 300 events, 16 major prototypes, 30 conferences, and a digital village?.all free of charge! Futur en Seine also presents a pioneering international program and perspective. This stands alone in its open, inclusive and interactive format, bringing together leading international visionaries, thinkers, creatives and practitioners with ?grass-roots? interaction and public participation. At the same time, the festival offers the international visitor a broad and mixed English language program, with a diverse range of conferences, exhibitions, prototypes, and demonstrations. During the festival there will be ample opportunity for international visitors to present innovative technologies, prototypes and services and explore new research, development and business opportunities. The festival also has a profound social and ethical perspective. At a time of global economic crisis, doubt in the future, and lack of trust in traditional social and economic institutions, the international festival and conference will focus not only on technological progress and services in the city, but also on the social and ethical potential of media to (re)establish trust and collaboration between the "grass-roots" public, digital research and development, government and business. The social and ethical impact of digital media and information technology on the structure, form and experience of life in the city of the future, from new products, services, tools, applications, to our physical and virtual space and relationships, is a subject of concern throughout the world. The international program of Futur en Seine addresses this concern directly. Over the festival, the Futur en Seine international program will bring together renowned international thinkers and visionaries with creatives and practitioners from leading European (and US) cities to discuss new approaches and prototypes, design new blue-prints, and formulate recommendations for a more ?livable?, humane, and sustainable digital city of the future. The International ?Futur en Seine? Program Within this context, the international program will focus throughout the festival on certain central themes, which will directly affect the lives of the citizen in the next few years. These include: Mobility Space, Security, Trust Collaborate Design, Mapping Complex networks across cultures and social layers Environmental and Social Sustainability To open the international program on 30th/31st May, leading international thinkers will address these themes at the World-Information City Conference, which has chosen to hold its major annual event in Paris, with such eminent speakers as Saskia Sassen (US/NL), Stephen Graham (UK), Bruno Latour (FR), John Urry (UK), Carlo Ratti (IT/US), Solomon Benjamin (IN), Eyal Weizman (IL), Christophe Aguiton (FR), Dominique Cardon (FR), and Brian Holmes (US). This major event promises new insight and debate at the highest international level, and is a fitting way in which to open the international festival. These themes are addressed throughout the following days in a wide and colourful range of conferences, exhibitions, prototypes and demonstrations throughout the city and region, with diverse cultural, artistic and media-related perspectives. On an international level, events in English will include ongoing workshops and presentations on such subjects as geo-localization and cultural mapping, audio-visual and open software innovation, and architectural experimentation in the WikiPlaza on the Place de la Bastille, a projet by Hackitectura.net. The ?Immaterial? Digital Season in the Maison des M?tallos hosts such events as the ?Arctic Perspective Initiative?, focusing on an international project to design a mobile, media-centric facility, life-support habitation and work module with renewable energy supply, waste cycling and communications systems, and a range of other international exhibitions, conferences and performances. To the north of the city in Saint-Ouen, Mains D?Oeuvres hosts the ?Mal au Pixel? (Pixelache) International Festival of Electronic Art and Culture, featuring installations, performing arts, meetings, workshops and concerts around the themes of public space, urban electronics and ecology. The list of international events continues with Eurodigimeet, featuring key players from the Digital Industries, and Read Digital at the Bourse de Commerce, Dimension 3: The future of 3D at the Centre National de la Danse, Peter Greenaway?s ?Tulse Luper VJ Tour? at the Bains Num?riques in Enghien-les-Bains, and many more diverse and fascinating spectacles. The international festival culminates in Cap Digital?s international event ?World Future Digital City@FenS?, under the heading ?The Digital City in the Next Five Years?, which takes place over two days in the inspirational setting of the refurbished Hermes factory, in the historic heart of the city, near the Place de la Bastille. International guests (political advisors, planners, thinkers, creatives, business, research) and their Paris City/Region equivalent have been invited to collaborate in discussing and designing the new paradigm of the digital city. If you are interested in participating in the International Conference ?The Digital City in the Next Five Years? or have general inquiries about the international ?Futur en Seine? festival, please contact Olivia Dast? on +33 (01)1 40 41 11 86 or by email: international@capdigital.com. -- From dissemination.jbnaudy at gmail.com Sat May 16 09:16:37 2009 From: dissemination.jbnaudy at gmail.com (Jean-Baptiste Naudy) Date: Sat May 16 09:23:18 2009 Subject: [spectre] =?iso-8859-1?q?Soci=E9t=E9_R=E9aliste_-_Activities=3A_?= =?iso-8859-1?q?May_2009=2E?= Message-ID: <80561c450905160016g19e4992cy1aca875d9d7c2e6a@mail.gmail.com> SOCIETE REALISTE - Activities: May 2009. === # PRINCESS FROG, collective exhibition, at Galerie Catherine Jozsa (Brussels), opening: Thursday 28 May. http://www.jozsagallery.com # LIVING TOGETHER, collective exhibition, at MARCO (Vigo), opening: Friday 29 May. http://www.marcovigo.com # THE INESCAPABLE EXPERIENCE OF TRANSITION, collective exhibition, at Le Magasin (Grenoble), opening: Saturday 30 May. http://www.magasin-cnac.org / http://www.season18.com # KATOWICE BIENNIAL, collective exhibition, at Upper Silesian Centre of Culture (Katowice), opening: Saturday 30 May. http://www.biennale-sektor.art.pl # LES FRONTIERES INVISIBLES, collective exhibition, Tri Postal (Lille), still on. http://www.lille3000.com === # PRINCESS FROG Collective exhibition, at Galerie Catherine Jozsa (Brussels), May 28 > July 11. Opening: Thursday 28 MAY, 18:00. http://www.jozsagallery.com The exhibition brings together and confronts the experiences of artists from all sorts of aesthetic worlds, who are interested in applying equally diverse scientific procedures in order to allow for and verify artistic hypotheses. Artists for whom art is none other than another mode of formulating knowledge are close on the heels of scientists, appropriating new perspectives of applications. "Princess Frog" takes us on incursions into ethology, environmental sciences, political geography, astrophysics, the science of language, physics, agronomy, the physics of fluids, architecture, political sciences, science of information and communication, biotechnology and those who wander freely from one domain to another. With works by Igor Antic, Art Orient? Objet, Florent di Bartolo, Samuel Bianchini, Richard Conte, John Cornu, Eric Duyckaerts, Bernard Guelton, Olga Kisseleva, Orlan, Maria & Natalia Petschatnikov, Soci?t? R?aliste, Yann Toma and Carmela Uranga. Curated by Olga Kisseleva. === # LIVING TOGETHER Collective exhibition, at MARCO (Vigo), May 29 > September 20. Opening: Friday 29 MAY, 18:00. http://www.marcovigo.com After its first semester presentation at Centro Cultural Montehermoso in Vitoria-Gasteiz, the exhibition "Living Together" travels to Museo de Arte Contempor?nea de Vigo (MARCO). "Living Together" deals with a number of social, political, economical and emotional conflicts that characterise the beginning of this century, and demonstrates that these spheres are intimately related. Invoking the conflicts that bring the broad gamut of present subjects into confrontation with one another, the show sets out to question how narratives, that inform and regulate the idea of living together in our societies, are constructed and negotiated. With works by Daniel Baker, Claire Fontaine, Marcus Coates, Gardar Eide Einarsson, Nicole Eisenman, Dora Garc?a, Delaine Lebas, Josephine Meckseper, Mai-Thu Perret, Soci?t? R?aliste, Paula Trope, Eul?lia Valdosera, Lynette Yiadom-Boakie and Artur Zmijewski. Curated by Xabier Arakistain and Emma Dexter. === # THE INESCAPABLE EXPERIENCE OF TRANSITION Collective exhibition, at Le Magasin (Grenoble), May 30 > September 6. Opening: Saturday 30 MAY, 18:00. http://www.magasin-cnac.org / http://www.season18.com Maps, models and simulations attempt to render representations of behaviors, characteristics and relationships on different levels. These symbolic depictions limit territories, build systems and imitate realities. Alternatively, the creation of different segments sustains the significance of change between them. The passage from one state to another is in reality not ideally precise but generating troublesome remainders. ?The Inescapable Experience of Transition? contains expressions of these as the spatial relations that comprise our world. The project reflects on the convergence of borders and boundaries, past and present, real and virtual, and the realities of transition as a shared framework. With works by Archive-Practice, Art of Failure, Wafaa Bilal, Heath Bunting, Collectif 1.0.3., Alain Della Negra and Kaori Kinoshita, Hiwa K, Soci?t? R?aliste. Curated by Season 18. === # KATOWICE BIENNIAL Collective exhibition, Upper Silesian Centre of Culture (Katowice), May 30 > July 31. Opening: Saturday 30 MAY, 18:00. http://www.biennale-sektor.art.pl "European constitution: what creates Europe?", the central exhibition of the 2nd Katowice Biennial, aims at maintaining or even reinvigorating the question on what constitutes the European Union. Process of integration is now being realized through subsumption to one economic, political and social entity. The exhibition gathers prospective visions and provisional concepts, bold actions and weak gestures, sharp images and blurred apparitions, effective phenomena and ineffective phantoms. The project proposes an imaginary re-writing of the European Constitution in order to, through strengthening diversity and multiplying differences, turn the European project into a non-imperialist and all-inclusive alternative. With works by ?riks Bo?is, Dorota Chili?ska, Alexandra Croitoru, Kipras Dubauskas, Wojciech Duda, Egyboy, Judit Fischer, Franti?ek Lozinsky o. p. s., Irwin, Grzegorz Klaman, Leszek Knaflewski, Sv?topluk Mikyta, Tanja Muravskaja, Ciprian Muresan, Katrina Neiburga, Kaarel Nurk, Anna Orlikowska, Rafa? Piesliak, Cristi Pogacean, REP, Dietmar Schmale, Sa?o Sedla?ek, Soci?t? R?aliste, Andrzej Tobis and Ingrid Vi??ovsk?. Curated by Kamil Kuskowski and Marta Raczek. === # LES FRONTIERES INVISIBLES Collective exhibition, Tri Postal (Lille), March #14 > July #12. Still on. http://www.lille3000.com On the occasion of the multidisciplinary project "Europe XXL", Tri Postal will host five artistic proposal on its ground floor by Ursula Biemann, Irwin, Deimantas Narkevicius, Dan Perjovschi and Soci?t? R?aliste. Soci?t? R?aliste will present within this frame four extracts of its ongoing project MA: Culture States - Exposition des Arts et Techniques appliqu?es ? la vie moderne - for more information, visit: http://www.societerealiste.net/#culturestates . On Tri Postal's other levels, three other exhibitions: "Liquid Frontiers" (curated by Iara Boubnova), "Post-it City" (curated by Filippo Poli) and "Sc?ne Centrale" (curated by Elena Sorokina). Curated by Caroline David. === http://www.societerealiste.net From hatam at drfz.de Sat May 16 19:29:42 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sat May 16 19:30:42 2009 Subject: [spectre] beginner and Advanced Max/MSP/Jitter Workshops with Pure at NK-Berlin in June Message-ID: <380-220095616172942179@M2W043.mail2web.com> Beginner and Advanced Max/MSP/Jitter Workshops with Pure 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 hatam at drfz.de Mon May 18 01:09:12 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Mon May 18 01:09:40 2009 Subject: [spectre] theremin Sensors Free Lecture Series May18-21 with Andrei Smirnov Message-ID: <380-22009501723912820@M2W033.mail2web.com> A lecture series on the Theremin Sensor System at NK which is free to attend, daily this week starting Mon the 18th- Thurs 21st. Day#1 Mon18 12:00- 14:00 - Lecture: Introduction to the Theremin Sensors and their applications. Day#2 Tues19 12:00- 14:00 - Lecture: Multichannel t-sensor systems: development and programming. Day#3 Wed20 12:00-14:00 - Lecture: Motion tracking and beyond. Overview and comparison of different concepts. Day#4 Thurs21 12:00-14:00 - Lecture: Hot riding t-sensors. Tips and tricks. For more info myspace.com/enka52 Elsenstr. 52 2HH 2Etage at NK 12059 Berlin -------------------------------------------------------------------- mail2web LIVE ? Free email based on Microsoft? Exchange technology - http://link.mail2web.com/LIVE From ab at mikro.in-berlin.de Mon May 18 08:14:57 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Mon May 18 09:26:30 2009 Subject: [spectre] (fwd) e-MobiLArt, Thessaloniki, May 20-June 10, 2009 Message-ID: Date: Fri, 15 May 2009 11:46:38 +0000 (GMT) From: vkorakidou@yahoo.gr Reply-To: vkorakidou@yahoo.gr Subject: e-MobiLArt / ????????-?? ?-???" European Mobile Lab for Interactive Media Artists : 2nd THESSALONIKI BIENNALE OF CONTEMPORARY ART 2nd THESSALONIKI BIENNALE OF CONTEMPORARY ART Parallel Programme e-MobiLArt / European Mobile Lab for interactive media Artists Duration: May 20th - June 10th Venue: Warehouse ??1, Thessaloniki Port The group exhibition titled "e-MobiLArt" is taking place during 20 May - 10 June in the context of the European project e-MobiLart (European Mobile Lab for interactive media Artists) scheduled activities. The exhibition is organized by the State Museum of Contemporary Art and is taking place as a parallel event of the 2nd Thessaloniki Biennale (www.thessalonikibiennale.gr). The 11 exhibited interactive installation artworks are the result of collaboration amongst 33 participating artists, supported by a team of established theorists, artists and scientists, active in the intersecting fields of art, science and technology. These artworks involve the use of interactive media, ubiquitous computing, communication networks, mobile and locative media technologies. The e-MobiLArt project aimed at providing the 33 selected participants with a multicultural, interdisciplinary context, for supporting their collaboration and the creation of their artworks. During the e-MobiLArt project three separate artistic events in the form of workshops took place in three different European countries (Greece, Finland and Austria). In these workshops, participants formed groups and worked collaboratively for developing their projects while being provided with necessary technical, theoretical and curatorial support. Cultural operators (State Museum of Modern Art of Thessaloniki, Gallery of the Academy of Fine Arts - Katowice, Leonardo/OLATS) and Universities (National and Kapodistrian University of Athens, University of Applied Arts Vienna and University of Lapland, Group Haute Ecole ICHEC Saint Louis) from six different European Countries (Greece, Austria, Finland, Poland, France, Belgium) co-operated in order to support the collaborative efforts of the participating new media artists/scientists. The e-MobiLArt process and its artistic results, which are presented in the exhibition, are the subject of a two-day Symposium organized on May 21st-22nd in the Seminars venue in Warehouse C, Thessaloniki port. During the symposium a short presentation of the project and its activities will take place and the artists' groups will talk about their collaborative experience and will present their exhibited artworks. This will be followed by two panel discussions on the curatorial, the artistic and the organizational perspectives into the collaborative process. Invited lecturers in the symposium are Roger Malina (astrophysicist and executive editor of Leonardo, the most important journal on Art, Science and Technology published by MIT Press), Claudine Dussolier (director of the cultural organisation ZINC, Marseille), Ekmel Ertan (artistic director of the international festival AMBER, Instanbul) and the creative team NeMe (Cyprus). During the exhibition in the exterior area of Warehouse B1 in the Thessaloniki port, two events will take place: * the performance titled "Miasma: A Vienna Underground/Third Woman Performance", by Anna Dumitriu in collaboration with local performers and artists B. Rostho ?????? C. Harmey, during the night of the exhibition opening 20/5/2009 and * the collaborative mobile game entitled "The Third Woman". Participating Artists: Duke Albada (Australia), Kelly Andres (Canada), Nurit Bar-Shai (USA/Israel), Alexandra Berlinger (Austria), Julia Carboneras Girgas (Spain), Nina Czedledy (Canada), Marguerite Charmante (Switzerland), Linda Dement (Australia), Anna Dumitriu (UK), Wolfgang Fiel (Austria), Etienne de France (France), Petra Gemeinboeck (Australia), Cliona Harmey (Ireland), Lucy Hg (USA), Saoirse Higgins (UK), John Holder (UK), Nigel Johnson (UK), Veroniki Korakidou (Greece), Maria Lalou (Greece), Dave Lawrence (UK), Christine Mackey (Ireland), Evdoxia Christina Malisianou (Greece), Brigitte Prinzgrau (Austria), Sally Pryor (Australia), Eleni Panouklia (Greece), Martin Rieser (UK), Tobias Rosenberger (Germany), Barry Roshto (Germany), Bettina Schuelke (Austria), Nita Tandon (Austria), Antti Tenetz (Finland), Pia Tikka (Finland), Marion Traenkle (Netherlands), Fernando Daniel Velazquez (Brazil), Lorraine Walsh (USA), Nina Yankowitz (USA). PROJECT COORDINATION: University of Athens (Greece), Faculty of Communication and Media Studies, Laboratory of New Technologies in Education, Communication and Mass Media. Project coordinator: Prof. M. Meimaris Project manager: Asst. Professor D. Charitos Workshop co-organizer: V. Korakidou Project administration: P. Eskioglou, O. Paraskevopoulou Web support & administration: H. Rizopoulos, A.Tsakoumis PARTNERS: University of Applied Arts, Vienna (Austria): Prof. R.Schnell, Prof. V.Schnell University of Lapland (Finland): Prof. M.Yla Kotola, M.Niinimaki, B. Schuelke CURATORIAL ADVISORS: N. Czegledy, A. Bureaud, C. Galanopoulou HONORARY COMMITTEE MEMBER: R. Malina. ASSOCIATE PARTNERS: Leonardo/OLATS: R. Malina, A. Bureaud State Museum of Contemporary Art, Thessaloniki (Greece): M. Tsantsanoglou, A. Mykoniati Academy of Fine Arts - Gallery, Katowice (Poland): Prof. M. Oslislo, A. Chorebala, A. Haracimowicz Cycling74 (USA): L. Wessling Hart, J. Bernstein I-CubeX (Canada): A. Mulder, E. Sinyor Haute Ecole "Groupe ICHEC-ISC St Louis-ISFSC" (Belgium): Prof. J.D. Seroen FOR MORE INFORMATION ON THE EXHIBITION AND THE PROJECT PLEASE VISIT THE e-MobiLArt WEBSITE: http://www.media.uoa.gr/emobilart/ehxibition_gr OR CONTACT THE ORGANISERS: emobilart@gmail.com ???????-??? ???????????-?? Yahoo! ????????????????-?? ?-?? ???????'?????-????? ? ????? ? ???-?? (spam); ???? Yahoo! Mail ??????????-???? ?-???? ????????-?????? ???"?????-? ??????-?-???-??? ?????-? ?-???? ???????'?????-??????? ? ?????"? ??-???? http://login.yahoo.com/config/mail?.intl=gr From soms at planet.nl Mon May 18 18:35:53 2009 From: soms at planet.nl (SNDRV) Date: Mon May 18 18:38:11 2009 Subject: [spectre] Publicity Plant Message-ID: <4A118E69.1010408@planet.nl> ONLINE PUBLICITY FED BOUQUET On July 1st 2009 Sander Veenhof (1973) will be graduating from the Gerrit Rietveld art academy in Amsterdam. To color up that occasion and to attract attention in an overly busy contemporary art world, Veenhof came up with a concept that serves both purposes in harmony. He started the growth of a 'graduation bouquet' in an interactively controlled greenhouse hosted in the hallway of his Amsterdam home. A custom designed greenhouse control system automatically converts all online publicity into plant growth by switching on the grow-lights above his 'publicity plant' whenever new a blog-posting, Twitter message, Delicious bookmark or whatever website refers to the project. Bouquet growth can be monitored live through a webcam shown at the project website, which lists and thanks the online community in return. The results will be brought along to the 'interaction design for unstable media' department's graduation exhibition in July. The bouquet will visualize in a very natural way the success of this project, by means of itself. Project website: http://sndrv.nl/publicityplant ABOUT THE ARTIST Veenhof's original background is in computer science. Knowing enough about the endless opportunities to control anything precisely, in his art academy career he explores the contrary: seeking challenges posed by hybrid projects involving plants in digital environments and experimenting with new, uncertain and indirect models for interactive installations. Artist portfolio: http://sndrv.nl/ From brodypaetau at googlemail.com Fri May 15 03:13:44 2009 From: brodypaetau at googlemail.com (O.Brody & K.Paetau) Date: Tue May 19 08:35:13 2009 Subject: [spectre] Wanted Works: Let Me Out! by O.Brody & K.Paetau Message-ID: <20090514180801.67248108@googlemail.com> "Let Me Out!" Installation (parrot cage with dead parrot) Ondrej Brody & Kristofer Paetau will present a living sculpture in their booth at the Subversiv Messe in Linz 2009. They will present their loving pet ?Marcel?, an African Grey Parrot (Psittacus erithacus) emprisoned in a golden cage. It is expected that Marcel will a perform a short and heart breaking speech in the booth throughout the Subversive Messe crying: ?LET ME OUT!? ? and thus addressing a direct request to the visitors of the ?subversive fair? and making a comment on ?subversion in a golden cage?. The parrot yawl will be omnipresent at the fair and confronting the visitors with an exotic pet crying for freedom. We invite you to watch & criticize this work online: http://brodypaetau.com/?page_id=132 You can also buy this work online: http://brodypaetau.com/?page_id=134 Warm regards, Ondrej Brody & Kristofer Paetau -- Wanted Works is an e-mail list encouraging criticality within contemporary visual art. You are subscribed to Wanted Works using the following email: spectre@mikrolisten.de UNSUBSCRIBE using the following URL: If the above URL is inoperable, make sure that you copy & paste the entire URL address in your browser and hit "Enter". You can also answer to this mail and write UNSUBSCRIBE in the mail subject in order to be unsubscribed. THANK YOU to Telekommunisten for hosting the Wanted Works mailinglist: http://www.telekommunisten.net/ From turbulence at turbulence.org Fri May 15 18:01:46 2009 From: turbulence at turbulence.org (Turbulence) Date: Tue May 19 08:35:14 2009 Subject: [spectre] Upgrade! Boston: May 19, 2009 Message-ID: <00d301c9d576$747e20d0$5d7a6270$@org> Upgrade! Boston http://turbulence.org/upgrade_boston :: Lily & Honglei :: ::: Free Books ::: :::: Up Next :::: ::::: About ::::: :: Lily & Honglei :: DATE: May 19, 2009 TIME: 7:00 - 9:00 pm VENUE: Center for Advanced Visual Studies Massachusetts Institute for Technology N51-390 265 Massachusetts Avenue, 3rd Floor, Cambridge (Entrance to the right of the MIT Museum) Thanks to Michael Mittelman (Associate Director, CAVS) for hosting this event. Lily & Honglei, an artist team from Beijing, recently initiated the Cyber Museum of Contemporary Art in Second Life. Built with virtual traditional Chinese architecture, Cyber MoCA houses a series of virtual installations, multimedia presentations and online performances accomplished through cross-continental artist collaborations. Lily & Honglei's digital art reflects on folklore traditions, history, current society and the Chinese diaspora. It examines the current economic development of China within the context of globalization, while simultaneously exploring the meaning of virtual online communities in terms of global dialogues as they relate to cultural roots and the ?fantasy? of China. Lily & Honglei have been collaborating since 2005. Lily Yang is a lecturer in the Visual & Media Arts Department at Emerson College. Honglei Li teaches at the Massachusetts Cultural Council Art Program. More: http://tinyurl.com/ou4zgk ::: Free Books ::: As many of you know, I recently attended the Institute for Network Cultures Winter Camp. They sent me 4/5 copies of each of the following books ? "C?Lick Me: A Netporn Studies Reader", "MyCreativity Reader", and "Video Vortex Reader". I will be giving them away on the 19th. Details here: http://tinyurl.com/qhusnk :::: Up Next :::: We'll be taking a break for the summer. Coming up: September 22: China Blue + Butch Rovan October 13: Nicholas Knouf November 17: Susan Kozel The next Upgrade! International gathering will take place in S?o Paulo, Brazil; September 2010. ::::: About Upgrade! Boston ::::: Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org in partnership with the Studio for Interrelated Media at Massachusetts College of Art and Design. It is one of 30 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo at turbulence dot org. Join us on Facebook: http://tinyurl.com/ob7dts Jo-Anne Green, Co-Director New Radio and Performing Arts, Inc.: http://new-radio.org New York: 917.548.7780 ? Boston: 617.522.3856 Turbulence: http://turbulence.org Networked_Performance Blog: http://turbulence.org/blog Networked_Music_Review: http://turbulence.org/networked_music_review Upgrade! Boston: http://turbulence.org/upgrade_boston New American Radio: http://somewhere.org From abureaud at gmail.com Sun May 17 17:30:52 2009 From: abureaud at gmail.com (Annick Bureaud) Date: Tue May 19 08:35:15 2009 Subject: [spectre] Lovely Weather-Artists residencies- Call for submissions Message-ID: <4A102DAC.9060604@gmail.com> Leonardo/Olats, partner of the Regional Cultural Centre, Letterkenny, Donegal County, Ireland, is pleased to announce the call for Lovely Weather residencies project related to art and climate change, that will take place in 2009-2010. You will find below the detailed information about the project and the call for participation. Annick Bureaud LOVELY WEATHER ARTISTS RESIDENCIES DONEGAL- IRELAND INTERNATIONAL CALL FOR PARTICIPATION DEADLINE: Monday 3rd August 2009 Donegal County Council?s Public Art Office in partnership with Leonardo/OLATS seeks expressions of interest from artists for one of five residencies (4 ? 11 weeks) exploring how art can address issues around global warming and climate change in County Donegal. www.donegalculture.com LOVELY WEATHER ABSTRACT Climate change over the coming century, and the social and political action needed to counter it, will be the major preoccupation of all sectors of society. Just as landscape artists helped reshaped our perception of our place in nature, so ?climate artists? are beginning to reshape the way be perceive the inter relationship of climate and culture. In the West we have progressively dissolved our ancestral link to climate. This is largely a result of massive urbanisation and the development of modern lifestyle and it has been possible to observe a deterioration of sensitivity to meteorology and climate. Art could help us to question our perceptions and relationships to weather, climate and help us to experience and reveal our inner participation with weather and climate; the rupture of their balance and its meaning for our world; in the same way that landscape artists reframed the relationship of humans to their environment. Donegal County Council?s Public Art Fund will utilise monies from the 5 electoral areas (under the % for Housing Scheme) to initiate a series of residencies for artists to examine on the ground the effect of climate change throughout Donegal. These residencies will examine cultural approaches to weather, climate and their modifications throughout County Donegal. (Please refer to Appendix I on the project web site). PURPOSE * The Lovely Weather Project is a national and international residency programme for artists to be based in County Donegal, Ireland. * The residencies are multi - disciplinary and will explore how artists can address issues around global warming and climate change in County Donegal. * Lovely Weather residencies should directly touch on the earth sciences, communication technologies and ecological activism, to challenge the boundaries of what art can accomplish alongside these disciplines in the climate change debate. FORMAT * Five residencies are proposed in the five Electoral Areas of County Donegal, Ireland. One per area. (Please refer to Appendix II on the project website). * Residencies will be of 4 - 11 weeks in duration (although proposals for shorter or longer periods can be considered). * The residencies will not be studio based. The Regional Cultural Centre and other bodies in the region may accommodate proposals, which require studio space. * The successful artists will not necessarily have to be resident in Donegal for the entire duration of the project. But they must demonstrate a commitment to working on the ground during at least part of the residency. * The residencies will be managed by co-curators for the project John Cunningham (Regional Cultural Centre) and Annick Bureaud (Leonardo/OLATS). Workshops and seminars will be held with the artists and interested parties, throughout the run of the residencies. CRITERIA FOR SELECTION PLEASE NOTE THAT THIS IS A TWO PHASE SELECTION PROCESS PHASE 1 IS A GENERAL CALL FOR SUITABLE CANDIDATES SHORTLISTING OF CANDIDATES FOR PHASE 2 WILL TAKE PLACE SHORTLISTED CANDIDATES FOR PHASE 2 WILL BE ASKED TO SUBMIT A MORE SPECIFIC PROPOSAL RELATED TO ONE OF THE FIVE LOCATION FOR THE RESIDENCY PROGRAMME The partners invite artists with a specific interest in environmental and climate issues, to submit a proposal for a residency programme examining climate and its changes in one of the five Electoral Areas of County Donegal, Ireland. The proposals must be relevant to, and engage with, art & climate and the particular environment of Donegal. Proposals for the project will be accepted from individuals, collaborators and groups. Submissions MUST ONLY be submitted via the Lovely Weather Residency Website. The online form will be available MONDAY 8th JUNE 2009 ** (please see below) Submissions should include a current Curriculum Vitae (300 word max). A maximum of 6-images/ audio/ video of previous works. A proposed project outline (including timescale, costings etc.) of no more than 750 words.An artist statement of no more than 500 words. TIMESCALE 1st PHASE Call for submissions ? May / June 2009 Final date for Phase 1 submissions ? 3rd August 2009 Shortlisted artists for Phase 2 informed ? 17th August 2009 2nd PHASE Final date for Phase 2 submissions ? 25th September 2009 Successful applicants for residencies informed ? 16th October 2009 RESIDENCIES Start date for Lovely Weather Residencies ? 1st November 2009 Completion date for projects ? 1st November 2010 Exhibition ? 23rd November 2010 ? 25th February 2010 ** Thank you for your interest in the Lovely Weather Artists Residency Project. Due to unforeseen technical difficulties, the on-line application facility will not be available until MONDAY 8th JUNE 2009. After which time we will look forward to receiving your application. Closing date for Phase 1 applications is Monday 3rd August 2009. Further information is available at www.donegalculture.com. For further info contact Declan Sheehan Declan.Sheehan@donegalcoco.ie or John Cunningham jcunningham@donegalcoco.ie From abureaud at gmail.com Sun May 17 18:24:47 2009 From: abureaud at gmail.com (Annick Bureaud) Date: Tue May 19 08:35:16 2009 Subject: [spectre] Switch - Call for entries - Polar Identity Message-ID: <4A103A4F.9080209@gmail.com> ATTENTION : deadline May 30th http://switch.sjsu.edu/v26/2009/01/12/call-for-entries CADRE and 01SJ CALL FOR ENTRIES POLAR IDENTITY Global climate change has far reaching ramifications, the world as we know it will not be the world of 100 or perhaps even 10 years. Armed with a ?new? awareness of how our actions impact the environment, how will this effect our ideas of ourselves? Polar Identity challenges us to take on a new perspective, one that can be both pragmatic and optimistic what is the fallout from new trade routes and passage through a once ice-blocked mass. How will these changes affect cartography, international relations, Easternization, religion, communications, etc. The new perspective upends the world, but what does it mean for the Southern hemisphere? We are looking for work that relates to our individual & cultural relationships with the poles, how countries relate to the poles and how identity is derived from our polar relationship. See full description on the web site -- From ab at mikro.in-berlin.de Tue May 19 08:50:06 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue May 19 09:30:01 2009 Subject: [spectre] Fwd: re-new festival in Copenhagen, Denmark Message-ID: Date: Mon, 18 May 2009 17:33:56 +0200 Subject: re-new festival in Copehangen, Denmark From: Alejandro Jaimes Dear friends, for those of you with friends in Copenhagen, I have a project at the re-new festival that starts today (http://www.re-new.dk/)! the reception is tomorrow, tuesday starting at 8 pm. the project i have (a collaboration with roberto valentti and nicu sebe) is called "the facial orquestra". it is mainly about in your face communication- literally. 4 people facing each other stand in front of cameras, the cameras recognize facial expressions and generate sounds, so the 4 people are the orchestra! some udates to my web http://www.jaimes-larrarte.com cheers alex From ab at mikro.in-berlin.de Tue May 19 09:16:07 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue May 19 09:30:59 2009 Subject: [spectre] Anamur MonAmour, Intl cultural festival, Turkey, August 14-25 Message-ID: From: "marta@diyalog-der.eu" Date: Mon, 27 Apr 2009 14:51:15 +0200 International cultural festival in Anamur, Turkey from August 14 to 25, 2009 with various Workshops Registration until June 25, 2009 http://www.dynamic.diyalog-der.eu/index.php?id=549&L=2 The Anamur - MonAmour festival ? August 14 to 25, 2009 - is an international gathering around art and creativity, taking place in the rural Mediterranean setting of Anamur with participants from different cultural backgrounds. The project consists of a series of events around the central backbone of hands-on, state of the art workshops on photography, video, caricature drawing and local cuisine led by professionals. The festival in Anamur intends to create at least a 10 days community in which cross-cultural and inter-disciplinary experiences are shared. The town of Anamur with all its historical and natural beauty will become a playground for creativity; a varied cultural program will be provided; the site-specific features of the area (e.g. the sea turtles, the Roman castle or the social life of the farmers) will be mediated by professionals from the region. At the festival a cross-cultural exchange will emerge from the heterogeneity of the groups and from direct contact with the population of Anamur. Participants from different countries will discover an unique ecosystem with a rich flora and fauna. A thematic focus is the confrontation with the running program for the protection of Caretta Caretta sea turtles. Anamur, on rather the whole Turkish Mediterranean coast, is home to the largest remaining population of these protected animals. Anamur with its solitude is an oasis that offers rich and unique natural sites and many ancient ruins from Roman, Byzantine and Ottoman times. For detailed information about the festival program, the workshops as well as for your registration please view following project link: http://www.dynamic.diyalog-der.eu/index.php?id=549 Anamur - MonAmour is a cooperation between the association Diyalog Derneği based in Istanbul, the Association for the Promotion of Culture and Tourism in Anamur (A?ED) and the University of Mersin, Turkey. Diyalog Derneği / Diyalog e.V. Molla ?elebi ?esme ?ikmazi 1/3 34427 Beyoglu/Istanbul Turkey Tel.: + 90 - 212 - 292 41 34 Fax: + 90 - 212 - 292 41 36 info@diyalog-der.eu http://www.dynamic.diyalog-der.eu From susanne.schuda at silverserver.at Tue May 19 16:02:53 2009 From: susanne.schuda at silverserver.at (susanne schuda) Date: Tue May 19 16:03:45 2009 Subject: [spectre] MediaNoche, NY: Saturday, May 23, OPENING RECEPTION: THE POET. I DON'T WANT TO SET THE WORLD ON FIRE. Message-ID: <1242741773.4a12bc0dbd953@webmail.sil.at> please feel free to join us for drinks, greets, talks + we are staying in NY until June 17, would be great to meet some people of spectre ???????????????????????????????? MediaNoche presents two multimediainstallations by Susanne Schuda and Florian Schmeiser THE POET A video installation by Susanne Schuda I DON'T WANT TO SET THE WORLD ON FIRE A sound installation by Florian Schmeiser May 23 - July 11, 2009 Opening Reception: Saturday, May 23, 6pm - 8pm Artists talk: Thursday, June 11, 6pm Gallery hours: Wednesday - Saturday, 3pm - 7pm and by appointment MediaNoche 1355 Park Avenue, Corner Store at 102nd Street New York, New York 10029 212.828.0401 www.medianoche.us Austria-based artists Schuda and Schmeiser?s most recent works examine collective fears and individual violence. In *The Poet*, Schuda uses digital photomontage, animation, text and sound to reveal the interconnectedness of racism, fascism, self-hatred, love and devotion. According to Schuda, ?Fascism and racism are growing again in parts of Europe. My work is based on the thought that self-hatred is at the root of our hatred of others. Self-hatred nourishes our ideas of salvation and the need to identify with a "F?hrer" a person who is pure and heroic.? In *I Don?t Want To Set The World on Fire*, Schmeiser combines sound and music to fuse two world orders ? Biedermeier or petit bourgeois escapism and post nuclear fantasy. A pilot helmet worn by visitors provides an acoustic fusion of 19th century music by Franz Schubert and 20th century post World War II lyrics. Schmeiser explains, ?I use material from different eras in my sound work. The thoughts and mentalities ascribed to these periods are still alive in different social contexts. The historical material is socially branded and political. Through music, the perception of these relations becomes emotional.? *ARTISTS BIOS* Susanne Schuda and Florian Schmeiser collaborate on public art projects as schuda/schmeiser. www.schudaschmeiser.net Susanne Schuda?s works include digital collage, text, 3D-renderings, animated videos and the internet. In 2008, Schuda was awarded the Marianne von Willemer prize for media art, and received a scholarship in media art from the Austrian government. She has exhibited in Germany (Lothringer, Munich), Austria (Generali Foundation, Salzburger Kunstverein, Neue Galerie Graz), Suisse (Viper, Basel) and USA (Slought Foundation). Schuda is represented by Dana Charkasi Gallery. www.susanneschuda.net Florian Schmeiser?s works include autogenerative compositions, interactive installations, music software tools, classical compositions, pop music and film scores. He has performed and exhibited in Austria (Tonspur, MQ Vienna, Mozart-Festival), Germany (ABC Festival), GB (Functionsuite Edinburgh) France (Rencontres International), Italy (Fabrica Florenz) and Slovakia (Multiplace). www.florianschmeiser.net http://www.susanneschuda.net http://www.florianschmeiser.net http://schudaschmeiser.net http://dieschudas.at *ABOUT MEDIANOCHE* *Director?s Statement* Our media practice is rooted in community, utilizing technology as a tool for transgressing the dynamic, cultural space of Spanish Harlem in order to engage, incite, and transform the dialectics of alterity and marginalization. *MediaNoche, a project of PRdream.com * *MediaNoche is the place where art, technology and community converge. We offer artists working in new media exhibition space and residencies in order to provoke a dialogue that blurs all lines of marginality and alterity. * Unique among arts and technology groups in New York, MediaNoche is directly linked to the oldest Latino community of the city, Spanish Harlem, and has showcased a roster of local and international new media artists. MediaNoche is a project of PRdream.com, offering exhibition space and residencies for artists working in new media. Its programs are made possible with the additional support of Manhattan Borough President Scott Stringer, NYS Assemblyman Adam Clayton Powell IV, and others. This program is supported in part by public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts. Special thanks: Hugh Mandeville, Taina Caragol, Joe Falcon, Gabriel Flores, and Omar Ovalle. From datadandy at gmx.net Tue May 19 16:14:09 2009 From: datadandy at gmx.net (datadandy) Date: Tue May 19 16:15:11 2009 Subject: [spectre] CODED CULTURES - Festival / Vienna Message-ID: <1D2CD57B-CFF3-455F-AA82-D9DA94D8DD48@gmx.net> CODED CULTURES - Exploring Creative Emergences Binational Festival to explore new artistic creative Ability-Profiles within media integrated Delineation Cultures 27.05. ? 07.06. 2009 Vienna / Austria MuseumsQuartier Vienna Opening: 27th May 2009, 7.00 pm Freiraum/quartier21 Details + Timeline: http://www.codedcultures.net/timeline Exhibition: 28th May ? 07th June 2009, 10.00 a.m. ? 8.00 p.m. Freiraum/ quartier21 Participants (Exhibition): BCL (Shiho Fukuhara & Georg Tremmel), exonemo, Ryota Kuwakubo, Walter Langelaar, Saita Kazuki / SoichiroMihara / Hiroko Mugibayashi, Yuko Mohri, Martin Pichlmair & Fares Kayali, Saso Sedlacek, SHIMURABROS. (Yuka Shimura & Kentaro Shimura), Ludic Society (Margarete Jahrmann, Gordan Savicic, Phillip Lammer), Tetsuya Umeda, Mamoru Okuno. Symposium: 28th ? 31st May 2009, 2.00 p.m. ? 8.00 p.m. MUMOK ? MQ Participants (Symposium): Sabine Seymour, Martin Pichlmair, Machiko Kusahara, Verina Gfader, UBERMORGEN.COM, Fumihiko Sumitomo, Thomas F?rstner, Marina Grzinic, Hiroshi Yoshioka, Takahiro Kaneshima, Bernhard Garnicnig, Gottfried Haider, Hisashi Muroi, Mathias Fuchs, Christa Sommerer, Laurent Mignonneau, Ivan Poupyrev, Yukiko Shikata, Verena Kuni, Manfred Fa?ler. Party: 31st May 2009, 8.00 p.m. Hofstallungen/MUMOK Program: Pecha Kucha Night, Liveperformance: Tetsuya Umeda, MINIMAL TOKYO (Live: Shu Okuyama, DJ: Ivan Kuzbass) TRUST REC (DJ: Microthol, DJ: Glow) Visuals: Dextro Responsible for content and production: 5uper.net / quartier21 MuseumsQuartier Wien Museumsplatz 1/10/7 1070 Vienna / Austria office@codedcultures.net www.codedcultures.net From m at 1010.co.uk Tue May 19 16:18:22 2009 From: m at 1010.co.uk (m) Date: Tue May 19 16:20:40 2009 Subject: [spectre] xxxxx_micro_research workshops:17_18//Jamming through Runtime with Valentina Vuksic//RFID sniffer and RFIDuino Message-ID: <1vql9nwx.fsf@xxxxx.xxxxx> A series of weekly working groups and workshops at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: May 23rd 2PM: Jamming through Runtime [workshop [here] and performance [General Public 9PM] with Valentina Vuksic] May 30th 2PM: RFID sniffer and RFIDuino [with Marc Boon] Forthcoming matter: 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. //<----------------------------------------------- May 23rd 2PM: Jamming through Runtime workshop and performance with Valentina Vuksic Jamming Through Runtime, a day-long workshop at xxxxx_micro_research, expands and extends Valentina Vuksic's Trip(ping) Through Runtime, inviting participants to join with both intrusive and non-intrusive interventions into otherwise hidden, interior processes of laptops and computer motherboards; a theatre or symphony of hard and soft audio interactions. A collection of elderly laptops is being examined via magnetic pickup microphones. The microphones transform the magnetic waves around the various electronic parts of the computers. Each action upon the laptops can be sensually experienced through a broad range of layered sounds. Already plugging the power and booting up an operating system reveals an own small-scale universe of sounds and provides insight into the complex spare room emerging between hard- and software. This space is being explored and further modelled by triggering actions on purpose. System analysis tools, stress tests and custom c-programs shall bring the characteristics of each machine into the limelight. "Tripping Through Runtime? is part of a longer-term study, diving into the invisible interrelationships of hard and soft computer matters by sensual means. The project aims at provoking and detecting specific behaviour of individual computer components in match with adequate software pieces. The microphone demonstrations are part of the first experiments to become acquainted with the hardware components. About Valentina Vuksic: Valentina Vuksic [CH] studied New Media Art at the Zurich University of the Arts and Information Systems in Germany. Important works have included Harddisko, a noise and disturbance amplifier system for harddisks, and Sei Personaggi Part 2, a play in computers. Please feel free to bring: - coils, microphones, pickups, other intervention technologies - laptops of any age and make, motherboards, microcomputers Fee: 10 euros (all materials and food!) Please email m@1010.co.uk to reserve a place (strictly limited) The workshop [here at xxxxx_micro_research] will be followed at 9PM by a collective performance 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) ua. xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From heather.corcoran at fact.co.uk Tue May 19 18:19:51 2009 From: heather.corcoran at fact.co.uk (Heather Corcoran) Date: Tue May 19 18:20:20 2009 Subject: [spectre] FACT, Liverpool funded PhD studentship Message-ID: <4A12DC27.9000608@fact.co.uk> Hi all, a great opportunity at FACT here in Liverpool... http://jobs.guardian.co.uk/job/858826/ahrc-collaborative-doctoral-award-extended-programme-2009-2014 UNIVERSITY OF LIVERPOOL Liverpool School of Architecture/F.A.C.T. (Foundation for Art and Creative Technology) AHRC Collaborative Doctoral Award Extended Programme 2009-2014 'New Media in a digital age: the role of new media in art, culture and society at the turn of the 21st century' The first of 3 full-time PhD studentships, beginning October 2009, concerned with the history of developments in new media, offers an exciting opportunity for a suitably qualified candidate able to take advantage of FACT's excellent digital resources while undertaking this research programme based in the School of Architecture. For further information and an application pack, contact Jan Martin, email: jmmartin@liv.ac.uk Deadline for applications: 29 May 2009 FACT (FOUNDATION FOR ART AND CREATIVE TECHNOLOGY) Arts & Humanities Research Council -- 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 -- 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 seamascain at gmail.com Tue May 19 21:32:22 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue May 19 21:36:02 2009 Subject: [spectre] The Ghost Dance Message-ID: <6f1e9ee40905191232lfe348cfv731357430b9eb5e8@mail.gmail.com> _______________ "Ghost Dance in 33 Movements" by la mirabile Anny Ballardini is reviewed by Crag Hill in Jacket Magazine 37 ... http://jacketmagazine.com/37/r-ballardini-rb-hill.shtml Wondrous poetry, Anny! http://annyballardini.blogspot.com/ Best regards, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From communicate at anat.org.au Wed May 20 04:36:44 2009 From: communicate at anat.org.au (ANAT Communications) Date: Wed May 20 04:37:52 2009 Subject: [spectre] Astronomical delight: stars shine in soap opera Message-ID: <20090520120644.NRGUDTNGRFKCPQ@anat.org.au> *Apologies for cross posting Astronomical delight: stars shine in soap opera It may sound like a strange way to explore astronomy, but the formation of the Universe contains complicated storylines that are perfect for a soap opera. This is why artists Nicky Forster and Willoh S Weiland have created their 'online cosmological drama', Void Love. The artists will screen the pilot episode of their sound and video work on 31 May 2009 at Head Quarters, a presentation space for cross disciplinary art practice in Melbourne. Subsequent episodes will be available online. "Surely there is no greater melodrama than the unfolding of the Universe itself," Forster said. Completed during the International Year of Astronomy, Void Love was inspired by research done at Swinburne University of Technology's Centre for Astrophysics and Supercomputing. The work is the result of a four-month residency based at the centre. The 'Synapse' residencies, presented by the Australian Network for Art and Technology (ANAT) in partnership with the Australia Council for the Arts, support intensive partnerships between media artists and scientists in research settings both in Australia and internationally. Void Love will be narrated by Australian recording artist Kamahl. Its plot centres on a woman awakening from a coma to explore what is known and unknown about the formation of the Universe. After basing artwork on astronomy research, Forster and Weiland admitted it was a challenge to understand the breadth of the material. "At first, it was like being on an astrophysics bootcamp," Forster said. "The beauty of astronomy is that regardless of how difficult it gets, it remains endlessly fascinating." Dr Christopher Fluke, Swinburne astronomer and scientific partner on the project, thinks it has enormous potential. "There is a very long history of people telling stories about the night sky, which has motivated many new discoveries in astronomy. Void Love is a great way to continue that tradition." Event details What: Screening of Void Love's pilot episode Where: Head Quarters, 55 High St, Northcote, Melbourne, Victoria. When: Sunday 31 May 2009, 6.00pm to 7.30pm Further episodes will be broadcast online from August 2009. To receive email alerts when episodes become available visit www.voidlove.tv. ___________________________________________________________________ ANAT is assisted by the Australian Government through the Australia Council http://www.australiacouncil.gov.au its arts funding and advisory body, by the South Australian Government through Arts SA http://www.arts.sa.gov.au and the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. If you would like to change your contact details or be added or removed from this list please email anat@anat.org.au with 'Subscribe' or 'Unsubscribe' in the subject line. From Lena.Haubold at gmx.de Tue May 19 15:45:15 2009 From: Lena.Haubold at gmx.de (Lena Haubold) Date: Wed May 20 08:00:31 2009 Subject: [spectre] Call for proposals! Message-ID: <20090519134515.294120@gmx.net> Dear All, The The Planetary Collegium is Running its Xth International Research Conference Consciousness Reframed at 19 ? 22 November 2009 with the theme: Experiencing Design,- behaving media - A transdisciplinary inquiry into art, science, technology and society. Partner and Host: University of Applied Sciences, Munich MHMK Please submit proposals for presentations and submission of abstracts To http://www.planetary-collegium.org/planet-call.htm -- Neu: GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate + Telefonanschluss f?r nur 17,95 Euro/mtl.!* http://dslspecial.gmx.de/freedsl-surfflat/?ac=OM.AD.PD003K11308T4569a From nc-agricowi at netcologne.de Wed May 20 09:28:20 2009 From: nc-agricowi at netcologne.de (netEX) Date: Wed May 20 09:34:31 2009 Subject: [spectre] Call: The Best of FLash on the Net Message-ID: <20090520092820.FA98FE0A.1052A237@192.168.0.3> extended deadline:30 June 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 n0name at gmx.de Wed May 20 10:13:00 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Wed May 20 10:13:42 2009 Subject: [spectre] 0-) n0name nachrichten #138 Message-ID: <20090520081300.220750@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| 0-) n0name nachrichten #138 Mi., 20.05.2009 10:05 CET *Inhalt/Contents* 1. Debord - La Soci?t? du spectacle.srt als .txt 2 2. verteidigt das Portal der Fantasie aus: _3000/futuristische Phantasmen und aktuelle Fantasien der Technokultur 3.2_ (Fortsetzung aus nn #137) 38 KB, ca. 3 DIN A4-Seiten ------------------------------------------------------------------------ 1. Debord - La Soci?t? du spectacle.srt als .txt 2 Im letzten Noname Newsletter sind in dieser Textversion zwei Kopieren+Einfuegen-Fehler unterlaufen, bei 113 und 114, sowie 149. Es muesste dort lauten: 113 00:07:41,574 --> 00:07:43,140 Das Spektakel ist somit 114 00:07:43,260 --> 00:07:47,109 eine spezialisierte T?tigkeit, die f?r die Gesamtheit der anderen T?tigkeiten spricht. und 149 00:09:39,429 --> 00:09:45,803 wenn er den bisherigen Rhytmus beibehielte; das tut er aber nicht. Der korrigierte n0name newsletter #137 ist hier: http://www.n0name.de/news/news137.txt Die gesamte SRT-Datei zum Herunterladen hier: http://n0name.de/news/attachm/Debord - La Soci?t? du spectacle.srt [Dateiname vom Entwender/Uebersetzer so uebernommen] Hyperlinks http://theoriepraxislokal.org http://www.si-revue.de/situationistische-internationale Weiter gehts es... 193 00:11:49,820 --> 00:11:51,977 Sie ist, im h?chsten Grad, 194 00:11:52,088 --> 00:11:55,192 die Sprache, die kein fr?herer und ?berkritischer 195 00:11:55,365 --> 00:11:57,057 Bezugspunkt best?tigen kann. 196 00:11:57,368 --> 00:11:59,949 Im Gegenteil, ist es ihr eigener Zusammenhang, 197 00:12:00,132 --> 00:12:02,608 in sich selbst und mit den praktischen Tatsachen, 198 00:12:02,752 --> 00:12:05,232 der den fr?heren Wahrheitskern best?tigen kann, 199 00:12:05,326 --> 00:12:06,787 den er wiederbringt. 200 00:12:06,986 --> 00:12:10,003 Die Entwendung hat ihre Sache auf nichts gestellt, 201 00:12:10,282 --> 00:12:14,134 was au?erhalb ihrer eigenen Wahrheit als gegenw?rtiger Kritik liegt. 202 00:12:15,900 --> 00:12:18,544 Was sich in der theoretischen Formulierung 203 00:12:18,704 --> 00:12:21,357 offen als entwendet darstellt, 204 00:12:21,604 --> 00:12:24,624 indem es jede dauerhafte Autonomie der Sph?re 205 00:12:24,736 --> 00:12:26,238 des ausgedr?ckten Theoretischen widerlegt, 206 00:12:26,342 --> 00:12:29,586 dadurch dass es in sie durch diese Gewalt die Tat intervenieren l?sst, 207 00:12:29,690 --> 00:12:33,560 die jede bestehende Ordnung st?rt und beseitigt, 208 00:12:33,828 --> 00:12:36,145 weist darauf hin, dass dieses Dasein des Theoretischen 209 00:12:36,320 --> 00:12:38,062 f?r sich genommen nichts ist, 210 00:12:38,158 --> 00:12:39,596 dass es sich erst kennen lernen muss 211 00:12:39,732 --> 00:12:41,442 mit der geschichtlichen Tat 212 00:12:41,634 --> 00:12:45,000 und mit der geschichtlichen Korrektur, welche seine echte Treue ist. 213 00:12:45,314 --> 00:12:47,500 Was das Spektakel der Wirklichkeit genommen hat, 214 00:12:47,561 --> 00:12:50,000 muss ihm selbst wieder genommen werden. ... 215 00:12:50,150 --> 00:12:52,433 Expropriiert die spektakul?ren Expropriateure! 216 00:12:52,500 --> 00:12:55,129 Die Welt ist bisher immer nur gefilmt worden. 217 00:12:55,622 --> 00:12:59,129 Es k?mmt aber darauf an, sie zu ver?ndern. 218 00:12:59,358 --> 00:13:02,102 Es geht darum, 219 00:13:02,275 --> 00:13:05,278 die Gemeinsamkeit des Dialogs und das Spiel mit der Zeit, 220 00:13:05,422 --> 00:13:09,659 die von dem poetisch-k?nstlerischen Werk vorgestellt wurden, tats?chlich zu besitzen. 221 00:13:11,189 --> 00:13:13,398 Wenn die unabh?ngig gewordene Kunst 222 00:13:13,490 --> 00:13:16,718 ihre Welt in leuchtenden Farben malt, 223 00:13:16,870 --> 00:13:19,043 ist ein Moment des Lebens alt geworden, 224 00:13:19,242 --> 00:13:23,368 und mit leuchtenden Farben l?sst er sich nicht wieder verj?ngen, 225 00:13:23,572 --> 00:13:26,896 sondern nur in der Erinnerung wachrufen. 226 00:13:27,111 --> 00:13:29,429 Die Gr??e der Kunst beginnt erst 227 00:13:29,557 --> 00:13:31,913 mit der einbrechenden D?mmerung des Lebens zu erscheinen. 228 00:13:44,139 --> 00:13:46,404 Macht?s Spass, Mr. Logan? 229 00:13:46,708 --> 00:13:48,370 Ich konnte nicht schlafen. 230 00:13:48,673 --> 00:13:50,287 Und das Zeug hilft dir etwas? 231 00:13:51,933 --> 00:13:53,930 So vergeht die Nacht schneller. 232 00:13:55,815 --> 00:13:57,676 Was h?lt dich denn wach? 233 00:13:58,627 --> 00:14:00,002 Tr?ume. 234 00:14:01,927 --> 00:14:03,812 B?se Tr?ume. 235 00:14:06,680 --> 00:14:08,709 Ja, die hatt?ich auch manchmal. 236 00:14:16,624 --> 00:14:18,653 Hier, das wird sie vertreiben. 237 00:14:18,924 --> 00:14:21,886 Das hab ich versucht. Hat aber nicht viel geholfen. 238 00:14:30,605 --> 00:14:32,584 Wieviel M?nner hast du vergessen? 239 00:14:40,745 --> 00:14:43,445 Genau soviel, wie du Frauen nicht vergessen hast. 240 00:14:44,827 --> 00:14:48,983 Nachdem die unmittelbare Kunstsch?pfung 241 00:14:49,207 --> 00:14:54,092 der Theorie als solcher den Platz abgetreten hatte, 242 00:14:54,391 --> 00:14:59,125 verliert nun auch diese an Bedeutung 243 00:14:59,301 --> 00:15:04,044 zugunsten einer post-theoretischen Praxis der Synthesis, 244 00:15:04,342 --> 00:15:08,980 die die Begr?ndung der Wahrheit 245 00:15:09,053 --> 00:15:14,360 sowohl von Philosophie als von Kunst 246 00:15:14,411 --> 00:15:17,959 erst einmal schaffen soll. 247 00:15:24,964 --> 00:15:28,191 Das Denken der gesellschaftlichen Organisation des Scheins 248 00:15:28,359 --> 00:15:29,877 wird seinerseits verdunkelt 249 00:15:30,021 --> 00:15:33,872 durch die verallgemeinerte Hilfs-Kommunikation, die es verteidigt. 250 00:15:34,201 --> 00:15:37,003 Die Spezialisten der Macht des Spektakels, 251 00:15:37,235 --> 00:15:40,023 einer Macht die absolut ist im Inneren seines Systems 252 00:15:40,215 --> 00:15:41,781 einer Sprache ohne Antwort, 253 00:15:41,933 --> 00:15:43,802 sind absolut korrumpiert 254 00:15:43,898 --> 00:15:45,757 durch ihre Erfahrung der Verachtung 255 00:15:45,926 --> 00:15:48,020 und des Erfolges der Verachtung; 256 00:15:48,195 --> 00:15:50,560 denn sie finden ihre Verachtung best?tigt 257 00:15:50,679 --> 00:15:53,257 durch die Kenntnis des verachtungswerten Menschen, 258 00:15:53,401 --> 00:15:55,778 der der Zuschauer wirklich ist 259 00:16:01,667 --> 00:16:04,527 An dieser wesentlichen Bewegung des Spektakels, 260 00:16:04,719 --> 00:16:06,732 die darin besteht, alles in sich aufzunehmen, 261 00:16:06,844 --> 00:16:09,697 was in der menschlichen T?tigkeit 262 00:16:09,824 --> 00:16:11,133 in fl?ssigem Zustand war, 263 00:16:11,222 --> 00:16:15,444 um es in geronnenem Zustand zu besitzen, 264 00:16:15,624 --> 00:16:18,302 als Dinge, die zum ausschlie?lichen Wert geworden sind, 265 00:16:18,413 --> 00:16:21,685 durch die negative Umformulierung des erlebten Wertes 266 00:16:21,951 --> 00:16:24,523 ? erkennen wir unsere alte Feindin wieder, 267 00:16:24,715 --> 00:16:27,612 die so leicht auf den ersten Blick erscheint, 268 00:16:27,772 --> 00:16:30,627 als ein selbstverst?ndliches, triviales Ding, 269 00:16:30,954 --> 00:16:34,046 w?hrend sie doch im Gegenteil ein sehr vertracktes Ding ist, 270 00:16:34,221 --> 00:16:38,210 voll metaphysischer Spitzfindigkeit: die Ware. 271 00:16:38,210 --> 00:16:39,610 die Ware. 272 00:16:42,730 --> 00:16:45,774 Es ist das Prinzip des Warenfetischismus, 273 00:16:46,029 --> 00:16:48,520 die Beherrschung der Gesellschaft durch 274 00:16:48,625 --> 00:16:51,560 ?sinnlich ?bersinnliche Dinge?, 275 00:16:51,736 --> 00:16:54,576 das sich absolut im Spektakel vollendet, 276 00:16:54,697 --> 00:16:57,335 in welchem die sinnliche Welt ersetzt wird 277 00:16:57,495 --> 00:17:00,553 von einer Auswahl ?ber ihr schwebender Bilder, 278 00:17:00,741 --> 00:17:03,323 und das sich zugleich zu erkennen gibt 279 00:17:03,482 --> 00:17:05,908 als das Sinnliche schlechthin. 280 00:17:07,527 --> 00:17:10,179 Die zugleich anwesende und abwesende Welt, 281 00:17:10,315 --> 00:17:12,215 die das Spektakel sichtbar macht, 282 00:17:12,384 --> 00:17:14,206 ist die Welt der Ware, 283 00:17:14,326 --> 00:17:16,738 die alles Erlebte beherrscht. 284 00:17:16,994 --> 00:17:21,005 Und die Welt der Ware wird so gezeigt wie sie ist, 285 00:17:21,100 --> 00:17:23,177 denn ihre Bewegung ist identisch 286 00:17:23,385 --> 00:17:25,188 mit der Entfernung der Menschen 287 00:17:25,363 --> 00:17:28,665 voneinander und gegen?ber ihrem Gesamtprodukt. 288 00:17:29,528 --> 00:17:31,445 Die Ware hat ihre Herrschaft 289 00:17:31,708 --> 00:17:35,181 zun?chst nur verborgen ?ber die ?konomie ausge?bt, 290 00:17:35,287 --> 00:17:36,358 die selbst, 291 00:17:36,469 --> 00:17:39,122 als materielle Grundlage des gesellschaftlichen Lebens, 292 00:17:39,257 --> 00:17:41,989 unbeachtet und unbegriffen blieb, 293 00:17:42,165 --> 00:17:45,319 so wie ?berhaupt das Bekannte, weil es bekannt ist, nicht erkannt ist. 294 00:17:45,728 --> 00:17:48,129 In einer Gesellschaft, in der die konkrete Ware 295 00:17:48,257 --> 00:17:50,730 selten oder in der Minderheit bleibt, 296 00:17:50,906 --> 00:17:54,466 pr?sentiert sich die augenscheinliche Herrschaft des Geldes 297 00:17:54,593 --> 00:17:56,945 als die mit unumschr?nkter Vollmacht versehene Gesandte, 298 00:17:57,065 --> 00:17:59,622 die im Namen einer unbekannten Macht spricht. 299 00:17:59,933 --> 00:18:02,088 Mit der industriellen Revolution, 300 00:18:02,257 --> 00:18:04,478 der manufakturm??igen Teilung der Arbeit 301 00:18:04,605 --> 00:18:07,481 und der massenhaften Produktion f?r den Weltmarkt 302 00:18:07,673 --> 00:18:10,118 erscheint die Ware effektiv 303 00:18:10,261 --> 00:18:14,128 als eine Macht, die das gesellschaftliche Leben wirklich in Beschlag nimmt. 304 00:18:14,407 --> 00:18:17,411 Zu dieser Zeit bildet sich die politische ?konomie heraus 305 00:18:17,531 --> 00:18:21,403 als herrschende Wissenschaft und als Wissenschaft der Herrschaft. 306 00:18:25,249 --> 00:18:28,471 Das Spektakel ist ein permanenter Opiumkrieg, 307 00:18:28,694 --> 00:18:32,566 f?r die Gleichsetzung von G?tern mit Waren 308 00:18:32,854 --> 00:18:34,347 und von Zufriedenheit 309 00:18:34,484 --> 00:18:37,839 mit einem sich nach seinen eigenen Gesetzen vermehrenden ?berleben. 310 00:18:38,023 --> 00:18:41,337 Wenn aber das konsumierbare ?berleben etwas ist, 311 00:18:41,560 --> 00:18:42,821 das sich st?ndig vermehren muss, 312 00:18:42,964 --> 00:18:46,419 so deshalb, weil es die Entbehrung immer noch enth?lt. 313 00:18:46,579 --> 00:18:49,750 Wenn es kein Jenseits des vermehrten ?berlebens gibt, 314 00:18:49,949 --> 00:18:53,378 keinen Punkt, an dem es sein Wachstum beenden k?nnte, 315 00:18:53,576 --> 00:18:57,204 so deshalb, weil es selbst nicht jenseits der Entbehrung liegt, 316 00:18:57,411 --> 00:19:00,895 sondern die reicher gewordene Entbehrung ist. 317 00:19:03,156 --> 00:19:07,541 Der Tauschwert konnte sich zwar nur als Agent des Gebrauchswerts bilden, 318 00:19:07,657 --> 00:19:10,115 aber sein durch seine eigenen Waffen errungener Sieg 319 00:19:10,210 --> 00:19:13,489 hat die Bedingungen seiner autonomen Herrschaft geschaffen. 320 00:19:13,648 --> 00:19:15,326 Durch die Mobilisierung jedes menschlichen Gebrauchs 321 00:19:15,518 --> 00:19:18,394 und die Ergreifung des Monopols der Befriedigung 322 00:19:18,546 --> 00:19:21,132 kommt der Tauschwert endlich dazu, den Gebrauch zu lenken. 323 00:19:21,302 --> 00:19:22,852 Der Tauschvorgang 324 00:19:22,996 --> 00:19:25,351 ist mit jedem m?glichen Gebrauch identisch geworden, 325 00:19:25,488 --> 00:19:27,691 und hat ihn von seiner Gnade abh?ngig gemacht. 326 00:19:27,892 --> 00:19:31,743 Der Tauschwert ist der S?ldnergeneral des Gebrauchswertes, 327 00:19:31,918 --> 00:19:35,319 der endlich den Krieg f?r seine eigene Tasche f?hrt. 328 00:19:37,055 --> 00:19:41,515 Der Gebrauchswert, der im Tauschwert mit einbegriffen war, 329 00:19:41,697 --> 00:19:44,860 muss jetzt explizit verk?ndet werden 330 00:19:45,044 --> 00:19:47,640 in der verkehrten Realit?t des Spektakels, 331 00:19:47,784 --> 00:19:51,310 gerade weil seine tats?chliche Wirklichkeit zersetzt wird 332 00:19:51,496 --> 00:19:54,566 von der ?berentwickelten Waren-?konomie 333 00:19:54,710 --> 00:20:00,217 und weil eine Pseudo-Rechtfertigung des falschen Lebens n?tig wird. 334 00:20:09,608 --> 00:20:12,679 Das konzentrierte Ergebnis der gesellschaftlichen Arbeit 335 00:20:12,797 --> 00:20:16,741 tritt im Moment des ?konomischen ?berflusses offen in Erscheinung 336 00:20:16,929 --> 00:20:19,605 und unterwirft jede Wirklichkeit dem Schein, 337 00:20:19,908 --> 00:20:22,190 der von nun an sein Produkt ist. 338 00:20:23,756 --> 00:20:26,530 Das Kapital ist nicht mehr das unsichtbare Zentrum, 339 00:20:26,673 --> 00:20:28,835 das die Produktionsweise lenkt: 340 00:20:29,110 --> 00:20:32,209 seine Akkumulation breitet es bis zur Peripherie aus 341 00:20:32,393 --> 00:20:34,582 in der Form sinnlicher Gegenst?nde. 342 00:20:34,708 --> 00:20:38,600 Die ganze Ausdehnung der Gesellschaft ist sein Portr?t. 343 00:20:44,100 --> 00:20:46,714 Das Spektakel, wie die moderne Gesellschaft, 344 00:20:46,856 --> 00:20:49,186 ist zugleich einheitlich und geteilt. 345 00:20:49,501 --> 00:20:53,238 Wie sie gr?ndet es seine Einheit auf die Zerrissenheit. 346 00:20:53,469 --> 00:20:54,967 Aber sobald dieser Widerspruch 347 00:20:55,060 --> 00:20:57,013 im Spektakel zum Vorschein kommt, 348 00:20:57,107 --> 00:20:58,776 wird er seinerseits in Widerspruch gesetzt 349 00:20:58,886 --> 00:21:01,185 durch eine Umkehrung seines Sinnes; 350 00:21:01,405 --> 00:21:04,539 so dass die gezeigte Teilung einheitlich, 351 00:21:04,704 --> 00:21:08,145 w?hrend die gezeigte Einheit geteilt ist. 352 00:21:11,830 --> 00:21:14,999 Der Kampf von Gewalten, die entstanden sind, 353 00:21:15,109 --> 00:21:17,892 zur Verwaltung desselben sozial?konomischen Systems, 354 00:21:18,041 --> 00:21:21,207 entfaltet sich als der offizielle Widerspruch, 355 00:21:21,388 --> 00:21:24,254 der in Wirklichkeit zur tats?chlichen Einheit geh?rt; 356 00:21:24,396 --> 00:21:26,116 das gilt ebenso 357 00:21:26,258 --> 00:21:29,085 im Weltma?stabe wie innerhalb jeder Nation. 358 00:21:33,155 --> 00:21:35,325 Die falschen, spektakul?ren K?mpfe 359 00:21:35,467 --> 00:21:37,648 rivalisierender Formen der getrennten Macht 360 00:21:37,838 --> 00:21:39,517 sind zugleich wirklich, 361 00:21:39,666 --> 00:21:42,926 indem sie die ungleiche, konfliktgeladene 362 00:21:43,013 --> 00:21:44,603 Entwicklung des Systems, 363 00:21:44,753 --> 00:21:48,319 die relativ einander widersprechenden Interessen der Klassen, 364 00:21:48,477 --> 00:21:51,800 oder ihrer das System anerkennenden Untergruppen zum Ausdruck bringen 365 00:21:51,981 --> 00:21:56,088 und indem sie ihre eigene Teilhabe an seiner Macht bestimmen. 366 00:21:57,327 --> 00:22:00,246 Diese verschiedenen Oppositionen k?nnen sich 367 00:22:00,356 --> 00:22:02,838 im Spektakel nach ganz unterschiedlichen Kriterien, 368 00:22:02,987 --> 00:22:06,405 als absolut verschiedenartige Gesellschaftsformen pr?sentieren. 369 00:22:06,727 --> 00:22:11,093 Aber ihrer Wirklichkeit als besonderen Bereichen gem??, 370 00:22:11,239 --> 00:22:13,447 liegt die Wahrheit ihrer Besonderheit 371 00:22:13,573 --> 00:22:16,889 im allgemeinen System, das sie umschlie?t: 372 00:22:17,089 --> 00:22:18,632 in der einzigen Bewegung, die 373 00:22:18,773 --> 00:22:22,602 den Planeten zu ihrem Gebiet gemacht hat: im Kapitalismus. 374 00:22:23,615 --> 00:22:26,110 Die Bewegung der Banalisierung, 375 00:22:26,269 --> 00:22:29,407 die unter den schillernden Ablenkungen des Spektakels 376 00:22:29,560 --> 00:22:32,185 die moderne Gesellschaft weltweit beherrscht, 377 00:22:32,339 --> 00:22:34,500 beherrscht sie auch an jedem der Punkte, 378 00:22:34,626 --> 00:22:37,260 an dem der entwickelte Warenkonsum 379 00:22:37,401 --> 00:22:42,310 die zur Auswahl stehenden Rollen und Gegenst?nde scheinbar vervielfacht hat. 380 00:22:42,653 --> 00:22:45,389 Das ?berleben von Religion und Familie ? 381 00:22:45,566 --> 00:22:49,682 die das haupts?chliche Erbe der Klassenherrschaft bleibt ?, 382 00:22:49,834 --> 00:22:52,814 und folglich der moralischen Repression, die sie sicherstellen, 383 00:22:52,964 --> 00:22:55,692 k?nnen als ein und dasselbe 384 00:22:55,849 --> 00:22:57,755 mit der ?bersch?umenden Bekr?ftigung 385 00:22:57,936 --> 00:22:59,923 des Genusses dieser Welt kombiniert werden; 386 00:23:00,141 --> 00:23:02,320 dieser Welt, die doch produziert wird 387 00:23:02,463 --> 00:23:04,400 gerade nur als Pseudogenuss, 388 00:23:04,565 --> 00:23:06,765 der in sich die Repression birgt. 389 00:23:06,888 --> 00:23:09,773 Mit der seligen Hinnahme des Bestehenden 390 00:23:09,943 --> 00:23:12,840 kann sich auch die rein spektakul?re Revolte verbinden 391 00:23:13,013 --> 00:23:15,654 als etwas identisches: 392 00:23:15,887 --> 00:23:17,940 was die einfache Tatsache zum Ausdruck bringt, 393 00:23:18,067 --> 00:23:21,611 dass die Unzufriedenheit selbst zu einer Ware geworden ist, 394 00:23:21,792 --> 00:23:24,539 sobald sich der ?konomische ?berfluss in der Lage fand, 395 00:23:24,649 --> 00:23:26,384 seine Produktion auszudehnen 396 00:23:26,541 --> 00:23:30,041 bis auf die Verarbeitung eines solchen Rohstoffes. 397 00:23:30,460 --> 00:23:33,972 Indem er das Bild einer m?glichen Rolle in sich konzentriert, 398 00:23:34,090 --> 00:23:35,255 konzentriert der Star ? 399 00:23:35,365 --> 00:23:38,337 d.h. die spektakul?re Vorstellung des lebendigen Menschen ? 400 00:23:38,538 --> 00:23:40,935 diese Banalit?t. 401 00:23:41,199 --> 00:23:43,104 Die Bedingung eines Stars 402 00:23:43,214 --> 00:23:46,474 ist die Spezialisierung des scheinbar Gelebten, 403 00:23:46,797 --> 00:23:48,844 ist der Gegenstand der Identifizierung 404 00:23:48,938 --> 00:23:51,288 mit dem scheinbaren Leben ohne Tiefe, 405 00:23:51,494 --> 00:23:55,157 der die Kompensation f?r die Zerst?ckelung in 406 00:23:55,236 --> 00:23:57,560 tats?chlich gelebte produktive Spezialisierungen bilden soll. 407 00:23:57,973 --> 00:24:02,205 Die Stars sind da, um verschiedenerlei Typen von Lebensstilen 408 00:24:02,406 --> 00:24:05,197 und Gesellschaftsauffassungen darzustellen, 409 00:24:05,351 --> 00:24:08,150 denen es global zu wirken freisteht. 410 00:24:08,319 --> 00:24:12,604 Sie verk?rpern das unzul?ngliche Resultat der gesellschaftlichen Arbeit, 411 00:24:12,839 --> 00:24:15,642 indem sie Nebenprodukte dieser Arbeit mimen, 412 00:24:15,846 --> 00:24:19,491 die als deren Zweck magisch ?ber sie erhoben werden: 413 00:24:19,948 --> 00:24:21,923 die Macht und die Ferien, 414 00:24:22,176 --> 00:24:24,446 die Entscheidung und der Konsum, 415 00:24:24,554 --> 00:24:28,979 die am Anfang und am Ende eines unbestrittenen Prozesses stehen. 416 00:24:29,333 --> 00:24:31,963 Die Regierungsgewalt 417 00:24:32,097 --> 00:24:34,454 personalisiert sich dort zu einem Pseudostar, 418 00:24:34,640 --> 00:24:38,561 hier l?sst sich der Star des Konsums durch Plebiszit akklamieren 419 00:24:38,718 --> 00:24:40,848 als Pseudogewalt ?ber das Erleben. 420 00:24:40,977 --> 00:24:45,966 Aber diese Aktivit?ten des Stars sind ebensowenig wirklich global 421 00:24:46,136 --> 00:24:48,592 wie verschiedenartig. 422 00:24:51,569 --> 00:24:53,682 Die Einheit des Elends ist es, 423 00:24:53,856 --> 00:24:56,882 die sich unter den spektakul?ren Gegens?tzen verbirgt. 424 00:24:57,060 --> 00:25:00,091 Wenn verschiedene Formen derselben Entfremdung 425 00:25:00,205 --> 00:25:03,570 einander unter den Masken der totalen Auswahl bek?mpfen, 426 00:25:03,743 --> 00:25:08,463 so deswegen, weil sie alle auf den verdr?ngten, wirklichen Widerspr?chen aufgebaut sind. 427 00:25:08,661 --> 00:25:12,382 Nach den Erfordernissen der besonderen Stufe des Elends, 428 00:25:12,524 --> 00:25:14,418 das es dementiert und aufrecht erh?lt, 429 00:25:14,529 --> 00:25:17,742 existiert das Spektakel in einer konzentrierten 430 00:25:17,852 --> 00:25:19,494 oder einer diffusen Form. 431 00:25:19,866 --> 00:25:21,145 In beiden F?llen 432 00:25:21,256 --> 00:25:27,574 ist es nur ein von Trostlosigkeit und Grausen umgebenes Bild gl?cklicher Vereinigung 433 00:25:27,676 --> 00:25:30,821 im stillen Zentrum des Ungl?cks. 434 00:25:33,148 --> 00:25:35,101 Das konzentrierte Spektakul?re 435 00:25:35,274 --> 00:25:38,833 geh?rt wesentlich zum b?rokratischen Kapitalismus, 436 00:25:39,006 --> 00:25:42,817 auch wenn es gelegentlich als Technik der Staatsgewalt 437 00:25:42,958 --> 00:25:45,431 ?ber r?ckst?ndigere gemischte ?konomien 438 00:25:45,580 --> 00:25:49,375 oder in Krisenzeiten des fortgeschrittenen Kapitalismus eingef?hrt sein mag. 439 00:25:52,532 --> 00:25:54,808 Das b?rokratische Eigentum ist tats?chlich 440 00:25:55,009 --> 00:25:57,513 selbst konzentriert in dem Sinne, 441 00:25:57,647 --> 00:26:00,999 dass der einzelne B?rokrat an dem Besitz 442 00:26:01,096 --> 00:26:02,582 der Gesamt-?konomie 443 00:26:02,679 --> 00:26:05,821 lediglich vermittels der b?rokratischen Gemeinschaft, 444 00:26:05,961 --> 00:26:08,816 nur als deren Mitglied, teilhat. 445 00:26:08,992 --> 00:26:12,905 Au?erdem stellt sich auch die hier weniger entwickelte Warenproduktion 446 00:26:13,180 --> 00:26:15,841 in einer konzentrierten Form dar: 447 00:26:16,006 --> 00:26:18,391 die von der B?rokratie verwaltete Ware 448 00:26:18,541 --> 00:26:20,636 ist die ganze gesellschaftliche Arbeit, 449 00:26:20,753 --> 00:26:22,792 und was sie der Gesellschaft wiederverkauft, 450 00:26:22,937 --> 00:26:24,753 ist deren ?berleben im ganzen. 451 00:26:25,060 --> 00:26:27,400 Die Diktatur der b?rokratischen ?konomie 452 00:26:27,469 --> 00:26:32,246 kann den ausgebeuteten Massen keine nennenswerte Wahlfreiheit lassen, 453 00:26:32,318 --> 00:26:35,048 denn sie hat alles selbst w?hlen m?ssen 454 00:26:35,161 --> 00:26:37,260 und jede andere au?erhalb von ihr getroffene Wahl, 455 00:26:37,357 --> 00:26:39,631 ob sie nun die Ern?hrung oder die Musik betrifft, 456 00:26:39,776 --> 00:26:43,449 ist deshalb bereits die Wahl ihrer vollst?ndigen Zerst?rung. weiter im n0name newsletter #139 ------------------------------------------------------------------------ 2. verteidigt das Portal der Fantasie (Fortsetzung aus n0name newsletter #137) Fotografien sind technisch belichtete ausgeschnittene Flaechen mit vi- suellen Informationen. Der Monitor des Fernsehers, Videos oder Com- puters hat seinen definierten Rahmen im Verhaeltnis 4:3 oder 16:9; die Kinoleinwand oder die elektronische Projektion expandieren diese Ver- haeltnisse lediglich. Beim Betrachten medialer Konstrukte haben wir uns daran gewoehnt, sie als mehr oder weniger groszzuegig eingerahmte Bilder anzunehmen. Zumal wenn die Rahmen mit kuenstlerischem An- spruch gefuellt werden, entstand daraus das Missverstaendnis, dass wir es bei jeglicher medialer Produktion, die wir audiovisuell wahrnehmen koennen, vor allem mit der Produktion von Bildern zu tun haben. In 314 Skulpturen eingelassene oder in Museen zu Monumenten gestapelte Monitore, mit oder ohne Lautsprecher, vertieften das Missverstaendnis, dem Kunsthistoriker und -kritiker immer noch aufsitzen. Formen pro- zessualer Kunstpraxis wie das Happening, die Performance oder die Aktion waren fuer sie schon schwer handhabbar und fristen eine Exis- tenz ganz am Rand ihrer Aufmerksamkeit. Soweit es die aesthetischen Disziplinen betrifft, waren die Literatur- wissenschaften wesentlich frueher zur Oeffnung bereit. Dramatische Texte, Lautgedichte oder orale Lyrik bewegen sich als mediale Formen genuin in der Zeit. Gotthold Ephraim Lessings "Laokoon" wurde uns im Grundstudium am ehemaligen "Institut fuer Sprache im techni- schen Zeitalter" in Berlin von Friedrich Knilli eingefloeszt wie theoreti-sche Muttermilch. Unter anderen ueber ihn gewannen wir den Zugang zur Analyse von Film- und Radiotexten. Auch die Politologie, Soziolo-gie und Psychologie nahmen mediale Einzelphaenomene und Struktu-ren frueh in ihren Gegenstandskanon auf Sie sind ebenfalis weniger mit statischen Objekten im Raum befasst als mit Prozessen, Verhaeltnissen und Dynamiken. Ganz zu schweigen von den Physiologen, Physikern, Chemikern oder Medizinern. Medienapparate begleiten ihre Forschun-gen und Experimente schon seit den Gruenderjahren ihrer Diszi-plinen. [20] Mischungen, Koppelungen, Rhythmen, Takte, Montagen, Verlaeufe, Kollisionen gehoeren zu den Grundmodi, mit denen die Wis- senschaften von den Koerpern im Groszen wie im Kleinen zu tun haben. Auch deshalb spielen die Musik, der Klang, der Ton in der Medien- archaeologie eine akzentuierte Rolle. Kuenste, die mit und durch fortge-schrittene technische Medien operieren, sind Zeitkuenste. Das kann sich in der Herstellung von Illusionen bewegter Bilder in Form sukzessiver Fotograflen oder dynamischer graphischer Strukturen aeuszern. Davon erzaehlen die industriell bespielten Kanaele der Mediendistribution all-taeglich und ueberreichlich. Aber Bilder in scheinbarer Bewegung sind nicht mehr als ein Phaenomen von vielen, welche die Kuenste in der Zeit hervorbringen. Robert Fludd beschaeftigte sich mit dem Aufbau harmo-nischer Strukturen ebenso wie mit Arithmetik oder meteorologischen Prozessen. Fuer Kircher waren das Komponieren und das Kombinieren ebenso wichtige Kunstpraxen wie die Herstellung ueberraschender vi- 315 sueller Effekte. Aber einen wirklichen Paradigmenwechsel auch in der theoretischen Kunstbetrachtung hat der Physiker und Galvanist Ritter mit seinem Herunterbuecken auf die Horizontale, in der die Klangkoer- per mit den Chladni'schen Figuren schwangen, angestoszen. Mit der Elektrizitaet ist den Medienwelten eine neue Seele eingehaucht worden. Sie waren fortan nicht mehr primaer statisch zu denken, sie begannen zu tanzen, zu oszillieren, zu vibrieren, lebendig zu werden. Damit gerie-ten sie auf einen schluepfrigen Boden. Sie bewegten sich nun in enger Nachbarschaft zu den Phaenomenen aus dem "Museum des Schlafs" (Robert Walser), das die Leute Leben nannten. Porta hatte mit seinen Projektionen des realen Auszenraums in den kuenstlichen Innenraum der _camera obscura_ schon darauf aufmerksam gemacht. Von nun an be-fanden sich Beobachter und Teilnehmer medialer Ereignisse in einem permanenten Realitaetstest. Verschiedene Wirklichkeiten traten fuer die Wahrnehmung in Konkurrenz zueinander Das erhoehte die Moeglich-keiten des Genusses, aber auch die Verunsicherungen. Welche der Wel-ten darf als wahr gelten und welche als unwahr? Ritter mag die Turbu-lenzen gespuert haben, in die Denken und Wahrnehmen damit gerie-ten, und definierte die neue einzufordernde Kunstpraxis als Physik. Es ist noch nicht zu spaet, den Schwingungen in seiner vor 200 Jahren ge-haltenen Rede aufmerksam zuzuhoeren. Auch und gerade in den mit aesthetischen Phaenomenen befassten Disziplinen koennten Missver-staendnisse vermieden werden. Die Elektrizitaet als Kraft benoetigende Medienwelten und kuenstlich hergestellte, prozessierte und rhythmisierte Zeit sind Synonyme. Das Nomadentum der zeitgenoessischen Alchemisten aus den elektroni- schen Kuensten hat auch logistische und oekonomische Gruende. Sie zie-hen dorthin, wo sie gut eingerichtete Labore fuer ihre Experimente vor-finden und wo ihnen Freiraeume angeboten werden, in denen sie ihre instabilen oder gar fluechtigen Arbeiten voruebergehend installieren und praesentieren koennen. Einige der exzellenten Kuenstler aus der ersten Ge-neration, die sich auf die wenig verlaesslichen Techniken einliesz, stam-men nicht aus der Tradition der bildenden Kuenste. Nam June Paik be-gann als Musiker und Fluxus-Kuenstler. Steina Vasulka ist eine virtuose Geigerin und gab groszartige Violinkonzerte, bevor sie sich dem Film, 316 dem Video und Koppelungen ihres Geigenspiels mit den elektronischen Bildwelten zuwandte. Peter Weibel stand neben vielen anderen Iden- titaeten, die er annahm, als Rockmusiker auf der Buehne und lebt seine Identitaet als Aktionskuenstler sogar in seinen leitenden Funktionen als Direktor medienkuenstlerischer Institutionen. Alluqu?re Roseanne Stone arbeitete unter anderem fuer die Buehnenshows von Jimi Hendrix, bevor sie sich der Auffuehrung medienwissenschaftlicher Diskurse wid-mete. Perry Hoberman konstruierte Projektionen fuer die multimedia-len Konzerte Laurie Andersons, bevor er seine eigenen komplexen In-stallationen baute. Auch deswegen haben es solche Kuenstlerinnen und Kuenstler nicht leicht mit den Ausstellungsorten der traditionellen bil-denden Kunst. Galerien und Museen tun sich schwer mit ihnen. Sie kommen eher aus einer Kultur der Konzerthalle, der Clubs, der Tour-nee, der Strasze als derjenigen der Kontemplation und der Sammlung. -------------------------------------------------------------- | Poesien des Kairos in den Medienwelten koennen wirk- | | same Mittel gegen die #Enteignungen des Augenblicks# sein. | -------------------------------------------------------------- Unter dem Pseudonym Heinrich Regius veroeffentlichte Max Horkhei- mer 1934 seine "Notizen zu Deutschland". Er nannte sie im Titel "Daem- merung". Darin findet sich ein kleiner Abschnitt mit der Ueberschrift "Zeit ist Geld". Es draenge sich "die Frage nach einem Kriterium auf, wie-viel Geld eine bestimmte Zeit wert ist", schreibt er darin und faehrt fort: "Ein Arbeiter, der sich ein Automobil mietet, um morgens noch rechtzeitig zur Arbeitsstaette zu kommen, ist dumm (Vergleich der Fahrtkosten mit sei-nem Tageslohn), ein Erwerbsloser, der fuenf Mark in der Tasche hat und ein Auto benutzt, um Zeit zu sparen, ist verrueckt, aber schon ein mittlerer Pro-kurist wird anfangen, talentlos zu sein, wenn er seine Besuche nicht im Auto erledigt. Eine Minute im Leben des Erwerbslosen besitzt einen anderen Wert als eine Minute des Prokuristen ... Zeit ist Geld - aber was ist die Lebenszeit der meisten Menschen wert? Wenn man sich schon nicht scheut, so allge-mein daherzureden wie ein Sprichwort, dann ist nicht Zeit Geld, sondern Geld ist Zeit, ebenso wie es Gesundheit, Glueck, Liebe, Intelligenz, Ehre, Ruhe ist. Denn es ist ja erlogen, dasz, wer Zeit hat, auch Geld hat, mit bloszer Zeit kann man sich kein Geld verschaffen, aber umgekehrt." [21] 317 Aus der Erfahrung einer traege verlaufenden Zeit, die den Kreislaeufen der agrarischen Produktion verbunden war, machte Aleksej Gastev vor gut acht Jahrzehnten den unverschaemten Vorschlag, Zeitwahrneh- mung und Zeitpraxis ganz an den Takt dessen anzuschlieszen, was er das _Maschinische_ nannte. Es ging ihm dabei weniger um eine absolute Beschleunigung als um eine alternative Strukturierung der Zeit, die den Arbeitsprozess effektiver machen und dadurch Zeit sparen sollte. Die Verkoppelung mit dem mechanischen Apparat auf der Basis seines binaeren Codes fuer Bewegungen wollte die Reibungen zwischen dem biologischen und dem technischen Koerper eliminieren oder zumindest auf ein Mindestmasz reduzieren. Eine neue #Souveraenitaet des Einzelnen# erhoffte er sich aus dem bewussten Akt, dass er sich mit dem ganz An-deren zu einer neuen Einheit verbaende: der proletarischen Menschma-schine oder, was in Gastevs Perspektive dasselbe war, dem Maschinen-menschen. Diese Konstruktion hatte fuer den poetischen Organisator sowohl utopischen als auch elitaeren Charakter. Er wusste, dass die Symbiose als Zustand nicht zu erreichen waere, und er nahm selbstbe-wusst in Kauf, dass nur wenige hoch qualifizierte und flexible Verbin-dungen von Hand- und Kopfarbeitern sich ihr annaehern koennten. Auf der Basis des binaeren Codes digitaler Computer sind zu Beginn des 21. Jahrhunderts Informationen per _bit_ abrechenbar geworden, ganz gleichgueltig, ob es sich dabei um Zahlenreihen, Bilder, Texte oder Toene handelt. Die digitale Grundeinheit wird neue abstrakte Waeh-rung. Als kleinster Techno-Moment ist sie Berechnungsgrundlage fuer eine Oekonomie der Dienstleistung in Form von Zeichenproduktionen und Programmen, die tendenziell auch diejenigen Kuenste umschlieszt, die sich ausschlieszlich durch die vernetzten Medien verwirklichen. Die Herausbildung solcher Abrechnungsmodalitaeten fuer das Vergnuegen und die Arbeit verlief parallel mit der Zuspitzung einer massenmedia- len Tendenz, die Jean-Francois Lyotard in einem seiner fruehen Texte treffend so umschrieb: "Unsere Kultur zeichnet aus, was sie als einzi-gen Auftritt, der fuer sie Ereignis ist, in Szene setzt: den Augenblick des Tauschs, das Unmittelbare, den Knueller, die 'reale' Zeit, die fuer sie die einzig lebende Zeit ist. Man kann diesen Augenblick, in dem sich die ak-kumulierte 'tote' Zeit realisiert, obszoen nennen." [22] Die Verfuegbarkeit 318 ------------------------------------------------------------------------ ---------- Weitergeleitete Nachricht ---------- Von: Giordano Bruno Stiftung Datum: 25. Februar 2009 08:22 Betreff: "Evolutionstag statt Christi Himmelfahrt!" gbs-Kampagne zur ?nderung der Feiertagsgesetze An: xxxxxx.xxxxxxxxxx@gmail.com "EVOLUTIONSTAG STATT CHRISTI HIMMELFAHRT!" GBS STARTET KAMPAGNE ZUR ?NDERUNG DER FEIERTAGSGESETZE Christi Himmelfahrt soll k?nftig Evolutionstag hei?en! Das ist das Ziel einer Kampagne, die die Giordano Bruno Stiftung am Aschermittwoch startete. Das Darwin-Jahr 2009 biete einen hervorragenden Anlass, um den enormen Erkenntnisgewinn durch die Evolutionstheorie gesellschaftlich st?rker zu verankern, erkl?rte gbs-Sprecher Michael Schmidt-Salomon am Stiftungssitz in Mastershausen. Eine gute M?glichkeit hierf?r sei die Einrichtung eines offiziellen Feiertags: "Am Evolutionstag sollte gefeiert werden, dass wir endlich den kindlichen Narzissmus ?berwunden haben, der uns dazu verleitete, unsere Art als 'Krone der Sch?pfung? zu betrachten." Da nicht zu erwarten sei, dass die gesetzgebenden L?nder den "Evolutionstag" als zus?tzlichen Feiertag einf?hren werden, biete sich die offizielle Umbenennung eines bereits bestehenden christlichen Feiertags an, hei?t es in dem von Schmidt-Salomon verfassten Petitionstext. Der hierf?r am besten geeignete Kandidat sei "Christi Himmelfahrt", einer der neun bundeseinheitlich geltenden Feiertage. Christi Himmelfahrt empfehle sich schon allein deshalb, weil viele Familien an dem Tag Ausfl?ge in die Natur unternehmen w?rden. "Angemessener kann ein 'Evolutionstag? kaum begangen werden!", sagte der gbs-Sprecher, der mit dem k?rzlich erschienenen Kinderbuch "Susi Neunmalklug erkl?rt die Evolution" einen der provokantesten Beitr?ge zum Darwin-Jahr vorgelegt hat. F?r die Umbenennung von Christi Himmelfahrt in Evolutionstag spreche, so Schmidt-Salomon, dass die Mehrheit der in Deutschland lebenden Christen nicht mehr "an das Glaubensdogma der leiblichen Auffahrt Jesu in den Himmel" glaube. Au?erdem m?sse endlich auch das konfessionsfreie Drittel der Gesellschaft ber?cksichtigt werden, dem aus Fairnessgr?nden ein Drittel der gesetzlichen Feiertage zustehe. "Davon sind wir noch meilenweit entfernt!", kritisierte Schmidt-Salomon. "Die Umbenennung von Christi Himmelfahrt in Evolutionstag w?re ein erstes Anzeichen daf?r, dass dieser Staat in seiner Feierkultur nicht nur gl?ubige Christen respektiert, sondern auch die vielen Millionen Bundesb?rger, die eine dezidiert s?kulare Weltsicht vertreten." Die Petition zur Umbenennung von Christi Himmelfahrt in Evolutionstag kann auf dem Internetportal zum Darwin-Jahr (www.darwin-jahr.de/e-day) unterzeichnet werden. Zur Unterst?tzung der Kampagne hat die Giordano Bruno Stiftung heute Charles Darwin pers?nlich in den Ring geschickt. In dem u.a. auf YouTube ver?ffentlichten Musikvideo "Children of Evolution" erkl?rt der Jubilar in fr?hlicher Rockstarpose, warum es keine Schande ist, ein "nackter Affe" zu sein... Direkter Link zur Petition "Evolutionstag statt Christi Himmelfahrt!" http://www.darwin-jahr.de/e-day Link zum Video: "Darwin & The Naked Apes / Children of Evolution" http://www.youtube.com/watch?v=wbIa9fZuTFA&feature=channel Bitte helfen Sie mit, die Petition und das Darwin-Video im Internet zu verbreiten! Vielen Dank! Mit freundlichen Gr??en Das gbs-Newsletter-Team www.giordano-bruno-stiftung.de ----- Ende der weitergeleiteten Nachricht ----- ======================================================================== 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 #138 -------------------- -- Neu: GMX FreeDSL Komplettanschluss mit DSL 6.000 Flatrate + Telefonanschluss f?r nur 17,95 Euro/mtl.!* http://dslspecial.gmx.de/freedsl-surfflat/?ac=OM.AD.PD003K11308T4569a From ab at mikro.in-berlin.de Wed May 20 10:43:32 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Wed May 20 10:46:45 2009 Subject: [spectre] (fwd) Ecuador videoart archive/web update/may.09 Message-ID: Date: Tue, 19 May 2009 10:38:31 -0500 Subject: Ecuador videoart archive/web update/may.09 From: archivo ESCORIA nuevos medios ecuador (English version below) archivo ESCORIA nuevos medios ecuador imagen en movimiento (videoarte) actualizaciones de la p?gina web mayo 2009 http://www.archivoescorianuevosmediosecuador.com +suscripciones+ +artistas+ +art?culos+ +biblioteca+ +contacto+ +ayuda+ (conservaci?n de soportes y coleccionismo de videoarte) +enlaces+ +v?deos+ en esta edici?n: Pablo Gamboa, Carla Barrag?n y Oscar Santill?n mar?a bel?n moncayo directora general archivo ESCORIA nuevos medios ecuador info@archivoescorianuevosmediosecuador.com av. 6 de diciembre 2373 y la ni?a esq. edificio multicentro piso 18, dpto. 18I telf: (593) 2 2543040 cel: (593) 9 7799347 quito-ecuador ENGLISH ESCORIA new media file ecuador (archivo ESCORIA nuevos medios ecuador) videoart webpage update may 2009 www.archivoescorianuevosmediosecuador.com IMPORTANT: the section named english version is the only one translated in this site. If you need more information in english you can write to our e-mail adress, I?ll answer as soon as posible in english also. +frontpage+ www.archivoescorianuevosmediosecuador.com +english version+ http://www.archivoescorianuevosmediosecuador.com/home/homeeng.html +home+ +suscriptions+ +artists+ +articles+ +library+ +contact+ +help+ (videoart conservation and collectionism) +links+ +videos+ in this edition: Pablo Gamboa, Carla Barrag?n y Oscar Santill?n mar?a bel?n moncayo general director archivo ESCORIA nuevos medios ecuador info@archivoescorianuevosmediosecuador.com av. 6 de diciembre 2373 y la ni?a esq. edificio multicentro piso 18, dpto. 18I phone: (593) 2 2543040 cel: (593) 9 7799347 quito-ecuador From ab at mikro.in-berlin.de Wed May 20 10:45:57 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Wed May 20 10:49:08 2009 Subject: [spectre] ANN: Workshop on Preservation of audiovisual records (Prague, 20-23 May 09) Message-ID: From: image.science@donau-uni.ac.at Date: 18 May 2009 Subject: ANN: WS on Preservation of audiovisual and digital records TRAMSISTOR Workshop on Preservation of audiovisual and digital records Supported by the MEDIA Training Programme of the European Commission. An exceptional opportunity to meet with international leaders in the fields of preservation. CIANT_International Centre for Art and New Technologies in collaboration with FAMU presents: Preservation techniques and methodologies for digital and audiovisual records Prague, Czech Republic May 20-23, 2009 Speakers from 8 countries with: - Richard Wright from BBC (UK) - Dalit Naor from IBM (Israel) - Richard Rinehard from the UC Berkeley Art Museum/Pacific Film Archive (USA) - Don Foresta, MARCEL and Ecole Nationale Sup rieure d Arts (France) - Oliver Grau, Danube University (Austria) more information: transistor.ciant.cz Video of previous TransISTor: http://www.youtube.com/watch?v=Wca-B8olJqo What do you do to preserve your organisation's digital and AV records? With the world wide growth of digital information we as a people now have a new problem, there is a mass of data that must be stored and interpreted permanently. There is a strong risk that we will lose a good deal of our data, both that which is digital and that which is not yet digitalized. Today many of our processes become obsolete quickly and are replaced by new storage process, so that we need numerous systems to access all our old data. How well we can access our legacy of data will have important consequences in our organization s ability to retain our information capital as well as our Human cultural heritage. Currently new techniques of archiving and retrieving of audiovisual records are being developed and are resulting in new methods for the retention of capital of audiovisual information and the preservation and access of films, videos and interactive media. Among the lecturers: Richard Wright (UK): Senior Researcher, BBC Research and BBC project manager on European Commission projects PrestoPRIME (digital audiovisual preservation) and PrestoSpace (audiovisual preservation technology for Europe). www.bbcarchive.org.uk Dalit Naor (IL): Research Staff Member and Manager of the Storage Systems group at IBM Haifa Research Dr. Dalit Naor holds M.S. and Ph.D. degrees from the University of California, Davis, and a B.S. degree from the Technion, Israel Institute of Technology, all in Computer Science. Her work is focused on developing advanced functions for storage systems, including support for long-term digital preservation, secure access to storage and power-efficient storage systems. Dr. Naor s prior areas of interests include combinatorial optimization, bioinformatics, applied security, and content protection. Richard Rinehard (USA): Digital Media Director at the UC Berkeley Art Museum/Pacific Film Archive in California He is Associate Director for Public Programs of the Berkeley Center for New Media and is a new media artist. Richard has exhibited his art at Exit Art in New York and elsewhere; curated digital art exhibitions for the Berkeley Art Museum, New Langton Arts in San Francisco, and others; and he has taught digital art at UC Berkeley and beyond. www.coyoteyip.com Don Foresta (USA/FR): coordinator of a permanent high band-width network, He is using new technologies as creative tools specializing in the network as an artistic space. He is now a Visiting Research Associate at the London School of Economics and professor at the Ecole Nationale Sup?rieure d Arts - Paris/Cergy. He has been working for over 25 years developing the network as an artistic tool and is presently coordinating a permanent high band-width network, MARCEL, for artistic, educational and cultural experimentation. www.donforesta.net, www.mmmarcel.org Oliver Grau (DE): Professor for Image Science and Head of the Department at Danube University Grau lectured in numerous parts of the world, received various awards and is widely published (12 languages). His research focuses on the history, idea, and culture of telepresence, genetic art, and artificial intelligence. He was head of the German Science Foundation project Immersive Art, whose team since 1998 developed the first international Database of Digital Art: www.virtualart.at now based at Danube University. Contact us: transistor2009@ciant.cz CIANT_International Centre for Art and New Technologies Kubel kova 27 130 00 Praha 3 www.ciant.cz From ab at mikro.in-berlin.de Wed May 20 12:06:22 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Wed May 20 12:10:04 2009 Subject: [spectre] ACE and DIMEA 2009 - Two Entertainment Computing conferences merge Message-ID: From: "Shika Ismail" Date: Wed, 20 May 2009 17:51:03 +0800 Subject: ACE and DIMEA 2009 - Two Entertainment Computing conferences merge to bring you an even better academic entertainment computing experience! Call for Papers & Creative Showcases ======================================================================= ACE 2009: 5th Advances in Computer Entertainment Technology Conference incorporating DIMEA 2009 (3rd Digital Interactive Media Entertainment and Arts Conference) Athens, Greece, October 28-30, 2009 http://www.ace-conf.org/ace2009/ ======================================================================= ACE has become the leading academic forum for dissemination of novel research results in the area of entertainment computing. This year for the first time it incorporates DIMEA which has established itself over the last three years as a strong conference on interactive entertainment arts. Together the conference forms an exciting new step blending deeply the latest research in art and technology. The focus of ACE 2009 is to gather researchers from academia and industry -researchers who are working in multi-disciplinary areas within the arts, psychology, computer science, and design- to discuss, present, and demonstrate their new contributions. The goal of ACE is to stimulate discussion in the development and advancement of interactive art and entertainment applications. It, thus, strides to balance several interdisciplinary areas and seeks representation in all these areas, including, but not limited to: Accessibility, Aesthetics, Affective Computing, Ambient Intelligence, Animation Techniques, Attention, Augmented / Mixed Reality, Avatars and Virtual Community, Community, Cultural Computing, Digital Entertainment and Sports, Digital Broadcasting/Podcasting, Digital Cinema, Elderly Entertainment, Empathy, Entertainment Design Theory, Human-Robots Interaction, Robotic Love and Affection, Experience Design, Funology, Graphics Techniques, Interaction Design, Interactive Computer Graphics, Internet Networking Media, Learning and Children, Location-Based Entertainment, Metaverse, Mixed Media, Mobile Entertainment, Multimodal Interaction, Narratives / Digital Storytelling, New Gaming Audiences, Novel interfaces, Pervasive and Online Games, Physical Computing, Simplicity, Situativity, Smart Gadgets and Toys, Social Impact, Social Networking, Sound and Music, Synesthetic Entertainment, Tangible Interfaces, User Interfaces, Visual Effects, Virtual Reality To encourage presentation of such multi-disciplinary work, we invite submissions that fall into the following tracks: [Papers Track] - Full Papers: Original unpublished technical, design, and theory/social impact. Submissions to this track should not exceed 8 pages in ACM format. - Short Papers: Original unpublished technical, design, and theory/social impact. Submissions to this track should not exceed 4 pages in ACM format. The program committee may also suggest submitted long papers be resubmitted as short papers. - Posters: Breakthroughs in technical research, content design, industry applications, and entertainment theories/social impact researches are invited. Submissions to this track should not exceed 2 pages in ACM format. Format instructions are posted on the website. All accepted submissions will be published in conference proceedings. [Creative Showcases] (show cased within three types of spaces: exhibition space, art gallery and gaming exhibit) - Technical demos: prototype demos of advanced entertainment technology - Games, including, but not limited to, experimental games, independent games, games for change, video games, commercial games, casual games, mobile games - Interactive narrative, interactive drama, alternate reality games, and interactive fiction - interactive art installations - web-based computer entertainment - digital audio, visual and other sensory art - Design showcase One page abstracts of all accepted submissions will be published in conference proceedings. Important Dates: Deadline for Full and Short Papers: June 19, 2009 Deadline for Posters and Creative Showcases: June 19, 2009 Notifications of Acceptance: August 21, 2009 Camera Ready Copy: September 18, 2009 Submissions of papers will be online on our conference website using Easy Chair, and should follow the ACM Submission Format. Selected papers will be asked to extend their papers for a Journal Publication: Special Issue of ACM Computers in Entertainment and International Journal on Arts and Technology (IJART) Awards: Best papers and creative showcases will be selected based on a jury of well respected pioneers in the field attending the conference. We honor the authors of these publications by presenting awards including: Paper award categories: Gold, Silver, and Bronze. Creative showcase award categories: Gold, Silver, and Bronze. Organization Committee: Honorary General Chair Ryohei Nakatsu General Co-Chairs Hirokazu Kato, Michael Haller, Thanos Vasilakos Program Co-chairs Bruce Thomas, Yoshifumi Kitamura, Magy Seif El-Nasr (Local) Organizing Co-chairs John N. Karigiannis, Konstantinos Giannakis, Adrian David Cheok Financial Co-Chairs Ivan Boo WWW Administrator Miyuru Dayarathna Demo Co-Chair Maki Sugimoto Art Exhibition Chair Philippe Pasquier Publication Chair Henry Duh Publicity Chair Owen Noel Newton Fernando, Shoichi Hasegawa, Anton Nijholt, Teresa Romao ---------------------------------------------------------------- From hatam at drfz.de Wed May 20 16:09:09 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Wed May 20 16:09:46 2009 Subject: [spectre] Sound out of Paper with Andrei Smirnov May 21 at NK Berlin Message-ID: <380-2200953201499155@M2W004.mail2web.com> "Sound out of Paper" with Andrei Smirnov May 21 at NK Berlin Russian proto-electronic music from 1930-s and beyond, A presentation and film viewing session of synthesized sound from light called Graphical (Drawn) Sound technique produced in the 1930s recently discovered at the Russian State Film Archive. starting at 21:00 on Thursday May 21, 2009 Location: NK, Elsenstr. 52 2HH, 2Etage myspace.com/enka52 Entrance: Free The technology of synthesizing sound from light called Graphical (Drawn) Sound technique which was invented in Soviet Russia in 1929 as a consequence of the newly invented sound-on-film technology. At exactly the same time similar efforts were being undertaken in Germany by Rudolf Pfenninger in Munich and, somewhat later, by Oscar Fischinger in Berlin. This invention came at least twenty years too early while the World War II was already at the threshold. As a result by late 1930-s the work in this domain effectively came to a halt. Although there were several short articles published in USA by V.Solev (1935), most publications about research and developments in the USSR were in Russian. At the same time the most important documents were never published at all and were circulating in manuscript form. Fortunately many unique archives survived and are collected now at the Theremin Center in Moscow. Over two hours of synthesized music produced in 1930s twenty years before the foundation of electronic music were discovered recently at the Russian State Film Archive. Many of those materials which were never shown before are included in our presentation. http://asmir.theremin.ru/gsound1.htm -------------------------------------------------------------------- mail2web.com - Microsoft? Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange From seamascain at gmail.com Wed May 20 16:40:22 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Wed May 20 16:40:56 2009 Subject: [spectre] Google's assault on writers' copyright Message-ID: <6f1e9ee40905200740n2504df9fu48f4a45a6d43e42b@mail.gmail.com> _______________ Google's assault on writers' copyright ... http://www.irishtimes.com/newspaper/weekend/2009/0425/1224245347234.html The "Settlement Administrator" for the U.S. Federal Court defines and explains the issues, as imposed on writers throughout the world ... http://www.googlebooksettlement.com/help/bin/answer.py?answer=118704&hl=en#extension_explanation What arrogance by the lot of them! And, to be sure, I oppose corporate and pseudo-legal expropriation of creative literature, whether my own work or the work of others! For creative freedom, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From sebastien.bourdeauducq at lekernel.net Wed May 20 17:44:13 2009 From: sebastien.bourdeauducq at lekernel.net (=?utf-8?q?S=C3=A9bastien_Bourdeauducq?=) Date: Wed May 20 17:45:56 2009 Subject: [spectre] Hacker Space Fest: 26th to 30th of June 2009, France. Message-ID: <200905201744.14138.sebastien.bourdeauducq@lekernel.net> ======================================================================== == Hacker Space Festival #2: Program for 26-30 June 2009, Vitry/Seine == ======================================================================== We are proud to announce the HSF program for the events which will happen from the 26th to the 30th, of June 2009 at the /tmp/lab & 6 Bis in Vitry sur Seine. Hacker Space Fest aims to be an open forum for exchanges on Hacking, Art, Technology, Freedom, Openness and Society, and as such we wish to meet all of you who are contributing to these fields, individually or as an integrated domain. We'd like to thank all the people who sent us proposals, as well as the Programming Committee for their time and dedication. Thank you all of you who proposed your side-effects and helped make this program festival even better. See you there! Make sure to register, more information here: http://www.hackerspace.net/register (For short, to register, please send a mail to hsf-contact@tmplab.org with "Subscribe" as the subject.) The official program with details and the latest updates can be found online: http://hackerspace.net/schedule See you there, The Organizing Committee :) ======================================================================== == Table Of Contents =================================================== * Friday 26th June: Build-up / Help welcome * Saturday 27th June: Conference Day #1 * Sunday 28th June: Conference Day #2 * Monday 29th June: Conference Day #3 * Tuesday 30th June: Workshop Day * Ongoing Events * Food * Lightning Talks * Registration * Subscribe to the HSF-TALK Mailing-List ======================================================================== == SATURDAY 27 JUNE : CONFERENCE DAY #1 ================================ 09:00 - 10:00 Keynote Speech: Groogle Summer of Crode, by Serguey Grim, Eric Schmoudt, Larry Fake (EN) 10:00 - 11:00 Les activismes contemporains, by Laurence Allard & Olivier Blondeau (FR) 11:00 - 12:00 SIGKILL imminent - Novel Robot Uprising Mitigation Strategies, by astera (EN) 12:00 - 13:00 Sauerkraut hacking, by Doctor Ferrand & Mister R?bus (EN) 13:00 - 14:00 Lunch Break 14:00 - 15:00 Fabrication de Biodiesel, by Ga?tan & S?bastien Bourdeauducq (FR) 15:00 - 16:00 HostileWRT, by Itzhack & Mr. Parkinson (EN) 16:00 - 17:00 Subverting Windows Embedded CE 6 Kernel, by Petr Matousek (EN) 17:00 - 18:00 ICT Disaster Recovery, by Jaromil (EN) 18:00 - 20:00 Round Table I: ICT Disaster Recovery (EN) -> Facilitator : Jaromil -> Participants: Isazi, Xenon (more to come) 20:00 - 21:00 Dinner Break 20:00 - 23:00 Concerts and performances 23:00 - 07:00 DJs & VJs ======================================================================== == SUNDAY 28 JUNE : CONFERENCE DAY #2 ================================== 09:00 - 10:00 The only mov(i)e is... Hackers in movies, by Caspar Clemens Mierau (EN) 10:00 - 11:00 Gaming Platform Libre, by Laura B?cogn?e & Yann Guidon (FR) 11:00 - 12:00 NutIP : un serveur web pour calculatrice HP-41, by Khanh-Dang NGUYEN THU LAM (Paris) (FR) 12:00 - 13:00 Linux et le GSM, by XXX (FR) 13:00 - 14:00 Lunch Break 14:00 - 15:00 The Virtual Hacker Space Room, by hellekin (EN) 15:00 - 16:00 Milkymist: an Open Hardware VJ Platform, by S?bastien Bourdeauducq (EN) 16:00 - 17:00 Blender Game Engine + ODP = Sexy Presentation, by Kevin Roy (FR) 17:00 - 18:00 HackerSpaces Status Updates: - the un/loquer in Medellin, by Alejo Duque (EN) - Syn2Cat in Luxembourg, by Steve Clement (EN) 18:00 - 20:00 Round Table II: The Future Of Hackerspaces (EN) -> Facilitator : Philippe Langlois -> Participants: Alejo Duque, astera, Casper Clemens Mierau, hellekin, Jaromil, Steve Clement 20:00 - 21:00 Dinner Break ======================================================================== == MONDAY 29 JUNE : CONFERENCE DAY #3 ================================== 09:00 - 10:00 Scrying, by Martin Howse [remote from Berlin] (EN) 10:00 - 11:00 OpenCV anonymization, by jilt (EN) 11:00 - 12:00 La face cach?e des moteurs de recherches, by XXX (FR) 12:00 - 13:00 Pushing the Limits in Open Source Licensing, and beyond, by Philippe Langlois & Thiago Alves Maximo (EN) 13:00 - 14:00 Lunch Break 14:00 - 15:00 Vacuum tubes, your grandpa's electronics, by S?bastien Bourdeauducq (EN) 15:00 - 16:00 AANN - Artificial Analog Neural Network, by Phil Stearns (EN) 16:00 - 17:00 Hackers & Painters, by Milovann Yanatchkov (EN) 17:00 - 18:00 EU Software Patents v3.0: The Patent Empire Counter Attack, by Benjamin Henrion (EN) 18:00 - 20:00 Round Table III: Internet : libert? gradu?e et ripostes de la cr?ation (FR) -> Facilitator : Jean-Marc Manach -> Participants: to be announced 20:00 - 21:00 Dinner Break ======================================================================== == TUESDAY 30 JUNE : WORKSHOP DAY ====================================== Lightning Talks can be proposed until the last minute according to the available space-time. See http://hackerspace.net/lightning-talks 10:00 - 13:00 Lightning Talks (20 minutes) 10:00 - 13:00 FPGA & Verilog workshop preparation 10:00 - 12:00 Metasploit workshop, by J?r?me Athias (EN/FR) 13:00 Lunch Break 14:00 - 20:00 Lightning Talks (20 minutes) 14:00 - 18:00 FPGA and Verilog introduction, by S?bastien Bourdeauducq (EN) 16:00 - 18:00 Logiciel libre, standards ouverts et conservation des ?uvres d'art num?rique, by Anne Laforet (FR) 20:00 - 21:00 Dinner Break ======================================================================== == ONGOING EVENTS ====================================================== For the whole duration of the festival... == Ongoing RepRap Event Alexandre Korber will setup an ongoing RepStrap build during the whole festival, from A to Z. The workshop will be split in several activities: 1. Soldering of the electronics components on an Arduino basis 2. Building of the 3-axis robot 3. Building of the extruder head 4. Calibration and tests ======================================================================== == FOOD ================================================================ Last year, we had a lot of vegetarian food. This year, it'll be organic vegetarian food :) Please register yourself by sending a mail to this address if you wish to eat onsite: hsf-food@tmplab.org ======================================================================== == LIGHTNING TALKS ===================================================== Lightning Talks are open to anyone until the last moment, according to the available space-time and will take place all day of Thursday 30 June 2009 in the conference room. Lightning talks will be held on Tuesday. Each talk is to be 20 minutes, no more. Please send your proposal to the HSF-TALK mailing-list so we can update the wiki for you (you have to subscribe first): http://lists.tmplab.org/listinfo.cgi/hsf2009-talk-tmplab.org More information: http://www.hackerspace.net/lightning-talks ======================================================================== == REGISTRATION ======================================================== To register, please send a mail to hsf-contact@tmplab.org with "Subscribe" as the subject. You'll be invited, in the confirmation email, to give a donation for the participation to Hacker Space Fest. The suggested donation price if 40 EUR (forty). Half-price for students, unemployed and seniors. Registering is a good idea as it will ensure you for access to the conference: 1. All people having paid the full donation price in advance are SURE to get in. 2. All people having paid some donation (but not the full donation) will get in all the time, EXCEPT if there are too many people inside the rooms at a given time. 3. All people having registered online (here) will have priority during onsite registration 4. All people not registering online will have to pray that not so many people come to HSF ;-) ======================================================================== == THAT'S ALL FOLKS ==================================================== Follow-up on the HSF-TALK mailing-list: mailto:hsf-talk-subscribe@lists.tmplab.org From lotu5 at resist.ca Thu May 21 02:44:45 2009 From: lotu5 at resist.ca (dj lotu5) Date: Thu May 21 02:45:10 2009 Subject: [spectre] PRESS RELEASE: Freephone Art Project Provides Deported People with a Phone Call Message-ID: <4A14A3FD.5090402@resist.ca> FOR IMMEDIATE RELEASE WHAT: Freephone Art Project Provides Deported People with a Phone Call WHO: Chris Head, Micha C?rdenas, Elle Mehrmand, Katherine Sweetman, Felipe Zu?iga and Camilo Ontiveros WHERE: Lui Velazquez Gallery, Calle Jos? Maria Larroque #273, 2do Piso, Int. 6, Colonia Federal, Tijuana, Baja California, Mexico, C.P. 22 300 WHEN: Saturday May 30th, 2009, 1-6pm CONTACT: Micha C?rdenas, mcardenas A+ ucsd d()t edu The Freephone is an art project that aims to provide people just deported from the US with a free phone call. To achieve this, a group of UCSD Master of Fine Arts (MFA) students and graduates are coming together to present the phone at the Lui Velazquez gallery in Tijuana, just a few feet from the turnstiles where people who are deported are dropped off by the border patrol. The project is by the artists Chris Head, Micha C?rdenas, Elle Mehrmand, Katherine Sweetman, Felipe Zu?iga and Camilo Ontiveros The Freephone is an effort to use new media performance art or performance with technology to make the experience that people who are deported from the US a little bit less difficult. To make the phone, the artists bought a non working payphone casing from Ebay.com, wired it to a new $10 phone from a store and hooked that up to an adapter which would allow the phone to make calls over the internet. Then, the phone was installed outside of the Lui Velazquez gallery. On May 29th, the artists will do a public performance including posting signs, talking to people coming through of the turnstiles into Tijuana and sign spinning to direct people who may have just been dropped off by the border patrol towards the free phone. "Every day at this gallery we see people being deported by the Border Patrol. We wanted to engage the public space outside of the gallery as well as inside," said Katherine Sweetman, director of Lui Velazquez. "Art has the power to concretely improve people's lives. Artists can go beyond just representing or commenting on political issues and actually engage in political action as art," said Micha C?rdenas, recent graduate from UCSD's MFA program. "The Freephone is part of the tradition of Border Disturbance Art along with projects such as the Transborder Immigrant Tool from the Electronic Disturbance Theater", said C?rdenas. The Freephone will be shown on Saturday, May 30th as part of the Satellite Ensemble II, a show by UCSD MFA students aimed at taking UCSD's artistic impact beyond the boundaries of the campus. The show will begin at Agitprop gallery in North Park and will take place along the path from that gallery to Lui Velazuez in Tijuana via public transit. In addition to the Freephone, the show will include work by artists including Crystal Campbell, Zac Monday, Clare Zitzow, Priscilla Lazaro, David White, and Anna Chiaretta Lavatellii. "We want to not just make art with technology, but also show people how it was made, how they can use it and how they can make their own open source art projects," said Chris Head, about the Freephone. To accomplish this, the Freephone will be included in the ALTBIT open source art show later this year at Lui Velazquez. ALTBIT is a project to combine a number of open source and open hardware art projects together in one repository and present them in workshops in various locations in the US and Mexico. Initiated as part of the Society of Molecules, the Freephone performance will be part of a distributed aesthetico-political event coordinated by the Sense Lab at Concordia University in Montreal including artist groups from around the world including Madrid, Naples, Boston, New York, Montreal and other cities. For more information on the Freephone, contact Micha C?rdenas at mcardenas A+ ucsd D[]t edu. Images here: http://www.flickr.com/photos/lotu5/tags/freephone/ http://luivelazquez.com http://alt-bit.org http://visarts.ucsd.edu http://ucsdse2.blogspot.com/ http://senselab.ca # From ajaco at xs4all.nl Thu May 21 13:01:36 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Thu May 21 13:36:00 2009 Subject: [spectre] 0D0A gleich CRLF on Patapoe Radio 88.3 FM - http://freeteam.nl/patapoe - zaterdag 23 Mei 2009 - 18:00 - 20:00 uur - Communism in modern times Message-ID: <7D16F242-67D2-472E-972A-612984CC1F15@xs4all.nl> X**************************** X ************************ X X NICTOGLOBE RADIO -TV X BURGERWAANZIN.NL X X**************************** X ************************* X 0D0A gleich CRLF on Patapoe Radio! MJ presents Coming Saturday between 1800 and 2000: Communism in modern times, how to build a new society based on old models. Spiced with music from Kurt Weil; lyrics Bertold Brecht 'Rise and fall of the city of Mahagonny' recorded in 1972 by CBS inc played by Orchestra and chorus conducted by Wilhelm Brueckner Rueggeberg; produced by George Davis & George Avakian Have fun and learn how to build a complete and happy society! Ps receive radio patapoe: http://icecast.freeteam.nl:8000/patapoe via the internet or when in Amsterdam, Holland on 88.30 MHz ! Regards 0D0A X**************************** X ************************ X X NICTOGLOBE RADIO -TV X BURGERWAANZIN.NL X X**************************** X ************************* X A. Andreas e: a.andreas@nictoglobe.com w: http://www.nictoglobe.com, http://burgerwaanzin.nl From redazione at digicult.it Thu May 21 17:14:54 2009 From: redazione at digicult.it (Redazione Digicult) Date: Thu May 21 17:42:20 2009 Subject: [spectre] Direct Digital Symposium: From Art to Design and Back Message-ID: <008501c9da26$e5309ab0$83661201@marco> Sorry for any crossposting Digicult presents: >From Art to Design and Back | Direct Digital Symposium Thursday, 28th of May 2009, 02.00pm - 06.00pm | Galleria Civica - Modena (Italy) www.directdigital.org http://www.digicult.it/En/2009/DirectDigitalSimposio.asp Direct Digital exhibition catalogue - critical issue: http://www.digicult.it/public/mancuso_testo_eng.doc ______________________________________ With the partecipation of: Golan Levin (designer & theorist) interaction design and creative interfaces Boris Debackere (artist & V2_Institute for Unstable Media lab manager) the audiovisual, between art and performance and design Paolo Rigamonti / Limiteazero (designer & architect) liquid architectures and ipermedia urbanism Lucrezia Cippitelli (art critic & curator) new immersive multimedia landscapes Curate and moderate by: Marco Mancuso (critic, curator and Digicult director) ______________________________________ As in the program of Direct Digital event on May 28th 2009 in Modena (Italy), the symposium "From Art to Design and Back", organized and directed by Marco Mancuso (critic, curator and director at Digicult), focuses on the growing merge between productions, language and aesthetics of digital art and design, as a method of creative design between interactivity, space and eco-system audiovisual production. Thanks to national and international guests, this symposium will try to focus on meeting points between art&design and contemporary man's creative, and specifically perceptive, social & urban sphere. The boundaries between art, design and technological hacking, considered as a discipline characterized by use and misuse of modern technologies to produce sensitive landscapes, are more and more subtle and feeble. Sustained by artists and designers general inclination to cope with various practices (from immersive installations to interactive interfaces, from live performances to audiovisual products) using different hardware and software methods, the comparison between creative disciplines with different backgrounds and history has never been so rich and fertile. Borders and languages constantly reshaping, aesthetics and experiences continuing redefining, tools and interfaces gradually developing, influences and experiences generally sharing. Digital and technological media, directed (during the last 20 years) towards the production of artefacts that can destroy the Cartesian rules of sound-image-space relationship, and can push towards the creation of multimedia landscapes in which technology isn't merely an exercise of style and technique, but is finally useful for new language, aesthetics, experience, emotion and message. When values and our western world's economy are in a deep crisis, in front of a general worldwide techno fascination, inside a universe rich of interactive, locative and mobile technologies, the interpretation of reality by digital artists and designers is still linked to contents, a wide aesthetics, eco-simulation and spectacular interfaces. These elements influence our mind and our perceptive evolution, many aspects of the society in which we live and our interpretation of the reality. Will contemporary art and design be able to give scanning and reading tools to daily reality? Or, otherwise, will they push further to the creation of immersive landscapes in which we will find shelter waiting for a new coming? ______________________________________ Golan Levin (Usa) Golan Levin develops artifacts and events which explore supple new modes of reactive expression. His work focuses on the design of systems for the creation, manipulation and performance of simultaneous image and sound. He is known for the conception and creation of Dialtones: A Telesymphony [2001] and for interactive information visualizations like The Secret Lives of Numbers [2002] and The Dumpster [2006]. Previously, Levin was granted an Award of Distinction in the Prix Ars Electronica for his Audiovisual Environment Suite [2000] interactive software and its accompanying audiovisual performance, Scribble [2000]. Other projects from recent years include Re:MARK [2002], Messa di Voce [2003], and The Manual Input Sessions [2004], developed in collaboration with Zachary Lieberman, and Scrapple [2005] and Ursonography [2005]. Levin's current projects, such as Opto-Isolator [2007] and Double-Taker (Snout) [2008], employ interactive robotics and machine vision to explore the theme of gaze as a primary new mode for human-machine communication. Presently Levin is Associate Professor of electronic time-based art at Carnegie Mellon University . His work is represented by the Bitforms gallery, New York City . Boris Debackere (Belgium) Boris Debackere is an artist, lab manager at V2_institute for the unstable media, and staff at the Transmedia department of the Hogeschool Sint-Lukas. As a media artist his main interests are the possible integration of different expression forms, with an emphasis on electronic sound and image. Most recent work and research is concentrated towards translating and transforming the cinema concept into other forms like live cinema and audiovisual installations. His work includes Vortices , a reactive video installation, exposition Gorge(l) at the KMSKA, Probe, an installation dealing with the relationship between the viewer and the screen, the research project The Cinematic Experience (lectures and publication for Sonic Acts XII). He collaborated with Brecht Debackere on the Live Cinema performance Rotor , performed at several international media festivals. Programming and sound design for Marnix de Nijs' installations Run Motherfucker Run (2004) and Beijing Accelerator (2006). Composition & sound design for Herman Asselberghs' films a.m./p.m. (2004), Proof of life (2005), Capsular (2006), Futur Ant?rieur (2007) and Alltogether (2008). Paolo Rigamonti (Italy) Architetto, nasce a Milano nel 1963, citt? dove vive e lavora. Ha lavorato per diversi anni nel campo della progettazione di edifici residenziali e per il terziario, locali pubblici, interni, graphic e industrial design. Dal 1998 si dedica completamente a progetti di design legati alle nuove tecnologie, in questo periodo ? consulente di alcune fra le principali aziende del settore. Nel 2000 ? fondatore, con Silvio Mondino, di Limiteazero, gruppo di ricerca sperimentale sulle potenzialit? dei nuovi media, dapprima interno alla agenzia di comunicazione BGS D'Arcy (oggi Leo Burnett) e dal 2002 studio indipendente, con un percorso che si sviluppa parallelamente sulla produzione di progetti sperimentali e sulla elaborazione di progetti su commissione. Il lavoro di Limiteazero ? stato pi? volte recensito ed esposto in diverse occasioni sia Italia che all'estero. Dal 2005 ? ideatore e direttore artistico di MixedMedia, evento di cultura elettronica svoltosi presso l'Hangar Bicocca a Milano. E' docente di "Mediascape design" all'interno del Master in Digital Environmental Design presso la Nuova Accademia di Belle Arti di Milano. Lucrezia Cippitelli (Italy) Scholar and teacher of History and Aesthetics and Contemporary Art, Lucrezia Cippitelli holds a Phd in History of Art and is also art writer and curator, with a curriculum of international researches, exhibitions, professorships and cultural cooperation projects, developed in several international Biennals, exhibitions, cultural centers, universities and academies (Bienal de La Habana , Dak'Art, Bienal de Santiago, art academies in Uk, States, Germany, Belgium, The Netherlands just to name few). The main focus on media, technology and its interaction with contemporary art production is accompanied with a curriculum of teacher of History and Aesthetics of XX Century Avant-guards and Post Second World War Vanguard movements; Aesthetics of media and technologies - art in the digital synthesis age; Process oriented art practices in networks and public spaces; Aesthetics of not western art practices; Post-colonial and Postmodern criticism and Comparative modernities studies. Lucrezia Cippitelli is one of the member of Digicult Network. Marco Mancuso (Italy) Marco Mancuso is a critic, curator and journalist about digital art and culture. Founder and director at Digicult (and the magazine Digimag), project about digital technologies crossing art, design, science, culture and society, Marco Mancuso works specifically on contemporary audiovisual art & design, with a focus on live cinema & live media projects, generative & open source technologies, interactive & immersive installations, art & science practices. He worked as curator for festivals in Italy ( Piemonte Share, Dissonanze, MixedMedia, Screen Music, Sincronie among others) and as guest curator for some international events ( Cimatics, Strp, Sonic Acts, Nemo, Strp, Transcultures Audiovisuelles, Elektra ) presenting Italian audiovisual artists and designers with the curatorial project +39:Call for Italy . He curate athe first Italian G.R.L. Laser Tag urban performance, some solo exhibitions ( op7_Otolab, Thorsten Fleisch, The Arts Catalyst ) and cross media events. His interviews can be read on Digicult archive, while his writings were published in some festival and exhibition catalogues ( Piemonte Share, MixedMedia, 0006_Limiteazero, op7_Otolab, Direct Digital , Struttura ) and written for some lectures and presentations he joined (Bruce Sterling's workshop , Art&Science conference, The Open Source meeting, Pixxelpoint ). He teaches at Naba Academy and Ied Institute in Milan ______________________________________ Direct Digital | a new media art event Exhibition | Live media | Workshop | Cinema | Contest Modena | Carpi - 30 may > 28 june 2009 Exhibition catalogue written and curated by Marco Mancuso and Claudia D'Alonzo www.directdigital.org http://www.digicult.it/En/2009/DirectDigital.asp Direct digital is a new media art event presented by the cultural association Artegenti, which will take place from 30 th May 2009 to 28 th June 2009 in Modena and Carpi (Italy) , in the Ex-Ospedale Sant'Agostino and in Palazzo Pio, under the conception and artistic direction of Gilberto Caleffi. Direct Digital will be presented in preview on Saturday the 8 th of May with a live exhibition of the visionary musician Dm Stith at the Circolo Zuni in Ferrara . Direct Digital proposes a thick calendar of five sections, Exhibition, Live Media, Workshop, Cinema, Contest in order to show a detailed perspective of the most recent developments of art and creativity linked to the use of digital technologies. The event, at its first edition, aims at becoming a benchmark for those who are interested in knowing, proposing and creating moments of meetings between contemporary art and digital innovation . From jay at microcinema.com Thu May 21 20:43:23 2009 From: jay at microcinema.com (jay@microcinema.com) Date: Thu May 21 20:44:00 2009 Subject: [spectre] New Releases from Microcinema DVD Available June 30, 2009 Message-ID: <6cf408e7fbc7da72d854a5df8ec08b91@microcinema.com> New Releases from Microcinema DVD Order Date: May 26, 2009 Street Date: June 30, 2009 ----------------------------------------------------------------------------------------- SPLIT SIDES: Merce Cunningham Dance Company, Original Music by Radiohead and Sigur R?s CINEMAD: Almanac 2009, Curated by Mike Plante VERMEER: MASTER OF LIGHT, A National Gallery of Art Film THE IMPRESSIONISTS WITH TIM MARLOW: The entire collection of 8 programs ----------------------------------------------------------------------------------------- SIDES: Merce Cunningham Dance Company, Original Music by Radiohead and Sigur R?s $40.00 SRP/Edu European List Prices: 40.00 Euros / 27.99 GBP Catalog #: MC-980 UPC: 880198098092 Dance 2009 ? 126 mins Merce Cunningham?s Split Sides (2003) captures the iconic modernist choreographer?s most radical use of chance procedures. As the title implies, the piece is divided into two parts. Each 20-minute part features one of two options for the different creative elements of the piece: set design, costumes, lighting, music, and choreography. The order in which each element appears during a given performance is determined by an onstage dice roll before the performance, captured on full screen for the live audience. There are thus 32 possible combinations for any performance of Split Sides. In addition to Merce Cunningham?s two choreographic segments, the work features two set designs (one by Robert Heishman and one by Catherine Yass), two sets of costumes (by James Hall), and two lighting plots (by James F. Ingalls). Original scores, composed specifically for this collaboration by the British alternative rock group Radiohead and the Icelandic experimentalist group Sigur R?s, offer the two choices of music. This two-disc DVD set, by giving viewers the opportunity to alternate soundtracks, presents 4 of the 32 possible variations of the work. Filmmaker Charles Atlas masterfully captures the dance with Merce close at his side. Cunningham calls the films Split Sides 45 and Split Sides 46, because they capture the 45th and 46th performances of this epic collaboration. ---------------------------------------------------------------------------------------- CINEMAD: Almanac 2009, Curated by Mike Plante $24.95/75.00 SRP/Edu European List Prices: 24.95 Euros / 17.99 GBP Catalog #: MC-953 UPC: 880198095398 Art/Artist 2009 ? 77 mins To celebrate 10 years of covering unusual films and filmmakers, Cinemad magazine presents a compilation of short films that defy simple categorization. An accompanying 60 page booklet includes interviews with each filmmaker. Includes films by: Animal Charm,Cam Archer,Stephanie Barber,Bruce Conner,Kevin Everson,James Fotopoulos,Sam Green,Jake Mahaffy,Bill Morrison,Leighton Pierce,Jennifer Reeves,Deborah Stratman ----------------------------------------------------------------------------------------- VERMEER: MASTER OF LIGHT, A National Gallery of Art Film $24.95 SRP/Edu European List Prices: 24.95 Euros / 16.99 GBP Catalog #: MC-951 UPC: 880198095190 Art/Artist 2008 ? 57 mins Vermeer: Master of Light, is a visual quest in search of ?what makes a Vermeer a Vermeer.? It is a journey of discovery, guiding the viewer through an exploration of Vermeer?s paintings and examining the ?secrets? of his technique. Each frame of the film emulates the subtlety of Vermeer, with particular emphasis placed on lighting and composition. Utilizing x-ray analysis, infrared reflectography, and the power of computer technology, the program investigates what lies beneath the surface of the paintings to unveil captivating insights into the master?s work. The paintings of Johannes Vermeer are intriguing as much for their subjects as for the poetic ways in which these are portrayed. Vermeer?s use of light and color, proportion and scale mesmerizes the viewer. His everyday scenes are imbued with nuances of reflection and meaning that are at once familiar and mysterious. This film celebrates one of the most extraordinary painters in the history of art. Narrated by Meryl Streep. ----------------------------------------------------------------------------------------- THE IMPRESSIONISTS WITH TIM MARLOW: The entire collection of 8 programs $30.00 SRP/Edu European List Prices: 30.00 Euros / 19.99 GBP Catalog #: MC-971 UPC: 880198097194 Documentary 1992 ? 198 mins The Impressionists have become the international superstars of Western painting. The works of Manet, Monet, Renoir, Degas, Toulouse-Lautrec, Cezanne and the great successors of Impressionism like Gauguin and Van Gogh appear everywhere and are well loved by the public and academics alike. In addition to their popularity and accessibility, for their time impressionist paintings were radical works of art, which instigated a revolution in the art world. The Impressionists broke away from traditional, academic art in their technique - by using touches of color to capture movement and light and in their subject matter, depicting ordinary people at work and leisure in Paris and on the banks of the Seine. In this series, The Impressionists with Tim Marlow, we are reacquainted with the artists - their motivations and loves, triumphs and disappointments and with their work. Marlow takes us on a journey through late nineteenth-century France and he invites us to immerse ourselves in the greatest impressionist works of art. ----------------------------------------------------------------------------------------- Microcinema International DVD - Over 500 International Titles * Art and artist documentaries * Animation * Social/Political * Short film and video compilations by award winning directors * Ambient DVDs created for plasma TVs * Fashion, typography, and motion design * Family films * Much more! SEE OUR ONLINE CATALOG http://www.microcinemadvd.com/merchandise/products/all.html ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Microcinema International Distribution [On-Line Retail, Institutional, Educational, Libraries, Wholesale, International] Microcinema International specializes in the moving image arts on DVD and distributes unique and innovative titles worldwide. Microcinema International 1636 Bush Street, Suite 2 San Francisco, CA, 94109, United States PHONE +1-415-447-9750, FAX +1-509-351-1530, orders@microcinema.com From nc-agricowi at netcologne.de Fri May 22 09:51:09 2009 From: nc-agricowi at netcologne.de (netEX) Date: Fri May 22 09:52:19 2009 Subject: [spectre] Call --> Draft Title: SHOAH Message-ID: <20090522095109.FE0260BE.2DE65FBB@192.168.0.3> Deadline: 30 September 2009 http://www.nmartproject.net/netex/?p=662 ------------------------------------------- [NewMediaArtProjectNetwork]:||cologne http://www.nmartproject.net - the experimental platform for art and new media is planning in 2011-2012 a physical exhibition on the subject of SHOAH and aspects as they are described in the exhibition concept on http://dts.engad.org/blog/?page_id=10 , and is looking for artists, who worked already on the given subject, or who would like to work on this subject. In the focus of interest stand primarily digital media, in first place videoart & shortfilm, but also netart, computer basded multi-media, soundart, digital photography and media installation. Those artists who feel addressed to are encouraged to submit their expression of interest in participating by sending one or more work or concept proposals. The submission form can be found on http://www.nmartproject.net/netex/?p=662 All serious submissions will be collected, reviewed and archived Participating will be possible only on personal invitation. Project blog http://dts.engad.org info (at) nmartproject.net ------------------------- netEX- networked experience http://netex.nmartproject.net From marc.garrett at furtherfield.org Fri May 22 12:29:27 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri May 22 12:31:33 2009 Subject: [spectre] Feral Trade =?windows-1252?q?Caf=E9_by_Kate_Rich_at_HTTP_Gallery?= =?windows-1252?q?=2E?= In-Reply-To: <49F58F5F.20104@v2.nl> References: <49F58F5F.20104@v2.nl> Message-ID: <4A167E87.70604@furtherfield.org> sorry for any cross posting... Feral Trade Caf? by Kate Rich at HTTP Gallery. Exhibition: Free entry 13 June ? 2 August 2009 Open Friday-Sunday 12-5 Private View: Saturday, 13 June 16:00?19:00 http://www.http.uk.net/ 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 Caf? is the first element of Furtherfield.org's three-year Media Art Ecologies programme, which aims to provide opportunities for critical debate, exchange and participation in emerging ecological media art practices, and the theoretical, political and social contexts they engage. The caf? will be host to events, initiated by Furtherfield.org and others, examining issues related to the Feral Trade and Media Art Ecologies projects, including a Media Art Ecologies networking day. Further info and dates (TBC). On the occasion of the exhibition, Furtherfield.org and HTTP Gallery are pleased to publish a new essay about the Feral Trade project by writer, artist and designer Femke Snelting of De Guezen (http://www.geuzen.org/) (NL), http://www.furtherfield.org/displayreview.php?review_id=349 About Kate Rich Kate Rich is an Australian-born artist & trader. In the 1990s she moved to California to work as radio engineer with the Bureau of Inverse Technology (BIT), an international agency producing an array of critical information products including economic and ecologic indices, event-triggered webcam networks, and animal operated emergency broadcast devices. The Bureau's work has been exhibited broadly in academic, scientific and museum contexts. Restless at the turn of the century, she headed further east to take up the post of Bar Manager at the Cube Microplex, Bristol UK where she launched Feral Trade. She is currently moving deeper into the infrastructure of cultural economy, developing protocols to define and manage amenities of hospitality, catering, sports and survival in the cultural realm. More information: For more information about the exhibition: http://www.http.uk.net/exhibitions/FeralTradeCafe/index.shtml 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 alex at slab.org Sun May 24 22:14:37 2009 From: alex at slab.org (alex) Date: Sun May 24 22:16:17 2009 Subject: [spectre] pubcode - livecoded music + vjs, London, Friday 29th May Message-ID: ++ PUBCODE ++ The first series of livecoded music events in London. http://toplap.org/uk/ Live coding is a new direction in electronic music and video, and is starting to get somewhere interesting. Live coders expose and rewire the innards of software while it generates improvised music and/or visuals. All code manipulation is projected for your pleasure. When: 7pm - 11pm Friday 29th May Featuring: Yee-King (spasmic drumming) slub (ambient skiffle techno) Click Nilson (slurs, arrows, slurring) Pixelpusher vs The Cane Toads (dirty pixel raga) Scott Hewitt (patching things) Place: The Roebuck 50 Great Dover Street London SE1 4YG Map: http://is.gd/CL5G Door tax: Free Tube: Borough (5 mins walk) London Bridge (9 mins walk) More info: http://toplap.org/uk/ TOPLAP UK gratefully acknowledges financial support from the PRS Foundation. From lotu5 at resist.ca Mon May 25 02:32:44 2009 From: lotu5 at resist.ca (dj lotu5) Date: Mon May 25 02:33:43 2009 Subject: [spectre] Becoming Dragon opens in LA, San Diego, questions limits of gender and the virtual Message-ID: <4A19E72C.3020403@resist.ca> WHAT: Becoming Dragon opens in LA, San Diego, questions limits of gender and the virtual WHERE: Compactspace gallery, 105 East 6th Street, Los Angeles, CA 90014 and University Art Gallery, UCSD WHEN: Thursday May 28th from 6-8:30pm and Friday May 29th, 6-10pm at Compactspace CONTACT: Micha Cardenas, mcardenas a+ ucsd D[]t edu Becoming Dragon, the controversial art project by Micha Cardenas which questions the possibilities of Species Change Surgery and the limits of merging the virtual and physical body, will be part of two exhibitions opening in Los Angeles and San Diego on May 28th and 29th. The project consisted of a 365 hour performance in Second Life, using a Head Mounted Display, motion capture and a stereoscopic projection and coincided with Cardenas' real life hormone replacement therapy. The project has been the subject of more than one controversy since it took place. On Friday, May 29th, Compactspace in Los Angeles will be holding an artists' reception for the show The Dark Tower, which includes photo documentation of Becoming Dragon. The show also features the work of a other UCSD MFA artists and was curated by Cauleen Smith. More details about the show are at http://www.compactspace.com/ On Thursday, May 28th, the University Art Gallery on the campus of UC San Diego will be opening the show MFA 2009, highlighting the work of MFA graduating MFA candidates including Cardenas and many others. The show will include a 25 minute video of Becoming Dragon as well as a number of digital prints from the virtual point of view of the performance.More information about the show is at http://va-grad.ucsd.edu/~drupal/node/903 Becoming Dragon has been presented at the Southern California Institute of Architecture (SCIArc) in Los Angeles, Supersonic 2009 in the Los Angeles convention center, the Alexandria Contemporary Arts Forum in Alexandria, Egypt, the "Engineering Reality of Virtual Reality" conference in in the San Jose convention center, the Lui Velazquez gallery in Tijuana, Mexico, the Ars Virtua gallery in Second Life and the Pendergrast gallery at UCSD. The project will also be presented in Victoria, Canada at Ctheory's Critical Digital Studies Workshop in June. The project was featured on the cover of the San Diego Union Tribune and the San Diego Reader, as well as having articles published about it in San Diego City Beat, Dr Dobbs Journal Online, Secondlife.com, New World Notes, Brooklyn is Watching and numerous other art blogs. Becoming Dragon questions the one-year requirement of 'Real Life Experience' that transgender people must fulfill in order to receive Gender Confirmation Surgery, and asks if this could be replaced by one year of 'Second Life Experience' to lead to Species Reassignment Surgery. For the performance, Micha C?rdenas lived for 365 hours immersed in the online 3D environment of Second Life with a head mounted display, only seeing the physical world through a video feed, and used a motion capture system to map her movements into Second Life. The installation included a stereoscopic projection for the audience. A Puredata patch was used to process her voice to create a virtual dragon's voice. The performance included public discussions with theorists Sandy Stone and Brian Holmes and the performance artist Stelarc. During the year of research and development of this project, Micha began her real life hormone replacement therapy and wrote poetry about the experience which was included in the performance. The project was realized through a collaboration between Micha C?rdenas, Christopher Head, Elle Mehrmand, Kael Greco, Ben Lotan and Anna Storelli. Becoming Dragon was supported by the Center for Research in Computing and the Arts, Calit2, University of California Institute for Research in the Arts, Ars Virtua, the gallery@calit2, the b.a.n.g. lab and the Embodied Cognition Lab of the Cognitive Science Department at UCSD. More information about Becoming Dragon can be found at: http://secondloop.wordpress.com http://secondloop.wordpress.com/2008/11/18/press-release-becoming-dragon-a-mixed-reality-durational-performance-in-second-life-opens-december-1st/ 3 minute video at: http://vimeo.com/3874238 Photos at: http://www.flickr.com/photos/azdelslade/sets/72157610992544600/ For more information, contact Micha C?rdenas at mcardenas A+ ucsd d()+ edu # From m at 1010.co.uk Mon May 25 22:18:40 2009 From: m at 1010.co.uk (m) Date: Mon May 25 22:21:52 2009 Subject: [spectre] xxxxx_micro_research workshops:18//RFID sniffer and RFIDuino with Marc Boon[NL] Message-ID: A series of weekly working groups and workshops at xxxxx_micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: May 28th 8PM: Salon: Epistemology of electromagnetic waves [with Shintaro Miyazaki] May 30th 2PM: Workshops: RFID sniffer and RFIDuino [with Marc Boon] Forthcoming matter: Breakthrough, 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. //<----------------------------------------------- May 30th 2PM: RFID sniffer and RFIDuino [with Marc Boon] micro_research hosts two parallel RFID-inspired workshops with Marc Boon. RFID sniffer workshop: The RFID sniffer is a simple analog electronic circuit which can detect the presence of 13.56 MHz RFID tags. These tags are commonly used in all kinds of plastic cards like access badges, bank cards, library cards, public transport passes and so on. The RFID sniffer is a fully self-contained circuit on a credit card sized circuit board, including battery. During the workshop you will build your own RFID sniffer, under my guidance. Details: http://shop.marcboon.com/snifferkit.pdf Cost: ?20 per participant (this includes all parts) RFIDuino workshop: RFIDuino is an Arduino shield for reading and writing 13.56 MHz RFID tags. These tags are commonly used in all kinds of plastic cards like access badges, bank cards, library cards, loyalty cards and so on. RFIDuino consists of a 65x65mm circuit board, which plugs onto a standard Arduino (NG, Diecimila, or Duemilanove). The board contains the antenna and all circuitry to read and write to RFID tags. It is connected to the Arduino using I2C, using the Wire library. Details: http://marcboon.com/rfiduino/docs/rfiduinokit.pdf Cost: ?50 per participant (this includes all parts) For the RFIDuino workshop please bring Arduino (or equivalent), and laptop. Please email m@1010.co.uk to reserve a place (strictly limited) Spiced food will be freely available. Please note this will be the last workshop before Breakthrough workshop/event 24/25/26/27 June, restarting in July! ---_______ 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/) xxxxx_micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk xxxxx_micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/xxxxx_micro_research.html http://pickledfeet.com From list at telcosystems.net Tue May 26 12:00:39 2009 From: list at telcosystems.net (Gideon Kiers) Date: Tue May 26 12:01:44 2009 Subject: [spectre] Invitation - BALTAN GOES NATLAB 29/05/2009 Message-ID: <7D20A27B-D195-4811-AB62-F272F31F0173@telcosystems.net> (apologies for possible crossposting) BALTAN GOES NATLAB - AUDIOVISUAL SPACES On Friday, May 29, 2009 BALTAN Laboratories hosts the third in its series of BATLAN GOES NATLAB presentations at the former Philips NatLab at Strijp S in Eindhoven. Curated and moderated by Telcosystems, the focus of this session will be on different strategies of spatialisation in audiovisual art and how this alters our understanding of technology-driven forms of art. Norwegian artist HC Gilje explores how audiovisual technology can be used to transform, create, expand, amplify and interpret physical spaces. He will present the research he has been doing over the last three years during his research fellowship at the National Academy of the Arts in Bergen (KHIB). HC Gilje writes regularly on these matters on his blog 'Conversations with Spaces'. The Italian sound designer Lorenzo Brusci will give a presentation on his work in the field of immersive sound and experience design. He is (co-)founder of the applied acoustics division of B&C Speakers Architettura Sonora, the environmental design team Giardino Sonoro and the studio Sound and Experience Design. And Telcosystems will present their latest work 12_Series, which they developed at BALTAN Laboratories as part of the Po?me Num?rique investigations. BALTAN goes NATLAB is a monthly series devoted to presenting and contributing to BALTAN Laboratories? research programmePo?me Num?rique. Previous guest speakers have included Tim Edler from realities:united (DE), artists BULL.MILETIC (NO), Thom Warmerdam (Philips, NL), Willem van Weelden (NL), and designer Christien Meindertsma (NL). The fourth BALTAN goes NATLAB session will take place on June 26, 2009 and will focus on the space between artistic and technological research and development. HC Gilje .......: http://hcgilje.wordpress.com/ Lorenzo Brusci .: http://www.soundexperiencedesign.com/ Telcosystems ...: http://www.telcosystems.net/ PRACTICAL INFORMATION Date: Friday 29th of May 2009 Time: 16.30 to 18.30 (doors open at 16:00) Location: Auditorium of the former Philips NatLab, entrance on the Kastanjelaan, Strijp S in Eindhoven Public Transport: Bus 401, 402 of 18 from Station Eindhoven CS, stop Kastanjelaan. Entree: Free Language: English BALTAN Laboratories Glaslaan 2, SWA-8 Postbus 4042 5604 EA Eindhoven The Netherlands T: +31 40 256 9661 F: +31 40 256 9661 E: info@baltanlaboratories.org http://www.baltanlaboratories.org From jennifer.stoddart at folly.co.uk Tue May 26 13:46:06 2009 From: jennifer.stoddart at folly.co.uk (Jennifer Stoddart) Date: Tue May 26 13:47:25 2009 Subject: [spectre] Portable Pixel Playground: Call for artists' proposals Message-ID: <0256B6C2667A3E4882F0FEF0821867134C8ABA@follyone.FOLLY.local> folly, a leading digital arts organisation working in the Northwest of England and online, is delighted to invite proposals from artists/artist groups for our developing project, Portable Pixel Playground, a unique and imaginative environment that offers children and young people alternative play opportunities with art and technology. The playground encourages children to get active, think differently, collaborate and take risks through being exposed to new concepts and challenges created by artists. Portable Pixel Playground is a modular set of equipment and artists' commissions for use in public settings such as shopping centres, galleries and railway stations. Portable Pixel Playground encourages young people to use everyday technologies in new and creative ways, providing them with interactive, physical and hands-on new experiences of art and technology. Submitting a proposal: Please download the full artists' brief at http://www.folly.co.uk/click/1408/99 Please send an initial statement of interest of maximum 500 words explaining how you would meet the PPP brief, with drawings/visuals if possible, plus a proposed outline budget, to: Tor Townley, Portable Pixel Playground Project Co-ordinator tor.townley 'at' folly.co.uk folly, 6.4.4 Alston House, White Cross, Lancaster LA1 4XQ +44 (0)1524 388550 Please include an Equal Opportunities Monitoring Form with your proposal, available to download from the folly website. This information will be used solely for monitoring purposes and will be kept in the strictest confidence. You are not obliged to fill in this form, but it will assist us if you do so. It will not be seen by those considering your proposal. Deadline for proposals: Friday 3 July 2009 Fees and contractual details: * Each PPP commission will be a collaboration between folly and selected artist(s): artists will work closely with the PPP Project Manager and folly team throughout the development of each commission * Total artist's budget for each commission: ?4,000 (including fees and materials) * folly will invest time and funding resources into each commission and the playground over and above each commission fee - to be negotiated for individual projects. * A separate budget for the transport of artwork will be agreed * Artist's travel/expenses: to be discussed and agreed with folly according to location, number of meetings etc Portable Pixel Playground is supported by the Big Lottery Fund From contact at malaupixel.org Tue May 26 13:53:46 2009 From: contact at malaupixel.org (Mathieu Marguerin) Date: Tue May 26 13:54:56 2009 Subject: [spectre] Mal au Pixel Festival / art+ ecology / from June 2 to 7 Message-ID: <20090526115348.7194C4C81B5@smtp4-g21.free.fr> MAL AU PIXEL #4 Electronic subcultures festival June 2nd to 7th 2009 / www.malaupixel.org "Mal au futur ?" 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. EXHIBITION ? opening on Tuesday June 2nd ? From 6pm to 11pm Until Sunday June 7th ? free entrance With : 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). FILM ? wednesday June 3rd ? 8:45pm At Espace 1789, Saint-Ouen ? 6? / TR 4,5? ? Addicted to Plastic ?, documentary movie by Ian Connacher (Ca), and discussion with HeHe et les Amis de la Terre / Friends of the Earth. CONCERTS ? Friday June 5th ? from 9pm to 3am Free entrance before 10pm, 10? after (7? en pr?vente) The ? greenhouse gas concerts ? event gathers freakish audiovisual and electronic performances provided by Artkillart label and collective Pixels Transversaux. www.artkillart.tk / www.lespixelstransversaux.net With : Valentina Vuksic (NL), JoDi (Nl), Diego de Leon (Es), Projectsinge (Fr), Micha?l Sellam (Fr), Repulsive Society (Fr/Be), Sonom (Es), NellaTestaGomma (It), Yroyto (Fr), NTH Synthesis (Fr) + DJ sets... PUBLIC MEETINGS ? Saturday June 6th ? from 2pm to 11pm Free entrance Dorkbot, from 2pm : open meeting to showcase concepts or prototypes that produce energy. Info: carol(?)craslab(.)org, www.dorkbot.org/dorkbotparis Blank Page meeting, from 3pm : Open ?live coding? sessions on Pure Data, ? no load, no save ? is the only rule! Info: carol(?)craslab(.)org, http://blankpages.fr VJing masterclass for kids, with Carol Nogueira, from 4pm. Dance research meeting by Prue Lang, at 6pm : how might a dancer be autonomous in terms of energy production? Improvisation concert by la Section Amour, 6pm to 11pm : submit your own pictures or text as to give inspiration to the musicians, through the EventLive interface : www.sectionamour.net/mavillemonamour Open stage Live Coding, 20h-23h : Pierre Mersadier & G-mO, Pascale Gustin, Milovann Yanatchkov, NOHISTA, Thomas Thiery, Renaud Rubiano... Info: yroyto(?)gmail(.)com SEMINAR ? Sunday June 7th ? from 4 to 7pm ? free entrance Seminar on ? Art, technology and environment. With artists Richard Box, HeHe, Beatriz da Costa, free researcher Philippe Langlois (Hacker Space Lab, Bricolabs) and philosopher Fr?d?ric Neyrat (Biopolitique des catastrophes, MF ?ditions, Paris, 2008). PARTNER EVENTS : Futur en Seine, May 29 to June 7: www.futur-en-seine.org Upgrade ! May 30, June 2 & 3: www.incident.net/theupgrade Parcours WEST DIGITAL, June 6: http://west.lespixelstransversaux.net Free bus ride between four art centres, from la G?n?rale en Manufacture and la Maison des M?tallos, via le Cube and Mains d??uvres. RSVP: 09 50 54 54 04 CREDITS : Mal au Pixel festival is produced by Mains d??uvres non profit org, in the context of the Futur en Seine biennal, in partnership with Conseil R?gional d?Ile-de-France and Cap Digital. With the support of French Ministry of Culture-DICREAM, British Council and Finnish Institute in Paris. Mal au Pixel is part of Pixelache festival network : www.pixelache.ac Media Partners : MCD, Chronic?art, Tsugi, Radio WNE MAINS D??UVRES 1, rue Charles Garnier, 93400 St-Ouen T. +33 (0)1 40 11 25 25 info@mainsdoeuvres.org / www.mainsdoeuvres.org From silva.luis at netcabo.pt Wed May 20 08:05:14 2009 From: silva.luis at netcabo.pt (Luis Silva) Date: Tue May 26 17:48:14 2009 Subject: [spectre] Infected Seminar, 28 May, 16.30, Plymouth Message-ID: Please distribute to anyone you think would be interested. INFECTED SEMINAR 16.30-18.30, Thursday 28 May 2009 RL206/207, Roland Levinsky Building, University of Plymouth CREATING INSECURITY pre-launch, 18.00. presentations by Heath Bunting and carlos katastrofsky, with glorious ninth, discussing art, sport, viruses and curating. Artists Heath Bunting and carlos katastrofsky will discuss new projects they are developing as part of a short residency with Art & Social Technologies Research, University of Plymouth. Their work results from a open call from KURATOR and LX 2.0, called INFECTED, to make new work to infect the 2012 Olympics. The commissions are part of the ANTI-BODIES contemporary art programme which is co-ordinated by Relational with support from Arts Council England and has been granted the London 2012 Inspire mark as part of the Cultural Olympiad. glorious ninth (Kate Southworth and Patrick Simons) who will also talk about their project Cultural Capital. A response to the projects and discussion will be initiated by curators from KURATOR, LX 2.0 and Relational. After the discussion, there will be a pre-launch of CREATING INSECURITY, the fourth volume in the DATA browser book series published by Autonomedia (that includes contributions from some of the presenters). Snacks will be served, produced by artist Lau Thiam Kok, made during KURATOR's custodianship of sourdough starter, as part of glorious ninth's Cultural Capital project. Residency and seminar organised by Art & Social Technologies Research, KURATOR and LX 2.0 // Lisboa 20 Arte Contemporanea. The seminar has been further supported by University of Plymouth. Links: http://www.kurator.org/ http://www.lisboa20.pt/lx20/ http://www.anti-bodies.net/ http://www.relational.org.uk http://www.art-social.net/ http://www.gloriousninth.net http://www.data-browser.net/ +++ From Info at edith-russ-haus.de Wed May 20 18:15:51 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Tue May 26 17:48:16 2009 Subject: [spectre] Jens Brand *BOOK* | 24. Mai 2009, 18 Uhr Message-ID: <4A1448D2.9ACC.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgender Veranstaltung herzlich einladen | We would like to invite you cordially to the following event Jens Brand *BOOK* Buchpr?sentation und Konzert Mini Fan Musik Sonntag, 24.05.2009 ab 18 Uhr im Edith-Ru?-Haus f?r Medienkunst Die Publikation gibt einen aufschlussreichen Einblick in das bisherige Schaffen des Konzept- und Performancek?nstlers Jens Brand, welches gepr?gt ist von einem interdisziplin?ren und intermedialen Ansatz und sich dabei unterschiedlichster Formate und Medien bedient. Brand (*1968) lebt und arbeitet in K?ln. Seine Werke wurden international in Ausstellungen sowie auf Medien- und Musikfestivals gezeigt. Die Publikation verbindet die klassische Form des Buchs mit Onlineformaten. Herausgeber: Edith-Ru?-Haus f?r Medienkunst, Sabine Himmelsbach Autoren: Jens Brand, Paul DeMarinis, Sabine Himmelsbach, Volker Straebel Festeinband, 16,5 x 22 cm ca. 96 Seiten, ca. 30 Farbabb. Deutsch/Englisch Kehrer Verlag, Heidelberg ISBN 978-3-86828-061-6 28 Euro Ab sofort erh?ltlich im Edith-Russ-Haus - online Bestellung m?glich Anl?sslich der Buchvorstellung des durch das Edith Russ Haus f?r Medienkunst herausgegebenen Katalogs "BOOK" von Jens Brand beim renommierten Kehrer Verlag wird - nach langem Schweigen und zum ersten mal in diesem Jahrtausend und in Norddeutschland - das St?ck Mini Fan Musik von Waldo Riedl und Jens Brand aus dem Jahr 1992 aufgef?hrt. Die Auff?hrung beginnt um 18 Uhr und involviert etliche Saiteninstrumente und Taschenventilatoren und erstreckt sich ?ber drei Stunden. Mini Fan Musik ist ebenso Installation wie Konzert, sie findet ohne eine speziell daf?r vorgesehene B?hne statt und l?sst damit den gesamten Raum zum mobil erfahrbaren Konzertsaal werden. Die Struktur der Arbeit erlaubt es entsprechend fr?her zu gehen, sp?ter oder gar noch sp?ter nochmals zu kommen. Die Buchpr?sentation findet um 19 Uhr im Seminarraum des Edith-Ru?-Hauses f?r Medienkunst statt. Der Abend gewinnt zus?tzlichen Reiz durch den Ausschank von Getr?nken. Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de **************************************************************************************** Jens Brand *BOOK* Bookpresentation and concert Mini Fan Music 24 May 2009, 6 p.m. If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de *** Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de From mcardenas at ucsd.edu Thu May 21 02:43:36 2009 From: mcardenas at ucsd.edu (=?ISO-8859-1?Q?micha_c=E1rdenas?=) Date: Tue May 26 17:48:18 2009 Subject: [spectre] PRESS RELEASE: Freephone Art Project Provides Deported People with a Phone Call Message-ID: <4A14A3B8.4050909@ucsd.edu> FOR IMMEDIATE RELEASE WHAT: Freephone Art Project Provides Deported People with a Phone Call WHO: Chris Head, Micha C?rdenas, Elle Mehrmand, Katherine Sweetman, Felipe Zu?iga and Camilo Ontiveros WHERE: Lui Velazquez Gallery, Calle Jos? Maria Larroque #273, 2do Piso, Int. 6, Colonia Federal, Tijuana, Baja California, Mexico, C.P. 22 300 WHEN: Saturday May 30th, 2009, 1-6pm CONTACT: Micha C?rdenas, mcardenas A+ ucsd d()t edu The Freephone is an art project that aims to provide people just deported from the US with a free phone call. To achieve this, a group of UCSD Master of Fine Arts (MFA) students and graduates are coming together to present the phone at the Lui Velazquez gallery in Tijuana, just a few feet from the turnstiles where people who are deported are dropped off by the border patrol. The project is by the artists Chris Head, Micha C?rdenas, Elle Mehrmand, Katherine Sweetman, Felipe Zu?iga and Camilo Ontiveros The Freephone is an effort to use new media performance art or performance with technology to make the experience that people who are deported from the US a little bit less difficult. To make the phone, the artists bought a non working payphone casing from Ebay.com, wired it to a new $10 phone from a store and hooked that up to an adapter which would allow the phone to make calls over the internet. Then, the phone was installed outside of the Lui Velazquez gallery. On May 29th, the artists will do a public performance including posting signs, talking to people coming through of the turnstiles into Tijuana and sign spinning to direct people who may have just been dropped off by the border patrol towards the free phone. "Every day at this gallery we see people being deported by the Border Patrol. We wanted to engage the public space outside of the gallery as well as inside," said Katherine Sweetman, director of Lui Velazquez. "Art has the power to concretely improve people's lives. Artists can go beyond just representing or commenting on political issues and actually engage in political action as art," said Micha C?rdenas, recent graduate from UCSD's MFA program. "The Freephone is part of the tradition of Border Disturbance Art along with projects such as the Transborder Immigrant Tool from the Electronic Disturbance Theater", said C?rdenas. The Freephone will be shown on Saturday, May 30th as part of the Satellite Ensemble II, a show by UCSD MFA students aimed at taking UCSD's artistic impact beyond the boundaries of the campus. The show will begin at Agitprop gallery in North Park and will take place along the path from that gallery to Lui Velazuez in Tijuana via public transit. In addition to the Freephone, the show will include work by artists including Crystal Campbell, Zac Monday, Clare Zitzow, Priscilla Lazaro, David White, and Anna Chiaretta Lavatellii. "We want to not just make art with technology, but also show people how it was made, how they can use it and how they can make their own open source art projects," said Chris Head, about the Freephone. To accomplish this, the Freephone will be included in the ALTBIT open source art show later this year at Lui Velazquez. ALTBIT is a project to combine a number of open source and open hardware art projects together in one repository and present them in workshops in various locations in the US and Mexico. Initiated as part of the Society of Molecules, the Freephone performance will be part of a distributed aesthetico-political event coordinated by the Sense Lab at Concordia University in Montreal including artist groups from around the world including Madrid, Naples, Boston, New York, Montreal and other cities. For more information on the Freephone, contact Micha C?rdenas at mcardenas A+ ucsd D[]t edu. Images here: http://www.flickr.com/photos/lotu5/tags/freephone/ http://luivelazquez.com http://alt-bit.org http://visarts.ucsd.edu http://ucsdse2.blogspot.com/ http://senselab.ca # -- micha c?rdenas Artist/Researcher, Experimental Game Lab, http://experimentalgamelab.net Calit2 Researcher, http://bang.calit2.net blog: http://bang.calit2.net/tts From Info at edith-russ-haus.de Mon May 25 17:29:51 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Tue May 26 17:48:19 2009 Subject: [spectre] Stipendienvergabe 2009 Message-ID: <4A1AD588.9ACC.00AE.0@edith-russ-haus.de> Stipendiaten 2009 | work stipends 2009 des Edith-Ru?-Hauses f?r Medienkunst *************Please scroll down for English version******************* Edith-Ru?-Haus f?r Medienkunst vergibt Stipendien 2009 - Preistr?ger sind: Jana Linke, Deutschland Reinigungsgesellschaft (Martin Keil, Henrik Mayer), Deutschland The Sine Wave Orchestra (Ken Furudate, Kazuhiro Jo Daisuke Ishida, Mizuki Noguchi), Japan Erm?glicht durch die Stiftung Niedersachsen hat das Edith-Ru?-Haus f?r Medienkunst f?r das Jahr 2009 drei sechsmonatige und mit 10.000 Euro dotierte Arbeitsstipendien vergeben. Auf die internationale Ausschreibung erfolgte wieder eine sehr hohe Anzahl von Bewerbungen (388). Die Jury: Stephen Kovats, k?nstlerischer Leiter der Transmediale Berlin (CAN/D) Graham Harwood, K?nstler (GB) Amanda McDonald Crowley, Leiterin des Medienzentrums Eyebeam, New York (US) Yukiko Shikata, Kuratorin am ICC - Intercommunication Center Tokio (J) Sabine Himmelsbach, Leiterin, Edith-Ru?-Haus f?r Medienkunst (D) Die Projekte: Jana Linke, EMDAS1 (Eine Maschine, die Arbeit schafft) W?hrend des gr??ten Teils des zwanzigsten Jahrhunderts gab es eine direkte Korrelation zwischen der Kapitalmenge, die in die Produktion einer Maschine investiert wurde, und der Zahl der Arbeitskr?fte, die f?r ihren Betrieb oder ihre Wartung erforderlich waren. In den letzten Jahren hat sich diese Korrelation umgekehrt. In diesem Kontext schl?gt Jana Linke die Produktion einer *dekadenten* Maschine f?r die Erzeugung von Arbeit vor. Ihr Prinzip besteht darin, dass Systeme nicht nur ein Gleichgewicht zwischen Akkumulation und Produktion herstellen, sondern auch das Prinzip der Verschwendung von Energie und der Fl?chtigkeit von Arbeit ber?cksichtigen m?ssen. Das Projekt wirft die Frage auf, ob Maschinen mehr Arbeit erzeugen als sie vernichten, und hinterfragt damit den zentralen Wert und die Funktion der Maschine als Instrument globalisierter Arbeit in unserer Gesellschaft. Der Jury gefiel die Klarheit und poetische Schlichtheit des Vorschlags. Er stellt eine deutliche Weiterentwicklung von Linkes elegant gestalteten und technisch pr?zisen Werken dar, die sich mit den Beziehungen zwischen System?sthetik und Humanprozessen befassen und uns ermutigen, unsere Maschinenumwelt als philosophische Spekulation zu betrachten statt einfach nur als Produkt einer utilitaristischen Gesellschaft. Ohne selbst eine konkrete Antwort zu geben, reflektiert das Werk die der Naturwissenschaft innewohnende(n) Prozesse, Informationen und Technologie. Der Vorschlag spielt mit zahlreichen historischen Querverweisen vom *Deus ex Machina* der griechischen Antike ?ber die Unsinnsmaschinen der Literatur des neunzehnten Jahrhunderts und die phantasmagorischen Konstrukte Marcel Duchamps, mit denen dieser das zunehmende blinde (und blind machende) Vertrauen in die Technologie kritisierte. W?hrend sich die Maschinen im digitalen Kontext des einundzwanzigsten Jahrhunderts in die Netze ausweiteten und uns exklusiv binden, weist REINIGUNGSGESELLSCHAFT (Martin Keil, Henrik Mayer), Die Risiko Gesellschaft Naturwissenschaftliches Management (Taylorismus) war die treibende Kraft, die 1951 den ersten Business Computer Leo (Lyons Electric Office) zur Folge hatte. Im Gegensatz zu seinen amerikanischen Pendants zur Zeit des Kalten Krieges geschah dies nicht um der verh?ltnism??ig einfachen Aufgabe willen, die Flugbahnen von Geschossen zu berechnen, sondern um die ungleich schwierigere Aufgabe zu l?sen, das mit dem Verkauf von Tee und Kuchen im UK verbundene finanzielle Risiko zu berechnen. Die Logik von Leo ist, mehr als die irgendeines seiner Verwandten, fester Bestandteil der logischen Struktur der Risikogesellschaft geworden. Den K?nstlern zufolge galt w?hrend der letzten Jahrzehnte die Annahme eines Primats der ?konomie. Doch angesichts der Folgen der derzeitigen Finanzkrise l?sst sich dieses Dogma in Frage stellen. Indem es die Fragen aufwirft *Wie beeinflusst diese globale Krise die menschliche Identifikation mit der Arbeit?* und *Gibt es eine zunehmenden Tendenz, ?konomische Risiken Individuen zuzuschreiben?* problematisiert der Vorschlag die Kontrollsysteme und Softwarekulturen, die eine Risikogesellschaft propagiert. Die Mitglieder von REINIGUNGSGESELLSCHAFT bedienen sich bei ihren Erkundungen einer breiten Palette von Medien. Der Jury gefiel die Strategie der Gruppe, lokale Gemeinschaften in Oldenburg miteinzubeziehen und ihre k?nstlerischen Aktivit?ten ?ber das Edith-Ru?-Haus durch Gespr?che, Workshops und Pr?sentationen mit ?ffentlicher Interaktion zu verbinden. Mit einer k?nstlerischen Praxis, die Medien und Gesellschaft als Prozess untersucht, enth?llt ihre Form der Kritik die Turbulenz- und Risikomechanismen auf eine zum Nachdenken anregende und humorvolle Weise. The Sine Wave Orchestra (Ken Furudate, Kazuhiro Jo, Daisuke Ishida, Mizuki Noguchi) Die Grundlagen unserer vernetzten, globalen und technologischen Kultur und der daraus resultierenden Interaktionsmittel sind durch die Sinuskurve miteinander verbunden. Wir tanzen mit unseren MP3-Playern zu ihr, sehen dank ihr Fernsehen und surfen auf ihren H?hen und in ihren T?lern, wenn wir Ferngespr?che f?hren. Sinuskurven bilden einen ?therischen und allgegenw?rtigen Rahmen, der das taktile Material wird, welches das SINE WAVE ORCHESTRA (SWO) mittels einzigartiger partizipatorischer Klangereignisse skulptural ausformt und manipuliert. Auf der Grundlage einer Reihe von Performances und Klangkonstrukte, die die Gruppe seit 2002 aufgef?hrt hat, sieht der Vorschlag f?r das Edith-Russ-Haus die Erzeugung eines lichtsensiblen Instruments vor, das die visuelle Komponente eines in einem abgedunkelten Raum stattfindenden St?ckes strukturiert. Die Mitglieder des Publikums nehmen alle zusammen an der Erzeugung eines Meeres von Sinuswellen teil, das als die vereinheitliche Klangrepr?sentation des von ihnen produzierten Lichtes fungiert. Das SINE WAVE ORCHESTRA bewirkt neue Formen der Klangperformance und erzeugt dabei gemeinsame Systeme und Environments, die Mittel der Partizipation, des Verhaltens und der Interpretation erkunden, indem sie den Akt des Zuh?rens in den Akt des Spielens verwandeln. Damit verwandelt das SINE WAVE ORCHESTRA zugleich die minimale Natur und die Einfachheit der Sinuskurven in ein komplexes k?nstlerisches Konstrukt, das uns in einen intimen Kontakt mit der Physik unserer akustischen Umwelt bringt. Informationen zu den Stipendiaten, den Projekten und Bildmaterial stellen wir auf Wunsch zur Verf?gung. Sollten Sie keinen Newsletter mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de ***************************************************** Edith Russ Site for Media Art awards work stipends 2009 to Jana Linke, Germany REINIGUNGSGESELLSCHAFT (Martin Keil, Henrik Mayer), Germany Sine Wave Orchestra (Ken Furudate, Kazuhiro Jo Daisuke Ishida, Mizuki Noguchi), Japan The Edith Russ Site for Media Art has awarded three six-months work stipends for 2009. The 10.000 ? stipends are sponsored by Stiftung Niedersachsen. The advertisement was answered by 388 applications from all over the world. The Jury: Stephen Kovats, artistic director Transmediale Berlin (CAN/GER) Graham Harwood, artist (GB) Amanda McDonald Crowley, executive director of the art and technology center Eyebeam, New York (US) Yukiko Shikata, curator, ICC - Intercommunication Center Tokyo (J) Sabine Himmelsbach, Artistic Director, Edith Russ Site for Media Art (GER) The projects. Jana Linke, EMDAS1 (a machine, that creates work) For much of the 20th century there was a direct correlation between the amount of capital placed in the production of a machine and the size of the labour force expected to run it, or maintain it. In recent years this correlation has been reversed. Within this context Jana Linke proposes the construction of a 'decadent' machine for the creation of work. Her principle is that systems, beyond balancing accumulation and production, also need to consider the principle of the waste of energy and the futility of labour. The project asks whether machines create more work than they eliminate, questioning the central value and function of the machine as a tool of globalised labour in our society. The jury liked the clarity and poetic simplicity of the proposal. It represents a clear further development of Linke's well crafted and technically precise work dealing with the relationships between system aesthetics and human process, encouraging us to consider our machinic environment as a philosophical speculation rather than simply the product of a utilitarian universe. Without giving concrete answers the work reflects upon the processes inherent to science, information and technology. The proposal plays on numerous historical references from the ancient Greek 'Deus ex machina', to the non-sense machines of 19th century literature and the fantasmagoric constructs created by Marcel Duchamp critiquing society's increasingly blind(ing) reliance on technology. Set in the digital context of the 21st century the machines expanded in the networks and bind us exclusively, EMDAS1 notifies us that the fundamental role of art as creating decadent machine. REINIGUNGSGESELLSCHAFT (Martin Keil, Henrik Mayer), The Risk Society Scientific management (Taylorism) was the driving force that compelled the first business computer Leo (Lyons Electronic Office) in 1951. Unlike it's American cold war counterparts this was not for the relatively simple task of calculating ballistic trajectories but was for the much harder task of calculating the financial risk associated with tea and cakes sales in the UK. Leo's logic, more than any of its cold war cousins, has embedded itself into the logic structure of a risk society. According to the artists there was an assumption that the economy has had primacy during the last decades. But under the effects of the current financial crisis this dogma can be put into question. By asking *how does this global crisis affects human identifications with labour?* and whether there *is there an increasing tendency to assign economic risks to individuals* the proposal questions the control systems and software cultures that a risk society propagates. REINIGUNGSGESELLSCHAFT employ a wide range of media in their explorations, and the jury liked the group's strategy to engage local communities in Oldenburg, linking their artistic activities to public interaction via the Edith Russ Site fro Media Art through conversation, workshops, and presentations. With an artistic practice that examines media and society as process, their form of critique unveils the mechanisms of turbulence and risk in both a thought provoking and humorous manner. The Sine Wave Orchestra (Ken Furudate, Kazuhiro Jo, Daisuke Ishida, Mizuki Noguchi) The fundamentals of our networked, global and technological culture and our resulting means of interaction are connected by the sine wave. We dance to them on our mp3 players, watch TV because of them and surf their peaks and troughs while making long distance phone calls. Sine waves form an ethereal and omnipresent framework, which become the tactile material the SINE WAVE ORCHESTRA (SWO) sculpts and manipulates through unique participatory sound events. Based on a series of performances and experimental sound constructs that the group has been performing since 2002, the proposal for the Edith Russ Site for Media Art foresees the creation of a light sensitive tool to structure the visual component of a piece to take place in a large darkened space. The audience as a whole becomes participants who collaborate in the creation of a sea of sine waves acting as the unified sonic representation of the light that they are producing. The SINE WAVE ORCHESTRA induces both new forms of sound performance while creating shared systems and environments which explore means of participation, behaviour and interpretation by transforming the act of listening into the act of playing. In doing so, the SINE WAVE ORCHESTRA also transforms the minimal nature and simplicity of sine waves into a complex artistic construct that brings us into intimate contact with the physics of our acoustic environment. *Biographical information and images will be provided by the Edith Russ Site for Media Art on request.* If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de *** Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de From office at eastsilver.net Tue May 26 18:15:44 2009 From: office at eastsilver.net (Miriam Simkova) Date: Tue May 26 18:16:21 2009 Subject: [spectre] East Silver - Call for entries Message-ID: EAST SILVER 2009 - CALL FOR ENTRIES The 6th edition of East Silver - documentary market specialized in Eastern and Central European documentary is now open for submissions during whole year! Call for completed documentaries and also rough cuts produced 2008 - 2009, English subtitled or English voiceover, with trailer (optional) + catalogue photos). Further information, guidelines and entry form are available at www.eastsilver.net. Submit film to the biggest internationally recognized database of creative documentary feature and television documentary films from Central and Eastern Europe. Deadline for East Silver market 2009 submissions is 30th of July 2009. Submissions are open throughout the whole year as all submitted titles are considered for East Silver Caravan and/or East Silver TV Focus. Submission is also valid for JIDFF (www.dokument-festival.cz) preselection. Submit your documentary via our online ENTRYFORM at http://www.eastsilver.net/entryform Address for sending DVD screeners and other material: East Silver, ?kolsk? 12, 110 00 Prague, Czech Republic For more information please contact Anna Kaslova East Silver info@eastsilver.net Tel/Fax: +420 222 954 526 EAST SILVER Market, Oct 27 - Nov 1, 2009 www.eastsilver.net From seamascain at gmail.com Tue May 26 23:07:43 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue May 26 23:33:37 2009 Subject: [spectre] Jeff Harrison reviews two books Message-ID: <6f1e9ee40905261407h97de99as183ec88fc2f1c179@mail.gmail.com> _______________ Jeff Harrison, in the on-line journal GALATEA RESURRECTS, Issue Number 12, has a review of / interaction with / the book "Incongruities" by S?amas Cain, which, in turn, interconnects with Jeff Harrison's review of / interaction with / the book "Nosering Cellphone" by Lanny Quarles ... http://galatearesurrection12.blogspot.com/2009/05/incongruities-by-seamas-cain.html http://galatearesurrection12.blogspot.com/2009/05/nosering-cellphone-by-lanny-quarles.html Jeff Harrison's twin reviews, in and of themselves, in their own right, are poems ... the "review" itself conceived as a work of art! Best regards, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From mh at transmediale.de Wed May 27 09:04:22 2009 From: mh at transmediale.de (Markus Huber) Date: Wed May 27 09:29:50 2009 Subject: [spectre] workshop night with eXgae by transmediale and Upgrade! Berlin Message-ID: <4A1CE5F6.7040702@transmediale.de> [please scroll for English version] Dear Friends! I would like to call attention to our upcoming workshop night on June 4th in Berlin: ||Multiply and share forth. For the free sharing of knowledge and culture|| transmediale und Upgrade! Berlin pr?sentieren eXgae aus Barcelona: Ein Workshop-Abend zum Thema Freie Kultur am 4. Juni im Klubraum Podewil. Das Internet erm?glicht einen horizontalen Austausch von Information und Kultur zwischen den verschiedensten Akteuren weltweit. Im Laufe der Zeit hat sich das Verh?ltnis zwischen Reproduktion und Original angeglichen. Deshalb m?ssen sich Produktionsmedien an diese neue digitale Demokratie anpassen ? und nicht umgekehrt. Zur Zeit entsteht eine Vielzahl neuer Ans?tze im Bereich Urheberrechte und geistiges Eigentum. Das Ziel des Workshop-Abends ist es, eine interessierte ?ffentlichkeit mit den neuen M?glichkeiten kultureller Publikationsformen und kollaborativen Arbeitens vertraut zu machen. Hier die Workshopthemen im Einzelnen: * Praktische Beispiele: Virale Events, Haltungen, DIY, Netze und Netzwerke, Peer to Peer. * Antworten auf die h?ufigsten Fragen zum Thema Copyrights, Linzenten, K?nstlermanagement, Produzenten, sowie der Einsatz von Musik, Videos und anderen Pr?sentationsformen in Gesch?ften, Bars, Kulturzentren etc. * Tools zur Selbstbehauptung: Rechtliche Perspektiven Der Workshop-Abend wendet sich gezielt an: Produzenten, K?nstler, Kuratoren, Kulturzentren und Interessierte im allgemeinen. Um ca. 20:00 Uhr pr?sentieren wir den Film "The oXcars: the movie" Eine Dokumentation des gro?en Events zum Thema ?Freie Kultur? in Barcelona. http://exgae.net/exgae-multiply-and-share-forth/theoxcars Klubraum Podewil / Podewilsches Palais, Klosterstr. 68 / Berlin-Mitte 4. Juni 2009, 18:00 - 24:00 Eintritt frei Das Programm: 18:00 - 20:00 Workshop 20:00 - 21:00 Pr?sentation des Dokumentarfilms ?The oXcars? 21:00 - 22:00 Diskussion 22:00 - 24:00 DJ Set Dieser Workshop-Abend ist eine Kollaboration zwischen Upgrade! Berlin, transmediale, eXgae und dem Institut Ramon Llull. http://exgae.net/ http://www.conservas.tk http://www.upgrade-berlin.net http://www.transmediale.de -- ||Multiply and share forth. For the free sharing of knowledge and culture|| transmediale and Upgrade! Berlin present eXgae from Barcelona: A workshop night on free culture on June 4th The Internet allows the horizontal exchange of information and culture between everyone. Over the course of the last decades we have reached a level of equality between original and reproduction. Because of this, mediums of production need to adapt themselves to this new type of democracy and not the other way around. Nowadays, new ways of protecting and promoting creative outcomes emerge and need to be investigated. The goal of this workshop is to familiarize a public (not expert but interested) with the new possibilities of cultural diffusion that is offered by the digital era and its collaborative culture. What the workshop will be about: * Practical examples: viral events, attitudes, DIY, nets|networks, P2P. * Answers to the most recurrent questions on copyrights, licenses, canon and entities of management for artists, producers, stores, bars, cultural spaces, etc. * Tools of self-defense: legal perspectives on our rights. Addressed to: creators, trades, artists, programming cultural producers, distributing commissioners, cultural centers and citizens in general. >From 20:00 on, there will be a film screening: Presentation of the documentary "The oXcars: the movie" on the great event of free culture that has been carried out in Barcelona with over 100 participants. http://exgae.net/exgae-multiply-and-share-forth/theoxcars Klubraum Podewil / Podewilsches Palais, Klosterstr. 68 / Berlin-Mitte June 4th 2009, 18:00 - 24:00 Free entry The programme: 18:00 - 20:00 Workshop 20:00 - 21:00 Presentation of the documentary movie ?the oXcars? 21:00 - 22:00 Debate 22:00 - 24:00 DJ set This workshop night is organized in collaboration with Upgrade! Berlin, transmediale, eXgae and the Institut Ramon Llull. http://exgae.net/ http://www.conservas.tk http://www.upgrade-berlin.net http://www.transmediale.de -- Markus Huber programme coordinator -------------------------------------------------------- transmediale.10 | 2 feb - 7 feb 2010 festival for art and digital culture berlin klosterstr. 68 - 10179 berlin - germany fon +49 30 24749 761 fax +49 30 24749 763 http://www.transmediale.de kulturprojekte berlin gmbh aufsichtsratsvorsitzender volker heller gesch?ftsf?hrer moritz van d?lmen amtsgericht berlin charlottenburg, HRB 41312 B -------------------------------------------------------- From redazione at digicult.it Wed May 27 09:56:25 2009 From: redazione at digicult.it (Redazione Digicult) Date: Wed May 27 09:56:48 2009 Subject: [spectre] Digicult_Digimag 44 / May 2009_english version online Message-ID: <00c101c9dea0$a27c0460$81661201@marco> Sorry for any crosspostings Digicult presents: DIGIMAG 44 / MAY 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/ . . . . . . . . . . . . . . . . . . . . . . . "The distribution of technological knowledge and self-building were had their peak in the 50's and 60's in terms of electronic technologies: back then the market was full of boxes for people to follow instructions and build their own stuff, and amateur magazines that brought technological knowledge (with less filters compared to today) that was readily available. The resources were scarcer, but the transmission of knowledge was easier. Then with the evolution of the complexity of circuits and growing electronic consumption, the knowledge of basic phenomena withered away and the level of "fiddling" was raised to levels that don't implicate the contact with "naked metal", but instead with mouse and keyboard, networks and wi-fi. It's another universe of knowledge, that has little or no point of contact with what's behind it but without which it could not exist." Peppo Lasagna, from "The ecology of Laboratorio Elettronico Popolare" by Marco Mancuso . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEWS: - NATASHA BARRETT - http://www.digicult.it/digimag/article.asp?id=1458 - by Matteo Milani - CLAUDIO ROCCHETTI - http://www.digicult.it/digimag/article.asp?id=1459 - by Marco Mancuso - SANTASANGRE - http://www.digicult.it/digimag/article.asp?id=1466 - by Annamaria Monteverdi - LABORATORIO ELETTRONICO POPOLARE - http://www.digicult.it/digimag/article.asp?id=1460 - by Marco Mancuso - CARLO BERNARDINI - http://www.digicult.it/digimag/article.asp?id=1457 - by Silvia Scaravaggi REPORTS: - THE DISCREE CHARME OF ELEKTRA - http://www.digicult.it/digimag/article.asp?id=1454 - by Donata Marletta - INFECTIOUS:STAY AWAY - http://www.digicult.it/digimag/article.asp?id=1461 - by Stefano Raimondi - VISUAL MUSIC MARATHON - http://www.digicult.it/digimag/article.asp?id=1455 - by Monica Ponzini - GREEN PLATFORMS - http://www.digicult.it/digimag/article.asp?id=1464 - by Giulia Simi FEATURING: - THE CHINESE NIGHTMARE? - http://www.digicult.it/digimag/article.asp?id=1463 - by Lucrezia Cippitelli - TACITA DEAN - http://www.digicult.it/digimag/article.asp?id=1469 - by Francesco Bertocco - ZEITGEIST: FOR A NEW SOCIAL ORDER - http://www.digicult.it/digimag/article.asp?id=1462 - by Davide Anni - ALREADY REALITY - http://www.digicult.it/digimag/article.asp?id=1467 - by Massimo Schiavoni THEMES: - QUANTUM SYSTEMS & INTERACTIVE MEDIA ART - http://www.digicult.it/digimag/article.asp?id=1456 - by Jeremy Levine - THE NEO WORLD OF VIRTUAL LIFE - http://www.digicult.it/digimag/article.asp?id=1468 - by Marco Riciputi - VIDEO INTERACTION & ALTERNATIVE LEARNING - http://www.digicult.it/digimag/article.asp?id=1465 - by Luigi Ghezzi COVER: - Redazione - Julien Maire/Sonar09 . . . . . . . . . . . . . . . . . . . . . . . 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]: Ali Ustun, Paola Arrigoni, Emanuela Cassol, Chiara Resmini, Luisa Bertolatti, Valeria Grillo, Philippa Barr -------------------- 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 rasa at rixc.lv Wed May 27 11:40:30 2009 From: rasa at rixc.lv (Rasa Smite) Date: Wed May 27 11:38:35 2009 Subject: [spectre] Call: for ART AND RENEWABLE TECHNOLOGIES symposium participants Message-ID: dear Spectre, please see below Call for sending proposals for ART AND RENEWABLE TECHNOLOGIES symposium that will take place in Latvia, Aizpute town, best regards, Rasa - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - CALL for proposals: Symposium for ART AND RENEWABLE TECHNOLOGIES August 13-16 in Aizpute (Latvia) The 4-day symposium gathering together 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. - - - - Themes: [bio] Environmental science and ecology - Ecosystem research - Permaculture and biosystem design - Biomass as renewable energy resource - Critical and alternative approaches to biotechnology [solar] Sunlight as constant energy resource - Process of photosynthesis - Solar energy technologies [open source] Sustainability using open source/information approaches: in art and grassroots culture, ecology, architecture and environmental design [myths & legends] Historical traditions and modern alternative solutions - Speculations - Critical, utopian or scientific visions of future terrestrial energy - - - - Location: The symposium will take place in artists residency center SERDE in Aizpute, a small town in Kurzeme region of Latvia. SERDE is located in old wooden historical building (that also will be used as a specific case for which alternative and ecological approach in developing sustainable systems and renewable energy technologies can be explored and applied). - - - - Call: For this symposium, we invite those interested to send their proposals in relation to above mentioned themes, to the following email address: <2009 AT rixc.lv> (and/or ) !!!!!!! Deadline: June 8, 2009 - - - - Participation: Travel and accommodation/subsistence will be covered for 10 participants from Baltic and Nordic countries, and for 2 participants from EU countries. For others, participation costs include: 1) admission - free 2) travel (to Riga) - has to be covered by participants (local transportation from Riga to Aizpute will be provided by organisers) 3) accommodation - 10-25 eur per night - - - - The outcomes of the symposium - new projects, artworks, co-productions - will be presented during the international art and science conference ENERGY that will take place in the framework of Art+Communication festival in Riga, October 15-17, 2009. Symposium is organised by RIXC, the center for new media culture with the support of Nordic Culture Fund. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - From ajaco at xs4all.nl Wed May 27 17:48:42 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Wed May 27 17:49:18 2009 Subject: [spectre] [Nictoglobe] Update Nictoglobe issue#2 2009 Message-ID: <1574626E-494A-444E-9EE4-8F140B9A455E@xs4all.nl> Update Nictoglobe issue#2 2009 //////// contents(new) ////////// Essay: Vernacular video by Tom Sherman Bloody Mary: Telephone Prose Poem by Eddie Woods Augmented realities: New Art Works by A. Andreas Iconological Collaboration: a collaborative project by The Internet Community Gedichten van Jonkheer 7: Poetry in Dutch by Judith V. Burgerwaanzin: Radio show from Amsterdam, The Netherlands, broadcasted live and streamed, saturdays between 18:00 and 20:00 ///////// contents(updated) //////// Gallery d+n+r: new additions among which: Cinematographic scraps, Digital prints by A. Andreas Edgar Allen & The Poes: to be filled in. Music! //////// Open Call for works ///////// What is your choice?, Beauty or Freedom? Individual as well as collaborative trying to answer the question: ?what is your choice, beauty or freedom??, results in (art) works which, in some vague, rather incomprehensible way, position themselves somewhere between these two concepts. Send your textual or audio-visual works formulating possible scenarios to answer this question Deadline 31 Aug 2009 Send your submissions to submissions@nictoglobe.com /////////// Enjoy! /////////// A. Andreas Andreas Jacobs e: ajaco@xs4all.nl w: http://www.nictoglobe.com From seamascain at gmail.com Wed May 27 19:45:54 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Wed May 27 19:46:28 2009 Subject: [spectre] ELVIS magical ELVIS Message-ID: <6f1e9ee40905271045i600918f9t7be1a0fd11184a63@mail.gmail.com> _______________ "ADVANCED ELVIS COURSE" by the poet CAConrad has just been published by the Soft Skull Press ... http://www.softskull.com/detailedbook.php?isbn=978-1-59376-243-8 "ELVISmagicalELVIS ... hearing Him at every corner for years brightening vandalism's tools" ! http://advancedelvis.blogspot.com/ "CAConrad?s unabating love for the King has put him on a pilgrimage to Memphis on an advanced ELVIS course. These bizarre, multi-faceted vignettes, conversations, and poems are an homage bursting with love, oddball white trash, and twisted sincerity. While he eats fried peanut butter banana sandwiches and chats up the locals, Conrad also imagines diverse and surreal scenarios about Elvis as the holy rock trinity: god, legend, and meat-loving Southerner with a drug problem." http://caconrad.blogspot.com/ Interviews on THE BOOK OF FRANK, and ADVANCED ELVIS COURSE: http://CAConradINTERVIEWS.blogspot.com POETRY as DIRT: CAConrad & Brenda Iijima conversation: http://thewildmag.wordpress.com/2009/04/20/an-interlude-on-poetics-as-dirt-by-caconrad-and-brenda-iijima/ (SOMA)tic Poetry EXERCISES: http://somaticpoetryexercises.blogspot.com "Each time we don't say what we wanna say we're dying!" --Yoko Ono, from "YES, I'M A WITCH" "Everywhere I go I find that a poet has been there before me." --Sigmund Freud ELVVVVVVVVVVVVVVV ELLVVVVVVVVVVVVVVV ELLLVVVVVVVVVVVVVVV ELLLLVVVVVVVVVVVVVVV ELLLLLVVVVVVVVVVVVVVV ELLLLLLVVVVVVVVVVVVVVV ELLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLVVVVVVVVVVVVVV ELLLLLLLLLVVVVVVVVVVVV ELLLLLLLLLLVVVVVVVVVV ELLLLLLLLLLLVVVVVVVVV ELLLLLLLLLLLLVVVVVVVIS ELLLLLLLLLLLVVVVVVVVVV ELLLLLLLLLLVVVVVVVVVVVV ELLLLLLLLLVVVVVVVVVVVVVV ELLLLLLLLVVVVVVVVVVVVVVVV ELLLLLLLVVVVVVVVVVVVVVVVVV ELLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLVVVVVVVVVVVVVVVVVVVVVV ELLLLVVVVVVVVVVVVVVVVVVVVVV ELLLVVVVVVVVVVVVVVVVVVVVVV ELLVVVVVVVVVVVVVVVVVVVVVV ELVVVVVVVVVVVVVVVVVVVVVV ELLVVVVVVVVVVVVVVVVVVVVV ELLLVVVVVVVVVVVVVVVVVVVV ELLLLVVVVVVVVVVVVVVVVVVVV ELLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLLLLLVVVVVVVVVVVVVVVVVVV ELLLLLLLLLLLLLVVVVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLVVVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLLVVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLLLLLVVVVVVVVVVVVVVVV ELLLLLLLLLLLVVVVVVVVVVVVVVVVV ELLLLLLLLLLVVVVVVVVVVVVVVVVVV ELLLLLLLLLVVVVVVVVVVVVVVVVVVV ELLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLVVVVVVVVVVVVVVVVVVVVV ELLLLLLVVVVVVVVVVVVVVVVVVVVVV ELLLLLVVVVVVVVVVVVVVVVVVVVVVV ELLLLVVVVVVVVVVVVVVVVVVVVVVVV ELLLVVVVVVVVVVVVVVVVVVVVVVVVV ELLLLVVVVVVVVVVVVVVVVVVVVVVVV ELLLLLVVVVVVVVVVVVVVVVVVVVVVV ELLLLLLVVVVVVVVVVVVVVVVVVVVVV ELLLLLLLVVVVVVVVVVVVVVVVVVVVV ELLLLLLLLVVVVVVVVVVVVVVVVVVVV ELLLLLLLLLVVVVVVVVVVVVVVVVVVV ELLLLLLLLLLVVVVVVVVVVVVVVVVVV ELLLLLLLLLLLVVVVVVVVVVVVVVVVV ELLLLLLLLLLLLVVVVVVVVVVVVVVVV ELLLLLLLLLLLLLVVVVVVVVVVVVVVV ELLLLLLLLLLLLLLVVVVVVVVVVVVVV ELLLLLLLLLLLLLLLVVVVVVVVVVVVV ELLLLLLLLLLLLLLLLVVVVVVVVVVVV ELLLLLLLLLLLLLLLLLVVVVVVVVVVV ELLLLLLLLLLLLLLLLLLVVVVVVVVVV ELLLLLLLLLLLLLLLLLLLVVVVVVVVV ELLLLLLLLLLLLLLLLLLLLVVVVVVVV ELLLLLLLLLLLLLLLLLLLLLVVVVVVV ELLLLLLLLLLLLLLLLLLLLLLVVVVVV ELLLLLLLLLLLLLLLLLLLLLLLVVVVV ELLLLLLLLLLLLLLLLLLLLLLLLVVVV ELLLLLLLLLLLLLLLLLLLLLLLLLLVV ELLLLLLLLLLLLLLLLLLLLLLLLLLLV ELLLLLLLLLLLLLLLLLLLLLLLLLLLVIS LOVES YOU! S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From nc-agricowi at netcologne.de Thu May 28 09:48:12 2009 From: nc-agricowi at netcologne.de (netEX) Date: Thu May 28 09:48:35 2009 Subject: [spectre] netEX: calls & deadlines -->June 2009 Message-ID: <20090528094812.127BDE8E.A7A514CB@192.168.0.3> netEX: calls & deadlines -->June 2009 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents calls & deadlines 03 Calls: 2009 deadlines internal 24 Calls: June 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 speical section for German film & videos 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 ------------------------------------------------ June 2009 deadlines: external ------------------------------------------------ 30 June 38th Festival Cin?ma Nouveau Montr?al/Canada http://www.nmartproject.net/netex/?p=1098 30 June Int. Film Festival Patras/Greece http://www.nmartproject.net/netex/?p=877 30 June ?Espacio Enter Canarias? Canary Islands/Spain http://www.nmartproject.net/netex/?p=1103 30 June Optica Video Art Festival 2009 Gijon/Spain http://www.nmartproject.net/netex/?p=978 30 June KunstfilmBiennale Cologne/G - international competition http://www.nmartproject.net/netex/?p=896 30 June Encounters Short Film Festival Bristol/UK http://www.nmartproject.net/netex/?p=1071 30 June Ismailia Documentary and Short Film Festival /Egypt http://www.nmartproject.net/netex/?p=647 25 June Where I am from - exhibition in Swinsboro/Ga (USA) http://www.nmartproject.net/netex/?p=1133 22 June 9th Short Film Festival Lille/France http://www.nmartproject.net/netex/?p=1040 22 June International Day of VideoArt http://www.nmartproject.net/netex/?p=1013 20 June FONLAD - Online Festival for Digital Art Coimbra/Portugal http://www.nmartproject.net/netex/?p=1130 20 June Videoholica Videoart Festival Varna/Bulgaria http://www.nmartproject.net/netex/?p=780 19 June 3rd Transitio_mx Festival Mexico City/Mexico http://www.nmartproject.net/netex/?p=1044 15 June 41th Bolzano Short Film Festival Bolzano/Italy http://www.nmartproject.net/netex/?p=1027 15 June Conjunction - videos - Maine/USA http://www.nmartproject.net/netex/?p=1001 15 June Lausanne Underground Film Festival 2009 (CH) http://www.nmartproject.net/netex/?p=1004 15 June IV Mobilefest Sao Paulo 2009 (Brazil) http://www.nmartproject.net/netex/?p=832 15 June KunstfilmBiennale Cologne/G - young experimental film competition http://www.nmartproject.net/netex/?p=896 10 June FIKE2009 - 8th Evora Shortfilm Fest/Portugal http://www.nmartproject.net/netex/?p=1024 9 June Tectonic - Aferro Gallery Newark/NY USA http://www.nmartproject.net/netex/?p=1060 8 June Symposion: Art and Renewable Techologies (Latvia) http://www.nmartproject.net/netex/?p=1162 5 June Modifications 2010 - Aahus Art Building Aarhus/Denmark http://www.nmartproject.net/netex/?p=1110 5 June Art Video Screening Orebro/Sweden http://www.nmartproject.net/netex/?p=703 1 June Not Still Art Festival New York/NY/USA http://www.nmartproject.net/netex/?p=973 ----------------------------------------------- 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 marc.garrett at furtherfield.org Thu May 28 17:03:23 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Thu May 28 17:25:49 2009 Subject: [spectre] Sensity by Stanza reviewed by Mark Hancock. In-Reply-To: <4oyblxrn.fsf@xxxxx.xxxxx> References: <4oyblxrn.fsf@xxxxx.xxxxx> Message-ID: <4A1EA7BB.9040504@furtherfield.org> Sensity by Stanza. Review by Mark Hancock on Furtherfield.org. http://www.furtherfield.org/displayreview.php?review_id=348 Sensity monitors the changing state of the environment and transmits it from remote sensors back to a central hub that visually represents the location. Through this observation of the location and data gathering, Sensity brings to mind questions regarding our urban society. It draws our attention to the ever-shifting mood of the city. This ebb and flow, viewed over a period of time, might, one imagines, bring about some kind of anthropomorphism in our relationship to the environment. In the same way that an anonymous animal, viewed over a period of time, gradually shows personal characteristics, so does a city. It becomes a barometer of all our psychic imprints on it. 'These artworks represent the movement of people, pollution in the air, the vibrations and sounds of buildings. They are in effect emergent social sculptures visualizing the emotional state of the city.' Stanza. Other Reviews and articles on furtherfield.org http://www.furtherfield.org/reviews.php From seamascain at gmail.com Thu May 28 17:19:05 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Thu May 28 17:26:19 2009 Subject: [spectre] The poems of Patricia Brody Message-ID: <6f1e9ee40905280819q3a4cf660sd902f8a9c8611d8d@mail.gmail.com> _______________ "American Desire," a book of poems by Patricia Brody, has just been published by the Finishing Line Press. The book was selected for the 2009 New Women's Voices Series. http://web.me.com/tom.kostro/Patricia_Brody/American_Desire.html DANGEROUS TO KNOW, a poem from the book ... http://web.me.com/tom.kostro/Patricia_Brody/Excerpt.html Comments on the book by Marie Ponsot, Richard Howard, and Philip Miller ... http://web.me.com/tom.kostro/Patricia_Brody/Blurbs.html The "Irish Poet & Friends" Reading on June 2, 2009 in New York City ... http://web.me.com/tom.kostro/Patricia_Brody/KGBBar_READING.html Purchasing information for the book ... http://web.me.com/tom.kostro/Patricia_Brody/Bio.html Best regards, S?amas Cain http://alazanto.org/seamascain http://seamascain.writernetwork.com http://www.mnartists.org/Seamas_Cain _______________ From ewen at no-log.org Fri May 29 12:02:07 2009 From: ewen at no-log.org (Ewen Chardronnet) Date: Fri May 29 12:02:41 2009 Subject: [spectre] APPEL A PARTICIPATION : "LIBERTE, EGALITE, P2P!", WikiPlaza Bastille, 31 mai 2009, 21h Message-ID: <4A1FB29F.1030609@no-log.org> APPEL A PARTICIPATION RASSEMBLEMENT "LIBERTE, EGALITE, P2P!" ? la WIKIPLAZA, Place de la Bastille, Paris http://www.wikiplaza.org Vous ?tes performers, activistes ou simplement concern?s par Hadopi ? Venez r?clamer l'espace public num?rique ! Rendez-vous Place de la Bastille le dimanche 31 mai 2009 ? partir de 21h A partir de 21h30, Simona Levi et Josian Llorente, de la compagnie CONSERVAS, performeront "Libert?, ?galit?, P2P!". Et la rue est ? vous ! A 21h30, Simona Levi fera un discours historique et critique autour du P2P en rapport avec les lois internationales actuelles. A 22h30, les artistes engageront les personnes du public ? participer ? travers des questionnaires-vid?o. A 23h, le film "Oxcars" sous-titr? en anglais, sera projet?. Pour plus d'informations ? propos de ce film : http://exgae.net/exgae-multiply-and-share-forth/ A partir de minuit : WikiPlaza_boot Jam d'ouverture propos? par Benjamin Cadon, Labomedia et Xavi. A propos de "Libert?, ?galit?, P2P!" par Conservas : Il semble que nous vivons des moments de crispation citoyenne. Des fissures se produisent dans nos modes de vie : des masses ?nerv?es demandent des logements pour tous, des ?changes incontr?l?s se font sur internet, des citoyens prennent leurs aises dans la ville et fredonnent des m?lodies comme si c'?tait les leurs. Par ailleurs, le respect de la propri?t? se perd. Cette rencontre interactive apporte aux gouvernements, aux partis politiques et aux grands pouvoirs factuels en situation de crise, des solutions participatives pour apaiser le m?contentement citoyen, ?claircir tous les malentendus et ?viter que la citoyennet? finisse par prendre elle-m?me ses droits. "Any restrictions placed on filesharing (P2P) networks be considered to be an act comparable to the Inquisition an an attack on the fundamental human right to access to knowledge, guaranteed in constitutions and international treaties all over the world. We in Europe must defend no restrictions be imposed on fundamental freedoms and rights without a prior judicial ruling". First of 10 necessary and urgent measures to protect the knowledge society for the good of everbody. Exgae Manifesto. Le programme de la WikiPlaza : http://wikiplaza.org/programme-confirme La MeTaCarte : http://map.wikiplaza.org From awolfsberger at virtueelplatform.nl Fri May 29 17:33:55 2009 From: awolfsberger at virtueelplatform.nl (Annette Wolfsberger) Date: Fri May 29 17:36:08 2009 Subject: [spectre] LabforCulture launches cultural blogging map > please contribute! Message-ID: <4A200063.3080408@virtueelplatform.nl> LabforCulture's research on "Cultural blogging in Europe" reaches its midway point, and we now introduce our featured blogger, hard bloggin' scientist Anne Helmond (www.annehelmond.nl), but we also launch our much awaited interactive cultural blogging map: http://www.labforculture.org/en/Resources-for-Research/Contents/Research-in-focus/Cultural-blogging-in-Europe/European-cultural-blogging-map As part of our ongoing reporting on cultural bloggers across Europe we have released an interactive map of the European cultural blogging scene. We hope to collaboratively create a visual overview of the cultural blogs across Europe and widen the research on self publishing opinion makers and activists. The idea is to collect the cultural blogs and build a digital overview for everyone to use. To do this we are asking you to add the cultural blogs you like to the map. Currently it has the blogs of the featured bloggers in the series and other cultural blogs selected by our editorial team. So add your favourites and forward onto others! Finally, all the interviews carried out by Annette Wolfsberger, as well as our conclusions, will be published in a print on demand format on LabforCulture at the end of the series. These so far include: Michelle Kasprzak of Curating.info; Marco Mancuso of Digicult.it; Alek Tarkowski of Kultura 2.0 and Claire Welsby of InterventTech.net. http://www.labforculture.org/en/Resources-for-Research/Contents/Research-in-focus/Cultural-blogging-in-Europe From marc.garrett at furtherfield.org Fri May 29 17:23:39 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri May 29 17:36:10 2009 Subject: [spectre] An Artist's Guide for Editing Wikipedia. In-Reply-To: <7D16F242-67D2-472E-972A-612984CC1F15@xs4all.nl> References: <7D16F242-67D2-472E-972A-612984CC1F15@xs4all.nl> Message-ID: <4A1FFDFB.3060103@furtherfield.org> Sorry for any cross posting... An Artist's Guide for Editing Wikipedia. A no nonsense guide to help improve the representation of artists using Wikipedia by Rob Myers. http://www.furtherfield.org/displayreview.php?review_id=350 The collaboratively produced on-line encyclopaedia Wikipedia is becoming an important reference resource for art as well as for its traditional strengths in the sciences and popular culture. To help improve the representation of new media art on Wikipedia, more people who are involved in the field should learn about how Wikipedia works and get involved with editing it. This article is a brief introduction to doing so. more reviews/articles/interviews on furtherfield: http://www.furtherfield.org/reviews.php From hatam at drfz.de Fri May 29 21:56:11 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Fri May 29 21:56:47 2009 Subject: [spectre] Hackteria & Labhacking Free Lecture at NK Sat May 30 Berlin Message-ID: <380-220095529195611320@M2W016.mail2web.com> This workshop begins with a Free Lecture on Science Art and Technology. 12-14 on Saturday May 30th at NK. Information is below. H a c k t e r i a & l a b h a c k i n g with Marc R. Dusseiller & Kaspar koenig Saturday 30 May - Wednesday 3 June 2009, 12.00-18.00 daily Location: eNKa / ElsenStr. 52 (2.Hof) Berlin, Germany Telephone: +49 (0)176 20626386 Course Participation fee: 100 euros Registration is required for this workshop and can only be done via email to: enka_nkATgmxDOTde Please register early to ensure a place. Places are limited to 16. For Workshop leaders Biographies and full description and additional reading go to myspace.com/enka52 Overview--Experimental make-workshop with multilayered outcome for people interested in sound, DIY-biology, microscopy and interaction of living microorganisms. Knowledge in physical computing, video and sound processing, electronics and puredata is welcome, but not compulsary. Description--In this workshop the experiments will take place in close-up view of microorganisms (e.g. water bears aka tardigrades,amoebae and collected organisms from urban environments), which appears to be a world by itself. Maybe due to the scaling and the amplification of a microscope, but maybe also due to all parameters of imagination that the microcosmos provokes. Growth and behaviour of these microscopic animals remind us of our own micro-macro-development. With the image and the movement of the organisms, the participants are encouraged to collect inspiration and bridge video and sound to what they experience with these small ???animalcules???, as termed by their first observer Leeuwenhoek in 1677. The participants will learn How to work with the usb-microscopes and hack webcams to be used as microscopes, observe the behaviour and motion of the waterbears and other microorganisms, find sounds from the lab equipment, hack into electronic devices to integrate into bioelectronic culture devices and build habitats for the animals. Also they will discover sounds from the different instrumentation and utilities of the laboratory. Recycle and compose arrangements for Lab-visual and Lab-sound scapes and benefit from a cross fertilization between the whole (scientific) equipment (you can bring your own too!) and an artistic metaphorical language. The outcome can be a video with a microscopic soundtrack, a living object with singing waterbears, a performance with laboratory sounds, or an openLab Hackteria installation. Material needed The participant should bring their own laptop/computer, a webcam with an adjustable lens and some general lab stuff they have access to. Material available various labware, glassware, petri-dishes, usb-microscopes, microorganisms, soldering stations, electronic parts, arduinos etc.. -------------------------------------------------------------------- mail2web.com - Microsoft? Exchange solutions from a leading provider - http://link.mail2web.com/Business/Exchange From geert at xs4all.nl Fri May 29 22:00:29 2009 From: geert at xs4all.nl (Geert Lovink) Date: Fri May 29 22:01:09 2009 Subject: [spectre] Video Vortex 5 in Brussels (November 21/22 2009) Message-ID: <129D8E1E-481A-47A2-A42A-9F8689505C33@xs4all.nl> From: bcrevits@gmail.com Some of you heard it already in Split: the 5th edition of the Video Vortex conference series will be held in Brussels. Video Vortex V is announced for November 20-21 2009, and will be hosted by the Cimatics festival. Previously Video Vortex conferences were held in Brussels, Amsterdam, Ankara and Split. With this second Brussels meeting the goal is also to set up Video Vortex as an organised network, making it more sustainable. Let this be a first general open call for participation. But keep an eye on the list for a more detailed call soon, with deadlines and specific themes. Submissions can be sent to the email adress below or uploaded through the online submission form at cimatics.com/entries (category: 'Video Vortex') For any further questions, recommendations or remarks you can contact me at bram.crevits@cimatics.com or just reply to the vv list. Looking forward! Bram Crevits ----- video vortex discussion list artist responses to youtube to subscribe or unsubscribe to the videovortex list, please go to: http://listcultures.org/mailman/listinfo/videovortex_listcultures.org From pedruski at gmail.com Sat May 30 11:55:50 2009 From: pedruski at gmail.com (pedro) Date: Sat May 30 11:56:25 2009 Subject: [spectre] Wikiplaza Paris 30.05.09 - 07.06.09 Message-ID: <5504af700905300255r7190eaafjb04a5e7a3ef4015c@mail.gmail.com> WIKIPLAZA PARIS ? FUTUR EN SEINE Le prototype de la Wikiplaza present? ? Paris, consiste en une infrastructure d?velopp?e avec des ?l?ments architectoniques l?gers et des syst?mes technologiques (hardware, netware et software) con?us pour un usage public ouvert et participatif. Cette infrastructure fonctionne comme une extension ou une amplification de l'espace public existant, en connectant des lieux distants et des ressources num?riques. Les id?es de libert? de connaissance, de distribution d'information et d'acc?s aux r?seaux sont la clef de la Wikiplaza. Elle s'impl?mente ? travers l'usage de software et hardware libres et agit comme un n?ud, un centre connect? ? d'autres n?uds du Festival Futur en Seine. + info / live stream : http://wikiplaza.org The prototype of the Wikiplaza presented in Paris consists of an infrastructure developed with light architectural elements and technological systems (hardware, netware & software) conceived for open and participative public use. This infrastructure functions as an extension or amplification of existing public space by connecting remote places and digital resources. The ideas of freedom of knowledge, distribution of information and access to the networks are basic to the Wikiplaza. Implemented using free software and hardware it functions as a node, a centre connected to other nodes of the Festival Futur en Seine. + info / live stream : http://wikiplaza.org From minimamedia at web.de Sat May 30 12:45:53 2009 From: minimamedia at web.de (Peter) Date: Sat May 30 12:48:16 2009 Subject: [spectre] B TONG_FEINE TRINKERS BEI PINKELS DAHEIM 30th MAY BERLIN Message-ID: <4A210E61.2030903@web.de> minimamedia.de presents: Noise Exotica & Black Magic Saturday, 30th of MAY 2009 LIVE PERFORMANCE at Electronic Church with: B?TONG (CH) (http://www.myspace.com/btongmusic) FEINE TRINKERS BEI PINKELS DAHEIM (D) (http://www.myspace.com/feinetrinkersbeipinkelsdaheim) Electronic Church Greifswalder Str. 223 Berlin-Prenzlauer Berg Start_21:00h Private Veranstaltung www.minimamedia.de mailorder berlin B?TONG B?TONG ist beeinflusst von der urspr?nglichen id?e des industriellen muzak, und dem pioniergeist fr?her elektronischer klangt?ftler. seine musik geht ?ber dunkle ambiente soundfl?chen, brodelnde elektronik, hin zu seltsamen elektronischen klangwelten oder brachialem l?rm. B?TONG verarbeitet ger?usche aus dem alltag, kl?nge aus feld und wald. seine instrumente sind: metallfeder, blech, ventilator, vibrator, oder elektrisches spielzeug, und... k?chengeschirr! die erzeugten t?ne werden in einen loop sampler gespeist und durch diverse effektpedale gejagt. fertig ist das klanggericht. B?TONG ist an diversen elektronik festivals aufgetreten (u.a. sinus-series, ausklang, shift), spielt live ?ber radiosender (griechenland, frankreich, spanien) und in clubs in europa und nord-ost amerika. FEINE TRINKERS BEI PINKELS DAHEIM FEINE TRINKERS BEI PINKELS DAHEIM Founded in 1989 Blackforest Germany By Oswin Czerwinski and J?rgen Eberhard ist derzeit J?rgen Eberhard. In Echtzeit werden am Alchemistentisch aus diversen Klangerzeugern, Plattenspielern, Objekten aus Wald und Flur und obskuren Bastelein komplexe Klangcollagen geschichtet, gerichtet und unter dem sarkastischen Fingerzeig auf rhythmische Sklavenschaft zernichtet. Die Musik der FEINEn TRINKERS BEI PINKELS DAHEIM ist Musique Concr?te, Noise und Drone, abgespiegelt von der vielarmigen Behandlung konkreten Materials. From Info at edith-russ-haus.de Fri May 29 17:31:15 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Tue Jun 16 08:17:42 2009 Subject: [spectre] =?iso-8859-15?q?Isa_Rosenberger_/_Nira_Pereg__Er=F6ffn?= =?iso-8859-15?q?ung_=7C_Opening_=7C_4=2E_Juni_2009?= Message-ID: <4A2011C4.9ACC.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgenden Veranstaltungen herzlich einladen | We would like to invite you cordially to the following events ISA ROSENBERGER / NIRA PEREG ER?FFNUNG | OPENING Donnerstag, 4. Juni 2009, 20 Uhr | Thursday, 4. June 2009, 8 p.m. im Edith-Ru?-Haus f?r Medienkunst in Oldenburg | at Edith-Russ-Site for Media Art in Oldenburg, Germany **************** Please scroll down for English version **************** ISA ROSENBERGER / NIRA PEREG Pressegespr?ch: Mittwoch, 3. Juni 2009, 14 Uhr Er?ffnung: 4. Juni 2009, 20 Uhr Ausstellungsdauer: 5. Juni bis 9. August 2009 Mit Nira Pereg und Isa Rosenberger pr?sentiert das Edith-Ru?-Haus f?r Medienkunst zwei K?nstlerinnen, die sich in ihren Arbeiten mit gesellschaftspolitischen Entwicklungen auseinandersetzen. Beide sp?ren dem Verh?ltnis von Staat und Individuum anhand der Geschichte und Ver?nderung von urbanen R?umen und architektonischen Strukturen nach. Gesellschaftspolitische Ver?nderungen im postsozialistischen Europa sind ein durchgehendes Thema in den Arbeiten der ?sterreicherin Isa Rosenberger. In ihrer Videoinstallation Novy Most (2008) reflektiert sie anhand dreier Frauengenerationen die Geschichte der gleichnamigen Br?cke in Bratislava, die von 1967 bis 1972 als futuristisches Wahrzeichen der Stadt erbaut wurde. Archivaufnahmen und inszeniertes Material, in denen die drei Frauen von der Geschichte der Br?cke und von ihren pers?nlichen Erinnerungen und Hoffnungen in Bezug auf die politische Entwicklung erz?hlen, geben Einblick in die Ereignisse der j?ngeren Geschichte der Stadt und des Spannungsverh?ltnisses von Ost und West. Auch die neu entstandene Fotoserie Ruzinov (2009) handelt von den urbanen Ver?nderungen der slowakischen Stadt nach dem Fall des Eisernen Vorhangs. Ein Brunnen, der zu sozialistischen Zeiten als B?hne f?r Konzerte genutzt wurde, dient der K?nstlerin als skulpturale *Leerstelle* f?r ihre Intervention. Im Austausch mit PassantInnen und BewohnerInnen des Viertels entstehen Textcollagen, die eine m?gliche neue Nutzung reflektieren. Die israelische K?nstlerin Nira Pereg schafft Arbeiten, in denen das Pers?nliche und das ?ffentliche, das Politische und das Poetische einander gegen?bergestellt werden. Ihre Fotoserie Location 8 - Ramot Polin/Polish Hills (2008) dokumentiert das gleichnamige j?disch-orthodoxe Viertel, welches in den 1970er Jahren von dem israelischen Avantgarde-Architekten Zvi Hecker entworfen wurde. Die Architektur dient ihr als Ausgangspunkt f?r die Reflexion der Frage nach der Konstitution von Gemeinschaft innerhalb eines gesellschaftlichen Gef?ges. Das Video Sabbath 2008 (2008) zeigt die Schlie?ung eines ultraorthodoxen Viertels in Jerusalem am Vorabend des Sabbath. 24 Stunden lang ist das Viertel durch tempor?re Absperrungen, die von den Bewohnern errichtet werden, abgeschirmt. Pereg beobachtet dieses Ritual der Ausgrenzung und Einschlie?ung. Mit ihren pr?zisen und sensiblen Schnitten gelingt ihr die Transformation des dokumentarischen Materials in ein theatralisches Ereignis, welches das religi?se Ritual als komplexes soziales Ph?nomen in einer geteilten Stadt anschaulich macht. . Die Ausstellung wird gro?z?gig gef?rdert vom Land Niedersachsen. F?HRUNGEN >Regelm??ige F?hrungen jeden Sonntag, 15 Uhr >Abend?ffnung mit F?hrung Donnerstag, 18. Juni 2009 und 2. Juli 2009, 17 - 20 Uhr, F?hrung um 18 Uhr >F?hrungen f?r private Gruppen, Firmen und Schulklassen nach Absprache ?FFNUNGSZEITEN Dienstag - Freitag 14 - 17 Uhr Samstag und Sonntag 11 - 17 Uhr Montag geschlossen Eintritt: 2,50 / 1,50 ? Edith-Ru?-Haus f?r Medienkunst Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 25 68 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de Sollten Sie keine Informationen mehr von uns erhalten wollen, benachrichtigen Sie uns bitte unter unserer email-Adresse: info@edith-russ-haus.de ***************************************************************** ISA ROSENBERGER / NIRA PEREG Press conference: Thursday, 3 June 2009, 2 p.m. Opening: 4 June 2009, 8 p.m. On show from 5 June to 9 August 2009 With Nira Pereg and Isa Rosenberger, the Edith Russ Site for Media Art presents two artists who deal with sociopolitical developments in their respective works. Both trace the relationship between the state and the individual based on history and the alteration of urban spaces and architectonic structures. Sociopolitical changes in post-Socialist Europe are a continuous theme in the works of the Austrian artist Isa Rosenberger. Based on three generations of women, she reflects in her video Novy Most (2008) on the history of the bridge of the same name in Bratislava which was built between 1967 and 1972 as a futuristic landmark of the city. Archival footage and staged material in which three women relate the history of the bridge and their own personal memories and hopes with regard to political developments provide insights into occurrences from the city*s recent history as well as the tensions between West and East. The recent series of photographs entitled Ruzinov (2009) also deals with urban changes in the Slovakian city after the fall of the Iron Curtain. A fountain that was used as a stage for concerts during the Socialist era now serves the artist as a sculptural *blank space* for her intervention. A collage of texts comes about in the exchange with passersby and residents of the district that reflect on a possible new use. The Israeli artist Nira Pereg creates pieces which juxtapose the personal and the public, the political and the poetic. Her photo series Location 8 - Ramot Polin/Polish Hills (2008) documents the Orthodox Jewish district of the same name which was planned by the Israeli avant-garde architect Zvi Hecker in the nineteen seventies. The architecture serves as the starting point for her reflection on the constitution of community within a social structure. The video Sabbath 2008 (2008) depicts the closing of an ultra-Orthodox district in Jerusalem on Sabbath Evening. The district is blocked off for 24 hours with temporary barriers erected by the inhabitants. Pereg observes this ritual of exclusion and inclusion. With her precise and sensitive cuts, she succeeds in transforming the documentary material into a theatrical event visualizing the religious ritual as a complex social phenomenon in a divided city. The exhibition is generously supported by state of Lower Saxony. GUIDED TOURS >Regular guided tours every Sunday at 3 p.m. >Special guided tours Late Opening hours with guided tour 18 June 2009 and 2 July 2009, 6 p.m. >Group tours upon request OPENING HOURS Tuesday - Friday 2 - 5 p.m. Saturday and Sunday 11 a.m. - 5 p.m. Monday closed Admission: 2,50 / 1,50 ? Edith Russ Site for Media Art Katharinenstra?e 23 D-26121 Oldenburg fon: +49 (0)441 - 235 32 08 fax: +49 (0)441 - 235 21 61 info@edith-russ-haus.de www.edith-russ-haus.de If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de From julie at lubric.com Wed May 27 17:34:38 2009 From: julie at lubric.com (julie freeman) Date: Tue Jun 16 08:17:44 2009 Subject: [spectre] In Particular event @ Dana Centre 7-9pm, June 2 Message-ID: As ever, apologies for X-posting ??????????????????????????? An evening of invisibility, intangibility and unexpected properties as artist Julie Freeman, nanotechnologist Jeremy Ramsden, and Pankaj Vadgama, discuss the nanocosm and the extraordinary beings that populate it. Artists and scientists alike are fascinated by the extraordinary world of nanotechnology. Join us for a journey through these concepts with an artist and a scientist, and discuss the value and importance of such collaborations. Jeremy Ramsden will discuss the latest advances in nanotechnology while artist Julie Freeman reveals how collaborating with Jeremy has influenced her work NanoNovels - graphic artworks and stories inspired by nanoparticles. Pankaj Vadgama completes the trio as he describes how nanotechnology is revolutionising medicine. John Hambley, who brought Julie and Jeremy together, will facilitate and give an insight into the impact of artist residencies in non-arts environments. Is art a good way of enabling scientists to communicate their work? Or can artistic ambiguity and metaphor compromise the communication of scientific information? If we want to separate fact from fiction, where does the truth lie? Come along and join the discussions. SPEAKERS: Julie Freeman is currently artist in residence at the Microsystems & Nanotechnology Centre, Cranfield University. Prof Jeremy Ramsden is Chair of Nanotechnology, Cranfield University, Fellow of the IOM3, Editor-in-chief of the Journal of Biological Physics and Chemistry, and of Nanotechnology Perceptions. Professor Pankaj Vadgama is currently Director of the IRC in Biomedical Materials, Queen Mary, University of London and Professor of Clinical Biochemistry, Queen Mary?s School of Medicine & Dentistry. Head of Service in the Department of Clinical Biochemistry, Barts and the Royal London NHS Trust. The event is free, but you need to book with the Dana Centre on tel: 02079424040 or email: tickets@danacentre.org.uk http://www.danacentre.org.uk/events/2009/06/02/495 http://www.in-particular.net ?????????????????????????????