From oliver.grau at donau-uni.ac.at Thu Oct 1 09:24:27 2009 From: oliver.grau at donau-uni.ac.at (Oliver Grau) Date: Thu Oct 1 09:49:51 2009 Subject: [spectre] Fwd: ACM Computers in Entertainment (CiE) New Editors in Chief and Call for Papers 2010 Message-ID: >>> "Shika Ismail" 10/1/2009 8:52 am >>> Dear Sir/Mdm , Call for Papers, Deadline: October, 30, 2009 6|5January 2010 Issue of ACM Computers in Entertainment (CiE) 6|5http://www.acm.org/pubs/cie/ 6|5 The ACM Computers in Entertainment (CiE) is delighted to announce its new Editors-in-Chief. Effective from January 2010, the new co-editors-in-chief are Prof. Adrian David Cheok of National University of Singapore & Keio University and Prof. Masa Inakage of Keio University. Cheok is an expert in Interactive Embodied Media, Entertainment Computing, Mixed Reality and Cultural Computing; Inakage is an expert in Entertainment Design, Media Art, Digital Cinema, and Computer Graphics. With these appointments, the ACM Computers in Entertainment strengthens and expands its commitment to publication of high quality articles in all areas of entertainment. **We would like to thank Newton Lee for founding the CiE and the great work and stewardship he gave for building up the publication** said Adrian Cheok and Masa Inakage. They further said **It is a vital part of the entertainment industry to link academia to the professional practice of Entertainment Computing. We plan to make a further announcement of ACM CiE expansion project with Dr. Newton Lee in the near future.**. 6|5========================== 6|5Call for Papers: January 2010 Issue 6|5========================== 6|5The focus of CiE 2010 January issue is to gather researchers and practitioners from academia and industry whom are working in multi-disciplinary areas within the computer entertainment field and demonstrate their new contributions. Considering the unexpected high demand for academic paper publications in computer entertainment, we would like to focus a full academic paper segment to preserve the quality of such publications for the 2010 January issue. The academic papers will be subjected to rigorous reviewing process, and be seen as the absolute leading academic publication in the field that creates new genres of entertainment. Topics of interest include but are not limited to: 6|1 Accessibility 6|1 Aesthetics 6|1 Affective Computing 6|1 Ambient Intelligence 6|1 Animation Techniques 6|1 Attention 6|1 Augmented / Mixed Reality 6|1 Avatars and Virtual Community 6|1 Community 6|1 Cultural Computing 6|1 Digital Entertainment and Sports 6|1 Digital Broadcasting/Podcasting 6|1 Digital Cinema 6|1 Elderly Entertainment 6|1 Empathy 6|1 Entertainment Design Theory 6|1 Experience Design 6|1 Funology 6|1 Graphics Techniques 6|1 Human-Robots Interaction 6|1 Interaction Design 6|1 Interactive Computer Graphics 6|1 Interactive Theatre 6|1 Internet Networking Media 6|1 Learning and Children 6|1 Location-Based Entertainment 6|1 Metaverse 6|1 Mixed Media 6|1 Mobile Entertainment 6|1 Multimodal Interaction 6|1 Narratives / Digital Storytelling 6|1 New Gaming Audiences 6|1 Novel interfaces 6|1 Pervasive and Online Games 6|1 Physical Computing 6|1 Robotic Love and Affection 6|1 Simplicity 6|1 Situativity 6|1 Smart Gadgets and Toys 6|1 Social Impact 6|1 Social Networking 6|1 Sound and Music 6|1 Synesthetic Entertainment 6|1 Tangible Interfaces 6|1 User Interfaces 6|1 Visual Effects 6|1 Virtual Reality NEW FOR 2010! Apart from high-quality academic papers, we plan to have a section for multimedia submissions to be published as a separate on line segment. One page abstract should be provided with all the multimedia submissions. However, a strict reviewing protocol will be administered for the following topics: 6|1 Novel / research game submission (submission of fully completed and running games) 6|1 Game art submissions (entertainment art works in mixed media formats) 6|1 New sounds or music related to entertainment computing 6|1 "Video papers" - video showing new research or work (using video as the new genre for expressing research works) Authors The Magazine*?s focus is to provide a forum for researchers from academia and industry-researchers who are working in multi-disciplinary areas within the field of computer entertainment to publish their new contributions. The authors for the magazine will include computer scientists, academic scholars, technology strategists, interaction designers, and anyone working on computer technology in the field of entertainment computing. 6|5 Guideline for Authors Papers and multimedia submissions should be submitted to the editors-in-chief online via the ACM manuscript management system at http://mc.manuscriptcentral.com/cie. Manuscripts should contain no more than 15,000 words. Multimedia submission should contain one page extended abstract. Submissions should include the submission title, abstract, keywords, classification and general terms (refer to http://www.acm.org/class/1998/ for details), name of authors, their affiliation, email, and postal address. The language for the journal is English. Reviewers Editors-in-Chief would like to invite you to be part of the core team of 'reviewers' to help ACM Computers in Entertainment from 2010. Please contact co-editor, Adrian David Cheok [adriancheok@mixedrealitylab.org] to participate as a reviewer of ACM CiE. 6|5================== 6|5Editorial Board 6|5================== Co-Editors-in-Chief from January 2010 6|5--------------------- 6|5Adrian David Cheok [adriancheok@mixedrealitylab.org] Masa Inakage [inakage@kmd.keio.ac.jp] Information Director Owen Noel Newton Fernando [newtonfernando@mixedrealitylab.org] WWW Administrator Miyuru Dayarathne [miyurud@mixedrealitylab.org] Co-editors and Advisors Besides Co-editors and Advisors of ACM Computers in Entertainment (CiE) magazine, Co-Editors-in-Chief would like to appoint leading researchers, who work closely in the field of entertainment research and industry as board members. List of board members will be published soon in CiE website. From nc-agricowi at netcologne.de Thu Oct 1 09:30:27 2009 From: nc-agricowi at netcologne.de (vCH) Date: Thu Oct 1 09:50:48 2009 Subject: [spectre] October feature: Taiwanese video art Message-ID: <20091001093027.6F5F102C.1A9A84E1@192.168.0.3> October Feature on VideoChannel Video art from Taiwan As the little brother of the continental China, Taiwan was undergoing during decades a special development, which is also manifesting itself in the practiced expressions in the arts. The feature of video art selected seven artists/directors who stand for different approaches in the moving image media --> Yu Cheng Yu, Ana Yu, Yin-Ling Chen, Ying-Fang Shen, Jo-Lin Hsieh, Sandra S. Chiu, Yi-Chun Lo. Please find detailed info and the access to the feature here --> http://videochannel.newmediafest.org/blog/?page_id=280 ---------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for art and new media operating from Cologne/Germany info[at]nmartproject.net ------------------------------------------------------ From ab at mikro.in-berlin.de Thu Oct 1 11:41:01 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Thu Oct 1 17:07:02 2009 Subject: [spectre] (fwd) Belgrade Cultural Centre presents The 50th October Salon, Belgrade Message-ID: Date: Wed, 30 Sep 2009 16:47:07 -0400 From: Art-Agenda Subject: Belgrade Cultural Centre presents The 50th October Salon, Belgrade The 50th October Salon, Belgrade October 2nd - November 15th 2009 Belgrade Cultural Centre Knez Mihailova 6/I, 11 000 Belgrade, RS phone: + 381 (0)11 2622 926 fax: + 381 (0)11 2623 853 Contact: Zorana Djakovi? zorana.djakovic@kcb.org.rs http://www.kcb.org.rs http://www.oktobarskisalon.org Belgrade Cultural Centre presents The 50th October Salon, Belgrade Official inauguration: Museum of Yugoslav History - Museum 25th May Boti?eva 6, Belgrade October 2nd 2009 at 7:00 pm The 50th October Salon CIRCUMSTANCE Artists: Phil Collins, Miljenko Dereta, Biljana ?ur??evi?, Uro? ?uri?, Bojan Fajfri?, ?ivko Grozdani?, Ivan Grubanov, Igor Grubi?, Aleksandar Jestrovi? Jamesdin, ?olt Kova?, Kunsthistorisches Mausoleum, Marko Luli?, Zoran Naskovski, Pe??a Ne?kovi?, Vladimir Nikoli?, Oleg Novkovi?, Darinka Pop-Miti?, Branimir Stojanovi?, Zoran Todorovi?, Ra?a Todosijevi?, Katarina Zdjelar, ?elimir ?ilnik Art Director: Branislava An??elkovi? Exhibition venues: Museum of Yugoslav History (Boti?eva 6), Belgrade Cultural Centre (Knez Mihailova 6 and Trg Republike 5/I), Centre for Cultural Decontamination (Bir?aninova 21), Kunsthistorisches Mausoleum (Bra?e Radovanovi?a 28) and the Public Garage in Masarikova Street (Masarikova 4). The project CIRCUMSTANCE has been motivated by the necessity of reviewing the contemporary art scene in Serbia in its international dimensions and in relation to the circumstances of its local production. The framework of the project is made up of the exhibition, through which it will be possible to review the most prominent, inspirational and critically founded artistic positions in Serbia at the moment, that is, the work of those artists who have developed specific artistic languages and philosophies, in various media, whom it is necessary to present to a broader public in Belgrade and in Serbia as thoroughly as possible. The exhibition CIRCUMSTANCE has not been conceived as a mere "agglomeration" of works but as an attempt to represent, through selected projects of the artists who were invited, the uniqueness and the specific character of the positions and propositions on the contemporary scene in relation to the social processes, and especially in relation to the very real sense of crisis we are living in. Since 2004, when the October Salon turned from a local exhibition into an international art event, apart from its long-awaited internationalisation, there has occurred a controversial differentiation between a figure of a "domestic artist" and that of an "international artist". This year's October Salon, with its emphasis on artists who mainly live and work in Serbia but also make their presence felt on the international scene, does not aim to bring this event back to the status of a local exhibition; on the contrary, it aims to present "a local artist" as "an international artist" who remains connected to local experiences, on the basis of which he undertakes initiatives and suggests interventions. Some artists who do not live in Serbia, but whose work we consider to be an active element of contemporary art in the local milieu, have been invited to this exhibition as guests. The projects that will be presented do not merely express the way in which an artist "deals" with matters of significance for society and art; they constitute direct interventions into our comprehension of and our attitude towards these matters. This applies irrespective of whether those issues concern the position and the role of the artist, the (non-)existence of the art system, the disappearance of art from the public and media space, the inadequacy of discourse about art, or the pressing issues of the social and economic crisis such as the process of privatisation, social stratification, cultural isolation, the trauma of historical memory, citizens' inactivity and inertia, social (in)tolerance, etc. In view of the fact that the October Salon is an art event that is most visible to the general public in Serbia, the starting point is the idea that this project will initiate mechanisms of communication between artists and the audience. There is a need to present contemporary art not just by way of the exhibition but also through various side events, the aim of which is to establish a dialogue and to contribute to a better understanding of the position and the role of the artist in society. The exhibition will be accompanied by a catalogue in which each individual artist will be thoroughly presented not only through his/her authorship over a particular work but also through the complexity of his/her artistic, intellectual, political and ethical positions. Within the framework of the project CIRCUMSTANCE, two special artistic projects will be realised. Igor Grubi?'s project Individual Collectivism is made up of a series of brief television clips presenting the artists featured in this exhibition to the general public. These TV portraits will be broadcasted for the duration of the October Salon. Ra?a Todosijevi?'s project Artist as Prophet will be realised in the public space of the city and will constitute a specific form of communication between the artist and the social/personal circumstances that he is conditioned by. In both projects, it is the artists who intervene within the framework of the usual "promotional" activities characteristic of such exhibitions. Contact Miroslav Kari? (press) - mkaric40@hotmail.com +381 63 7060504 Vesna Mili? (co-ordination) - vesna@msub.org.rs +381 11 3676293 From info at apo33.org Fri Oct 2 23:39:50 2009 From: info at apo33.org (APO33) Date: Fri Oct 2 23:50:36 2009 Subject: [spectre] APO33 NEWSLETTER OCTOBER 2009!!! Message-ID: <20091002233950.1219549i0d6k0h8o@apo33.org> APO33 - OCTOBER 2009 !!!!!!!!!!!!!!!!!! SHARE IT #1 !!!!!!!!!!!!!!!!!! Wednesday the 28th of October @ APO33 ? 17 rue Paul Bellamy Nantes/France ? free Open Data Sharing - A session to debate and exchange data, books, music, films, etc...) in a very physical/digital way. Share It, aim to create a breakdown, in real-time, the individualised digital practices that are easily controlled by decisional powers & other entertainment industries. 1 Session --> On the awful French digital repression laws and anti free software policies: HADOPI2 Background The implementation of the European Copyright Directive in the french legislation has given the so called DADVSI law which is in application since 2007. The DADVSI law created the crime of lack of screening of Internet connections in order to prevent exchange of copyrighted material without prior agreement from the copyright holders (art. L335.12)[16] . The DADVSI law did not define any punishment it. It has been partially invalidated by the Constitutional Council of France noticeably rejecting the principle of escalation according to which the sanction could occurs in several step due to the lack of their definition [17], and retaining only the crime of copyright infringement sanction, which is punished by up to 3 years in prison and a fine of up to ?300,000. The Hadopi law is supposed to address the concerns of the Constitutional Council of France, in addition to replacing the DADVSI law, which has as not yet been enforced. On September 5, 2007, the French Ministry of Culture, Christine Albanel asked to the CEO of the main French record reseller(Fnac), then Denis Olivennes, to lead a taskforce to study a three-strike sanction, compatible with the decision of the french constitutional council. After audition of representatives of the entertainment industry, internet service providers and consumer associations, Denis Olivennes taskforces gave its conclusion report to the Ministry on November 27[18]. The report was signed by 40 companies at the Elys?e and presented as the "Olivennes agreement" renamed later "Elys?e agreement". The HADOPI law is the implementation of the Olivennes report, supported by the Olivennes agreement, where the main representative of the entertainment and media diffusion industry agreed to collaborate to the enforcement of the HADOPI law. Nevertheless some companies, noticeably the ISP as Orange and Free have denounced the agreement sometimes afterward[19]. http://en.wikipedia.org/wiki/HADOPI_law //////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Lundi 19 octobre ? PIED LA BICHE ? collective(Grenoble/France) Meeting/conference on WIKIBIVOUAC, collaborative map. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! - 6.30pm @ apo33 17 rue Paul Bellamy 44000 Nantes / France Pied de La Biche is a collective geographically located between different cities (Paris, Lyon, Grenoble and Roanne). Zoom architecture collective, Infraksound (video), Grrnd Prestige (video), Brutale Molesse (video) and Ovn Productions (video) are all part of Pied de La Biche Architects, Urbanists , video makers and programmers work together on experiences that involved new relations to space and behaviour. Their projects can become an installation, an event, a film, a text or a public lecture. more info: http://piedlabiche.wordpress.com/ ////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Friday the 23th of October La Fabrique, Nantes will be celebrating the laying of the first stone for this future Arts building La Fabrique : Space for artistic researches, launch the building (6pm) !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Under the nefs - boulevard l?on-bureau ? Nantes / France La Fabrique is pluridisplinary space that aims to help artistic initiation in the realm of modern/contemporary music, digital art, danse, and other experimentales practices. La Fabrique works with the associations: Songo/olympic www.olympic.asso.fr Trempolino www.trempo.com microfaune mire http://mire.exp.free.fr apo33 www.apo33.org ?le de Nantes boulevard l?on-bureau, 44 000 Nantes 02 36 96 36 00 www.lafabrique.org /////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Vendredi 23 octobre APEROcodelab #4 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! LE BAR le PROGRES, 38 rue Lanoue Bras de Fer, Nantes ? free - 7pm Proposed by association & individuals from the Crealab Network The Aperitif CodeLab is a meeting devoted to experimental practices using images, video, sound and music in combination with programmatic language, code as artistic expression and/or electronic experimentation. All of those practices are mainly developed using Free Libre Open Source tools & content. Conference : Pierre ? Codelab.fr - Micro-seminare FLOSS: The ? BlackBox - Alpha0.1? - FLOSS Machine aim to Anonymous file sharing and others data sharing. Jenny Pickett & Julien Ottavi Totem taz of jf rolez Benjamin CADON & Olivier Baudu http://www.yamatierea.org/papatchs/ Session ?Make your instrument yourself " Presentation of the new APODIO 6 - post session by APO33 Live : YO ? DIY synth Battle GIGtoTOKYO.pd : Gratuit, Dominique Leroy, Julien Poidevin, Julien Bellanger... BENJAMIN CADON 5FOOT https://pingbase.homelinux.net/libro/projects/show/5foo NANOFAMAS ? A/V live with APODIO + DJs CREALAB!! //////////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 21 / 22 / 23 of October APODIO OPEN SESSION "make it with us!" !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! from 10am to 6pm @ APO33 - 17 rue Paul Bellamy - 44000 Nantes/France http://www.apodio.org APODIO is a 6 years old Gnu/Linux distribution, dedicated to multimedia tools for audio/visual creation, to run your own radio, TV, make your own film, animation, art installation, Live Coding and other A/V performance? . APODIO is a GNU/Linux platform containing audio, text-friendly, 3D, Streaming, graphic, Live Coding and video tools. It can be used as a liveDVD or be installed on a partition of your hard disk (on any PC 32bits to Mac Intel). APODIO is a GNU/GPL project, a part of the GNU/Linux Ubuntu family: APODIO uses a well known system operating the GNOME desktop. APODIO can easily and quickly be installed, as a whole, coherent, pre-set and instantly ready system on your computer, rather than a ramshackle combination of packages, And what you see as you use the LiveDVD is also what you get after the installation. APODIO respects the free/Libre software tradition because it fully supports Ubuntu without upsetting Ubuntu?s convenient software packages and administrative scripts and because the liveDVD generative scripts are always accessible : once you have installed APODIO, you can generate a new liveDVD out of your own installation, onto another DVD. APODIO is a free project under GNU/GPL licence, that fully complies with the GNU spirit and standards, as it encourages knowledge diffusion and knowledge sharing in the practice of multi-media tools, rather than just replacing an economic dependency with a technical one. APODIO is part of a long term undertaking ? not just a one off achievement. To realize the next APODIO operating system version, we are opening the ? making ? session to others programmers, advanced users and other beta-testers to come & participate in the collective DIY fabrication. During the course 3 days, we will produce a new collective version of APODIO which will be based on Ubuntu 9.04 and which will include an enormous amount of Free Software for the purpose of multi-media audiovisual creation/production. If you are interested in being a part of this ? making ? session, please contact: JULIEN OTTAVI ? info@apo33.org more info here: http://www.apodio.org /////////////////////////////////////////////////////////////////// ///////////////////////////////////////////////////////////// APO33 Members Projects //////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 8-11 of October Sonorama festival ? Besan?on / France !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! DOME: Emmersive sound installation ? non-mobile travel, sound draws trajectories within the space, shaping an imaginary landscape within its frame. Julien Poidevin & St?phanie Kerckaert more info: http://www.sonorama-besancon.com/index.php ///////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Wednesday the 14th of October THE NOISER / JULIEN OTTAVI Conference !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! "Noise & Experimentation as everyday life invention" At the London College of Communication ? CRiSAP ? London / UK Over many years I developed an artistic research practice based on new forms of musical writings using computers, audio and networks. As a consequence of musical interpretation of Graphical scores such as Cornelius Cardew's "Treatise", Earle Brown's "December" and John Cage's '"Cartridge music" I have focused my work on the idea of programmatic composition, researching in the field of coding as a score or a merger of score, instrument and direction. Therefore, when I write a piece of code or a "patch" (I use puredata as my main coding platform) with an emphasis on specific ideas like "frequencies studies" or "white noise music", then the program moves the interpretation towards an advanced area whereof the musician follows undetermined paths - the Graphical score in which his interpretation is strongly related to the composition's openness. The computer became, for me, a musical realm where musicians, interpretors, composers, programmers and so on will merge with new tools where unimagined musical possibles occurs . More than an instrument, the computer comprises a whole new understanding of musical composition. I can build my instrument and write a composition together whilst I interpret and play the music itself to an audience and simultaneously record and distribute the results across the globe. I can control the entire chain of artistic production, from its writing/conception until its production/distribution. Laptops and other mobile technologies, such as digital recorder, bring another level towards these musical practices, we are no longer restrained by our spatial positioning, in that the studio space, as the musician/composer's cavern/refuge can become as nomadic as is necessary for its user to be. We can write/compose/play/distribute music almost where ever and when ever we want. For me, those realities have changed my musical practice, they have created greater freedom of movement concerning time-space restrictions or geographical limitations within the framework of my musical production. More info: http://www.lcc.arts.ac.uk/17851.htm http://www.crisap.org http://www.noiser.org/noise /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// !!!!!!!!!!!!!!!!!!!!!!!!!!!! to come in November !!!!!!!!!!!!!!!!!!!!!!!!!!! -3rd to 7th of November : THENOISER (Julien Ottavi) Workshop @ Ecole des Beaux-arts de Mulhouse/France -10th to 13th of November: Open Experimental Zone ? CHAOSLAB (Exploratory workshop) @ APO33 - Nantes/France -19th to 22nd of November: CHAOSLAB (APO33) @ PIKSEL (Bergen / Norway) + THENOISER VS ZERO POINT ENERGY - LIVE! -Friday the 27th of November: BEYOND SIGNAL # 5 (in Nantes!!!!) with ZBIGNIEW KARKOWSKI & JULIEN OTTAVI & lot of others guests @ Blockhaus DY10 (Noise, jungle, punk DIY, puredata, drum&bass, dubstep...) ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// APO33 APO33 , as an interdisciplinary laboratory drawing on the artistic and technological fields, fosters various collective projects associating research, experimentation and social intervention. In the continuity of the dynamics that has been opened by the free software movement, apo33 is structured as a modular space, initiating collaborative projects and creative processes, as well as exploring new artistic and creative modes of production and diffusion. http://www.apo33.org info@apo33.org 17 rue Paul Bellamy 44000 Nantes ? France +33 02 51 89 47 16 APO33 is funded by la Ville de Nantes, Le Conseil R?gional de Loire Atlantique, la DRAC des Pays de la Loire et la R?gion des Pays de la Loire -- AKA THE NOISER & NANOFAMAS "the world is noise" http://www.noiser.org http://www.apo33.org http://www.a10lab.info http://fibrr.apo33.org http://ecos.crealab.info http://www.a10lab.info/mutation http://www.a10lab.info/scieprotocol -- APO33 space of research and experimentation http://www.apo33.org info@apo33.org From jaromil at dyne.org Sat Oct 3 12:57:30 2009 From: jaromil at dyne.org (jaromil) Date: Sat Oct 3 12:58:05 2009 Subject: [spectre] TROPPO CAFFE POCO CERVELLO 9 - MEETING 2, 3, 4 OCTOBER 2009 Message-ID: <20091003105730.GA3570@dyne.org> -----BEGIN PGP SIGNED MESSAGE----- Hash: SHA1 ZCZC The Freaknet and Dyne.org hackers are delighted to invite you to a Poetry Hacklab on-site and on-line event: TROPPO CAFFE' POCO CERVELLO 9 ============================= 2nd, 3rd, 4th (Friday, Saturday, Sunday) October 2009, @ Palazzolo Acreide in the misterious center "Lisbeth Salander" @ Amsterdam downtown in the underground center "The Fiber" English version: http://dyne.org/tcpc http://dyne.org/tcpc http://dyne.org/tcpc http://dyne.org/tcpc Italian version: http://poetry.freaknet.org/static/tcpc9 http://poetry.freaknet.org/static/tcpc9 http://poetry.freaknet.org/static/tcpc9 http://poetry.freaknet.org/static/tcpc9 LIVE UPDATES: http://poetry.freaknet.org/index.php/Troppocaffepococervello9 http://poetry.freaknet.org/index.php/Troppocaffepococervello9 AND ON OUR PSYC CONNECTION: http://hinezumi.im http://hinezumi.im What is it? =========== It's Poetry! It's Art, IT'S DELIRIUM! IT'S ALL AND NOTHING, YIN AND YANG, GOPHER and ARCHIE! Now at the 9th edition, the "Troppo Caffe' Poco Cervello" (too much coffee, too less brain) it's a cultural and scientific happening that lasts three days where people from all the World (and beyond) are meeting in Palazzolo Acreide and via the Internet to share experiences, research, culture, poetry, art and science with the intention to create new and beautiful things to donate to the community. This edition will have people from all Sicily and also foreign guests committed in advanced programming sessions, dissertations for beginners, scientific experiments, sumptuous lunches, enormous dinners and sleepless nights dedicated to the passion for computer science. Poems will be read, poems will be written, all and nothing will be discussed, weeds will be weeded, new weeds will be planted, debates will be happen, decisions will be taken, all and nothing will be done! Everyone can join, the important thing is to leave the brain at home and bring a lot of coffee! What will be done ================= We will do a lot of BEAUTIFUL and USELESS things: Radio link - ---------- It's the first step to the world domination. The installation and the configuration of an amateur radio link WI-FI which will give raise to discussion about wireless technology, its use and some tricks (Netsukuku, OLSR, Fonera, hardware modifications, dd-wrt etc) by Asbesto IW9HGS and other radioamateurs possibly there. The distance that will be covered is 6.9Km :). MuSE - ---- A group of programmers from the Freaknet and Poetry Hacklab will establish a on-line connection with dyne.org developers and follow this "code sprint" plans: http://lab.dyne.org/MuSE/SprintOct09 http://bugs.dyne.org We want to develop a new version of MuSE streamer, a free application to make your own on-line radio and your voice heard all around the world, broadcasting audio files and live microphone all mixed in real time. (http://muse.dyne.org) Join us writing code or help translate the manual! Other activities - ---------------- Artistic performances, strolls in the surroundings or anything you want could happen spontaneously; everything will be managed by the same people who could throw off activities, keeping in mind we should not disrupt the ANY the focus on the main activities described above. Everyone is invited! Logistics ========= How nice is to be seated on chairs! Food - ---- Breakfast, lunch and dinner are completely self-managed so you're invited to bring food and drinks and share them with everyone! Lodging - ------- If anyone needs to sleep... there are two beds which we will assign to the sleep of the weaks, you can sleep in a tent, so if you want to do so bring your own TENT! Hopefully another space will be available. You will need to adapt yourself to it because the objective is not to sleep! :) (obviously special neeeds of resting/lodging will be satified, so don't worry, we won't let you sleep on straw... maybe!) Donations - --------- If you want to contribute money, you are very welcome to do so, via Paypal or even via bank wire-transfer. We have a clear plan for it: we hope we will gather some funds spreading this event and collect them to be invested in more software development on MuSE. This software is very important! a lot of people can use it completely for free to do radio, it is the way we can make free speech happen. But we have no money to continue development, which was stopped for more than 3 years now, so please donate some money! and you'll help us all provide concrete results and useful tools to all our communities. https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=8298667 https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=8298667 https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=8298667 https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=8298667 spare some money NOW and you'll get QUALITY FREE SOFTWARE soon! (for both GNU/Linux and Apple/OSX) JOIN us ON-SITE =============== We will meet on Friday 2nd October 2009 in Palazzolo Acreide, at Poetry Hackab or directly to the tcpc location! To get there follow this map: http://poetry.freaknet.org/index.php/File:Screenshot1.png Follow SS2287 to Palazzolo Acreide, 2km before the start of the village there is a crossroad to Solarino/Ferla on the right handside, so turn right and follow SS124. Keep going until you see a small red house on your right, then take immediately the small street next to the house on the right and keep going until you get to the place. You will hear tearing noises and inhuman shouts; you will see half-naked cavemen fighting against hardawre and software around the fire of the Alchemic Furnace: you got there! To reach Palazzolo Acreide from Catania with bus: http://www.aziendasicilianatrasporti.it/ Once you are in Palazzolo and you don't know how to reach us, just call someone: MAYBE we will fetch you. Who knows! JOIN us ON-LINE =============== Thanks to PSYC we have the power! so here we are interserver, multiprotocol, and much tendentious! http://hinezumi.im phone +39 931-1-845-849 REMEMBER, BRING THE COFFEE, AND LEAVE THE BRAIN AT HOME! NNNN - -- jaromil, dyne.org developer, http://jaromil.dyne.org GPG: 779F E8B5 47C7 3A89 4112 64D0 7B64 3184 B534 0B5E -----BEGIN PGP SIGNATURE----- Version: GnuPG v1.4.9 (GNU/Linux) iEYEARECAAYFAkrHLhkACgkQe2QxhLU0C14uLgCg5i/c4JzKrphno9FaUU3qJt/P Ux8AoKZguZ7nN8DVbCLNUZn62jJ/Jdlr =dbvh -----END PGP SIGNATURE----- From hatam at drfz.de Sat Oct 3 22:12:25 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sat Oct 3 22:13:02 2009 Subject: [spectre] morgan Packard presentation: SuperCollider Weekly Mtg Mon Oct 5 at NK, Berlin Message-ID: <380-220091063201225304@M2W016.mail2web.com> Hi, This coming Monday the 5th of Oct. at 8 pm Morgan Packard will be presenting his work in Supercollider @ NK. Doors will be open from 8-8:15 if you need to get in at any other time please call me at 017620626386. Additionally from 7-8pm Andre Castro will be help beginners on a one to one basis. www.morganpackard.com www.anticipaterecordings.com www.myspace.com/enka52 ElsenStr.52 2HH 2 Etage 12059 Berlin Best, Farah -------------------------------------------------------------------- mail2web.com ? What can On Demand Business Solutions do for you? http://link.mail2web.com/Business/SharePoint From clprezi at tin.it Sun Oct 4 20:35:58 2009 From: clprezi at tin.it (ART ELECTRONICS) Date: Sun Oct 4 20:37:05 2009 Subject: [spectre] 53. Venice Biennale: Poetry Network & Virtual Installation SL Message-ID: <71C7ED976124453081F026F15A70C4D7@caterina9a54f5> 53. BIENNALE DI VENEZIA Eventi Collaterali Event: Poetry Network / Net-Poetry Reading in Web Cam by Caterina Davinio Info: e-mail: caterinadavinio@gmail.com Audio/video events of poetry in networked live connection The Italian digital artist and poet Caterina Davinio on October 9 will realize in San Servolo (Venice) - in the context of the Venice Biennale / Collateral Events - a poetry video-reading in web cam, together with poets and artists from the world, who will bring their poetic presence in a participative event of global communication. NOTE: This collaborative performance is part of 53. Esposizione Internazionale d'Arte La Biennale di Venezia - Eventi Collaterali 2009 / MHO_Save The Poetry / Fondazione Mare Nostrum Opening: October 9 2009 Time: live 03:PM - 04:00 PM (Italian time) Get info, time could be changed. Recordings screening no-stop. Curators: Fondazione Mare Nostrum, Marco Nereo Rotelli. Coordination: Elena Lombardi. Curator of virtual events on line (Planetary & Interplanetary Poetry Events): Caterina Davinio. Technical Assistance: Riccardo Preziosi. Artists: Caterina Davinio, in connction with the poets and artists: Stefano Donno (Italy Lecce), Vincenzo Bagnoli (Italy Bologna), Ruth Lepson (USA), Phoebe Giannisi (Greece), Obododimma Oha (Nigeria), Nicole Mauro (USA), Mirona Magearu (USA), Matteo Fantuzzi (Italy Bologna), Massimo Mori (Italy Firenze), Lamberto Pignotti (Italy Roma), Italo Testa (France), Gabriele Montagano (Italy Napoli), Francesco Muzzioli (Italy Roma, audio), David Seaman (USA),Craig Saper (USA), Avi Rosen (Israel), Annamaria Ferramosca (Italy Roma), Alfonso Siracusa (Italy Siracusa), Cristina Vignocchi (Italy Sant'Andrea Pelago / Modena), Joseph Young (UK), Liliana Ugolini (Italy Firenze, audio), Philip Meersman (The Netherlands), Juan Diaz Infante (Mexico), Denis Belley (Quebec Canada), Annelisa Addolorato (Italy, Milan), Mariapia Quintavalla (Italy, Milan), Anna Balint (Hungary), Elif Sezen (Australia/Turchia), Mario Lunetta (Italy, Roma) Genre: contemporary art/poetry, net-art, digital art, poetry, avant-garde The digital artist and poet Caterina Davinio will realize in San Servolo Island (Venice, Italia) a net-poetry reading by web cam, with poets and artists from the world, in the context of the project MHO_Save the Poetry, collateral event of the Venice Biennale, Marco Nereo Rotelli Curator. The poets - by software Skype and web cam - will bring their poetic presence in a great event of communication: the poetry word as individual instance, but also identity of people and global breath, by new media and communication technologies. After the virtual installation "Poetry Shuttle Landing on SL", on the 40. anniversary of the Lunar Landing, for celebrating the Centenary of Italian Futurism, a new digital performance based on communication, as a virtual place for interchange and aggregation, opportunity of dialogue and presence. Mare Nostrum Foundation has developed other projects about the topic of cultural identities in danger: Isola della Poesia (installation by Marco N. Rotelli) collateral event of the Venice Biennale 2005, which included the virtual event on line Isola Virtuale by Caterina Davinio (500 involved poets). But the collaboration between Rotelli and Davinio started in 2001, when Bunker Poetico - special project by Harald Szeemann - was realized in the 49. Venice Biennale. More then 1000 poets participated In Bunker Poetico from many countries. LINKS - NETWORK POETICO - VMH Caterina Davinio Curator These are some of the links of the "Planetary & Interplanetary virtual events" in the context of the 53rd Biennale di Venezia - Eventi Collaterali 2009: -The First Poetry Shuttle Landing on Second Life http://slurl.com/secondlife/Face%20North/163/50/22 - Special Event: Poetry Network -"Poetry Readings in Web Cam" (line/off line, live) on October 9 2009 in San Servolo (Venezia, Italia). After this date, recordings on the YouTube Channel (until November 22) - Network Poetico VMH / Welcome on Board. Virtual Happening in the Biennale Opening days and open call on line (Dead Line November 22 2009). The "guest book" of the space-shuttle is linkable from the Internet and from Second Life. Submit a poem http://xoomer.virgilio.it/cprezi/poetry-join.htm http://xoomer.virgilio.it/cprezi/installazione-sl-join.htm For SL performance submissions, contact caterinadavinio@gmail.com From marc.garrett at furtherfield.org Mon Oct 5 00:27:41 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon Oct 5 00:40:09 2009 Subject: [spectre] Review of UBERMORGEN.COM - MEDIA HACKING VS. CONCEPTUAL ART. In-Reply-To: <49A2B376.6080508@furtherfield.org> References: <49A2B376.6080508@furtherfield.org> Message-ID: <4AC9215D.2000801@furtherfield.org> Sorry for any cross posting... Review of UBERMORGEN.COM - MEDIA HACKING VS. CONCEPTUAL ART. By Rob Myers. Review of the new glossy hardback publication 'UBERMORGEN.COM - MEDIA HACKING VS. CONCEPTUAL ART' spanning a decade of work by the dynamic duo Ubermorgen.com (Hans Bernhard and lizvlx). A comprehensive and informative study of their conceptual media hacking adventures, including images, essays and interviews by Inke Arns, Florian Cramer, Raffael Dorig, Hans Ulrich Obrist, Peter Weibel and others. Edited by Alessandro Ludovico of Neural.it, designed by Bernhard Faiss. http://www.furtherfield.org/displayreview.php?review_id=362 The word 'Ubermorgen' means both 'the day after tomorrow' and 'the ultimate day' in German. Bernhard was previously part of the controversial media art collective Etoy. Hans Bernhard and lizvlx's collaboration began in 1999 and although Ubermorgen share etoy's strong corporate aesthetics and mischievous media savvy, the book shows that they have progressed from Etoy's ironic self-promotion into a force that successfully appropriates conditions of the traditional art world - whilst maintaining a critical edge. "All net artists eventually find that you can't take net art into the gallery untransformed any more than you can take mail art or land art into the gallery untransformed. It's fascinating to see (and read about) the solutions Ubermorgen find to the technical problems of producing and making work that addresses their ideological and personal concerns. As well as kiosk-style installations of computers and incongruous installations of the dated information technology of overhead projectors, Ubermorgen have adopted the strategy of producing prints and paintings of the imagery of their online projects. This rises to the challenge of the gallery without compromising the work on the web and it also protects against bitrot." Other Info: A living, breathing, thriving networked neighbourhood... We are on Twitter http://twitter.com/furtherfield Other reviews/articles/interviews http://www.furtherfield.org/reviews.php Furtherfield - online media arts community, platforms for creating, viewing, discussing and learning about experimental practices at the intersections of art, technology and social change. http://www.furtherfield.org HTTP Gallery - physical media arts Gallery (London). http://www.http.uk.net Netbehaviour - an open email list community engaged in the process of sharing and actively evolving critical approaches, methods and ideas focused around contemporary networked media arts practice. http://www.netbehaviour.org Furtherfield Blog - shared space for personal reflections on media art practice. http://blog.furtherfield.org VisitorsStudio - real-time, multi-user, online arena for creative 'many to many' dialogue, networked performance and collaborative polemic. http://www.visitorsstudio.org/x.html Furthernoise - an online platform for the creation, promotion, criticism and archiving of innovative cross genre music and sound art for the information & interaction of the public and artists alike. http://www.furthernoise.org From n0name at gmx.de Mon Oct 5 12:03:01 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Mon Oct 5 12:03:23 2009 Subject: [spectre] =-| n0name nachrichten #143 Message-ID: <20091005100301.322300@gmx.net> |<------ Breite: 72 Zeichen - Fixed Width Font: Courier New, 10 ------>| =-| n0name nachrichten #143 Mo., 05.10.2009 11:34 CET *Inhalt/Contents* a 1. Selfmadekids: So jung und schon so aufgeklaert Das Katalogbuch zur Ausstellung _Work to do!_ 32 KB, ca. 9 DIN A4-Seiten b 2. Debord - La Soci?t? du spectacle.srt als .txt 7 und Ende 3. Rezension von Sabine Nuss. _Copyright & Copyriot_ 41 4. (Ein zu entwickelndes) Oekonomisch politisches FQA* zur Piratenpartei 1.0 30 KB, ca. 10 DIN A4-Seiten ------------------------------------------------------------------------ a 1. Selfmadekids: So jung und schon so aufgeklaert[1] Das Katalogbuch zur Ausstellung _Work to do!_ Dass man den White Cube laengst schon verlassen habe, aber dennoch immer wieder institutionell auf ihn zurueckgreifen muss, ist die Lehre nicht erst der letzten Grossausstellungen wie etwa der Documenta. Aber, was wir Kunst nennen, schreibe sich, nach einer Staatstheorie Gramscis und Cultural Studies, mittlerweile ungebaendigt in die Gesellschaft ein, da alle intellektuell taetig seien. Oekonomie bilde die Rahmenbedingungen, werde aber kulturell erlebt und dafuer gibt es Staetten. Was aber unterscheidet die Relevanz des Kuensterlischen von der des alltaeglichen Alltags, oder anders gefragt, wie sieht dieser im Kontrast aus? Wie ein prozessuales Ausstellungsprojekt sieht er nicht aus und wiederum doch, da die Aesthetisierung des Alltags voranschreitet. Genau das Spielfeld der "machtlosen Linken", die sich in ehemaligen Fabriken (die Shedhalle ist die Bauhuette) trifft. Was macht sie da? Probt sie den "Uebergang eines 'organischen' und in hierarischer Ordnung definierten und ideologisierten Gesellschaftsbegriffs in ein polymorphes [...]system"?[2] Was unterscheidet die politische Praxis dieser Generation der um die 40jaehrigen von den messianischen Aktionen eines Beuys und seiner Anhaenger, dessen Gestus, einen Baum zu pflanzen, auf Spenden aus der Bevoelkerung angewiesen war, mit Slogans wie "Bringen Sie Ihren Stein ins Rollen" und "Eine Idee schlaegt Wurzeln"? Was ist anders an reflektorischen Ambitionen zu erfahren, wie Selbsorganisation funktioniert, im Vergleich zu Aktivitaeten wie des "Krisenaktionstags Nulltarif" mit einem Flyer, auf dem mit einer Umsonstkarte fuer die U-Bahn fuer eine klimagrechte "Mobilitaet fuer alle" geworben wird? Es gibt einen Unterschied, und gerade dieser waere in einer gegenseitigen Annaeherung von Kunstwelt und Politwelt zu mediatisieren, das ist die Stossrichtung von _Work to do!_. Doch dieser Vorgang wird kritisch. Die Noete und Beduerfnisse der Subalternen (wieder Gramsci), derer, die vielleicht noch nichteinmal mehr profitabel ausbeutbar sind, der Abschaum, werden von denen, die noch genuegend Stimme und Kraft haben, in einer Taktik der Selbstsubalternisierung zur Sprache gebracht. Das Signum der Subalternen, ihre Subsistenzwirtschaft, ihr Vegtieren, wird dabei -- um Maria do Mar Castro Varela und Nikita Dhawan unkenntnisreich zu ergaenzen -- von den Kulturmachern als Anknuepfungspunkt gelesen. Und schon rutscht man in perfide Schichten- und Klassenmodelle hinein. Wer ist prekaerer Arbeiter, wer bereits oder noch Sklave, wer macht Null-Arbeit, wer ist erwebstaetig? Gerne wird diese Problematik aufs "Taetig sein" verschoben. Obwohl die Schichten-Differenzierung von Varela und Dhawan, die an die Unterscheidung von Lumpenproletariat und Proletariat erinnert, zum Verstaendnis der aufgeteilten gesellschaftlichen Gruppen hilfreich erscheint, werden mit ihr die Subalternen von kapitalistischen Strukturen entbunden. An einem entscheidenden Punkt fuer das Verstaendnis der Lage wird die Analyse undeutlich. Denn zu beantworten waere nicht, dass vom kapitalistischen Verwertungsprozess Ausgeschlossene eben ausgeschlossen sind, sondern warum und in welchem Sinn. Sie sind ja nicht deshalb a-profitabel, weil ihre Subsistenz nicht ausbeutbar ist, sondern weil sie fuer das Kapital keine verwertbare Arbeitskraft darstellen. Yvonne Riano will diesen "Auschluss" vom Profitherstellungsprozess gerne aufheben, und, ganz wie die Anti-1-Euro-Job-Kampagnen hierzulande, alle pseudoberufstaetigen und immigrantischen Sklaven an sozialversicherte Normalarbeitsverhaeltnisse heranfuehren. Das ist der heimlich-offene Diskurs des gesamten Buches, das wird als die Arbeit, die zu tun ist, erzaehlt. Die Widerherstellung der gesicherten Verhaeltnisse, aber anders als bisher. Umschrieben wird das als "sozio-oekonomische Teilnahme" und gekoppelt mit "kultureller Identitaet". Das soll nach Soenke Gau und Katharina Schlieben nun bewusst in gesellschaftliche Felder eingeschrieben werden. Fragt sich, in welche, in die Felder des Sozio-Oeknomischen oder des Kulturellen -- in beide? Zu welcher Trennung beider ist man 'eigentlich' faehig und seit wann? Welcher ist denn der Kunstkontext und der Nicht-Kunstkontext, vom dem die Rede ist? Die Trennung des sogenannten Kulturellen von anderen Sphaeren, denen der Oekonomie, der Produktion, des Wohnens, des Sex -- kommt sie nicht mit der buergerlichen Demokratie zusammen und zerteilt seitdem als Diskurs, also als Gewalt, die Verhaeltnisse. Und was ist dann der Wandel der Arbeitsverhaeltnisse als Diskurs, der nun zur "Kenntnis" genommen werde? Diese Kenntnis geht, vertreten von Gau und Schlieben und von diesen gluecklicherweise mitreflektiert, vom Standard der urbanen Mittelschichten aus, die betroffen von der Globalsierung usw. ... Der Maszstab ist der Arbeiter, der zum Kulturarbeiter wird, wie sich manche der Buchautorinnen und Ausstellungsbeteiligten bezeichnen. Ungesagt bleibt, dass die Kulturproduzentinnen zwar privilegiert, aber im Sinn der Profiterzeugung keinesfalls Arbeiterinnen sind. Sie werten zwar Kontexte auf, zum Beispiel die der Zuercher Kantonalbank etc., aber sind direkt ja nicht an der Mehrwertproduktion beteiligt, wie die Bank uebrigens auch nicht.[3] Wenn also Trennungen, dann als kategoriale Differenzierungen, die nicht einfach zu ueberschreiten sind, die zunaechst zur Kenntnis gebracht werden muessen. Die Figuren der Selbsorganisation unterliegen einer gewissen Selbstueberschaetzung, indem man sich, wenn auch wissend und melancholisch-ironisch, den Blaumann ueberzieht: "Every Monday, Mister Blue works form sunrise to sunset. [...] But what he forgets to say is that he made his tools himself." Doch wiederum, ohne vorgeschossenes Kapital kein einziger Schraubendreher. Man bemueht sich um den Abstand vom symbolischen zum konkreten Handeln, den man zu ueberspringen sich anschickt. In den Biographien tritt das immer wieder hervor, in denen steht "lebt und arbeitet in" der und der Stadt. Leben muessen oder wollen alle, zu welchen Konditionen aber arbeiten diejenigen dieser kritischen, produktivistischen Elite der Kultur? Das erste Foto im Ausstellungskatalog-Buch macht es ebenso deutlich: Holzplatten, Geruempel und Saege- und Bohrmaschinen in der Eisenarchitektur der Ausstellungshalle, gestapelte Paletten, ausrangierte Tueren, alles nuechtern abgebildet. Es riecht nach Arbeit, die zu tun ist oder war. Honorare aber sind kein Lohn, sie loesen sich, wie Gau und Schlieben wissen, dann auf, wenn die schwindenden Profite ueber den Umweg der Ministerien den Kulturbueros diktieren was noch bezahlbar ist. Sind darum die Fotos aus der Shedhalle in Zuerich, abgesehen von Bildern der Symposien voller Diskutanten, menschenleer aber voll von Geraet und Material? Ist das der Blick hinter die Kulissen, der allein noch gezeigt werden kann, weil es keine Kulissen mehr gaebe? Oder will man eben sagen, hier wurde gearbeitet wie anderswo? Die hier herausgefundene Grundtendenz des Buchs, fuer eine bessere oekonomische Gesellschaft und Kritik der momentanen kulturellen politischen Ideologien und das Ueberspringen des Abstands vom symbolischen zum konkreten Handeln im Labor, wird bestaetigt durch die dokumentierten Projekte, Ausstellungstopoi und Filme (u.a. Andrea Knobloch mit Sophie Taeuber, _Scuola Senza Fine_, _more work to do_, das Hausbauprojekt von Koebberling und Kaltwasser) und insbesondere durch den Aufsatz von Sven Appelt. Er behauptet richtig die Neustrukturierung des Industriekapitalismus[4], behauptet falsch den Zusammenbruch des Sozialismus, der keiner war, behauptet das Ende der Massenproduktion und verengt die Argumentationslinie dann auf die Frage nach der Organisation von Arbeitsprozessen. Er will realistische Perspektiven fuer prekaer Beschaeftigte eroeffnen und stellt das Versagen staatlicher und privatwirtschaftlicher Einrichtungen anheim. Er spricht ausgleichend von ArbeitnehmerInnen und ArbeitgeberInnen und ihren ineinandergreifenden Interessen. Alles wird bestenfalls zu einem Konflikt heruntergeschrieben. Vom Widerspruch von Arbeit und Kapital keine Rede. Es geht jetzt um die "Gestaltung offener Strukturen". Die Arbeitswelt sei nun nach Sebastian Brandl und Eckard Hildebrandt[5] mit einem Mischmodell aus formeller und informeller Arbeit quasi Verhandlungssache. Letztlich geht es Appelt um die Regulation des "Arbeitsmarktes", von dem er lediglich den Begriff hat, dass dieser die Erwerbspersonen ernaehre. Genau was co-managende Gewerkschafter erquicken duerfte. Das Regulieren laeuft dann auf das bedingungslose Grundeinkommen hinaus, welches eine Oekonomie der Fuelle bezwecke, im Gegensatz zur Oekonomie des Mangels. Prekaritaet (Mangel), die Folge des Loharbeitregimes, wird auf diesem Weg verdreht zur Ursache und verallgemeinert zur Oekonomie als solcher. Lohnarbeit soll aufgehoben werden durch DEN sozialen Fonds fuer 'alle', damit 'sie' (Privateigentuemer der Produktionsmittel und Arbeiter zugleich?) ihre Eigenarbeit, Gemeinschaftsarbeit und Versorgungsarbeit und schlieszlich die Erwerbsarbeit frei waehlen koennen, fuer eine echte Produktivitaet (Fuelle). Fuer wen aber, fuer sich oder fuer ihren Arbeitgeber? Man kommt nicht umhin, das staatssozialistischen Kapitalismus zu nennen, allerdings mit dem dunklen Schatten des paradox freiwilligen Arbeitszwangs am Horizont. Schliezlich will sich laut Sven Appelt jeder ja mal was dazu verdienen. Entscheidend bleibt naemlich, wie er meint, das "dynamische Zusammenspiel verschiedener Arbeitsformen" welches dann dialogisch, kommunikativ[6] ausbalanciert wird. Der Kapitalbegriff, den Appelt hier anwendet ist keiner. Er macht allgemeine regulatorische Vorschlaege zur Gestaltung des gesellschaftlichen Zusammenlebens, wie er es nennt. Da helfen bankleers Versuche, die gescheiterte proletarische Revolution Russlands mit Lenin zu dekonstruieren nicht viel weiter. Seine Untoten-Puppe durch die Einkaufstrasse zu zerren, birgt als Antwort auf seine Was tun?-Frage nur Regress. Hatten da die Goldenen Zitronen in "Lenin" nicht treffender und infragestellender formuliert, dass die Aufhebung des Terrors durch Terror haette funktionieren koennen? Immerhin bieten bankleer textuell ihr Interesse an der "Moeglichkeit, in Distanz zum Staat zu gehen" und lassen auf den "Dissens zu unserer orientierungslosen liberalen Demokratie" blicken. Bei der Frage der Organisation geht es ihnen zwar nicht nur um das Selbst des "Selbst", sie sprechen von Gruppen, die sich neu bilden koennten. Gleichwohl bleibt ihre Vorstellung von der spezifischen Situation, in denen das passiert, unspezifisch. Ihr zweiter Beitrag kann als Illustration dazu gelesen werden. Ein Nacktaenzer, unscharf im Gegenlicht der Sonne in den schweizerischen Bergen, Ringelreihen und die neblige Insel im Lago Maggiore. Was Christoph Leitner, Karin Kasboeck und Kollegen gelingt, ist Frederic Jamesons positive Bewertung utopischer Fantasien von der Kritik Ernst Blochs an abstrakten Utopien abzusetzen und mit ihrem eigenen Ansatz am "existenzialistischen Dasein einer im marginalisierten sozialen Raum agierenden Bevoelkerungschicht" zu zerbinden. Zerbinden, weil sie nicht naiv die Utopie der kleinen Insel auf dem See uebernehmen, sie rekonstruieren diese im Gruppenspiel, zwischen NLP und Performance, dokumentieren dies und basteln daraus diskurstheoretische Lagen. Waren da Lisa Tetzner und Kurt Held nicht naeher an den Wirklichkeiten mit ihrer Erzaehlung ueber die Jungen, die im 19. Jahrhundert von aermsten Tessiner Bauern nach Mailand zur Sklavenarbeit verkauft wurden und die ueber eben jenen Lago Maggiore verschleppt wurden? Am Ende der Geschichte organisieren die Jungen uebrigens den Widerstand gegen ihre Besitzer. Doch wo bankleer mit Jameson gegen Bloch die ernst zu nehmende Natur-Utopie stark machen wollen, das heisst, weg von der destruktiven Industrie, hin zu nachhaltigen Huette mit Aussteigerfinanzierung in den Bergen, verkennen sie vielleicht nicht die Robinson-Situation dieser Versuche, haben aber Bloch inmitten des Tanzes leider nicht ganz wiedergegeben. Der spricht nicht allein von der Natur der Moderne als Statthalter oekologischer Grenzen, die wider die totale fortschrittliche Ausbeutung durch den "Industriekapitalismus" stehen, wie bankleer. Er schreibt, vielleicht selbst utopisch, zumindest vordenkend Sozialismus im Auge, vom Subjekt der Naturvorgaenge: "An Stelle des Technikers als bloszen Ueberlisters oder Ausbeuters steht konkret das gesellschaftliche mit sich selbst vermittelte Subjekt, das sich mit dem Problem des Natursubjekts wachsend vermittelt."[7] Die Arbeit an der Natur und mit ihren Rohstoffen ist zwingend gegeben und die zweite Natur der globalen Metropolen zeitigt, so kann man mit Bloch an anderer Stelle sagen, "die unabdingbare Einsicht in die oekonomischen Gesetzmaeszigkeiten" zu einem guten Ende, wie er schlieszt.[8] Wenn also Utopie, dann auch Utopie der Technik. Wenn auch sicher Gruene gerne Bloch gelesen haben und aktuell auf oekologische Technologie gesetzt werden muss, um die kapitalistische Produktionsweise und das Regime zu retten. Die simple Gegenueberstellung einer die Maszlosigkeit des Materialismus begrenzender Natur mit grenzenlosem schlechtem Kapitalismus erinnert heftig eben an die Beuyssche vom Baum, der Verwaldung gegen Verwaltung und bringt Begehren und Realitaet[9] auf die Alternative von existenzialistischer Vergaenglichkeitsapokalypse oder bloedem Produktivismus. Das Interesse am nicht nur herbeigeredeten Anderen (den Subalternen, den Prekarisierten, dem Proletariat) nutzt hier naturzugewandte Utopie als Test-Topos und Fluchtlinie fuer die Installation eines Subjekts ausserhalb der menschlichen Beduerfnisse und unterschlaegt den Vermittlungsvorgang beider. Zudem werden Tausch und Konsum in Verbindung zur Arbeit zu unbestimmmt gesetzt. Der Zusammenhang von Arbeit und Konsum ist eben kein ideologischer, wie bankleer meinen, er ist ein Vorgang der materiell und geistig entfremdenden Enteignung und nicht nur einer der Entkopplung. Wo bankleer de-propagieren, wo sie die Leiche der russischen, bolschewistischen Revolution auf den Bankautomaten legen und den Antiutopisten ihr Hassobjekt Naturverbundenheit entgegenhalten, wo sie Performance-Modus bleiben und das dann als Aufarbeitung erklaeren, erscheinen die ?voluntaristischen Gecekondus? von Folke Koebberling / Martin Kaltwasser wie "nutzbare Architektur", wie etwas handfestes. Dabei sind die symbolischen Handlungen, mit denen man das Symbolische zum Konkreten hin ueberschreiten will, deshalb symbolisch, weil nur eingerichtete und kurzgerichtet auf die oberflaechliche soziale Lage der bedingten Gegebenheit abgestimmte. Sie bleiben temporaeres HighEnd-DIY, immer mit einer Nabelschnur zur Industrie des Entwerfens und Bauens und den Infrastrukturen. Henri Lefebvre kritisierte in den fruehen 1970er Jahren solchen Schein des Urbanismus der Urbanisten, die Verhaeltnisse blosz um-bauen und umbauen. Wenn es ein Anderes gibt, an dem man und mit dem man nicht-lohn-arbeiten moechte, dann muss man auch sehen, dass die _anderen Anderen_, die Kapitalisten, da mitzureden haben. Lokales Kapital ist keines, es ist das fantasierte, utopisch bleibende Vermoegen auf Zeit. Koebberling / Kaltwasser ueberbruecken bestenfalls Notlagen, machen auf sie aufmerksam oder zeigen was ginge. Aber Haeuser aus Resten sind keine Option, hoechstens fuer den Slum, die freundliche Favela, das Recycling-Design Department, die Istanbul-Begeisterung. Das Selbstverstaendis der Kulturmacher kann darueber nicht hinaus, will aber immer von Einflussnahme und Lebensmodellen traeumen. Das tun Wagenplaetze auch, die fuer Alternativen zur "kriselnden Marktwirtschaft" gehalten werden, wo man "frei von wirtschaftlichen Zwaengen" das Ganze gerne aus den Augen verliert, wenigstens "kleinfoermig gute Praxis" feiert. Catherine Hoskyns will aber beides, die kleinen Plaetze und die grosse Politik und einen fairen freien Handel. Der Umsonstladen, der im Buch nicht fehlen darf, verweigert sich dem und faellt aus der fairen Verwertung heraus. So ist aber die Logik der Verwertung auch gut verstehbar. Was Mehrwert realisiert hat (der alte Hut) oder nie realisieren wird (politische Kunst), ist umsonst zu bekommen. Uebrig bleibt der sehnlich gesuchte Gebrauchswert von altem Zeug. Bea Schwagers negativer Einwurf des Scheiterns beim Versuch, die guten Inhalte in "den offiziellen politischen Prozess einzubringen" muss denn auch von Katharina Schlieben korrigiert werden, indem sie die neuen antihomogenen, sprich heterogenen Formen des Protests hervorhebt und auf der Trennlinie zwischen Politik und Kunst den Polylog verorten mag. Was diese neuakzentuierte strategische Vielstimmigkeit dieser Verbuendeten, der Kunst von unten und der Politik von unten, zu leisten vermag, etwa im Rueckblick auf aehnliche Veranstaltungen wie z.B. die Ausstellung "Faktor Arbeit" in der NGBK in Berlin 10 Jahre zuvor, kann am theoretischen Sound abgelesen werden, der sich in Katalogen immer niederschlagen laesst. Damals schon richtete die ausbeuterische Leiterin Leonie Baumann den Leser auf das "Potential an menschlicher Kreativitaet" aus, "das beim heutigen Stand der Produktivkraefte dringend gebraucht wird." Baumann und die NGBK sind deshalb ausbeuterisch, weil die Perspektive auf dieses Kreativpotential ganz basisdemokratisch dem Verein etwa gut 10 funktionierende Austellungen pro Jahr beschert[10], bezahlt von Lottogeldern, erarbeitet durch maximal selbstorganisierte Selbstausbeutung. Es muss in der Oranienstrasse 1997 zugegangen sein wie in einem sozialdemokratischen Think Tank. Da sollte ein sozialer Krieg verhindert werden und ein neuer Gesellschaftsvertrag musste entstehen, eine Kultur des Teilens musste erlernt werden und grundlegende Reformen wurden gebraucht. Es wurden Ulrich Beck und Anthony Giddens zitiert, die eine zweite Moderne forderten, man wollte in einem zukuenftigen Zeitalter jenseits von Moderne und Industriegesellschaft eine neue Lebenskunst, neue Wege des Zusammenseins, des Handelns, Kreierens und Verteilnes. Die Besichtigung von Arbeit hiess damals vor allem der sich abzeichnende Angriff auf das Normalarbeitsverhaeltnis. Peter Funken war fuer "Uebungen zum Handeln" und Hannah Arendts Begriff des Handelns (_Vita activa_), formuliert in Abgrenzung zum Kreislauf von Produktion und Reproduktion, gegen Arbeiten und Herstellen, musste herhalten, um diese vermittlungslose Vermittelbarkeit, eine Unmittelbarkeit menschlichen Tuns zu erreichen. Am Ende stand ein negativistischer Arbeitsbegriff ohne Negation von Lohnarbeit und eine wage Idee von sogenannter Beschaeftigungspolitik und wie immer die 'eigene' Suboekonomie. Der eigene TV-Sender, das Aktivieren von Arbeitslosen oder das sich-Aktivieren ueber das Schicksal von Arbeitslosen. Kunst uebernimmt demnach die Sozialarbeit vor Ort oder die Stadtplanung, die Armenspeisung, und haelt transnationale Solidaritaet hoch (Varela und Dhawan), also mit einem Gefuehl fuer die Ablehnung des Nationalen, aber auch mit der vorschnellen "globalisierungskritischen" Aufhebung des Internationalen. Die Sozialkunst mit einem Schlag Dada oben drauf, die angeblich Arbeit zu tun hat, folgt dabei allzu willig pseudoanalytischen Erzaehlungen der Erwerbswelt und will Flash-artig[11] underground-Tatiken einholen und auch noch neu beliefern, sie bedenken. Heraus kommt die Skulptur eines Arbeitsregime light, das keiner braucht und nur die "Bewusztlosigkeit" der kulturalistischen Linken dokumentiert. Denn am Ende des Lamento ueber die eigenen (Nicht-Lohn)Arbeitsbedingungen und der banalen Idee der informellen Parallelstruktur (WG-Zimmertausch, Mitfahrer, Mitesser usw.) steht nach wie vor die Honorarpolitik ganz oben auf der Liste.[12] Ich glaube, dass das Informelle Soziale das neue Ding sein wird oder bereits ist. Das Thema des Informellen der Politkunst wird, wie der Underground des Pop, zwar nicht so richtig wuenschenswert subventioniert, aber wenige werden das informelle Arbeiten, das trivial gesehen millionenfach alltaegliche "Praxis" des Ueberlebens ist, in die Tradition des Widerstaendigen, des Zwecklosen aber zweckvoll gemeinten und des Dokumentarischen aus der Kunst einreihen und ihre Karrieren darauf bauen, in Zuerich, Frankfurt, New York.[13] Dabei bleiben sie, besonders im Fall des gestalterischen Eingreifens, etwa bei Koebberling und Kaltwasser und ihren "new public space[s] designed for un-determined interaction"[14], nachdenkenswerterweise weit hinter zum Beispiel dem zurueck, was das Bauhaus im Anschluss an die Massenproduktion zu schaffen vermochte. Bei allem Respekt vor der individuellen Leistung. Die Nichtkategorisierbarkeit der Spielraeume dieser Praxen[15], von der im Buch die Rede ist, die neoliberal vereinnahmt wuerden, folglich in sich integer seien, diese angebliche neue Stellung der kritischen Kunst wird aber nicht an dieser buegerlichen Norm von Kunst scheitern, welche die kritische und erweiterte wieder in Disziplinen des Schoenen, des Design, der Architektur, der Medien, des Werks usw. pressen will. Sie scheitert an ihrer inhaerenten Unkenntnis und Ausblendung der bestehenden Politik der herrschenden Oekonomie. Sie sieht aesthetische dort wo die Autonomen militante Aktion seheh wollen und wird weiterhin nach Kulturfoerderung schreien, monetaer und inhaltlich! So wie es in der Bundesrepublik schon vor Jahren die Vorgabe seitens der Bundeskulturstiftung war: Bildet Heteronomien![16] Sozialkunst ist un-freiwillig staatstragend und damit ist sie unmoeglich. Sie hat momentan bereits 'nur' geschichtlichen Wert, weil man an ihr wie auf alten Gemaelden ablesen kann was nicht geht. Ich denke nicht, dass man da bequem zwischen irgendwelchen Stuehlen sitzt, sondern dass die Kuratoren usw. sich an der Stelle ganz einfach entscheiden muessen, ob sie das demokratische System weiter mit der Aesthetik des Widerstands versorgen wollen. Fuer "Work to do!" geht es in der Selbstkritik der eigenen Funktion perspektivisch nicht sehr weit ueber Finanzierungsfragen hinaus. Die konsequente Arbeit, die zu machen waere koennte vielleicht lauten, die Illusion einer immernoch irgendwie gearteten Autonomie, die in der Absage an Kategorisierbarkeit enthalten ist, aufzugeben und die Klartexte zur Kunst und seine Agenten erstmal zu kapieren und auseinanderzunehmen. Also die Buerokratie des eigenen Sektors zu bekaempfen. Buerokratie, die mehr ist als blosz eine Art der Organisation. Aber Streik ist in dieser Branche undenkbar. Dafuer sind der Grad der (Selbst)Organisation zu niedrig und die Egos zu gross. _________________________ [1] Nach der Ueberschrift einer Buchbesprechung ueber _Enterprise: Ein Logbuch fuer Jungunternehmer_ der _Rowohlt Revue_ Oktober, November, Dezember 2000 (Original: "Die Selfmadekids: So jung und schon so erfolgreich"). [2] Der "steirische herbst 97" begann so seinen Leittext zum Thema "Social Bodies": "Im Uebergang eines 'organischen' und in hierarischer Ordnung definierten und ideologisierten Gesellschaftsbegriffs in ein polymorphes Informationssystem [...]". Setzt man das Alte als ideologisch an, und behauptet das Neue als polymorph, dann setzt man sich damit vom Ideologischen ab und gruendet unbestimmt positionslos eine Vielstimmigkeit, die allein schon aus der Pluralitaet ihrer Stimmen widerstaendig sei. Widerstaendig aber gegen was? [3] Unterschieden werden davon muessen die Kuenstler, die mit ihren warenfoermigen Artefakten tatsaechlich marktgaengig Geld umsetzen. Doch sind beide Gruppen, staatlich/privat Gefoerderte und Kunstmarktgaenger parasitaer abhaengig von Geldfonds aus dem Profitlager oder von Steuergeldern oder von ueber das Wuenschen der Subjekte eingetriebenem Geld (Lotto). 'Produzenten' dieser Fonds sind die profitablen Lohnarbeiter. Man muss nicht umsonst unterscheiden zwischen, im Sinn der Kapitalien und ihrer Muss-Profite, produktiven Arbeitern und unproduktiven Arbeitern. Nur wer fuers Kapital Mehrwert und letztlich Profit erzeugt, ist profitabel, also produktiv. Die Subjekte der aesthetischen Produktion, sei sie mit explizit politischer oder impliziter Schoenheitsfunktion behaftet, zaehlen demnach nicht zu produktiven Arbeitern, da sie in den Profit nichts einbringen. Es handelt sich also streng genommen nicht um kulturelle _Arbeiterinnen_, wenn diese ein temporaeres Haus aus Baumaterialresten entwerfen und aufstellen. Ihrem Selbstauftrag, oder ihrem fuer Sie im Zusammenhang mit staatlich bezahlten Auftragebern gewonnene Auftrag, kommt ein fuer das Kapital hoechstens ideologisch bemessbarer oder unterhaltender Wert zu. Die aesthetischen Produzentinnen stehen im Fall der institutionellen Kulturproduktion ausserhalb der Kulturindustrie, sind Kulturmanufaktur auf unterstem Ausstossniveau mit Entwurfscharakter, der mitunter prolieferiert, was fuer die Erhaltung der konstruktiven Kritik am System noetig ist. Was sie mit fuers Kapital produktiven Lohnarbeiterinnen teilen, ist die grundsaetzliche Prekaritaet der Lebens- und Arbeits-Existenz. [4] Appelt schafft das mit einem Fussnotenverweis auf den Luhmannschueler Dirk Baecker, dessen strukturalistische Systemtheorie dem demokratischen Kapitalismus offenbar wohlfeile soziologische Theorie bietet. [5] Beide vom Wissenschaftszentrum fuer Sozialforschung in Berlin. [6] Dialogisch statt monologisch zu sein, ist das Anliegen der inneren Vermittlungsablaeufe des Projekts, so die Herausgeberinnen in Ihrem Vorwort, das sie selbst-distanzierend Kommentar nennen. Eine verobjektivierende, wissenschaftliche Redeweise, die Fakten schafft, dokumentiert und dann bespricht, oder laborhafte Situationen aufwirft und erlaeutert? Die Distanznahme ist ein 'Trick' mit dem der eigenen Stelle eine kritische Haltung zu den getroffenen Aussagen und gefundenen Bedeutungen verliehen wird. Die politischen Forderungen bekommen so etwas Sachliches und 'Fotografisches'. Die Forderung nach wirklicher kommunikativer Auseinandersetzung rueckt so aus dem Image der nur Bilder machenden bildenden Tableau-Kunst heraus auf eine Ebene des harten Realismus des Einbringens, der nur noch abzubilden sei oder aber medial so abgeklaert erscheint, dass mit ihm jede aussersachliche, ausserrealistische Instrumentalisierung abgewiesen werden kann. Auch Andreja Kuluncic betont den politischen Dialog und die Rolle der Kuenstlerinnen-Aktivistinnen als Dialogpartnerinnen. Das ist erkennbar der bekannte, vermeintlich interessegeleitete-interesselose Vermittlungsprozess, wie er von NGOs gepflegt wird. Organisationen, die sich, wie etwa im Fall von Killer Coke, als gute Lobby gerieren und soetwas wie das ausserparlamentarische Parlament fuer Fragen der Kontrolle der Konzerne und Parlamente darstellen. Die angelegte Selbstrepraesentation (siehe im Buch Emma Hedditch) ist also eine, die am Schattenspiel des repraesentativen Parlamentarismus, dem Theater der Diktatur des Kapitals, nicht vorbei kommt und zugleich demokratische Ablaeufe suggeriert. [7] Ernst Bloch. _Das Prinzip Hoffnung_. Zweiter Band. Frankfurt am Main: suhrkamp, 1959. S. 777. [8] -. _Das Prinzip Hoffnung_. Erster Band. S. 516. [9] Begehren und Realitaet sind fuer die kapitalistische Situation zu unscharfe Begrifflichkeiten, da die Begehren in der kapitalistischen Realitaet eben bestimmte sind. [10] Diese Zahl der Ausstellungen verkuendete Leonie Baumann vor ein paar Jahren einmal stolz in _mobil_, dem Kundenmagazin der Deutschen Bahn. [11] Siehe das "Flash-Institut", randstaendig aber mitten in der Kulturhauptstadt Europas 2009 Vilnius in Litauen. [12] Siehe http://eipcp.net/policies/gau-schlieben/de [13] Fuer den deutschprachigen Raum kann konstatiert werden, dass solcherlei Karrieren schon laufen: Fuer Frankfurt am Main in der Person Holger Kube Ventura, neuer Vorsitzender des Frankfurter Kunstvereins, vormals bei der Kulturstiftung des Bundes; fuer "New York", genauer fuer die Chinati Foundation in Marfa, Texas als Artist-in-Residence Folke Koebberling und Martin Kaltwasser; fuer Zuerich vielleicht Anke Hoffmann und Yvonne Volkart, die 2009 Soenke Gau und Katharina Schlieben als neues Kuratorisches Team der Shedhalle abloesten. Dem Autor kann man dieses Namen-nennen vorwerfen und ihm entgegnen, er wuerde damit seine vielleicht nicht laufende Karriere kompensieren. Eventuellem Sozialneid entspringt jedoch auch eine fruchtbare intellektuelle Wut und Personennamen muessen hin und wieder genannt werden, um klar zu machen, mit wem und wie wortfuehrende Netzwerke positionell besetzt sind. [14] http://www.radiator-festival.org/folke-k-bberling-martin-kaltwasser [15] Praxen, die staendig als Praxen erklaert werden muessen, sind Praxen, die als solche neue nicht anerkannt sind. Weil sie zu neu sind, weil sie bereits bekannt sind, weil sie moeglicherweise gar keine Praxen sind. [16] "Bildet Heteronomien!" ist ein unverbuergtes Wort von Hortensia Voelkers, der kuenstlerischen Direktorin der Bundeskultstiftung aus der Fruephase dieser Einrichtung. Selbst wenn sie das so nie gesagt hat, kommt der damit formulierte Auftrag klar in den Programmen der Stiftung vor. Es werden gesellschaftskritische Kunstprojekte staatlich gefoerdert, ein Widerspruch in sich. Matze Schmidt Soenke Gau & Katharina Schlieben / Verein Schedhalle, Zuerich (Hrsg.). Ausstellungskatalog-Buch. _Work to do! Selbstorganisation in prekaeren Arbeitsbedingungen_. Nuernberg: Verlag fuer moderne Kunst, 2009. 240 Seiten, 29,- EURO ======================================================================== 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 #143 a ------------------- -- GRATIS f?r alle GMX-Mitglieder: Die maxdome Movie-FLAT! Jetzt freischalten unter http://portal.gmx.net/de/go/maxdome01 From rasa at rixc.lv Mon Oct 5 16:05:29 2009 From: rasa at rixc.lv (Rasa Smite) Date: Mon Oct 5 15:59:38 2009 Subject: [spectre] ENERGY--art+communication2009 festival--starts this week Message-ID: Dear Spectre, please find below the information about this year Art+Communication festival of which this year's theme is ENERGY. Festival website: http:/rixc.lv/09 see you in Riga this weekend? :) Rasa - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ENERGY ART+COMMUNICATION 2009 XI International festival for new media culture October 8 - 10, 2009 in Riga, Latvia "Energy can neither be created nor destroyed, it can only be transformed." (The law of conservation of energy) The 11th edition of "Art+Communication" festival in Riga with this year's theme: Energy, will investigate the notion of 'sustainable development' from various perspectives - artistic, scientific, cultural, technological, social, architectural, and environmental. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Conceptual background: Energy makes change (E=mc2) In nature, energy is found in many different forms - kinetic (avalanches), motion (wind), sound (thunder), water (rain), thermal (fire), electrical (lightening), magnetic (Earth's magnetic field), radiant (light), etc. Energy is involved in all processes that take place in Universe and on Earth. In human society, energy is the most essential resource driving its economy and its future development. Now, in the twenty-first century, it has turned out that human society with its information technologies need more resources to sustain its development then ever before. Yet, currently used forms of terrestrial energy production known today, have turned out to be finite, non-sustainable, posing a serious danger to the climate, people and environment. Creative ideas and new approach today is requested nearly in all fields, while sustainable development of both energy and information technologies have become key issues in nowadays. Smart devices and energy internet, clean and renewable energy resources, alternative and ecological design and production methods, open source and hybrid approaches to information technologies - are just few of the broad potential quests that could change the future landscape of sustainability. "The quest for a sustainable world may succeed, or it may fail. If it fails, the world will become unthinkable. If it works, the world will become unimaginable. In practice, people will experience mixed success". (Bruce Sterling) Yet, scenario of "saving the world" can only have any success, if people from different fields - scientists and artists, politicians and business people, theorists and practitioners, futurists and engineers, producers and consumers, etc. - will eventually be open for new ideas and new collaborations. The Energy festival will offer a space of exchange for an interdisciplinary group of participants, who will share their scientific and artistic, utopian and critical visions of future terrestrial energy. *Themes: I ENERGY IN NATURE AND SOCIETY: - The concept of energy and its various contexts: in Universe and on Earth - Invisible energy: in myths and legends, in nature and science - Energy technologies: in human life and in information society II CHANGING LANDSCAPE OF SUSTAINABILITY: - Environmental science research, climate change and ecology - Permaculture and biosystem design - Historical traditions vs. modern alternative solutions in urban planning and architecture - Alternative economy and futuristic visions of sustainable living - III INFORMATION AND ENERGY: - Synergetic and co-relation between information and energy - Smart devices and Energy Internet - Sustainability using open source approaches: in art, culture, ecology, architecture, environmental design - IV ART AND SCIENCE OF RENEWABLE ENERGY: - Dye sensitized solar technologies - Green chemistry: new approach in biotechnology - Artistic explorations of clean and renewable energy technologies (sun, wind, water, tides, biomass, etc.) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Festival programme Thursday, October 8 14.00 Press conference - in RIXC Gallery at Spikeri (2nd floor) 19.00 Opening of the festival and ENERGY exhibition - in RIXC Gallery at Spikeri 21.00 Concert: John Wiese/US (in collaboration with Sound Forest) - in Meta Kafe at Spikeri. Friday, October 9 10.00 - 17.00 Conference "Energy. Scientific and artistic, utopian and critical visions" - in Spikeri (3rd floor) 15.00 - 18.00 "Light pollution harvesting" workshop - in RIXC Media Space 21.00 - Film: "The Yes Men Fix the World" - in RIXC Media Space Saturday, October 10 11.00 - 18.00 Conference "Energy. Scientific and artistic, utopian and critical visions" - in Spikeri (3rd floor), including: 12.00 - 14.00 Live online discussion "Electrosmog" between Amsterdam and Riga. 14.00 - 17.00 "Energy abundance" workshop - in RIXC Media Space 21.00 - Live performance: "Mortals Electric" by Telcosystems/NL - in RIXC Media Space Addresses of festival venues: Spikeri ("kim?"), Maskavas iela 12/1 RIXC Media Space, 11. novembra krastmala 35, entrance from Minsterejas ielas. Free entrance to all festival events. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Participants: The Energy conference will gather together an international group of artists, science researchers, engineers, activists, sociologists, philosophers, architects, designers, futurists, and other lateral thinkers, who are engaged with the issues of sustainable development, in relation to the themes proposed above. Exhibition artists: Jeroen Holthuis (NL), Joanna Hoffmann (PL), Joyce Hinterding / David Haines (AU), Michel de Broin (CA), Folke K?bberling / Martin Kaltwasser / Antje Grabenhorst (DE), Charles and Ray Eames (US), KriSs Salmanis (LV), Gints Gabrans (LV), Myriel Milicevic / Hans Kadel (DE), Katharina Mischer / Thomas Traxler (AT) / Hans-Christian Schink (DE). Conference speakers: Michel Bauwens / Peer-to-Peer Foundation (BE), Ludger Hovestadt, Vera B?hlmann / ETH Zurich / CAAD - Institute for Technology in Architecture ITA (CH), Julian Priest (DK/NZ), Bart Vandeput / Bartaku (BE), Christina Stadlbauer (BE), Gert Aertsen (BE), Akos Maroy (HU), Anu Osva / Finnish Bioart Society (FI), John Reshaur Enevoldsen / Wind Festival (Danija), Terike Haapoja (FI), Tina Finnas / Interactive Institute (SE), Tiina Sott (EE), Juris Zhagars / Ventspils university college / VIRAC (LV), Lise Skou (DE), Arnbj?rn ?lafsson / RES, the School for Renewable Energy Science (IS), Ingrida Sahta / Riga Technical University, Institute of Textile Material Technologies and Design (LV), Niamh McDonnell (IE), Janis Kleperis, Liga Grinberga, Imants Dirba / Institute of Solid State Physics of University of Latvia (LV), Ilze Klepere, LU Faculty of Biology (LV), Rasa Smite / RIXC / Art Research Lab of Liepaja University / RSU (LV), Raitis Smits / RIXC / Latvian Arts Academy, Jon Cohrs (US), Erik Sjodin / Interactive Institute (SE), Solvita Krese / Latvian Contemporary Arts Center (LV), Signe Pucena / SERDE (LV). Workshops will be conducted by Myriel Milicevic / Hans Kadel (DE), Vera B?hlmann / Ludger Hovestadt (CH). Performance: Telcosystems (NL): "Mortals Electric". Film programme: Yes Men (US) "The Yes Men Fix the World" (2009) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Organisers: Festival is organised by The Center for New Media Culture RIXC Exhibition - in collaboration with Contemporary Arts Museum's project "kim?" Conference - in collaboration with Liepaja University Art Research Lab "MPLab" Idea and conception: Rasa Smite, Raitis Smits. Exhibition curator: Raitis Smits. Scenography: Rudolf Bekic. Design: Martins Ratniks Producers: RIXC - Rasa Smite, Raitis Smits, Daina Silina, Linda Vebere, Agnese Baranova. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - * Support: State Cultural Capital Foundation, Riga Municipality Cultural Dept., Nordic Culture Fund, Nordic Culture Point, Hotel Elizabete. Media support: Terra, Studija, Rigas Laiks, Dizaina Studija, Foto Kvartals, Baltic Outlook, Diena, Delfi.lv, Kultura.lv * Contact and information: The Center for New Media Culture RIXC 11. novembra krastmala 35-201, Riga, LV 1050, Latvia. Rasa Smite , Tel: +371-67228478 (office), +371-26546776 (mob.) RIXC E-mail: <2009@rixc.lv> http://rixc.lv Follow RIXC in Twitter: http://twitter.com/rixcriga Festival ENERGY Website: http://rixc.lv/09 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - From m at 1010.co.uk Mon Oct 5 17:05:49 2009 From: m at 1010.co.uk (m) Date: Mon Oct 5 17:06:41 2009 Subject: [spectre] _____-micro_research workshops:26//27: October 10th: Light Unseen with Kathrin =?utf-8?b?R8O8bnRlci8v?= October 16/17th: /mode +v noise with GOTO10 Message-ID: A series of weekly working groups and workshops at _____-micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: October 10th 2PM: Light Unseen with Kathrin G?nter October 16/17th 2PM: /mode +v noise with GOTO10 Forthcoming matter: tv programming, Python/IRC/PD/SC, micro-cuisine, data carving, plotting, handmade logic //<----------------------------------------------- October 10th 2PM: Light Unseen with Kathrin G?nter Thought is a radiant, creative, almost material power, the fiat lux of the bible. During the process of thinking, the soul turns the atoms of the brain into waves and makes its phosphor glow. With concentrating ones thought onto any object with simple outlines, like a bottle for example, the fluidic thought image will be forced out through the eyes to expose itself through the power of its glow onto the photographic plate. The result is a photographic image. [Louis Darget, 1911] In "Light Unseen" participants will try, throughout a variety of thoughto - photographic experiments, to focus, force, project and possibly expose thoughts onto photosensitive materials. All necessary materials, including photographic emulsion, chemicals, film, paper and polaroid will be provided. Containers or devices may be constructed here or welcome to be brought along. Thoughts are welcome. Results cannot be promised. Kathrin G?nter, artist and photographer has been exploring extensively gossip, star behaviour and the phenomenon of paparazzi photography. Recent researches include thoughtographic theories, practises and other invisible phenomena of the early twentieth century. http://www.fotokatie.com No experience required. Cost: ?10 per participant (this includes 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), Valentina Vuksic (http://sei-personaggi-part2.ch/), Dave Griffiths (http://www.pawfal.org), Marc Boon (http://www.marcboon.com), Christian Faubel, Cordula K?rber, and Ralf Schreiber (http://ralfschreiber.com/), Roman H?feli and Olsen Wolf (http://www.netpd.org) _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk _____-micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/ http://pickledfeet.com From marc.garrett at furtherfield.org Mon Oct 5 17:15:15 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon Oct 5 17:15:43 2009 Subject: [spectre] Become a Reviewer on Furtherfield.org In-Reply-To: <49A2B376.6080508@furtherfield.org> References: <49A2B376.6080508@furtherfield.org> Message-ID: <4ACA0D83.4040807@furtherfield.org> Sorry for any cross posting... Become a Reviewer on Furtherfield.org ++++++++++++++++++++++++ www.furtherfield.org Furtherfield receives regular submissions inviting us to feature and review artworks and projects from artists and art groups from all over the world. We have an excellent team of reviewers working with us. Yet, because we are receiving more innovative and high quality artworks for review than we ever have before, it is not easy keeping up with the workload. So, we need more reviewers. What would you be reviewing? Media art, net art, open source art and projects, software art, D.I.Y groups, culture and related social networks, live networked art, live Internet tv, tactical media, art blogs, net films, media art connected- self institutions, psychogeography, hacktivism, video game culture, activist games, as well as publictions/books, events, exhibitions online and in physical space, and related conferences. You will be expected to receive suggestions for review, as well as choose your own projects of interest. We welcome contributions from all kinds of writers - and are always interested in bi-lingual reviewers who are able to introduce/translate work by non-English-speaking cultures. We also want reviewers who are writing about 'media art and ecology' and the contemporary ideas and work coming out of this vibrant and relevant practice. Also, we want you to share your ideas with us in presenting and supporting a diverse movement that we value. If like us, you are passionately and critically engaged in investigating and being part of the constant shifts and reinvention of this ever changing and dynamic - fluid and creative practice, you will be with good company. And as you would expect, there is no money in this but you will be part of a team who believes in what they are doing. If you are interested in becoming a reviewer at Furtherfield and wish to know more about how to join the crew, please contact marc garrett - marc.garrett at furtherfield.org Note: Please do not reply unless you are sure that you are definitely interested. -=-=-=-=-=-=-=-=-=-=-=-=-=-=-|> Other Info: A living, breathing, thriving networked neighbourhood... We are on Twitter http://twitter.com/furtherfield Other reviews/articles/interviews http://www.furtherfield.org/reviews.php Furtherfield - online media arts community, platforms for creating, viewing, discussing and learning about experimental practices at the intersections of art, technology and social change. http://www.furtherfield.org HTTP Gallery - physical media arts Gallery (London). http://www.http.uk.net Netbehaviour - an open email list community engaged in the process of sharing and actively evolving critical approaches, methods and ideas focused around contemporary networked media arts practice. http://www.netbehaviour.org Furtherfield Blog - shared space for personal reflections on media art practice. http://blog.furtherfield.org VisitorsStudio - real-time, multi-user, online arena for creative 'many to many' dialogue, networked performance and collaborative polemic. http://www.visitorsstudio.org/x.html Furthernoise - an online platform for the creation, promotion, criticism and archiving of innovative cross genre music and sound art for the information & interaction of the public and artists alike. http://www.furthernoise.org From n0name at gmx.de Mon Oct 5 19:14:13 2009 From: n0name at gmx.de (n0name@gmx.de) Date: Mon Oct 5 19:14:56 2009 Subject: [spectre] =-| n0name nachrichten #143 b Message-ID: <20091005171413.15860@gmx.net> =-| n0name nachrichten #143 Mo., 05.10.2009 11:34 CET ACHTUNG! Umlaute ------------------------------------------------------------------------ b 2. Rezension von Sabine Nuss. _Copyright & Copyriot_ 41 Aristoteles und die soziale Nutzung des gesellschaftlich erarbeiteten Reichtums. "Ausgangspunkt in seiner Zeit ist die Polis, die Gemeinschaft und das individuelle Eigentum wird hinzu gedacht als Institution, die das gemeinschaftliche Gef?ge eher festigt. Reflektiert man nicht die verschiedenen Horizonte, in denen die Subjekte der verschiedenen Epochen stehen, versteht man also das Privateigentum bei Aristoteles mit unseren heutigen Kategorien, st??t man unweigerlich auf Widerspr?che: ?Ein Privateigentum, das als Gemeineigentum genutzt wird, w?re, w?rde diese Nutzung zur gesetzlichen Verpflichtung, kein Privateigentum mehr, da dessen Kriterium ja das exklusive private Verf?gungsrecht des ius utendi et abutendi ist, wie es dann sp?ter formu- liert wurde" (K?nzli 1986: 101)." Was heisst ius utendi et abutendi? Dazu Marx: "Das jus utendi et abutendi selbst spricht einerseits die Tatsache aus, da? das Privateigentum vom Gemeinwesen durchaus unabh?ngig geworden ist, und andererseits die Illusion, als ob das Privateigentum selbst auf dem blo?en Privatwillen, der willk?rlichen Disposition ?ber die Sache beruhe." (Karls Marx. _Die deutsche Ideologie_, Kapitel "Verh?ltnis von Staat und Recht zum Eigentum". z.B. hier http://www.mlwerke.de/me/me03/me03_017.htm#I_I_B_2) Das "ius utendi" (oder "jus utendi") ist das Recht auf Gebrauch einer Sache, das "ius abutendi" ist das Recht auf Veraeusserung, zum Verkauf einer Sache. Und dann kommt das beruehmte Motiv des _Ausschluss_, von dem momentan gerne in softlinken Kreisen die Rede ist, wobei der Begriff _Eigentum_ zumeist ausgeschlossen wird: "6.3 Das r?mische Recht oder die erstmalige Kodifikation des Ausschlusses Das r?mische Recht ist deshalb von besonderer Relevanz, weil der moderne Eigentumsbegriff ?in der Tat erst in dem Augenblick entstanden [ist], in dem r?-misch-rechtliches Abstraktionsverm?gen mit den Anf?ngen der modernen Waren-produktion zusammentraf" (Kirchheimer 1972: 10).13 Es geh?rt heute zum Allge-meinplatz, dass die Wiege des modernen Rechts im alten Rom liege: ?Im Zivilrecht haben die R?mer das Weltmuster eines Rechts geschaffen, das gegr?ndet ist auf das Privateigentum und den freien Willen" (Wesel 1997b: 156). Ueber komplexe Rezeptionsvorg?nge ist es seit dem ausgehenden 13. Jh. in die ?deutschen Territo-rien" gelangt, nahezu ?berall in Kontinentaleuropa fand es als ius commune Gel-tung: ?Von Europa aus ist es dann um die Welt gegangen; fast alle Rechtsordnun-gen sind von ihm und seiner Methode mehr oder minder stark gepr?gt" (Behrends, et al. 1993: V). Die R?mer waren die ersten, die das Eigentum juristisch gefasst bzw. die Rechtsverh?ltnisse von Privateigent?mern kodifiziert haben: ?Bei ihnen ist das entstanden, was wir heute Eigentum nennen, n?mlich die Zuordnung einer Sache einzig und allein zu einer Person in der Weise, da? ausschlie?lich sie dar?ber v?llig frei verf?gen kann" (Wesel 1997b: 185). Allerdings bedeutet dies weder, dass das r?mische Eigentumsrecht kategorial und praktisch identisch ist mit dem modernen, noch gibt es bez?glich der Eigentums-konzeption seit dem alten Rom bis heute eine Kontinuit?t. Schon das tausendj?h- _______________ 13 Das r?mische Recht ist ?berliefert im Corpus iuris civilis, in welchem der ostr?mische Kaiser Justinian zwischen 528 und 533 die noch g?ltigen Gesetze sammeln, ordnen und ?berarbeiten lie?. Es besteht aus drei Teilen, den ?Institutionen" (das ma?gebli-che Lehrbuch des r?mischen Rechts, ein Lehrbuch f?r Anf?nger), den ?Digesten" oder ?Pandekten" (eine umfangreiche Zusammenstellung von Fragmenten aus Lehrwerken, Kommentaren und Gutachten der gro?en r?mischen Juristen aus der Zeit vom 1. Jh. v.u.Z. bis etwa zur Mitte des 3. Jh. n.u.Z.) und den Konstitutionen (eine ?berarbeitete Sammlung von Kaisergesetzen). 143 rige Bestehen des altr?mischen Rechts selbst war nicht statisch, sondern - begin-nend mit dem Zw?lftafelgesetz (451 v.u.Z.) bis hin zu Justinians Kodifikationen (534 n.u.Z.) - einem Wandel unterworfen. So schimmert beispielsweise in den ?l-teren Urteilsspr?chen und Klagen noch die ?Relativit?t des Eigentums" durch, das hei?t Vorstellungen von Mehrfachberechtigungen auf eine Sache, wie man sie von Stammesgesellschaften her noch kennt. Erst sp?ter dann entwickelt sich das ?abs-trakte Eigentum" (vgl. Wesel 1997b: 186-188),14 welches zwischen Besitz und Ei-gentum zu unterscheiden wei? und weniger nachbarschaftliche Einschr?nkungen kennt, wobei die Zuordnung von Sachen zu einzelnen Personen nur auf bewegli-ches Verm?gen bezogen war und das wichtigste Produktionsmittel - Grund und Boden - lange noch in verwandtschaftlicher Bindung stand. Geistiges Eigentum war unbekannt, was wiederum auf den niedrigeren Abstraktionsgrad der Eigentums-beziehungen im r?mischen Recht verweist und entsprechend auf die Produktions-verh?ltnisse R?ckschl?sse zul?sst (siehe hierzu ausf?hrlicher Kapitel 8 ?ber die Voraussetzungen f?r die Herausbildung von geistigem Eigentum). Die Trennung von Besitz und Eigentum findet sich in der Tat zuerst bei den R?mern. Um die ?volle H?rte des Eigentums juristisch auf den Begriff" (Wesel 1997b: 186) bringen zu k?nnen, mussten die R?mer den Besitz ?erfinden". Nun sagt dies noch nichts ?ber die Modalit?ten dieses Eigentums und schon gar nichts ?ber jene des davon abzugrenzenden Besitzes aus: ?Fragen des Besitzrechts spie-len heute keine gro?e Rolle. Im r?mischen Recht war das anders (...) Die r?mi- sche possessio ist also fester, enger, konkreter als unser Besitz" (Wesel 1997b: 191, 195; vgl. auch Mann 1994: 204).15 Begriffe, die mit ?Eigentum" ?bersetzt werden k?nnen, tauchen im r?mischen Recht in verschiedenen Kontexten auf, in den einschl?gigen Quellen jedoch fin-det sich keine Definition des Eigentumsrechts:" Als erste 'Lehre' bezogen auf Creative Common Lizenzen (vgl. n0name newsletter #110 http://www.n0name.de/news/news110.txt) und die darin enthaltene neuerliche Feinabstimmung des Eigentumrechts kann man sagen, dass man es dabei mit einem Anpassungsvorgang zu tun hat. Ganz so wie das roemische Recht an die neuen de facto-Besitzverhaeltnisse vor 2000 Jahren und fortfolgende immer wieder angepasst werden musste. Immer vor dem Hintergrund, dass Recht und seine Sprechung (Rechtsprechung) unkontrollierte Gewalt verhindern soll und den Handel foerdern. Bei den CC-Lizensen erhoffen sich viele jedoch eine Aufweichung oder wenigstens Lockerung des Eigentums. Das wird meist zusammengefasst unter der sogenannten "Krise des Copyright". "_______________ 14 ?Der Weg zum vollausgebildeten `abstrakten' Eigentumsbegriff dauerte ebenso lange wie die Machtergreifung des B?rgertums selbst; erst die Revolution von 1918 beseitigte die letzten Reste feudalen Eigentums" (D?ubler, et al. 1976: 8). 15 Heinsohn/Steiger sehen alle Konfusion darin begr?ndet, dass nicht getrennt werden w?rde zwischen Eigentum und Besitz. So habe es in Stammesgesellschaften und Feu-dalismus gar kein Eigentum gegeben, sondern nur Besitz, ?das hei?t die durch Sitte oder Herrschaft angewiesene Nutzung materieller G?ter" (Heinsohn/Steiger 2002). Hingegen seien Eigentumsgesellschaften dadurch gekennzeichnet, dass sie Geld und Zins erzeugen w?rden: ?Die Eigentumsgesellschaft als System von Freien regelt Pro-duktion, Verteilung und Konsumtion nicht nach den traditionellen Regelwerken von Sitte und Befehl, sondern steuert diese Gr??en durch Zins und Geld" (Heinsohn/Stei- ger 1998: 91, Herv. i.O.) Allerdings setzt die Trennung von Besitz und Eigentum eine Abstraktionsebene voraus, die einer spezifischen Gesellschaftsform entstammt und daher ist auch Besitz keine ?berhistorische Kategorie. 144 ?Hier begegnen uns lediglich zwei Rechtsw?rter, die von der Forschung f?r Synonyme eines und desselben, erst aus dem Zusammenhang der einzelnen Quellentexte zu erschlie-?enden Eigentumsbegriffs erachtet werden: dominium und proprietas? (Willoweit 1974: 132). Es werden allerdings auch andere lateinische Begriffe mit Eigentum ?bersetzt, beispielsweise occupatio, wobei es hier um das konkrete ?Besetzen" einer Sache oder Land geht. Darauf gr?ndet auch die These, dass bez?glich der Legitimation des Eigentums im alten Rom das Okkupationsrecht gegolten habe16 (vgl. Brocker 1992). Es ist zwar richtig, dass das r?mische Recht erstmals kodifiziert, dass einzelnen Menschen etwas zugeh?rig sein kann. Allerdings gibt es die unterschiedlichsten Regeln dar?ber, wie etwas zum Eigentum wird, wie lange dieser Eigentumsstatus anh?lt und wovon dies abh?ngig ist, also wie absolut solch ein Status ist. Je nach konkreter Situation wird der Eigentumsbegriff und seine Reichweite angepasst und erreicht so nie den Abstraktionsgrad, der heute so selbstverst?ndlich ist. Die sozio?konomische Grundlage eines solchen Eigentumsverst?ndnisses liegt in ei-nem einerseits zwar weit entwickeltem Warenverkehr und einer Geldwirtschaft, allerdings war eine der zentralen Voraussetzungen des modernen Kapitalismus nicht gegeben: der doppelt freie Arbeiter, der weder ?ber Produktionsmittel ver-f?gt, noch ?ber kodifizierte Bande ?konomisch einer superioren Instanz (z.B. Lehnsherr, Kirche, Sklavenhalter) fest verpflichtet ist. Das hei?t nicht, dass es nicht auch doppelt freie Arbeiter gegeben h?tte, n?mlich arme B?rger, die ihr Dasein als Tagel?hner fristeten. Allerdings gibt es zwei Unterschiede: die B?rger/Tage-l?hner erwarteten den Unterhalt oder einen guten Teil davon vom ?Staat"17 oder von der Gemeinschaft und bekamen das zum Teil auch (?Brot und Spiele"). Sie _______________ 16 Marcus Tullius Cicero geh?rt nach Brocker zu den ersten Autoren, die die Frage nach der Entstehung des Privateigentums und dessen Verteilung stellen. Cicero begr?ndet das Recht auf Privateigentum mit der occupatio, das hei?t, mit der physischen Inbe-sitznahme. Cicero beschreibt die Entwicklung von Privateigentum historisch. Zu Be-ginn, so seine These, habe es kein Privateigentum gegeben, alle G?ter der Erde seien im Gemeinbesitz der Menschen gewesen. Von Natur aus gebe es daher kein Privateigen-tum. Erst mit dem Sesshaft-Werden der Menschen habe sich Eigentum entwickelt, indem unbewohnte Gebiete dauerhaft besiedelt wurden und durch diese Okkupation schlie?lich sei ?Privateigentum" an diesem Grund und Boden begr?ndet worden (Brocker 1992: 30 ff.). Es ist anzumerken, dass diese Eigentumskonzeption sehr gut zu einem expan-siven politischen Gebilde wie dem r?mischen Reich passt, dessen Reichtum ma?geb-lich durch Eroberung geschaffen wurde. 17 ?Staat? setze ich hier in Anlehnung an Gerstenberger in Anf?hrungszeichen, da sol-chen ?Begriffen im angesprochenen historischen Zusammenhang noch keine (vollst?n-dige) empirische Strukturwirklichkeit" entspricht (Gerstenberger 1990: 41). 145 wurden aber auch nicht im selben Ausma? ben?tigt wie unter modernen kapita-listischen Verh?ltnissen, weil es Sklaven gab. Der doppelt freie Arbeiter hatte damit eine (gewisse) Alternative zum Verkauf der Arbeitskraft, und der ?antike Kapita-list" hatte eine Alternative zum Kauf der Arbeitskraft, er konnte den ganzen Ar-beiter kaufen. W?hrend es im Kapitalismus um die Akkumulation von Wert geht, war die r?mische Gesellschaft viel st?rker orientiert am konkreten Ergebnis der Produktion, an der Produktion von Gebrauchswerten und wenn sie am Tausch-wert orientiert war, dann in seiner Gestalt als Rente, d.h. als kontinuierliches Ein-kommen, nicht aber an der best?ndigen Maximierung des ?berschusses. Die Gesellschaft des alten Roms war eine Sklavenhaltergesellschaft, agrarwirtschaftliche Subsistenz bildete die Existenzgrundlage. Religi?se, naturrechtliche und verwandt-schaftliche Bindungen hemmten die Entstehung eines freien Arbeitsmarktes. Erst die soziale Wirklichkeit der modernen Warenproduktion schafft die Bewusstseins-form, die ausnahmslos alles unter Eigentum subsumiert. 6.4 Mittelalter: vom Eigen, fahrende Habe, Leihen und Lehen In Gesellschaften, die gepr?gt sind von pers?nlichen Abh?ngigkeitsverh?ltnissen und agrarwirtschaftlicher Subsistenz, sind die Voraussetzungen f?r die Entwick-lung des absoluten Eigentums nicht gegeben. Dies gilt auch f?r das Mittelalter. Das fr?he Mittelalter war gekennzeichnet von einem drastischen R?ckfall gro?er Teile Westeuropas in ausschlie?liche Landwirtschaft. Auf Grund des geringen Handels nahm der Geldumlauf stark ab, die Abgaben der Leibeigenen und h?ri-gen Bauern erfolgten in erster Linie in Gestalt von Naturalien und Frondiensten. Der Charakter des fr?hmittelalterlichen Eigentums blieb entsprechend diffus, ?ohne harten und klaren Begriff wie bei R?mern oder heute" (Wesel 1997b: 322). Den Zusammenhang von Entwicklung der Produktionsverh?ltnisse, Zweck der gesell-schaftlichen Produktion und Eigentumsform beschreibt Rosa Luxemburg anhand der germanischen Markgenossenschaft: In jedem Geschlecht erhielt jeder Famili-envater eine Bau-Stelle nebst Hofraum zugewiesen, um darauf Haus und Hof ein- zurichten. Ein Teil des Gebietes wurde zum Ackerbau verwendet, jede Familie erhielt ein Los darauf (Luxemburg 1972: 69). Dieses St?ck Land erhielt die Fami-lie jedoch nicht exklusiv. In bestimmten Abst?nden war die Neuverteilung der Lose ?blich, je nach Zeit und Ort alle 3, 4, 9, 12, 14 oder 18 Jahre. ?Alle Lose waren urspr?nglich ganz gleich und in ihrer Gr??e den durchschnittlichen Be-d?rfnissen einer Familie sowie der Ertragsf?higkeit des Bodens und der damaligen Arbeit angepasst" (Luxemburg 1972: 69). Der Rest des Landes wurde gemeinschaft-lich genutzt. Doch auch f?r den Zeitraum der Zuteilung konnte die Familie ?ber ?ihren" Boden nicht frei verf?gen, denn das Mark-Eigentum war dem Zweck der 146 G?terproduktion gewidmet und die Arbeit des Einzelnen daher eingebunden in einen Gesamtplan. Folge: ?Wer seinen Anteil eine Reihe von Jahren hindurch nicht bebaute, verlor ihn ohne weiteres und die Mark konnte ihn einem anderen zur Bearbeitung geben" (Luxemburg 1972: 70). Auf dem eigenen Losgut durfte zudem keiner Tiere jagen, ohne die anderen in Kenntnis zu setzen. ?Auch geh?r-ten Erze und dergleichen, die sich, tiefer als die Pflugschar reichte, in der Erde befanden, (...) der Gemeinschaft und nicht dem einzelnen Finder" (Luxemburg 1972: 71). Die Produktion der besonders wertvollen tierischen Erzeugnisse wurde den Privatinteressen von Eigent?mern entzogen, ?die Viehzucht wurde gemein-sam betrieben, das Einzelh?ten von Herden war den Markgenossen verboten" (Luxemburg 1972: 70). Zweck des Wirtschaftens war das ?berleben der eigenen Genossenschaft, daher durften sich Fremde auch nicht ohne weiteres niederlas-sen, sondern ben?tigten die einstimmige Erlaubnis der Markgenossen. Luxemburg findet die Dominanz ?hnlich strukturierter Gemeinwesen in Australien, Lateinamerika oder Asien und nennt sie ?urkommunistische" Gesell-schaften, in denen den zerst?rerischen Wirkungen des Privateigentums auf die Produktion durch vielf?ltige, detaillierte Regeln vorgebeugt wird.18 Sie macht sich ?ber diese scheinbare Idylle des ?Urkommunismus" allerdings keine Illusionen: ?Es war nicht die Hingebung an abstrakte Grunds?tze der Gleichheit und Freiheit, was dem Urkommunismus zugrunde lag, sondern die eherne Notwendigkeit der niedrigen Entwicklung der menschlichen Kultur, der Hilflosigkeit der Menschen der ?u?eren Natur gegen?ber, die ihnen das feste Zusammenhalten in gr??eren Verb?nden und das planm?-?ige vereinigte Vorgehen bei der Arbeit, bei dem Kampfe um die Existenz, als absolute Existenzbedingung aufzwangen...Der primitive Stand der Landwirtschaft gestattete damals keine gr??ere Kultur als die einer Dorfmark, und damit steckte sie dem Spielraum der Interessensolidarit?t ganz enge Schranken" (Luxemburg 1972: 76, 77). W?hrend in den ?urkommunistischen" Gesellschaften also nicht der Kontrakt isolierter Privateigent?mer die Produktion und Verteilung regelte, sondern ein _______________ 18 Im Bericht der englischen Steuerbeh?rde aus Indien vom Jahre 1845 hei?t es: ?Wir sehen keine st?ndigen Anteile. Jeder besitzt den bebauten Anteil nur so lange, wie die Ackerbauarbeiten dauern. Wird ein Anteil unbebaut gelassen, so f?llt er ins Gemeinde-land zur?ck und kann von jedem anderen genommen werden unter der Bedingung, da? er bebaut wird'" (zitiert nach Luxemburg 1972: 19). Diese Eigentumsformen ha-ben bei Reisenden und Eroberern aus Europa so manche Verwirrung ausgel?st. So schreibt James Mill, Vater des ber?hmten ?konomen John Stuart Mill, in seiner Ge-schichte Britisch-Indiens: ?Auf Grund aller von uns betrachteten Tatsachen k?nnen wir nur zu dem einen Schlusse gelangen, dass das Grundeigentum in Indien dem Herrscher zukam; denn wollten wir annehmen, dass nicht er der Eigent?mer des Grund und Bodens war, dann w?re es uns unm?glich zu sagen, wer denn der Eigent?mer sei" (zitiert nach: Luxemburg, Seite 24). 147" Matze Schmidt/Ali Emas Sabine Nuss. _Copyright & Copyriot: Aneignungskonflikte um geistiges Eigentum im informationellen Kapitalismus_. Muenster: Westfaelisches Dampfboot, 2006. 269 S. - EURO 19,90. Erschienen: Oktober 2006 ------------------------------------------------------------------------ 3. Debord - La Soci?t? du spectacle.srt als .txt 7 und Ende 1223 01:18:54,507 --> 01:18:56,041 ?mile Pouget, Le Sabotage 1224 01:18:57,192 --> 01:18:59,223 Aus den neuen 1225 01:18:59,459 --> 01:19:03,038 unbegriffenen und von der spektakul?ren Ordnung verf?lschten Zeichen der Negation, 1226 01:19:03,201 --> 01:19:06,688 die sich in den ?konomisch fortgeschrittensten L?ndern mehren, 1227 01:19:06,900 --> 01:19:08,932 l?sst sich bereits diese Folgerung ziehen, 1228 01:19:09,113 --> 01:19:11,256 dass eine neue Epoche begonnen hat. 1229 01:19:11,545 --> 01:19:15,087 Nach dem ersten Versuch der Arbeitersubversion 1230 01:19:15,267 --> 01:19:18,978 ist es jetzt der kapitalistische ?berfluss, der gescheitert ist. 1231 01:19:19,348 --> 01:19:22,632 Wenn die antigewerkschaftlichen K?mpfe der westlichen Arbeiter 1232 01:19:22,779 --> 01:19:25,182 zun?chst von den Gewerkschaften unterdr?ckt werden 1233 01:19:25,372 --> 01:19:27,643 und wenn die aufst?ndischen Str?mungen der Jugend 1234 01:19:27,821 --> 01:19:30,592 einen ersten formlosen Protest erheben, 1235 01:19:30,765 --> 01:19:32,094 in dem jedoch die Verweigerung 1236 01:19:32,241 --> 01:19:34,840 der alten spezialisierten Politik, 1237 01:19:35,001 --> 01:19:38,435 der Kunst und des Alltagslebens unmittelbar eingeschlossen ist, 1238 01:19:38,615 --> 01:19:41,917 sind das schon die beiden Gesichter eines neuen 1239 01:19:42,015 --> 01:19:45,354 spontanen Kampfes, der unter verbrecherischer Erscheinungsform beginnt. 1240 01:19:45,520 --> 01:19:47,675 Es sind die ersten Vorzeichen 1241 01:19:47,822 --> 01:19:52,122 des zweiten proletarischen Ansturms gegen die Klassengesellschaft. 1242 01:20:19,111 --> 01:20:20,240 Sie m?ssen sich an mich erinnern 1243 01:20:20,241 --> 01:20:22,787 Ich erinnere mich nie an h?bsche Frauen, dass ist mir zu kostspielig ! 1244 01:20:24,500 --> 01:20:28,420 Van Stratten? Hat er ein neues Boot ? 1245 01:20:28,421 --> 01:20:29,958 Es geht nicht um Gesch?fte, Mr. Tadeus. 1246 01:20:30,959 --> 01:20:32,000 Wir m?chten Sie nur um eine Gef?lligkeit bitten. 1247 01:20:32,101 --> 01:20:33,001 Ich leiste keine Gef?lligkeiten 1248 01:20:33,202 --> 01:20:35,602 Wir m?chten nur eine kleine Auskunft ?ber Polen. 1249 01:20:36,003 --> 01:20:38,003 Ich gebe nie Ausk? ... Polen ? 1250 01:20:41,755 --> 01:20:45,172 Wieder einmal ist Polen von einem blutigen Leichentuch bedeckt, 1251 01:20:45,417 --> 01:20:49,136 und wir sind ohnm?chtige Zuschauer geblieben. 1252 01:20:49,348 --> 01:20:52,903 Erkl?rung der franz?sischen Arbeiter in der Gr?ndungs-Versammlung 1253 01:20:53,116 --> 01:20:56,598 der Internationalen, den 28. September 1864. 1254 01:21:01,179 --> 01:21:02,994 Da die auf allen Ebenen 1255 01:21:03,075 --> 01:21:06,138 immer weitergetriebene Verwirklichung der kapitalistischen Entfremdung 1256 01:21:06,289 --> 01:21:08,997 es den Arbeitern immer schwieriger macht, 1257 01:21:09,139 --> 01:21:12,044 ihr eigenes Elend zu erkennen und zu benennen 1258 01:21:12,225 --> 01:21:14,465 und sie dadurch vor die Alternative stellt, 1259 01:21:14,596 --> 01:21:17,162 entweder die Gesamtheit ihres Elends oder nichts abzulehnen, 1260 01:21:17,374 --> 01:21:21,354 hat die revolution?re Organisation lernen m?ssen, 1261 01:21:21,501 --> 01:21:25,147 dass sie die Entfremdung nicht mehr in entfremdeten Formen bek?mpfen kann. 1262 01:21:26,790 --> 01:21:29,949 Die eigene Entwicklung der Klassengesellschaft 1263 01:21:30,153 --> 01:21:33,349 zur spektakul?ren Organisation des Nicht-Lebens 1264 01:21:33,546 --> 01:21:37,310 bringt also das revolution?re Projekt dazu, 1265 01:21:37,473 --> 01:21:40,514 das sichtbar zu werden, was es wesentlich bereits war. 1266 01:21:41,064 --> 01:21:42,875 Die revolution?re Theorie 1267 01:21:43,024 --> 01:21:47,052 ist jetzt jeder revolution?ren Ideologie feindlich gesonnen 1268 01:21:47,260 --> 01:21:49,071 und sie wei?, dass sie es ist. 1269 01:21:51,426 --> 01:21:54,418 Betrachten wir jedoch 1270 01:21:54,941 --> 01:21:59,012 den Inhalt dieser Erfahrung in seiner Vollst?ndigkeit, 1271 01:21:59,502 --> 01:22:02,666 so ist er das verschwindende Werk ... 1272 01:22:03,042 --> 01:22:06,736 das Verschwinden ist selbst wirklich 1273 01:22:07,014 --> 01:22:11,264 und an das Werk gekn?pft und verschwindet selbst mit diesem; 1274 01:22:12,285 --> 01:22:16,912 [?]das Negative geht mit dem Positiven, dessen Negation es ist, selbst zugrunde.[?] 1275 01:22:20,809 --> 01:22:25,272 ?Die Weltgeschichte w?re allerdings sehr bequem zu machen, 1276 01:22:25,533 --> 01:22:29,490 wenn der Kampf nur unter der Bedingung 1277 01:22:29,767 --> 01:22:34,026 unfehlbar g?nstiger Chancen aufgenommen w?rde.? 1278 01:22:34,271 --> 01:22:38,064 Um diese Gesellschaft vollst?ndig zu zerst?ren, 1279 01:22:38,276 --> 01:22:41,513 m?ssen wir zehnmal oder ?fter einen Ansturm wagen, 1280 01:22:41,791 --> 01:22:45,044 der dem des Mai 68 nicht nachstehen darf; und als unvermeidliche 1281 01:22:45,248 --> 01:22:49,008 unangenehme Nachteile wird es eine Anzahl von Niederlagen und 1282 01:22:49,237 --> 01:22:52,859 B?rgerkriegen geben. Die Ziele, die in der Weltgeschichte z?hlen sollen, 1283 01:22:53,022 --> 01:22:56,701 m?ssen mit Energie und Willen vertreten werden. 1284 01:23:47,657 --> 01:23:52,465 Nein, keine Reden. Wir stossen an. Auf georgianischen Art, Luigi. 1285 01:23:55,672 --> 01:23:59,898 Erhebt Eure Gl?ser, meine Freunde. In georgianischen Toasts kommt immer eine kleine Geschichte zuerst. 1286 01:24:02,000 --> 01:24:05,000 Ich hatte einen Traum. Ich war auf einem Friedhof, 1287 01:24:06,000 --> 01:24:09,000 wo alle Grabsteine merkw?rdige Jahreszahlen trugen: 1288 01:24:13,999 --> 01:24:17,202 Und so weiter. Immer eine sehr kurze Zeit zwischen Geburt und Tod. 1289 01:24:19,202 --> 01:24:22,202 Auf dem Friedhof war ein sehr alter Mann. 1290 01:24:22,502 --> 01:24:27,202 Ich fragte ihn wie es kam, dass er so lange gelebt hat, wo sonst alle in seinem Dorf so jung gestorben waren. 1291 01:24:27,501 --> 01:24:31,411 Aber nein: Er sagte mir ?Das bedeutet nicht, dass wir jung sterben. Es ist nur so, 1292 01:24:31,511 --> 01:24:34,777 dass wir hier auf unseren Grabsteinen nicht die Jahre z?hlen, die einer gelebt hat, 1293 01:24:35,555 --> 01:24:38,111 sondern die Zeit, die er einen Freund gehabt hat. 1294 01:24:39,175 --> 01:24:40,913 Auf die Freundschaft ! 1295 01:25:42,614 --> 01:25:47,714 ?Logik,? schrie der sterbende Frosch, als er anfing unterzugehn, den Skorpion mit herabnehmend. 1296 01:25:47,715 --> 01:25:49,715 ?Das hat keine Logik.? 1297 01:25:51,039 --> 01:25:53,222 ?Ich wei?,? sagte der Skorpion, ?aber ich kann nicht anders. 1298 01:25:53,444 --> 01:25:55,000 Es ist mein Charakter.? 1299 01:25:55,222 --> 01:25:56,999 Auf den Charakter ! 1300 01:26:33,839 --> 01:26:37,600 Was im Gegenteil den Verdienst unserer Theorie darstellt, 1301 01:26:37,812 --> 01:26:41,597 ist die Tatsache, nicht eine gerechte Idee gehabt zu haben, 1302 01:26:41,760 --> 01:26:45,667 sondern nat?rlich veranlasst worden zu sein, diese Idee zu entwerfen. 1303 01:26:45,912 --> 01:26:49,623 Man kann nicht oft enug wiederholen, 1304 01:26:49,843 --> 01:26:53,628 dass die Theorie eher das Urteil des Praktikers sch?rfen 1305 01:26:53,791 --> 01:26:57,575 und ihn ausbilden soll, als dass sie f?r jeden einzelnen seiner Schritte 1306 01:26:57,886 --> 01:27:01,915 auf dem Weg zum Ziel unerl?ssliches Orientierungsmittel w?re. 1307 01:27:02,177 --> 01:27:06,820 Clausewitz, Der Feldzug von 1814 Hyperlinks http://theoriepraxislokal.org http://www.si-revue.de/situationistische-internationale ------------------------------------------------------------------------ 4. (Ein zu entwickelndes) Oekonomisch politisches FQA* zur Piratenpartei 1.0 __________ * Frequently Questioned Answers http://www.n0name.de/news/piratenpartei-fqa1.0.txt VORSICHT! Tippfehler Der Piratenpartei Sachsen war der Text "sehr lang und verdreht", ca. 15 DIN A4-Seiten, darum hier nur als Verknuepfung und nicht der Volltext. Dass solche 'langen' Texte in Mailinglisten auch aufgrund von Datenmengenbeschraenkungen nicht mehr gerne gesehen/gelesen werden geht einher mit der neuerlichen Verschiebung der schriftlichen Diskussionsplattformen am Netz hin zu Blogs und Wikis. Die Pressestelle der (Bundes-)Piratenpartei mochte damit auch nichs anfangen und verludt, wie die Sachsen, aufs hauseigene Wiki. Warum also noch an der 1995 vielleicht noch modernen Form des Rundbriefs festhalten? Aus Gruenden der Distribution? Denn Mails erscheinen im "sozialen Netz" bereits individualistisch persoenlich und Elektropostlisten verkommen zu Speichern von Ankuendigungen. Dass Diskussion aber nicht zwingend 'im' Netz stattfinden muss und Blogs nicht unbedingt die Konkurrenz zur etablierten Presse bilden, zeigen Twitter und Facebook als Peergroupkanalisierung. Die Nachricht "A New York-based anarchist has been arrested by the FBI and charged with hindering prosecution after he allegedly used the social networking site Twitter to help protesters at the G20 summit in Pittsburgh evade the police." (E-Mail von Felix Stalder vom 4. Oktober 2009) bedeutet noch lange keine "Twitter Revolution" wie in Stalders E-Post steht oder eben hoechstens eine Revolution fuer die subkulturelle Marke Twitter. Auch in Wien zu den Anti-Haiderprotesten um 1999 herum galt SMS als die soziale Nachrichtentechnik von unten und die Mobiltelefone wurden einfach auf der Strasse von der Polizei konfisziert. Moeglicherweise kommt es auf den Mix der Infotechniken an, Radio war 2001 mitten in den Strassen(ab)schlachten in Genua offenbar das einzige Medium, um einen gewissen Ueberblick zu bewahren. Wenn es denn mal soweit ist. Aber beim G20 oder G8 oder G2 ist es nie soweit. Und die Claims, die die Wikis und die Kurznachrichtenhackepeters der Parteien und NGOs und Grueppchen dieser Netzwelt bedeuten, muessen nicht taeglich beschickt werden. Aus Zeitoekonomie heraus nicht und aus Adressen- und Adressierungsverweigerung heraus nicht. Die alles beantwortenden FAQs auf genau diesen Seiten sind so skeptisch zu betrachten wie Wikipedia informativ, aber auch Kopie buergerlichen Objektivitaetsgebarens ist. Zur Zeit wird Twitter zum Beispiel mit Kleinanzeigenscheiss gleichgeschaltet, MySpace IST lange schon der Markt zur Selbstvermarktung und alle die 2.0-Techniken bieten dennoch, wie die neuste Backstube, alles zur Entwicklung fort davon. ======================================================================== 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 #143 b ------------------- -- Jetzt kostenlos herunterladen: Internet Explorer 8 und Mozilla Firefox 3.5 - sicherer, schneller und einfacher! http://portal.gmx.net/de/go/atbrowser From ab at mikro.in-berlin.de Tue Oct 6 00:01:31 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Tue Oct 6 00:12:30 2009 Subject: [spectre] (fwd) ArtSchool Palestine presents The Other Shadow of the City Message-ID: The Other Shadow of the City International Visual Art Exhibition 7-31 October 2009, Jerusalem http://www.artschoolpalestine.com ArtSchool Palestine presents The Other Shadow of the City OPENING: 7 October 2009, 18:00 at al Hoash Gallery, followed by a tour of exhibition venues: French Cultural Centre, Palestinian National Theatre/Hakawati and the Young Women's Christian Association - YWCA AFTER PARTY: live experimental music by Dirar Kalash, 21:00 at the at Jerusalem Hotel CURATED BY: Samar Martha The Other Shadow of the City is an international visual arts exhibition programme that draws inspiration from the city of Jerusalem and its changing urban structure. The exhibition takes the viewer to places outside the spiritual and holy Old City to urban locations that, despite their importance in shaping the contemporary urban city, have been rarely referenced or addressed in literature and art. The exhibition unravels Jerusalem as an urban structure with all its physical, social, economic and political complexity, demonstrating how urban space is divided, conquered, abandoned and occupied again. The Other Shadow of the City is a result of long term and comprehensive progarmme of partnerships between ArtSchool Palestine and the Palestinian Art Court - al Hoash. It features 26 artworks of international, Arab and Palestinian contemporary artists working in painting, sculpture, video, film, installation, text and photography. The artists set the stage for discussion on a number of themes, such as mobility, visions of utopia/dystopia, surveillance, history and memory, gated communities and natural environments. The exhibition is also a culmination of ArtSchool Palestine's 08/09 residency program organized in cooperation with al Hoash Gallery where 15 artists from the UK, Germany, Denmark, France, Morocco, Algeria and Jordan were invited to pursue new projects or research in locations throughout Palestine. For The Other Shadow of the City nine artists were invited, these are: Anna Boggon, Michael Baers, Sarah Beddington, Zoulikha Bouabdellah, Maj Hasager, Samah Hijawi, Bouchra Khalili Jakob Jakobsen and Oraib Toukan. In addition, the exhibition provided an opportunity for Arab and Palestinian artists, who don't have access to the city of Jerusalem, to respond to their desires and dreams - testifying that ideas about cities are not only formed at a conscious level, but are also the product of unconscious desires. The city as a space becomes both the material and lived space as well as a site of fantasy and imagination. The exhibition will be accompanied by a series of events, including artists' talks and workshops. PARTICIPATING ARTISTS: Mohammad al Hawajri - Palestine, Jawad Al Malhi - Palestine, Buthayna Ali - Syria, Rafat Assad - Palestine, Michael Baers - USA, Sarah Beddington - UK, Rana Bishara - Palestine, Anna Boggon - UK, Zoulikha Bouabdellah - Algeria/France, Raouf Haj Yihya - Palestine, Rula Halawani - Palestine, Alexandra Handal - Palestine, Shuruq Harb - Palestine, Maj Hasager - Denmark, Samah Hijawi - Jordan, Jakob Jakobsen - Denmark, Bouchra Khalili - Morocco/France, Yazan Khalili - Palestine, Sliman Mansour - Palestine, Kevork Mourad - Syria, Riyadh Neama - Iraq, Larissa Sansour - Palestine, Nawras Shalhoub - Palestine, Oraib Toukan - Jordan, Munir Waked - Palestine, Mohanad Yaqubi - Palestine The exhibition will take place in a number of VENUES across Jerusalem, these are: Palestinian Art Court - al Hoash Zaituna Building, 7 Zahra Street -Jerusalem French Cultural Center 21, Salah Eddin Street - Jerusalem Palestinian National Theater -Al Hakawati Nuzha Building, Abu Obaida Street - Jerusalem Young Women's Christian Association Ibn Jubayr Street, Sheikh Jarrah - Jerusalem Jerusalem Hotel Nablus Road Exhibition will also be on tour to: 9 Nov 2009 opening at Al Mahatta Gallery - Ramallah 22 December 2009 opening at Rafia Gallery - Damascus London and Paris 2010 dates to be confirmed For further information and press images please contact us at: info@artschoolpalestine.com or visit http://www.artschoolpalestine.com ORGANISED BY: ArtSchool Palestine and Palestinian Art Court - al Hoash IN PARTNERSHIP WITH British Council, French Cultural Center, International Academy of Arts - Palestine, Jerusalem Hotel, Palestinian National Theatre/Hakawati, Rafia Gallery - Damascus and The Young Women's Christian Association - YWCA SPONSORED BY: Palestinian Investment Fund SUPPORTED BY: A.M. Qattan Foundation, Consulate General of Belgium, Ford Foundation, Consulate General of Spain-Spanish Cooperation Office, Dr. Nabil Qaddumi, Swiss Agency for Development and Cooperation (SDC), the Representative Office of Denmark, and Zina Jardaneh. From nc-agricowi at netcologne.de Tue Oct 6 09:06:06 2009 From: nc-agricowi at netcologne.de (CologneOFF) Date: Tue Oct 6 09:06:44 2009 Subject: [spectre] Videoart Festival Maracaibo Message-ID: <20091006090606.5E5F7550.42E30E95@192.168.0.3> CologneOFF - Cologne Online Film Festival is happy to announce 1st Videoart Festival in Maracaibo/Venezuela In cooperation with the local organisation CARPE DIEM, CologneOFF realises the Videoart Festival at three locations 7 October 2009 - Centro de Arte de Maracaibo "L?a Berm?dez" 8 October 2009 - Theatro Baralt 5-15 November 2009 - MACZUL - Museum of Contemporary Art Maracaibo in the framework of 8th Salon de Arte Digital. All three locations where the screenings and installations are held are outstanding in their architecture --> The "Centro de Arte de Maracaibo "L?a Berm?dez"" originates from the early 20th century and represented once the prominent building of Maracaibo's market hall, while the Teatro Baralt an outstanding example of Art Deco architectur and the Museum MACZUL one of the famous new museum building complexes in South America are representing. The festival program includes a selection of the international CologneOFF festival programs I-IV, VideoChannel features and a selection of videoart from Venezuela The Videoart Festival Maracaibo is the result of a long collaboration between the CologneOFF director Wilfried Agricola de Cologne and the Carpe Diem director Fernando Asian. ------------------------------------------------------------ CologneOFF - Cologne Online Film Festival - http://coff.newmediafest.org represents a new type of film and video festival taking place simultaneously online and in physical space in cooperation with partner festivals Carpe Diem - http://www.salondeartedigital.com - is an organisation, responsible for the organisation of Salon de Arte Digital at Museum MACZUL Maracaibo info(at) nmartproject.net ------------------------------------------------------------- From alexei at easylife.org Wed Oct 7 11:17:06 2009 From: alexei at easylife.org (Alexei Shulgin) Date: Wed Oct 7 11:17:48 2009 Subject: [spectre] Electroboutique opens concept store Message-ID: <1254907026.c84b91f0541af@mail.valuehost.ru> The 200 sq. meters concept store named "Art that Cares" will be opened on October 16 in Trondheim, Norway at Fjordgata 11. Electroboutique's first concept store in the Nordic countries will offer unique art works developed by our highly competent contemporary artists, designers and engineers during the last 5 years. The store, designed in eye-catching eco-friendly style will emphasize the visual and functional qualities of Electroboutique's amazing art products. Electroboutique is an innovative art-production company. We make cutting-edge art works that merge together style, interactivity and critical approach. Exclusive but affordable, they manifest the new era of responsible art-making and open new horizons for creative consumption. At Electroboutique, we believe that people and the environment are just as important as the art we make. Electroboutique manufactures sustainable art products that are not only energy-efficient, but also help reduce carbon footprint on the environment. Electroboutique contributes tirelessly to social and charitable activities in order to create a more beautiful world. We are also committed to monitoring and progressively improving the conditions of people who work for us. Electroboutique delivers art that cares. Cares about nature. Cares about people. Cares about you. The store is funded and produced by TEKS - Trondheim Electronic Arts Centre in collaboration with Electroboutique as part of Trondheim Matchmaking 2009. http://electroboutique.com http://tesk.no http://teks.no/2009/tmm.html From fritz.d at chello.nl Wed Oct 7 13:01:50 2009 From: fritz.d at chello.nl (Darko Fritz) Date: Wed Oct 7 13:02:20 2009 Subject: [spectre] exhibition ::: Reconstructions: private = public = private = public = Message-ID: Reconstructions: private = public = private = public = (Selection of Works by Croatian Contemporary Artists) 11 - 18 . 10 . 2009 . REX . Belgrade openinig: Saturday 10 . 10. 2009 . 19 h Curator: Darko Fritz Artists: Helena Bulaja . Boris Cvjetanovic . Ivan Faktor . Sanja Ivekovic . Zeljko Jerman . Andreja Kuluncic . Dalibor Martinis . Edita Pecotic . Goran Trbuljak . Slaven Tolj English web site: www.rex.b92.net/private_public Serbian web site: www.rex.b92.net/privatno_javno The exhibition 'Reconstructions: private = public = private = public =' examines the feminist perception from the 1970s: 'the private is the public' i.e. 'the private is the political' using various positions selected from Croatian contemporary art since the seventies, and outside the feminist discourse. The continuity of four decades of creative work of certain artists, as well as the interaction between the new works of art and the artistic expression of the 70s, are the focal points of this exhibition. Jerman's art diary works 'My Year' ('Moja godina') (1977) and 'My Month' ('Moj Mjesec') (1982), as well as the video artwork 'Make Up ? Make Down' (1978) by Sanja Ivekovic and Goran Trbuljak's posters, are representative examples of the artistic perception of the relationship between the private and the public, expressed in a form of artists' first-person point of view through various media typical of the 1970s 'new art practices' (performance art, text, photography, video art). Apart from these works which use the artist's own body and/or personal experience, the exhibition also presents more recent works created in the era characterized by complex relations established after the phenomenon of reality TV in the 1990s, the erosion of privacy due to security measures introduced post September 11, and the ubiquity of personal audiovisual technologies and their application in online social networks in recent years. Communication of (non-artistic and mostly trivial) personal and private content in public places became commonplace, from passive listening to other people's conversations over mobile phones in public places to active communication with a large number of people, like for example within the social network web site FaceBook, where apart from communication with so-called 'friends' (with an illusion of being able to freely select people to communicate with) users legally allow the corporation to use their personal information. Critical positioning of the personal, on one side, and reconstruction and recontextualization of historical events and facts, on the other side, are the tools used by artists to shape new examinations of the personal and the private. Several of the presented works use the documentary film form and documentary or archival material. ... The exhibition critically examines the use of communication media as well as the 'old' and 'new' technologies within the artistic discourse, ranging from the 'first-person point of view' to the critical analysis of the relationship between the personal and public space. The starting media forms of the works of art vary from artists' own bodies (performance of Slaven Tolj, acting of Sanja Ivekovic, Jerman's self-portraits) to intimate diary reports and notes (Zeljko Jerman, Boris Cvjetanovic) to personal comments and statements (Sanja Ivekovic, Goran Trbuljak). Various forms of public space were used, both physical and virtual; galleries, urban locations owned by corporations or urban public areas (Trbuljak's posters, performance by Slaven Tolj), as well as virtual space like television (Martinis), the Internet (Bulaja) or the system of city surveillance cameras (Slaven Tolj). The personal and the public always communicate in both directions and sometimes (increasingly so) cannot be separated by a clear boundary or any boundary at all. Relationships between the personal and the private are dynamically activated in any given time, influenced by the ever-changing political context and the fluid technological apparatus used in the role of a mediator, and reinterpreted in various poetic and objective views in the works of art that have been critically examined. Darko Fritz Carried out with the support of the Ministry of Culture of the Republic of Serbia, City of Belgrade - Secretariat for Culture, Stability Pact for South Eastern Europe/Goethe Institute Belgrade . Media support: RDP B92, Vreme, Danas, See Cult ----------------------------------- REX . Jevrejska 16 . Belgrade . Serbia tel/fax: + 381.11.3284 534, + 381.11.3284 299 . www.rex.b92.net . rex@b92.net open daily 12 -18 h From seamascain at gmail.com Wed Oct 7 18:54:12 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Wed Oct 7 18:55:17 2009 Subject: [spectre] Dadadadadadadadadadada Message-ID: <6f1e9ee40910070954n664e1947o9ec48a46c55cec77@mail.gmail.com> _______________ REDFOXPRESS at Dugort, on Achill Island, County Mayo, in the west of Ireland, publishes a collection of small artists' books dedicated to experimental, concrete & visual poetry or any work combining text & visual arts in the spirit of dada or fluxus. Examples include ... 1.) "ACHILL : THE ISLAND," poems by the Achill writer John F. Deane, with visual-art by artists from or residing on the Isle of Achill, including Antic-Ham, Rene Boell, Ronan Halpin, Mary Lavelle-Burke, Amanda MacMahon, John McHugh, Margo McNulty, Margaret Morrisson, Inge Schulz, Willem van Goor, & Francis van Maele. Size 15 x 21 cm., Rives BFK vellum 210 gr., 40 pages, in plexiglas slipcase, Inkjet & laser printed, 150 copies numbered & signed by the author. 2.) "Cadavre Burlesque," by Fritz Sauter, 40 pages, A6 format (10.5x15 cm. / 4 x 6"), 40 pages, hardcover, thread & quarter cloth binding, laser printing on ivory paper. Fritz Sauter is a writer of poetry & plays & radio plays; he is an artist in the post-post-dada tradition. Books can be ordered by e-mail from info@redfoxpress.com or via Paypal to phi@phi.lu REDFOXPRESS, Dugort, Achill Island County Mayo, Ireland Recent publications ... http://www.redfoxpress.com/new.html Visual Poetry collection ... http://www.redfoxpress.com/dada.html Dadadadadadadadadadada, S?amas Cain http://www.saorsainn.net http://alazanto.org/seamascain _______________ From info at franck-ancel.com Thu Oct 8 11:27:15 2009 From: info at franck-ancel.com (franck-ancel.com) Date: Thu Oct 8 11:27:55 2009 Subject: [spectre] coming soon Message-ID: <4ACDB073.3030904@franck-ancel.com> J/D-3 What is the State of Art Media in France? PS: http://franck-ancel.com/doc/Planetrock.m4a From info at franck-ancel.com Fri Oct 9 09:29:18 2009 From: info at franck-ancel.com (franck-ancel.com) Date: Fri Oct 9 09:29:52 2009 Subject: [spectre] Coming soon 2 Message-ID: <4ACEE64E.4090301@franck-ancel.com> J/D-2 What is the State of Art Media in France? http://www.youtube.com/watch?v=ylZtLnEt-KA From marc.garrett at furtherfield.org Fri Oct 9 11:57:46 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri Oct 9 11:58:09 2009 Subject: [spectre] Marching Rocks, Gloves & Code In-Reply-To: <7D16F242-67D2-472E-972A-612984CC1F15@xs4all.nl> References: <7D16F242-67D2-472E-972A-612984CC1F15@xs4all.nl> Message-ID: <4ACF091A.5040705@furtherfield.org> Marching Rocks, Gloves & Code Experimental electronica: new, old and somewhere in-between. Saturday 24th October 7pm - Later. FREE at SPACE, 129 - 131 Mare Street, London E8 3RH SPACE and Culture Lab (Newcastle) come together to bring you an evening of experimental electronica, featuring performances from: Jamie Allen, Jo Kazuhiro, PixelH8, Massive Black Mountain (Will Schrimshaw & Nick J Williams), Adam Parkinson(Rare and Glorius) and Dave Griffiths(Slub). DJ Reroot (Marc Garrett) from www.furtherfield.org provides punk, new wave, no wave, post punk and early electronica from 1976 - 1984 and Dean Baldwin's "Minibar" the smallest bar in London will open its doors for one of the last times. Tell your enemies, friends and family- this is going to be good. More info at http://www.spacestudios.org.uk/All_Content_Items/Media_Arts/MarchingRocksGloves&Code/ From info at franck-ancel.com Sat Oct 10 09:04:53 2009 From: info at franck-ancel.com (franck-ancel.com) Date: Sat Oct 10 09:05:32 2009 Subject: [spectre] Coming soon 3 Message-ID: <4AD03215.1030907@franck-ancel.com> J/D-1 What is the State of Art Media in France? http://www.youtube.com/watch?v=RD84jai1lok From frontierlab at gmail.com Sat Oct 10 20:17:00 2009 From: frontierlab at gmail.com (Kyd C.) Date: Sat Oct 10 20:36:10 2009 Subject: [spectre] TINY NOISE CAMP :: WEEKEND in Cologne and Moers [Oct. 15 -18th] Message-ID: <2b0da4510910101117j257818e5t4eee0b218e3584b4@mail.gmail.com> http://tinynoise.tk [[Thank you for helping us circulate this information.]] TINY NOISE WEEKEND in Cologne and Moers ON New Music in Cologne, ZAM + nimm! in Moers as well as the international sound art platform TINY NOISE present a mini-festival called TINY NOISE CAMP. This is a collaboration between independent curators Kyd Campbell[tiny noise], Thomas Glaesser[ZAM, Koln], Therese Schuleit[Koln], annie Buenker[Koln] and Boris Graue[Bollwerk107, Moers] Thursday 15 October, 20:00 TINY NOISE [performances] @ KunstWerk, Deutz-M?lheim Stra?e 127 - 129, Cologne Saturday 17 October, from 14:00 and until 12:00, Sunday 18 October TINY NOISE CAMP [open workshops + performances] @ Bollwerk 107, Moers entrance: 5e gets you a pass for one or both events. TINY NOISE and our friends are happy to present a whole weekend full of workshops and concerts, geared at sharing and enjoying excellent art practices in the field of experimental audio art and noise music! We do this because noise makes us feel so much better! Since 2005 TINY NOISE has been bringing together audio artists from all over the world in specific local contexts where there is a desire to strengthen the local sound and noise art scenes. For over a year we have been researching and preparing with our friends in Cologne and Moers to design a special event that the local community can enjoy and grow from. So please join us and bring your friends during this weekend of event. Think of it as a kind of festive 'noise science fair' and camp-out. In Cologne, visitors can relax and enjoy the show and in Moers visitors will become participants, having the opportunity to join the artists in creating new instruments, watch and take part in performances, hang out all night in the work space and join us the next morning for a brunch discussion. DETAILS [ full program and artists info : http://tinynoise.tk ] - - - - - - Thursday, Oct. 15th, 20h [ @ KunstWerk, Deutz-M?lheim Stra?e 127 - 129, Cologne ] tiny noise weekend begins with a concert evening in Cologne, including a wide range of current practices in noise and sound art. During this evening, you can expect, among other noisy things, breaking glass and maybe some blood (Justice Yeldham), spinning tone wheels (Derek Holzer), new sound from reconstructed records (EOSIN), sharp blacks and whites (RYBn) and pretty much everything you ever wanted to hack at school but weren't allowed to (RaumZeitPiraten). - Lucas Abela, a.k.a. Justice Yeldham (australia) - Diana Combo a.k.a. EOSIN (portugal) - Derek Holzer/TONEWHEELS(usa/germany) - FrlLinientreu (germany) - RYBn (france) - RaumZeitPiraten (germany) - Tina Tonagel (germany) (+ secret HappyBirthDeath djs....why?... shhhh!) Saturday, Oct. 17th 14:00 [ @ Bollwerk 107, Moers (right beside the Moers train station) ] 22 hour NOISE CAMP (Saturday 14:00 -> Sunday noon) The Netzwerk Improvisierte Musik Moers, the artists and all of the collaborating organizers invite musicians, music lovers, nerds, noise makers and everyone curious to this TINY NOISE CAMP gathering. During this Noise Camp, each artist will have a workshop setup and visitors are welcome to join in and learn new techniques. In the large open space of the Bollwerk, a giant collective laboratory will take place, lasting all night long, with intermittent performances, complete with comfortable places to relax and a brunch discussion the next morning. Visitors can try out experimental hardware and software tactics, meet the artists, help to build noise machines and installations and should also find some space to share their own knowledge with other interested people. Circuit Bending, Pure-Data, free Software Based systems, homemade instruments, analog and concrete music techniques and exciting visual tactics will clash with Post-Industrial Electronics brought forward by artists from the Australia, Portugal, France, USA, and the German Rhine / Ruhr area. - Lucas Abela, a.k.a. Justice Yeldham (australia) - Diana Combo a.k.a. EOSIN (portugal) - Derek Holzer/TONEWHEELS(usa/germany) - FrlLinientreu (germany) - RYBn (france) - Saal5 (germany) - RaumZeitPiraten (germany) - Tina Tonagel (germany) - Robert Kondorosi (germany) As it is our ultimate goal to gather people together, because we truly feel that noise makes us feel better, TINY NOISE is also very happy and proud because this is the first collaboration between so many different experimental sound related groups in the Rhine / Ruhr region, including ZAM Zentrum f?r Aktuelle Musik (K?ln), Elektronentoto(K?ln), Bollwerk107(Moers), Kooperation der Netzwerke ON Neue Musik(K?ln) and nimm! Netzwerk Improvisierte Musik Moers. Thanks to all the kind supporters from this region, we are now able to bring together some artists we work with often and some new artists from the region that we have just met. We're looking forward to meeting you there also! TINY NOISE has some new ways for you to keep up with us: Facebook group: http://www.facebook.com/group.php?gid=130513934137 Myspace: http://www.myspace.com/tinynoise Our regular website: http://www.tinynoise.tk Email: tinynoise@gmail.com Full program and artists details at: www.tinynoise.tk From info at franck-ancel.com Sun Oct 11 11:13:21 2009 From: info at franck-ancel.com (franck-ancel.com) Date: Sun Oct 11 11:13:45 2009 Subject: [spectre] 0 + 0 = 0 Press Release / =?iso-8859-1?q?Communiqu=E9_de_presse?= Message-ID: <4AD1A1B1.6000602@franck-ancel.com> Press release 0 + 0 = 0 Now that the celebration 'Fifty Years of the French Culture Ministry' will be the subject of a colloquium at the 'Op?ra Comique' (the building designed for comic operas in the 19th century) in Paris, from October 13th to the 15th, one month after the open letter to the Minister of French Culture, Monsieur Fr?d?ric Mitterrand (1), I have decided to place myself in ? volontary exile ? in my capacity as creator and theoretician of media arts. From this moment on, I refuse all mediocrity, like that which has led to the impasse of French policies in the field of technolgical arts in the last ten years, due to a few persons trained in handing out favors and copy/paste rather than artistic research and development. In a month's time my Internet website and professional e-mail addresses will be deleted, but you will still be able to find me on Facebook and correspond with me via my new personal e-mail address. In 2006 I had already sent out an appeal 'for an electronic wager' (2) before going to defend another kind of vision of the 2010 World's Fair in Shanghai when I was at an international symposium in Silicon Valley. Twenty years earlier, in 1986, in the continuation of the Festival of Electronic Arts in Rennes, I was already dreaming of the emergence of an electronic Bauhaus or an electronic Black Mountain College (3) whose emergence I have strived to work on. Twenty years after the fall of the Berlin Wall, the Hadopi Law is being passed. Yet we can still find here in France the means and perspectives to create this digital Bauhaus/Black Mountain movement thanks to informatic mutations. For this reason I have created ? 90X90X90 ? : an object in the 3D prototype inspired by Oskar Schlemmer and Josef Hartwig for the 90th Anniversary of the Bauhaus: 90 objects at 90 euros for 90 collectors. This will soon be available on the internet. This is also the reason that I will publish ? 0000 ? : my notes on the unpublished BOOK by the poet Mallarm?. This is the basis of a work-in-progress, a ? publication-installation-performance ? with the collaboration of 64 French artists. If this sort of project receives no real and concrete backing other than the political rhetoric of the Ministry of Culture (and this is the case for too many artists and creators), it is not very surprising that in the closed-up cultural showcase at the next World's Fair, there will be nothing other than an empty message without media arts. In the meantime, I would like to invite you to visit the upcoming exhibition, Encuentros de Pamplona 72. Fin de fiesta del arte experimental at the Reina Sofia Museum, Spain, where a work of mine will be projected. Franck Ancel, in exile, October 11th, 2009. Contact : info@franck-ancel.com +33 676 470 610 (1) http://www.franck-ancel.com/doc/1.pdf (2) http://www.franck-ancel.com/doc/2.pdf (3) See Xanti Schawinski, Von BAUHAUS Happening zum Spectodrame, in Kunstwerk, 1996. Franck Ancel is Zerographer. Craftsman of his life for nearly forty years, of which half has been spent on projects that can be definied in 20 connections: 1989-2009 / invisible-visible / architecture-environment / Kiesler-Polieri / neo-avant-garde / space-time / technology-science / language-form / network-data / history-memory / freedoom-love / screen-stage / sounds-colours / lighthouse-satellite / desert-island / community-being / body-mouvement / past-future / skin-soul / spirituality-poetic. Communiqu? de presse 0 + 0 = 0 Alors que les 50 ans du Minist?re de la Culture en France vont faire l'objet d'un colloque ? l'op?ra comique de Paris, du 13 au 15 octobre 2009, un mois apr?s, une lettre ouverte au Ministre de la Culture fran?aise, ? Monsieur Fr?d?ric Mitterrand (1), je d?cide de me positionner dans un ? exil volontaire ? en tant que cr?ateur et th?oricien des arts m?diatiques. Je refuse d?sormais toute m?diocrit?, comme celle qui alimente l'impasse d'une politique fran?aise dans le champ des arts technologiques, depuis une dizaine d'ann?es, ? cause de quelques personnes form?es au passe-droit et au copier/coller plus qu'? la recherche et au d?veloppement artistique. D'ici un mois mon site Internet et mes adresses emails professionnels seront supprim?s mais vous pourrez me retrouver sur Facebook ou correspondre avec moi via un nouvel email priv?. En 2006, je lan?ais d?j? un appel ? pour un pari(s) ?lectronique ? (2) avant d'aller d?fendre une autre vision pour l'Exposition Universelle de Shanghai 2010 lors d'une manifestation internationale dans la Silicon Valley. Vingt ans avant, en 1986, dans le prolongement de la cr?ation du Festival des arts ?lectroniques de Rennes, je r?vais d?j? puis tentais de travailler ? l'?mergence d'un Bauhaus et/ou un Black Mountain College (3) ?lectronique. Vingt ans apr?s la chute du mur de Berlin, ? l'heure de la loi Hadopi, il y aurait pourtant ici en France les moyens et des perspectives pour cr?er un Bauhaus ou/et un Black Mountain College num?rique, gr?ce aux mutations informatiques. C'est pour cela que je vais cr?er ? 90X90X90 ? : un objet en prototypage 3D inspir? par Oskar Schlemmer et Josef Hartwig pour les 90 ans du Bauhaus, 90 objets ? 90 euros pour 90 collectionneurs, gr?ce au r?seau Internet. C'est pour cela que je vais ?diter ? 0000 ? : mes notes sur des in?dits du LIVRE de Mallarm? qui auraient pu constituer la base d'une ? ?dition-installation-performance ?, gr?ce ? la participation de 64 artistes fran?ais. Si des projets de ce type ne trouvent aucun soutien r?el et concret autre que la langue de bois au Minist?re de la Culture, comme c'est le cas pour beaucoup trop de cr?ateurs, il ne serait pas tr?s ?tonnant que la vitrine culturelle fran?aise lors de l'Exposition Universelle ne soit pas autre chose qu'un message vide sans arts m?diatiques, pour toute culture hexagonale. En attendant, je vous invite ? visiter la prochaine exposition Encuentros de Pamplona 72. Fin de fiesta del arte experimental du mus?e Reina Sofia, dans laquelle j'aurai une oeuvre vid?o projet?e. Franck Ancel, en exil, le 11 octobre 2009. Contact : info@franck-ancel.com +33 676 470 610 (1) http://www.franck-ancel.com/doc/1.pdf (2) http://www.franck-ancel.com/doc/2.pdf (3) Voir Xanti Schawinski, Von BAUHAUS Happening zum Spectodrame, in Kunstwerk, 1996. Franck Ancel is Zerographer. Craftsman of his life for nearly forty years, of which half has been spent on projects that can be definied in 20 connections: 1989-2009 / invisible-visible / architecture-environment / Kiesler-Polieri / neo-avant-garde / space-time / technology-science / language-form / network-data / history-memory / freedoom-love / screen-stage / sounds-colours / lighthouse-satellite / desert-island / community-being / body-mouvement / past-future / skin-soul / spirituality-poetic. From hatam at drfz.de Sun Oct 11 13:17:50 2009 From: hatam at drfz.de (hatam@drfz.de) Date: Sun Oct 11 13:18:26 2009 Subject: [spectre] Alberto de Campo SuperCollider Mtg Mon 12 Oct 09 Berlin Message-ID: <380-220091001111175099@M2W020.mail2web.com> Hi, This coming Monday the 12th of Oct at 8pm, Alberto de Campo will be presenting some of his SuperCollider work at NK. http://www.musikundmedien.net/index.php?id=325 "some topics covered; personal take on performance setups. patches, tasks, patterns, interfaces, and hooking them all up in jitlib style." www.myspace.com/enka52 ElsenStr.52 2HH 2Etage 12059 Berlin Doors will be open between 8-8:15, otherwise ring my phone to get in. 017620626386 or 03030133320. Best, Farah -------------------------------------------------------------------- mail2web.com ? What can On Demand Business Solutions do for you? http://link.mail2web.com/Business/SharePoint From bbrace at eskimo.com Sun Oct 11 14:59:55 2009 From: bbrace at eskimo.com ({ brad brace }) Date: Sun Oct 11 15:00:30 2009 Subject: [spectre] NP/bbs In-Reply-To: <2b0da4510910101117j257818e5t4eee0b218e3584b4@mail.gmail.com> References: <2b0da4510910101117j257818e5t4eee0b218e3584b4@mail.gmail.com> Message-ID: NOW PLAYING: latest release: LBOSPI recordings field-compilations from Lake Brule, Oil Springs and Peele Island ___ ___ ___ over 13 hours of fresh mp3 rips of long reticent monoaural, radio-drifts?, soup kitchens, police sirens, and forgotten film-soundtracks --- bbs: brad brace sound --- --- http://69.64.229.114:8000 --- --- http://bbrace.net/undisclosed.html --- ? strangely compelling recordings from car radio while travelling under high-frequency transmission lines in central california --- bbs: brad brace sound --- --- http://69.64.229.114:8000 --- --- http://bbrace.net/undisclosed.html --- [ eventually these will also be uploaded to internet archive, scrib and lulu ] enjoy! /:b From nc-agricowi at netcologne.de Mon Oct 12 07:59:03 2009 From: nc-agricowi at netcologne.de (VCH) Date: Mon Oct 12 07:59:40 2009 Subject: [spectre] Call for entries: Found Footage! Message-ID: <20091012075903.FDDBC90D.1662546@192.168.0.3> Call for entries extended deadline 15 November 2009 Found Footage! Christmas 2009 feature on VideoChannel According to [Wikipedia] --> "Found footage is a filmmaking term which describes a method of compiling films partly or entirely of footage which has not been created by the filmmaker, and changing its meaning by placing it in a new context. The term refers to the "found object" (objet trouv?) of art history." VideoChannel is looking for some excellent films and videos using "found footage" as a relevant component of the film/video making which are planned to form also the basis for FFF (Found Footage Film) collection. For the online feature in December and later physical screenings, however, is most relevant, that no authors rights are violated by the creator using "found footage". Please find the details and entry form on http://www.nmartproject.net/netex/?p=1569 ------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for art and new media operating from Cologne/Germany info(at)nmartproject.net ------------------------------------------------- From sebastian at thisserver.de Mon Oct 12 16:48:01 2009 From: sebastian at thisserver.de (=?ISO-8859-15?Q?Sebastian_D=F6ring?=) Date: Mon Oct 12 16:45:55 2009 Subject: [spectre] Phantasie =?iso-8859-15?q?f=FCr_die_Flammenr=F6hre=2E_Akustische_?= =?iso-8859-15?q?Beobachtungen?= Message-ID: <4AD341A1.1080201@thisserver.de> Liebe Freunde des Medientheaters, liebe Technikpilger, liebe Kosmos-Chaoten, back on stage. We proudly announce ~~~ *Phantasie f?r die Flammenr?hre. Akustische Beobachtungen* Komposition f?r ein echt _hei?es_ Medium der Wellenvisualisierung ~~~ Im Rahmen des Workshops 'Operative Diagrammatik' des Instituts f?r Musikwissenschaft und Medienwissenschaft. http://www.operativediagrammatik.de/ Mittwoch, 14. Oktober 2009 Medientheater HU Berlin Sophienstra?e 22a, 2. Innenhof 10178 Berlin 18:00 Prof. Dr. Wolfgang Ernst: Begr??ung und Er?ffnung des Workshops 18:15 Key Note: Charles Alunni, Directeur du Laboratoire disciplinaire Pens?e des Sciences: ?The diagram as Image proof? 19:15 Sebastian D?ring, Felix Pfeifer: Phantasie f?r die Flammenr?hre. Akustische Beobachtungen Best, pff & 538. http://www.medientheater.org/ From m at 1010.co.uk Mon Oct 12 17:08:11 2009 From: m at 1010.co.uk (m) Date: Mon Oct 12 17:08:42 2009 Subject: [spectre] _____-micro_research workshops:27: October 16/17th: /mode +v noise with GOTO10 and performance Message-ID: A series of weekly working groups and workshops at _____-micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: October 16/17th 2PM/12PM: /mode +v noise with GOTO10 October 17th 8PM: GOTO10 at General Public Forthcoming matter: tv programming, micro-cuisine, data carving, plotting, handmade logic //<----------------------------------------------- ** October 16/17th 2PM/12PM: /mode +v noise with GOTO10 ?/mode +v noise? is a project of GOTO10, a collective of international artists and computer programmers. It is based on IRC, the oldest text-based Internet chat environment. This intervention will transform an IRC chat room/channel into a simple, collaborative, text-based online system for making music. Since IRC allows ?chat bots?- computer programs that pretend to be human conversation partners -, we will program such a bot to create a collective musical composition environment based on Internet chats. In this workshop, participants will explore two parts of the project: designing sound generators in Supercollider that they can control via a simple IRC bot written in Python. Workshop is taught by Aymeric Mansoux and Jan-Kees van Kampen from GOTO10. PREREQUISITES: This workshop is aimed to beginners, no previous knowledge is required but a basic understanding of computers and an unconditional love for command line and text based interfaces is mandatory! To bring: * bring your own Laptop (PC based, macbook/mactel, recent imac, etc. We can't provide support for PPC based Mac such as the old G3-4-5-...) * bring your own headphones Cost: ?20 per participant for both days (this includes food) Please email m@1010.co.uk to reserve a place (strictly limited to 8) ==== Day 1 ==== * 14:00 - 15:00: hands on demo of the "/mode +v noise" platform and experiment, using the Puredyne GNU/Linux live distro. * 15:00 - 17:00: Intro to Supercollider's project botsynth, how to change patterns and synths, explanation of different hardcoded synthdef (from super simple, to more complicated examples). * 17:00 - 17:30: break * 17:30 - 19:50: make your own synth + play it through chat using local default bot * 19:50 - 20:00: vote for the best synthdef and win a pack of stropwaffel ==== Day 2 ==== * 12:00 - 13:00: python crash course * 13:00 - 15:00: reviewing the IRC bot features including OSC, IRC and mode+v classes * 15:00 - 15:30: break * 15:30 - 17:50: pimp your bot by combining existing code or writting your own * 17:50 - 18:00: vote for the best bot and win a pack of stropwaffel The workshop will be followed by performances at General Public, Sch?nhauser Allee 167c: http://www.generalpublic.de/current/events/article/19/mode-v-noise-by-goto10.html Details to follow! === About Supercollider === SuperCollider is an environment and programming language originally released in 1996 by James McCartney for real time audio synthesis and algorithmic composition. Since then it has been evolving into a system used and further developed by both scientists and artists working with sound. It is an efficient and expressive dynamic programming language which makes it an interesting framework for acoustic research, algorithmic music and interactive programming. We will deal with practical sound-synthesis, jitlib (rapid prototyping), and get ourselves sounding ready for the irc-jam on the second day. === About Python === Python is a general-purpose high-level programming language. Its design philosophy emphasizes code readability. Python claims to "[combine] remarkable power with very clear syntax", and its standard library is large and comprehensive. === About Puredyne === Puredyne is an operating system developed to provide media artists with a complete set of tools for realtime audio and video processing. Puredyne is a live distribution, you don't need to install anything. Simply boot your computer using the live CD or USB and you're ready to start using software such as Pure Data, Supercollider, Icecast, Csound, Fluxus, Processing, Arduino and much much more. === About GOTO10 === GOTO10 aims to support and grow digital art projects and tools for artistic creation, located on the blurry line between software programming and art. GOTO10's members have backgrounds in visual arts, sound art, music technology, physical computing and programming. They have worked around the theme of FLOSS+Art since 2003, using performances, workshops, installations, print, and code repositories as their medium. * http://goto10.org * http://identi.ca/goto10 * irc://irc.goto10.org channel: #goto10 ---_______ 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), Kathrin Guenter (http://www.fotokatie.com), Alice Miceli (http://www.premiosergiomotta.org.br/blog/chernobyl2), 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/), Dave Griffiths (http://www.pawfal.org), Marc Boon (http://www.marcboon.com), Christian Faubel, Cordula K?rber, and Ralf Schreiber (http://ralfschreiber.com/), Roman H?feli and Olsen Wolf (http://www.netpd.org) _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk _____-micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html http://www.1010.co.uk/org/ http://pickledfeet.com From monica at laboralcentrodearte.org Tue Oct 13 11:36:43 2009 From: monica at laboralcentrodearte.org (Monica Bello) Date: Tue Oct 13 11:33:09 2009 Subject: [spectre] =?windows-1252?q?International_Symposium_Feedforward?= =?windows-1252?q?=3A_the_Angel_of_History-_LABoral_Centro_de_Arte_y_Creac?= =?windows-1252?q?i=F3n_Industrial?= Message-ID: <4AD44A2B.9030908@laboralcentrodearte.org> /In coincidence with the opening of the exhibition FEEDFORWARD: THE ANGEL OF HISTORY, LABoral Centro de Arte y Creaci?n Industrial (Gijon, Spain) is holding a two day International Symposium/ /Dates: Friday 23/^/rd/ / and Saturday 24/^/th / /October 2009/ /Cleaning up after the 20th century. What is progress now?/ /FEEDFORWARD ? The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces-- largely enabled by the ?progress? of digital information technologies -- inexorably feed us forward. / /The exhibition title references Paul Klee's painting ?Angelus Novus,? which Walter Benjamin famously interpreted as an ?angel of history? transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress)./ /The Symposium brings together theorists and artists, who will explore via panel discussions the five primary themes presented in the exhibition: the ?wreckage? of the 20th century created by wars and conflict; the countermeasures of surveillance and repression that the state as well as global capital set up in an to attempt to maintain control; the aesthetics and symbolic language of the media of our times; the forces of economic globalization such as outsourcing and migration; and the possibilities of reconstruction and agency./ /Speakers/: /Christiane Paul, Steve Dietz, //Sarah Cook, Margot Lovejoy, Tamiko Thiel, Chris Baker, Jose Carlos Mariategui, Stephanie Rothenberg, Angus Cameron, //Tiziana Terranova, Piotr //Szyhalski, Naeem Mohaiemen, Barbara Flux?, Esther Leslie, Hasan Elahi, Konrad Becker, Marco Peljhan, Nonny de la Pe?a & Peggy Weil, Knowbotic Research, Tom Levin, Jaron Rowan, Clara Piazuelo, Tere Bad?a, Emmanuel Rodr?guez, Graham Harwood, Eric Kluitenberg, Daniel G. And?jar, Fernando Garc?a-Dory, Carlos Motta, Ali Momeni./ /Registration fee/: 20 ? /For registration please contact simposio@laboralcentrodearte.org or call +34 985 185 577/ /Deadline for register: 19th October 2009/ /The //students of Innovation in Digital Art and Culture, course organized by LABoral in collaboration with Universitat Oberta de Catalunya (UOC) and Universidad de Oviedo (UNIOVI) might attend the symposium free of charge, obtaining 1 elective credit./ www.laboralcentrodearte.org --------------------------------------------------------------------------------------------------------------- En coincidencia con la inauguraci?n de la exposici?n FEEDFORWARD: EL ?NGEL DE LA HISTORIA, LABoral Centro de Arte y Creaci?n Industrial (Gijon, Espa?a) celebra un Simposio Internacional de dos d?as de duraci?n Fechas: viernes 23 y s?bado 24 de octubre de 2009 Limpieza total despu?s del siglo XX. ?Qu? se entiende ahora por progreso? FEEDFORWARD ? El ?ngel de la Historia se refiere al momento actual en la historia en el cual las ruinas del conflicto pol?tico y la desigualdad econ?mica se acumulan, mientras que las fuerzas globalizadas ? posibles, en gran parte, por el ?progreso? de las tecnolog?as de la informaci?n digital ? nos empujan de forma inexorable. El t?tulo de la exposici?n hace referencia a la pintura de Paul Klee, ?Angelus Novus?, que Walter Benjamin interpret? famosamente como un ??ngel de la historia?, inmovilizado por los restos del pasado que se apilan en frente de ?l a la vez que es impulsado hacia atr?s por una tormenta del para?so (progreso) hacia el futuro incierto. El simposio re?ne a te?ricos y artistas, quienes explorar?n mediante debates en paneles los cinco temas principales presentados en la exposici?n: el ?naufragio? del siglo XX creado por guerras y conflictos; las contramedidas de vigilancia y represi?n que implanta el estado as? como el capital global en un intento de mantener el control; el lenguaje est?tico y simb?lico de los medios de comunicaci?n de nuestro tiempo; las fuerzas de la globalizaci?n econ?mica como las compras en el extranjero y la migraci?n; y las posibilidades de reconstrucci?n y delegaci?n. Participantes: Christiane Paul, Steve Dietz, Sarah Cook, Margot Lovejoy, Tamiko Thiel, Chris Baker, Jose Carlos Mariategui, Stephanie Rothenberg, Angus Cameron, Tiziana Terranova, Piotr Szyhalski, Naeem Mohaiemen, Barbara Flux?, Esther Leslie, Hasan Elahi, Konrad Becker, Marco Peljhan, Nonny de la Pe?a & Peggy Weil, Knowbotic Research, Tom Levin, Jaron Rowan, Clara Piazuelo, Tere Bad?a, Emmanuel Rodr?guez, Graham Harwood, Eric Kluitenberg, Daniel G. And?jar, Fernando Garc?a-Dory, Carlos Motta, Ali Momeni Cuota de inscripci?n: 20 ? Para inscribirte escribe a simposio@laboralcentrodearte.org o llama al +34 985 185 577 Plazo de inscripci?n: 19 de octubre de 2009 Los alumnos y alumnas matriculadas en el curso de extensi?n universitaria Innovaci?n en Arte y Cultura Digital, que LABoral lleva a cabo dentro de un programa de colaboraci?n con la Universitat Oberta de Catalunya (UOC) y la Universidad de Oviedo (UNIOVI), podr?n asistir gratuitamente a este simposio. Esta participaci?n equivale a 1 cr?dito ECTS. www.laboralcentrodearte.org From seamascain at gmail.com Tue Oct 13 19:42:14 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue Oct 13 19:42:49 2009 Subject: [spectre] In neo-bhakti spontaneity Message-ID: <6f1e9ee40910131042n320004dfu19cffc2e1ed4676c@mail.gmail.com> _______________ SALMON POETRY (of Knockeven at the Cliffs of Moher in County Clare, Ireland) invites you to celebrate the publication of "Uttering Her Name" by the Irish poet Gabriel Rosenstock http://www.salmonpoetry.com/uttering.html The event will take place on Thursday the 15th of October at 6:30 p.m. in The Unitarian Church, 112 West St. Stephen?s Green, Dublin 2, Ireland. "Uttering Her Name" consists of spontaneous, ecstatic utterances in a neo-bhakti style, that is to say a modern slant on those poems of intense devotion which are still read and chanted in India today. David Butler, in Poetry Ireland Review, wrote: "With more than one hundred books to his name, Rosenstock has set himself up as something of a Gaelic shaman, as likely to invoke Buddha or Xolotl as any chthonic Celtic deity." P?draig de Paor, in Poetry International, wrote: "Rosenstock is so famously difficult to pin down, that one is slow to try to describe him at all. Indeed, this foxy elusiveness may be his defining feature." Gabriel Rosenstock has authored more than 160 books! "Uttering Her Name" is his d?but volume in English. To purchase the book, go to ... http://www.salmonpoetry.com/uttering.html For additional information, go to ... http://www.salmonpoetry.com/ Questions may be sent to ... info@salmonpoetry.com In neo-bhakti spontaneity, S?amas Cain http://seamascain.writernetwork.com _______________ From louise.desrenards at free.fr Thu Oct 15 02:40:34 2009 From: louise.desrenards at free.fr (Louise Desrenards) Date: Thu Oct 15 02:36:55 2009 Subject: [spectre] TETRAD POLYLOG / Criticalecret Collective Performance @ Salon de la revue Paris Message-ID: <4AD66F82.2040907@free.fr> Multilingual fast translator (free): http://www.worldlingo.com/en/products_services/worldlingo_translator.html ___________________________________________ _____________________ ________ http://www.criticalsecret.com \////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\\/ ------------------- L'Exergue -------- \////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\\/ Au coeur du r?alisme de la pens?e, le processus r?versif de l'invention scientifique... "L'origine des individus" / " The Origin of Individuals " Jean-Jacques Kupiec, biologiste philosophe ?pist?mologue des sciences (ENS Centre Cavaill?s, INSERN) Ed. Fayard, Le temps des sciences, nov. 2008 Word Scientific publishers mars 2009. :;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::: "Le hasard au coeur de la cellule Probabilit?s, d?terminisme g?n?tique" Collectif, sous la direction de Jean-Jacques Kupiec Ed. Syllepse, Marc Silberstein pour la col. Mat?riologiques. \////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\\/ --------------- L'Ev?nement : T?trades Polylogue -------- \////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\\/ :;:;:;::;::;:;:;::;:::::::::LES TETRADES POLYLOGUE NT:;:;:;::;::::;:: ;;:;:;:;:;:;:;:;TETRAD POLY LOG ICAL:;:;:;:;;::::::; :;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::: Performance collective interactive installation conceptuelle et dynamique Aliette G.Certhoux A l'occasion de la signature du Hors s?rie de www.criticalsecret.com D?di? Jean-Jacques Kupiec * DIALOGIQUE POUR "L'ORIGINE DES INDIVIDUS" David Christoffel / Daniel Guibert D?cryptage et mise en livre David Christoffel Visualisation typo graphique The_infamous http://www.rezolibre.com/detail.php?article=2471 ;:;:;:;;::::::;O? ?;:;:;:;;::::::; Salon de la revue 16-18 octobre 2009 Espace des Blancs-manteaux 48, rue Vieille du Temple 75004 Paris / (entr?e gratuite) http://www.entrevues.org/images/Affiche%202009%20%28100%20dpi%29%20-%20copie.jpg http://www.entrevues.org/actualites.php ;:;:;:;;:::::Quand ?;:;:;:;;::::::; 17h pr?cises jusqu'? 19 h le dimanche 18 octobre ;:;:;:;;::::::;Qui ?;:;:;:;;::::::; Jean-Jacques Kupiec http://fr.wikipedia.org/wiki/Jean-Jacques_Kupiec http://www.ipbs.fr/seminaires/conf_kupiec.htm http://automatesintelligent.blog.lemonde.fr/2009/05/25/entretien-avec-le-biologiste-jean-jacques-kupiec/ http://www.agoravox.fr/actualites/technologies/article/le-chercheur-jean-jacques-kupiec-48970 David Christoffel, http://www.dcdb.fr/ Daniel Guibert http://www.criticalsecret.com/users/danielguibert/ http://books.google.com/books?hl=en&lr=&id=kzm4MpV9NLoC&oi=fnd&pg=PA7&dq=mardaga+r?alisme+et+architecture+google+book&ots=8JMD5H1Uae&sig=FT8cUzQtBLtb-E9pD-_iJ0gDDpk#v=onepage&q=&f=false avec la participation de Marc Silberstein http://www.assomat.info/Nouvel-article http://www.assomat.info Les invit?s scienti fiques, artist iques, philo sophiques et les divers amateurs et parmi eux : Jean-Paul Baquiast http://www.automates-intelligents.com http://www.admiroutes.asso.fr http://www.europesolidaire.eu/cont.php Bertrand Laforge http://lpnhe-atlas.in2p3.fr/Atlas/Contacts/laforge/index.shtml http://www.brightsfrance.org/bertrand.laforge.htm http://www.criticalsecret.com/users/laforge/# St?phane Gatti http://www.unifrance.org/annuaires/personne/347138/stephane-gatti http://lucien-bonnafe.fr/index.php http://entretenir.free.fr/breton.html http://www.mai-68.fr/agenda/archives.php?val5=375_5 http://la-parole-errante.org/ http://www.armand-gatti.org/index.php?art=291 Christophe Bruno http://www.christophebruno.com/ http://www.electronicbookreview.com/thread/electropoetics/textualized http://www.we-make-money-not-art.com/archives/2006/03/interview-with.php Antoine Moreau http://antoinemoreau.org/ http://antoinemoreau.org/index.php?cat=expo9 http://artlibre.org/ Annie Abrahams http://aabrahams.wordpress.com http://www.bram.org/ Olivier Auber http://km2.net/ http://perspective-numerique.net/wakka.php?wiki=OlivierAuber http://www.agoravox.fr/tribune-libre/article/appel-pour-le-revenu-de-vieur-56070 Thierry Th?olier http://thth.free.fr/ http://syndicatduhype.ning.com/ Gayle Austin http://www.smh.com.au/news/TV--Radio/Off-the-dial/2005/01/11/1105423476299.html http://www.abc.net.au/triplej/30years/stories/s1284244.htm http://wapedia.mobi/en/Triple_J http://www.milesago.com/Radio/2jj.htm http://en.wikipedia.org/wiki/Triple_J Jean-Paul Doll? http://www.rsr.ch/espace-2/les-temps-qui-courent/biographie-de-jean-paul-dolle Christian Girard http://books.google.fr/books?id=ErTo1mIg3XQC&pg=PA3&lpg=PA3&dq=christian+girard+architecte&source=bl&ots=hXXVeuIG3-&sig=XT7HWhCPSYpwen9rLjtQy2FG3mA&hl=en&ei=60LVSpbeKJC04Qb2r_DYDA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CBIQ6AEwAQ#v=onepage&q=&f=false Elizabeth Peellaert http://docs.google.com/gview?a=v&pid=gmail&attid=0.1&thid=123f7f381516c4ee&mt=application/pdf&url=http://mail.google.com/mail/?ui=2&ik=39918e801a&view=att&th=123f7f381516c4ee&attid=0.1&disp=attd&zw&sig=AHBy-hYbIAq9cV7B4trRvFM9303sXrR1dA&pli=1 http://www.complete-review.com/saloon/archive/200604c.htm#rr3 Anne Querrien http://fr.wikipedia.org/wiki/Anne_Querrien http://www.revue-chimeres.fr/drupal_chimeres/?q=taxonomy/term/29 http://translate.eipcp.net/transversal/1206/querrien/en#redir (? suivre) :;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::::;:;:;::;::;:;:;::;::::::::: ;:;:;:;;:::::Comment ?;:;:;:;;::::::; Comment discuter en assembl?e, en donnant de soi et de ses projets ? propos d'un essai scientifique complexe et sur son commentaire critique dialogu? d'ismes, quand certains n'auront lu qu'un seul livre ou l'autre et d'autres n'en auront lu aucun ? Commencer par un prologue de questions qui exploitera les r?ponses de ceux qui auront lu l'un ou l'autre des ouvrages (ou les deux), ces r?ponses dressant un spectre de pitches pour chaque livre. Le nuage des abstracts recens?s en temps r?el selon la sensibilit? et la singularit? respective de ces lecteurs devant les non lecteurs, constituera un corpus ?mergent, consensuel, un spectre des livres depuis lequel la discussion pourra ensuite s'?largir. Il se trouve que "L'origine des individus" est un essai non acad?mique, quoique scientifiquement rigoureux dans ses propres principes, qui pr?sente la particularit? d'?tre transversal de son genre d'?criture des id?es, car il veut proc?der non pas m?taphoriquement mais en r?alisant la pens?e plastique du vivant qui l'inspire. Anachronique dans la requ?te de ses sources, ? l'origine des contradictions qui ont fait malentendu au long d'un mill?naire, son livre est une discussion scientifique cadr?e par l'actualit? des r?sultats en la biologie mol?culaire. Bien ?crit sans engager le rapport traditionnel du style au contenu, il innove un territoire m?diatique de la th?orie qu'il manifeste en puissance de la composition originale, plut?t que par le style (la tradition). Le style est bien l? mais il n'est pas ce qui d?termine l'ouvrage, ce qui le d?termine c'est le r?cit d'une recherche scientifique comme s'agissant d'une autobiographie. C'est du moins l'hypoth?se performative depuis laquelle il semble pertinent de requ?rir un mod?le cognitif de questionnement et de compr?hension non directionnels, sensibles, des effets m?diatiques du ou des livres. C'est ? dire d'?valuer leur pertinence et leur puissance respective et relative, en regard de leurs objets ou objectifs, pour d?gager un abstract dynamique de ce qu'ils communiquent, en temps r?el de la rencontre. Le mod?le s?miotique utilis? sera le mod?le dynamique et pluri-directionnel de la t?trade des effets m?diatiques. ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ P R O L O G U E P R O L O G I Q U E L O G * En biologie, une t?trade est un ensemble form? par une paire de chromosomes d?doubl?s, lors de la m?iose. * En informatique, une t?trade est un autre nom du nibble, une suite de 4 bits. * En g?om?trie, une t?trade forme une base d'un syst?me de coordonn?es sur une vari?t? diff?rentielle ? quatre dimensions. * En musique, une t?trade est un accord de quatre notes. * Dans l'antiquit? grecque, le terme t?trade d?signe une division r?gionale de la Thessalie. * Saint T?trade fut archev?que de Besan?on au VIe si?cle. http://fr.wikipedia.org/wiki/T%C3%A9trade (ignore la t?trade des effets m?diatiques) :;:;:;::;::::;::;:;:;:;::;:;::::::;::::;;;;;;:;:;:;:;:;:;:;::;:::::::::::;:::: ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ :;:;:;::;::::;::;:;:;:;::;:;::::::;::::;;;;;;:;:;:;:;:;:;:;::;:::::::::::;:::: C'est en anglais puisque les ouvrages de r?f?rence (depuis 1988 et 1989) ne sont pas encore traduits en fran?ais : TETRAD OF MEDIA EFFECTS http://en.wikipedia.org/wiki/Tetrad_of_media_effects The tetrad is a means of examining the effects on society of any technology/medium (put another way: a means of explaining the social processes underlying the adoption of a technology/medium[1]) by dividing its effects into four categories and displaying them simultaneously. McLuhan designed the tetrad as a pedagogical tool, phrasing his laws as questions with which to consider any medium: 1. What does the medium enhance? 2. What does the medium make obsolete? 3. What does the medium retrieve that had been obsolesced earlier? 4. What does the medium flip into when pushed to extremes? The laws of the tetrad exist simultaneously, not successively or chronologically, and allow the questioner to explore the "grammar and syntax" of the "language" of media. McLuhan departs from his mentor Harold Innis, http://en.wikipedia.org/wiki/Harold_Innis in suggesting that a medium "overheats", or reverses into an opposing form, when taken to its extreme.[2] (...) http://en.wikipedia.org/wiki/Harold_Innis (pour m?moire) __________________________________________ ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ Au coeur du r?alisme de la pens?e, le processus... Quel est le medium ? 1. Qu'est-ce que le medium am?liore ou accro?t ? 2. Qu'est-ce que le medium prescrit (d?passe) ? 3. Qu'est-ce que le medium r?cup?re qu'on n'avait pas utilis? plus t?t ? 4. Qu'est-ce que le medium bouscule lorsqu'il est pouss? ? l'extr?me ? :;:;:;::;::::;::;:;:;:;::;:;::::::;::::;;;;;;:;:;:;:;:;:;:;::;:::::::::::;:::: ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ ------------- Note ------------ ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ * Version graphique originale et in?dite de la publication num?rique exp?rimentale par les m?mes auteurs : / Recension dialogique pour "L?origine des individus" de Jean-Jacques Kupiec / La revue des ressources, Dossiers, Carte blanche http://www.larevuedesressources.org/spip.php?article1228 http://www.larevuedesressources.org/spip.php?rubrique63 http://www.larevuedesressources.org/ Jean-Jacques Kupiec et criticalsecret http://www.criticalsecret.com/n10/index.php#sommaire http://www.criticalsecret.com/n7/Jean_acques_Kupiec.html http://www.criticalsecret.com/n3/index2.htm (autoriser les popups) http://www.criticalsecret.com/n1/kupiec/01.htm ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ :;:;:;::;::::;::;:;:;:;::;:;::::::;::::;;;;;;:;:;:;:;:;:;:;::;:::::::::::;:::: ////////////////\\\\\\\\\\\\//////////////////////\\\\\\\\\\\/\\\\\\\///\\\\\\\\\\\\\ E P I L O G O N S I N A T T E N D U CONTRE- HISTOIRE DE LA PHILOSOPHIE V6 - (13 CD + LIVRET DE 8 PAGES) - Auteur : Michel Onfray - Editeur : Fr?meaux et Associ?s - Genre : LIVRES AUDIO LITTERATURE - DOCUMENT - Paru en : janvier 2006 De Gassendi ? Spinoza : enregistr?s par Michel Onfray, philosophe pr?sentant une contre-histoire de la philosophie en 13 CDs ? ?couter. http://209.85.229.132/search?q=cache:RWjaI8O-oGYJ:www.leforum.com.au/contents/en-us/d144.html+t%C3%A9trade+des+effets+m%C3%A9diatiques&cd=2&hl=en&ct=clnk&gl=fr&client=firefox-a (fin du premier appel 1/2.) From b-l-u-e-s-c-r-e-e-n at b-l-u-e-s-c-r-e-e-n.net Tue Oct 6 11:09:10 2009 From: b-l-u-e-s-c-r-e-e-n at b-l-u-e-s-c-r-e-e-n.net (BlueScreen) Date: Thu Oct 15 06:34:19 2009 Subject: [spectre] BlueMail v26 | A new JiaoCha Exhibition, Biennale de Lyon / Resonance 2009 ! Message-ID: <20091006090910.9840739075@www.netartconnexion.net> xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX | BlueMail v.26 | JiaoCha news v.3 xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx | | A new JiaoCha exhibition! | | X ieme Biennale de Lyon, France | Resonnance... | | "retour au mot..." | an installation by BlueScreen and Pierre Amoudruz | | http://event.jiaocha.org/lyon2009/ | | dates = 08.10.2009 --> 24.10.2009 | opening = " 07.10.2009 : 18.30h " | | where{1} = " MAPRA " | where{2} = " 9 rue Paul Chenavard, 69001 Lyon " | | info = " tel( 04 78 29 53 13 ) "; | xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx X | http://event.jiaocha.org/lyon2009/ | | http://event.jiaocha.org/lyon2009/ | http://event.jiaocha.org/lyon2009/ | http://event.jiaocha.org/lyon2009/ | http://event.jiaocha.org/lyon2009/ | http://event.jiaocha.org/lyon2009/ x XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX x | JiaoCha project :: http://www.jiaocha.org x xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxX xXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXx XxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXxXENJOYX BlueScreen | http://www.b-l-u-e-s-c-r-e-e-n.net/ From Info at edith-russ-haus.de Fri Oct 9 16:27:25 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Thu Oct 15 06:34:20 2009 Subject: [spectre] Stipendiaten stellen ihre Projekte vor Message-ID: <4ACF6467.9ACC.00AE.0@edith-russ-haus.de> Wir m?chten Sie zu folgender Veranstaltung einladen | We would like to invite you to the following event STIPENDIATENABEND MIT VORSTELLUNG DER PROJEKTE Freitag 30. Oktober 2009, 19.00 Uhr Die diesj?hrigen Stipendiaten im Stipendienprogramm des Edith-Ru?-Hauses stellen an diesem Abend ihre Projekte vor, die gerade in Oldenburg realisiert und in den n?chsten Monaten in einzelnen Events pr?sentiert werden. Die Stipendiaten und ihre Projekte: JANA LINKE: EMDAS1 (Eine Maschine, die Arbeit schafft) In Umkehrung zur eigentlichen Funktion von Maschinen in unserem gesellschaftlichen Alltag wird Jana Linke eine Maschine entwickeln, die Arbeit schafft. Damit greift sie die bekannte Vermutung auf, dass Maschinen eigentlich mehr Arbeit machen als abnehmen, tr?gt aber vor allem dem Umstand Rechnung, dass man in unserer Zeit der Arbeitslosigkeit Arbeit maschinell erzeugen k?nnen sollte. REINIGUNGSGESELLSCHAFT (Martin Keil, Henrik Mayer): Die Risiko Gesellschaft In einer Videoinstallation sollen komplexe wirtschaftliche und politische Zusammenh?nge erlebbar werden, die von der deutschen K?nstlergruppe REINIGUNGSGESELLSCHAFT in einer Form visueller Soziologie erarbeitet und dargestellt werden. Gleichzeitig tragen die K?nstler ihre Untersuchung mittels Seminaren und Diskussionen in die ?ffentlichkeit. SINE WAVE ORCHESTRA (Ken Furudate, Kazuhiro Jo, Daisuke Ishida, Mizuki Noguchi): Die japanische K?nstlergruppe Sine Wave Orchestra f?hrt Konzerte und Performances, an denen sich das Publikum intensiv beteiligen kann, auf der Basis von Sinuskurven auf, das hei?t sie benutzen das Element, das auch die Grundlage unserer modernen Telekommunikation bildet, vom MP3-Player bis zum Fernseher. Im Edith-Ru?-Haus soll ein lichtempfindliches Instrument entwickelt werden. Es strukturiert die visuelle Ebene einer Klangrepr?sentation des Lichts, die wiederum unter Beteiligung des Publikums entsteht, das ein Meer aus Sinuskurven erzeugt. Das Stipendienprogramm des Edith-Ru?-Hauses, gro?z?gig gef?rdert von der Stiftung Niedersachsen, erm?glicht seit 8 Jahren die Entwicklung und Durchf?hrung qualitativer, neuer Projekte im Bereich der Medienkunst. An diesem Abend haben Sie die M?glichkeit am Entstehungsprozess der einzelnen Vorhaben teilzuhaben und direkt mit den K?nstlern in Kontakt zu treten. ***************sorry! no English version available***************************** 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 If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de From Info at edith-russ-haus.de Mon Oct 12 09:18:23 2009 From: Info at edith-russ-haus.de (Edith-Russ-Haus) Date: Thu Oct 15 06:34:22 2009 Subject: [spectre] =?iso-8859-15?q?Newsletter_Ferienworkshops_Bl=FChende_?= =?iso-8859-15?q?Landschaften?= Message-ID: <4AD2F457.9ACC.00AE.0@edith-russ-haus.de> Wir laden herzlich zu den folgenden Ferienworkshops ein: Anl?sslich von *20 Jahre Mauerfall* und in Kooperation mit der KIBUM 2009 l?dt das Edith-Ru?-Haus in den Herbstferien zu zwei Filmworkshops mit dem Titel *Bl?hende Landschaften* ein. Donnerstag, 15. Oktober, 10 - 13 Uhr Samstag, 17. Oktober, 10:30 - 13:30 Uhr *Bl?hende Landschaften* Zwei Ferienfilmworkshops mit Christian Gude und Nanna L?th f?r Kinder und Jugendliche von 9 - 13 Jahren, Unkostenbeitrag: 5 ? 1990 hatte der damalige Bundeskanzler Helmut Kohl anl?sslich der deutschen Wiedervereinigung erkl?rt, dass man die neuen Bundesl?nder *durch eine gemeinsame Anstrengung [...] schon bald wieder in bl?hende Landschaften* verwandeln werde. Bl?hende Landschaften stehen also f?r pers?nliche W?nsche und ?ffentliche Versprechungen. Das M?rchen vom Schlaraffenland liegt um die Ecke. Welche Dinge befinden sich in unserem pers?nlichen Schlaraffenland? Was wollten wir immer schon haben und wieviel davon ist gut? In den dreist?ndigen Workshops werden wir die Wunschobjekte zusammensetzen und das so entstehende *lebende Bild* (tableau vivant) verfilmen. ?nderungen sind erlaubt, eigene Ideen ausdr?cklich erw?nscht. Versprochen! Es sind noch Pl?tze frei. Wir bitten um Anmeldung bis zum 14.10. unter vermittlung-erh@web.de, Tel. 0441-235 3208. 7. - 13. November 2009: *Bl?hende Landschaften* Ausstellung der Workshopergebnisse im Veranstaltungsraum des Edith-Ru?-Hauses, Katharinenstr. 23, 26121 Oldenburg. ?ffnungszeiten: Dienstag - Freitag 14 - 17 Uhr, Samstag und Sonntag 11 - 17 Uhr. ***************sorry! no English version available***************************** 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 If you don't want to receive our newsletter anymore, please contact us by email: info@edith-russ-haus.de From nc-agricowi at netcologne.de Thu Oct 15 13:59:30 2009 From: nc-agricowi at netcologne.de (artNET) Date: Thu Oct 15 14:00:20 2009 Subject: [spectre] October feature: Taiwanese video art Message-ID: <20091015135930.E2F79A6E.65EF402B@192.168.0.3> October 2009 Feature on VideoChannel - Video art from Taiwan http://videochannel.newmediafest.org/blog/?page_id=280 As the little brother of the continental China, Taiwan was undergoing during decades a special development, which is also manifesting itself in the practiced expressions in the arts. The feature of video art selected seven artists/directors who stand for diffrent approaches in the moving image media --> Yu Cheng Yu, Ana Yu, Yin-Ling Chen, Ying-Fang Shen, Jo-Lin Hsieh, Sandra S. Chiu, Yi-Chun Lo. Please find detailed info and the access to the feature here --> http://videochannel.newmediafest.org/blog/?page_id=280 ---------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for art and new media operating from Cologne/Germany info[at]nmartproject.net ------------------------------------------------------ From espen at gangvik.no Fri Oct 16 09:54:16 2009 From: espen at gangvik.no (Espen Gangvik) Date: Fri Oct 16 09:55:00 2009 Subject: [spectre] Trondheim Matchmaking 2009, Electroboutique! Message-ID: <26346732-F26F-45E1-9EC9-6293B886E768@gangvik.no> [Sorry for possible cross postings!] Read all about it: http://matchmaking.no http://teks.no TEKS - Trondheim Electronic Arts Centre is proud to announce the opening of the very first Nordic Electroboutique! In relation to this very last Trondheim Matchmaking, Electroboutique launches its new conceptual store: Electroboutique, 'Art that Cares' Alexei Shulgin, Aristarkh Chernyshev, Roman Minaev. The 150 sq. meters concept store named "Art that Cares" will be opened on October 16 in Fjordgt. 11, Trondheim, Norway. Electroboutique's first concept store in the Nordic countries will offer unique art works developed by our highly competent contemporary artists, designers and engineers during the last 5 years. The store, designed in eye catching eco-friendly style will emphasize the visual and functional qualities of Electroboutique's amazing art products. Electroboutique is an innovative art-production company. We make cutting-edge art works that merge together style, interactivity and critical approach. Exclusive but affordable, they manifest the new era of responsible art making and open new horizons for creative consumption. At Electroboutique, we believe that people and the environment are just as important as the art we make. Electroboutique manufactures sustainable art products that are not only energy efficient, but also helps reduce carbon footprint from the environment. Electroboutique contributes tirelessly to social and charitable activities in order to create a more beautiful world. We are also committed to monitoring and progressively improving the conditions of people who work for us. Electroboutique delivers art that cares. Cares about nature. Cares about people. Cares about you. ---- Opens Friday Oct. 16 at 6 PM at Tr?ndelag Centre for Contemporary Arts in Fjordgata 11 Trondheim. Artist presentations on Saturday Oct.17 at 2PM For more information : http://matchmaking.no ---- TEKS\ http://www.teks.no\ \ Trondheim Electronic Arts Centre\ PB 2227\ 7412 Trondheim\ Norway\ \ Trondheim Matchmaking\ festival for new technology and electronic arts\ http://www.matchmaking.no\ From joris at v2.nl Fri Oct 16 10:32:15 2009 From: joris at v2.nl (V2_) Date: Fri Oct 16 10:33:48 2009 Subject: [spectre] Official Opening - The Origins of Innocence - Oct 16 Message-ID: <4AD82F8F.6050000@v2.nl> V2_Newsletter Extra Edition Official Opening - THE ORIGINS OF INNOCENCE Bernie Lubell Tonight - October 16 (17:30?19:00), at which the artist will be present. Oct 16?Nov 22, open daily (closed on Monday) 12:00?18:00 Witte de Withstraat 63, Rotterdam http://www.v2.nl/events/the-origins-of-innocence Sunday Matinee with Bernie Lubell and Marta Braun October 18, 12:00?14:30, Witte de Withstraat 63, Rotterdam Admission: ? 6,- (Studenten/65+/Rotterdampas: ? 3,-) http://www.v2.nl/events/sunday-matinee-with-bernie-lubell-and-marta-braun From oliver.grau at donau-uni.ac.at Fri Oct 16 14:38:51 2009 From: oliver.grau at donau-uni.ac.at (Oliver Grau) Date: Fri Oct 16 14:40:08 2009 Subject: [spectre] Program :: Re:live09 Third World Conference on the Histories of Media Art, Science and Technology Message-ID: <4AD8857B0200003C000292C1@gwgwia.donau-uni.ac.at> Re:live09 Third World Conference on the Histories of Media Art, Science and Technology. (Partner: Department for Image Science, Danube University Krems) MELBOURNE 26-29 November 2009 The Media Art History national and international conference committees would like to invite you to attend the Re:live media art history conference. Banff 2005 :: Berlin 2007 :: Melbourne 2009 Over three stimulating days, historians, curators, media artists, creative arts practitioners and theorists at the forefront of their practice will explore the latest research and theories CONFERENCE SESSIONS on the HISTORIES OF:: :: art-science-technology :: biology :: the environment :: liveness :: the life of machines :: innovation :: RELIVE PROGRAM Thurs, Nov. 26 Keynote: Lisa GITELMAN Fri, Nov 27 :: Session 1: Paul THOMAS (Chair), Su BAKER (Introduction from VCA), STELARC (Prosthetic Head), Lucas IHLEIN (Fluxorchestra), :: Session 2: Ross HARLEY (Chair), Stephen JONES (Bush Video), Eva KEKOU (The City as a projection space), Francesca FRANCO (The first computer art show at the 1970 Venice Biennale. An experiment or product of the bourgeois culture?), :: Session 3: Kim MACHAN (Chair), Larissa HJORTH (Cartographies of the mobile: the personal as political), Chris CHESTER (Converging technologies of spatial navigation in computer games and portable digital devices), Sam HINTON (Constructing the First Person Shooter), Ingrid RICHARDSON (Playing Outside the Magic Circle: the Hybrid Corporealities of Mobile Gaming), :: Session 4: Leon MARVELL (Chair), Susan BALLARD (Erewhon: framing media utopia in the antipodes), Darren TOFTS (Writing media art into (and out of) history), Gabriel Menotti GONRING (Executable Cinema: Demos, Screensavers and Videogames as Audiovisual Formats) :: Session 5: Paul THOMAS (Chair), Cat HOPE (Earth Pulse: vibrational data as artistic inspiration), Joanna WALEWSKA (Relationship of art and technology: Edward Ihnatowicz's philosophical investigation on the problem of perception), Monika GORSKA-OLESINKA (Polish digital poetry - lack of "prehistoric" artifacts or missing narrative?), :: Session 6: Ross HARLEY (Chair), Tapio M?KEL? (Satellite imaginaries: performing newness and sublime in geospatial media arts), Mathias FUCHS (postvinyl), :: Session 7: Melinda RACKHAM (Chair), Andres BURBANO (Between punched film and the first computers, the work of Konrad ZUSE), Marianne SCHMIDT (Virtureal), Daniela Alina PLEWE (Transactional Art as a Form of Interactive Art), :: Session 8: Darren TOFTS (Chair), McKenzie WARK (The Life and Times of Nettime.org), Mark GUGLIELMETTI (A-Life: the creation and development of new modes of realism), Mike PHILLIPS (A Lost SuperHighway: Tales from a Notworked Dis-Locative Media History). :: Session 9: Anna MUNSTER (Chair), Ionat ZURR (How does zo? transform bio into media?), Natasha VITA-MORE (Interconnected Significance: Human Enhancement and Radical Life Extension), Jens HAUSER (Still, Living: Staging the Ephemeral between Nature Morte and Art Involving Biotechnology) :: Session 10: Lisa GYE (Chair), Leon MARVELL & Rudy RUCKER (Lifebox Immortality & How We Got There), Gebhard SENGM?LLER (VSSTV - Rediscovery and Re-Interpretation of a Televisionary Parallel Universe), Manosh CHOWDHURY (Perfoming the Universe: The Elephant Clock as a Discoursive Apparatus) Keynote: Douglas KHAN Sat Nov 28 :: Session 1: Oliver GRAU (Chair), Paul SERMON (Telematic Practice and Research Discourses), Katja KWASTEK (*Your number is 96 - please be patient* - Modes of Liveness and Presence investigated through the lens of interactive artworks), Mike LEGETT (Early Video Art as Private Performance) :: Session 2: Alessio CAVALLARO (Chair), Hector RODRIGUEZ (The Black Box), Brogan BUNT (Pre-Socratic Media Theory), Jung-Yeon MA (A Short History of Media Art Events in Japan and Korea since late 1990s: Japan Media Arts Festival and Seoul International Media Art Biennale) :: Session 3: Eleanor GATES-STUART (Chair), Nina WENHART (ARS ELECTRONICA re:shaping a city's cultural identity), Thomas MICAL (Blurring Media-Architecture in 2009), Stefano RAIMONDI (Nanoart: First Steps Beyond the Columns of Hercules) :: Session 4: Ted COLLESS (Chair), Danielle WILDE (A New Performativity : Wearables and Body-Devices), Michael Century (Telematic Improvisation), Laura BELOFF (The Hybronaut and Other Unexpected Approaches to Wearable Technology) :: Session 5: Larissa HJORTH (Chair), Andrea GLEINIGER (*Architekturen des Augenblicks* - a phenomenological view on the medialization of urban space), Cat HOPE (Earth Pulse: vibrational data as artistic inspiration.), Denisa KERA (Apocalypse and Media Art) :: Session 6: Darren TOFTS (Chair), Allison DE FREN (Disarticulating the Artificial Woman), Audrey SAMSON (Haunted profiles; social networking sites and the crisis of death.), Margaret SEYMOUR (Cyborgs and robots: imitation or provocation?) :: Session 7: Melinda RACKHAM (Chair), Lucas IHLEIN (Re-Enacting Expanded Cinema: Three Case Studies), Ryszard W. KLUSZCZYNSKI (Viewer as Performer), Marcin SKLADANEK (Metadesign and Media Art) :: Session 8: Daniel PALMER (Chair), NIgel Llwyd William HELYER (The Sonic Commons; and the privatisation of the aural vis-?-vis), Chris SALTER (The Stage as Organism: Liveness, Dynamics and Expression in Early Twentieth Century Scenography), Slavko KACUNKO (Live Media Art and Japan*s Role: A historical and contemporary sideview) :: Session 9: Paul BROWN (Chair), Ken FRIEDMAN (Intermedia, Multimedia, and Media: Recovering a History), Zita JOYCE (Networked communities in New Zealand media arts), Ernest EDMONDS (The Art of Conversation) :: Session 10: Leon MARVELL (Chair), Lizzie MULLER (An indeterminate archive for David Rokeby*s *The Giver of Names*), Robrecht VANDERBEEKEN (Relive the Virtual: An Analysis of Unplugged Performance-installations), Robert SWEENY (Open (Source) Classroom) :: Session 11: Kim MACHAN (Chair), Suzette WORDEN (Art-Science Connections for the visualisation of minerals: historical precedents for media arts), Morten SONDERGAARD (Beyond the Point One Zero World), Anne-Marie DUGUET (Natural phenomena actualized through technology). :: Session 12: Sean CUBITT (Chair), Jon CATES (RE:COPYing-IT-RIGHT AGAIN), Edward SHANKEN (Reprogramming Systems Aesthetics: A Strategic Historiography), Kathy Rae HUFFMAN (EXCHANGE and EVOLUTION: World Wide Video / Long Beach) Keynote: Zhang GA Sun Nov 29 :: Session 1: Paul THOMAS (Chair), Panel: Ross HARLEY, John CONOMO, Anne FINNEGAN, Danni ZUVELLA (Australia Video Art Histories: A media arts archeology for the future) :: Session 2: Lisa GYE (Chair), Mike STUBBS (Abandon Normal Devices - they dont seem to work), Lissa MITCHELL (Negotiating the future - a new media collection in a public art museum), Rosana MONTEIRO (Reconfiguration of knowledges. Medical images between art, science and technology.) :: Session 3: Eleanor GATES-STUART, Ian CLOTHIER (Animating the Inanimate: Haiku robots, multiplicities of time and intercultural context), Caroline LANGILL (The Living Effect: Autonomous Behaviour in Early Electronic Media Art), Sarah KENDERDINE (The Relocation of Theatre: Making UNMAKEABLELOVE) :: Session 4: Helen STUCKEY (Chair), Roger MALINA (The History Of Intimate Science: Artists beyond the senses), Elena Giulia ROSSI (Posthuman Bodies in New Media Art), Allison DE FREN (Disarticulating the Artificial Female) :: Session 5: Ted COLLESS (Chair), Martin CONSTABLE and Adele TAN (Visual Digitality: Towards Another Understanding), Dimitris CHARITOS (Locative media art practices: locating meaning and narrative in hybrid spaces), Anders CARLSSON (The Forgotten Pioneers of Creative Hacking and Social Networking - Introducing the Demoscene) :: Session 6: Alessio CAVALLARO (Chair), Michael CENTURY (Telematic Improvisation), Katja KWASTEK (Modes of Liveness and Presence in interactive processes), Lawrence BIRD (Re-animating the technical body in the Metropolis tales: Lang, Tezuka, Rintaro), :: Session 7: Sean CUBITT (Chair), Nina WENHART (ARS ELECTRONICA - re:shaping a city's cultural identity), Darko FRITZ (Histories of live meetings - case study: five conferences on computer-generated art and related theories in Zagreb, 1968 - 1978), Ana PERAICA (Overcoming media arts) :: Session 8: Alessio CAVALLARO (Chair), Virginia PITTS (A dance with time: the media art of Shona McCullogh, Pia EDNIE-BROWN (Technologies of Vitality and a Changing Innovation Climate.) :: Plenary Session: Paul THOMAS (Chair) SEAN CUBITT and PAUL THOMAS :: Co Chairs Re:live09 :: Third International Conference on the Histories of Media Art, Science and Technology Conference :: The main conference will be held at Faculty of VCA and Music, University of Melbourne, the selected Keynotes (as listed above) will be held in the evenings at the BMW Edge at Federation Square. National Committee :: Oron CATTS, Edward COLLESS, Eleanor GATES-STUART, Lisa GYE, Ross Rudesch HARLEY, Larissa HJORTH, Kim MACHAN, Leon MARVELL, Anna MUNSTER, Daniel PALMER, Melinda RACKHAM, Darren TOFTS International advisory board :: Andreas BROECKMANN, Berlin; Paul BROWN, London/Cotton Tree; Annick BUREAUD, Paris; Sara DIAMOND, Toronto; Diana DOMINGUES, Caxias do Sul; Timothy DRUCKREY, New York; Oliver GRAU, Krems; Gunalan NADARAJAN, Baltimore; Linda D. HENDERSON, Austin; Erkki HUHTAMO, Los Angeles; Douglas KAHN, Davis; ?ngel KALENBERG, Montevideo; Ryszard KLUSZCZYNSKI, Lodz; Machiko KUSAHARA,Tokyo; Roger MALINA, Paris; W.J.T. MITCHELL, Chicago; Christiane PAUL, New York; Miklos PETERNAK, Budapest, Edward SHANKEN, Amsterdam; Barbara STAFFORD, Chicago; Jeffrey SHAW, Sydney; Peter WEIBEL, Karlsruhe; Steven WILSON, San Francisco Further information can be found at www.mediaarthistory.org Leonardo Education Forum (LEF), Melbourne, 26th of November 2009 http://www.leonardo.info/isast/lef.html (with: Paul THOMAS, Oliver GRAU, Ian CLOTHIER a.o.) :: forwarded by the Department for Image Science :: partner of Re:live and home of the Master of Arts programm in MediaArtHistories www.donau-uni.ac.at/mediaarthistories :: join the MediaArtHistories platform on Facebook http://www.facebook.com/groups/mediaarthistories#/group.php?gid=36056054067 From czegledy at interlog.com Sat Oct 17 04:26:01 2009 From: czegledy at interlog.com (czegledy@interlog.com) Date: Sat Oct 17 04:33:19 2009 Subject: [spectre] SCANZ 2011: Eco sapiens CALL Message-ID: <20091016222601.650243cuhbrcnpyx@webmail.uniserve.com> / \\\\\\\ \ \ \ \ \ \ \ \ SCANZ 2011: Eco sapiens Extinction or adaptation? Evolution or Revolution? What are we facing? The complexity and urgency of the crises of today calls for us to engage together in new ways. Deep shifts in our consciousness may be required for long-term cultural changes to occur. This is a call for expressions of interest from people who are concerned with these issues. A symposium followed by a residency is to be held late January to early February 2011 in New Plymouth, Aotearoa New Zealand. Initial expressions of interest are due 21 November, 2009. \ //////////////// / Symposium The SCANZ 2011: Eco sapiens symposium will be an event involving individuals from a number of different worlds (e.g scientists, artists, social activists and community change agents, cultural commentators, educators, tangata whenua). Our primary aim is to facilitate connections and foster innovative, and practical solutions to the issues we are facing. Accordingly, a mixture of presentations, discussions, informal exchanges and workshops are planned. Roger Malina will be presenting from France on 'Open observatories', and Te Huirangi Waikerepuru will speak on Maori conceptions of environment. The symposium will inspire and inform the residency that follows, and also provide opportunities for people to collaborate on projects beyond SCANZ. \ //////////////// / Residency The SCANZ 2011: Eco sapiens two week residency is designed for those individuals or groups who would like to work on creative, poetically pragmatic or provocative projects which raise awareness of the issues that confront us, generate connections between people, and with their natural environment, and which grapple with the challenges of individual and collective evolution. Interdisciplinary approaches and the involvement of diverse groups is welcomed. Residency projects can take place in a wirelessly networked botanic garden, along the coastline and with communities. Networked, DIY, or otherwise actively and openly distributed concepts are also encouraged. Project participants are not necessarily required to be in New Plymouth. Residency projects that are shortlisted will be included in funding applications. Expressions of Interest _ Please supply: 1. Name of main contact person. Name of the collaborative group where applicable. 2. Affiliated or associated organisations (if applicable). 3. Symposium _ Please provide up to a half page summary of your proposed contribution, including your background, and interest, in the themes we have presented. 4. Residency _ If you are interested in attending the residency, please provide a half page summary of your proposed project, clearly stating how you feel the project addresses concerns raised. Propositional expressions of interest, i.e. those that propose working with organisations or people not yet contacted, are acceptable. //////////////// / Email this to: ecosapiens@intercreate.org by November 21st 2009. /.><.\ For more information please see: SCANZ 2011: Eco sapiens _ http://www.intercreate.org/view/eco-sapiens/ /.><.\ /////////////// From louise.desrenards at free.fr Sun Oct 18 01:56:31 2009 From: louise.desrenards at free.fr (Louise Desrenards) Date: Sun Oct 18 01:55:23 2009 Subject: [spectre] TETRADS POLYLOG TODAY / MAP Message-ID: <4ADA59AF.80504@free.fr> Multilingual fast translator (free): http://www.worldlingo.com/en/products_services/worldlingo_translator.html /\/\/\\\\/\\\\\\\\\\ T?trades Polylogue /\/\/\\\\/\\\\\\\\\\ Rappel et coordonn?es de la performance d?bat au salon de la revue ? Paris ce dimanche 18 octobre de 17 ? 19 heures Espace des Blancs-manteaux 48, rue Vieille du Temple 75004 Paris Le plan pour situer l'endroit et son acc?s : http://maps.google.com/maps?f=q&hl=en&q=48+rue+Vieille+du+Temple%2C+Paris%2C+France Entr?e libre. La place du d?bat se trouve au bout de l'all?e de droite, au fond de la halle. L'?v?nement sera l'objet d'un podcast th?matique de criticalsecret enregistrement et r?aliation radio par David Chritoffel enregitrement et r?alisation vid?o par Systaime qui sera partag? en CC certain droits r?serv?s et diffus? en m?me temps en plusieurs endroits en d?cembre http://www.systaime.com http://www.dcdb.fr/ http://www.criticalecret.com From hight at 34n118w.net Sun Oct 18 10:09:54 2009 From: hight at 34n118w.net (hight@34n118w.net) Date: Sun Oct 18 10:32:51 2009 Subject: [spectre] Fwd: Creative Data: special issue of leonardo electronic almanac]] Message-ID: <3e63fad0737d79d1755054f3aa6c90e8.squirrel@webmail.34n118w.net> http://www.leonardo.info/LEA/CreativeData/CreativeData.html --The *Creative Data* special issue of *Leonardo Electronic Almanac (LEA)* features papers and artworks that deal with the emerging practice of data visualization as an immersive experience. Data has long been the property and domain of screen-based collection, archiving, processing and interaction. The emergence of new processes, functionality and ways of interacting with information is opening up several new areas of great possibility in which the data allows newfound thematic and engaging forms of immersion, as well as innovative and perception-reshaping interaction. Guest edited by Jack Ox, Jeremy Hight and Erik Champion. Jack Ox, Jeremy Hight, and Erik Champion, Creative Data: Visualisation, Augmentation, Telepresence and Immersion Trish Adams, "Machina Carnis" Joe Faith, "Interactive Data Exploration with Targeted Projection Pursuit" Joanna Griffin, "Satellite Stories: Immersion in the Large-Scale Projection of Google Earth and Public Storytelling" Cindy Keefer, "'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments" Carol LaFayette, "Atta, Palindrome" Luther Thie, "LA Interchange: A Real-Time Memorial" Klaus Wassermann, "lifeClipper - Commonality in Images" Ruth West, et al., "Algorithmic Object as Natural Specimen: Meta Shape Grammar Objects from Atlas in Silico" http://www.leonardo.info/LEA/CreativeData/CreativeData.html _______________________________________________ From hight at 34n118w.net Sun Oct 18 10:16:09 2009 From: hight at 34n118w.net (hight@34n118w.net) Date: Sun Oct 18 10:33:12 2009 Subject: [spectre] Fwd: Creative Data: special issue of leonardo electronic almanac] Message-ID: http://www.leonardo.info/LEA/CreativeData/CreativeData.html --The *Creative Data* special issue of *Leonardo Electronic Almanac (LEA)* features papers and artworks that deal with the emerging practice of data visualization as an immersive experience. Data has long been the property and domain of screen-based collection, archiving, processing and interaction. The emergence of new processes, functionality and ways of interacting with information is opening up several new areas of great possibility in which the data allows newfound thematic and engaging forms of immersion, as well as innovative and perception-reshaping interaction. Guest edited by Jack Ox, Jeremy Hight and Erik Champion. Jack Ox, Jeremy Hight, and Erik Champion, Creative Data: Visualisation, Augmentation, Telepresence and Immersion Trish Adams, "Machina Carnis" Joe Faith, "Interactive Data Exploration with Targeted Projection Pursuit" Joanna Griffin, "Satellite Stories: Immersion in the Large-Scale Projection of Google Earth and Public Storytelling" Cindy Keefer, "'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments" Carol LaFayette, "Atta, Palindrome" Luther Thie, "LA Interchange: A Real-Time Memorial" Klaus Wassermann, "lifeClipper - Commonality in Images" Ruth West, et al., "Algorithmic Object as Natural Specimen: Meta Shape Grammar Objects from Atlas in Silico" http://www.leonardo.info/LEA/CreativeData/CreativeData.html _______________________________________________ From nc-agricowi at netcologne.de Mon Oct 19 10:13:22 2009 From: nc-agricowi at netcologne.de (artNET) Date: Mon Oct 19 10:34:53 2009 Subject: [spectre] Call: soundart for SoundLAB VII - extended deadline Message-ID: <20091019101323.F8094A27.33AB12C8@192.168.0.3> Call for entries extended deadline: 31 December 2009 2010 - 10th anniversary of [NewMediaArtProjectNetwork]:||cologne SoundLAB - sonic art project environments is happy to launch the call for its next edition to be part of this anniversary celebrations, entitled: SoundLAB VII - soundCELEBRATION sound compositions made for the 10th anniversary! For its 7th edition, planned to be launched in March 2010, SoundLAB would like to celebrate the power of sound as a tool for artistic creations and communications on occasion of the 10th anniversary of the global network it is embedded in and invites soundartists, musicians and composers to create for the 10th anniversary a special sound composition. Please find detailed information, the regulations and entry form on http://www.nmartproject.net/netex/?p=1423 ------------------------------------------------ SoundLAB - sonic art project environments http://soundlab.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne, the experimental platform for art and new media from Cologne/Germany http://www.nmartproject.net in(at)nmartproject.net ----------------------------------------------- From qrndnc at yahoo.it Tue Oct 20 10:47:07 2009 From: qrndnc at yahoo.it (Domenico Quaranta) Date: Tue Oct 20 10:47:30 2009 Subject: [spectre] Gazira Babeli: ACTING AS ALIENS Message-ID: <6AC8DD70-D1AC-4D41-9516-E7773FFD7ADE@yahoo.it> FOR IMMEDIATE RELEASE Gazira Babeli: ACTING AS ALIENS Exhibition curated by Domenico Quaranta Galerija Kapelica, Ljubljana, Slovenia November 3 ? 15, 2009 Opening and performance: November 3, 9.00 PM (CET) Aksioma ? Institute for Contemporary Art and Kapelica gallery are proud to announce ?Gazira Babeli: Acting as Aliens?, the first solo exhibition of the avatar artist Gazira Babeli in Slovenia. Internationally renowned for her activity in the digital reality of Second Life, Gazira Babeli is born there in spring 2006. She is a character in the Matrix, something in between the Oracle and Neo. What she does has been either dubbed as bug, virus, performance or art; what we can say about it is that it subverts the traditional notions of space, time, body, identity and behavior we inherited from our daily experience. The show borrows its name from the opening performance, in which Gazira and the audience will share the same space and will play through material means, in an unprecedented overlap between digital reality and physical reality. The remains of the performance will be put on show after the event. The exhibition will also feature a consistent video documentation of Gazira's previous performances, including 7UP (2008), a clockwork orange of twelve micro-performances made in complicity with Patrick Lichty, in a compulsive mix between slapstick comedy and Fluxus scores. Also on show two brand new works in which a self standing doll house ? be it a desert or a prison ? is built around some characters performing a singular, repetitive, sometimes destructive action. In the occasion of the show in Ljubljana, the Cultural and Congress Center Cankarjev dom and Odyssey Art and Performance Simulator, Second Life, will host the round table ?ACTING AS ALIENS. The ways of Performance Art in Digital Realities? in the frame of the Reflection on Contemporary Art / Seminar of Contemporary Performing Arts IX, organized by Maska, Institute for Publishing, Production and Education and the Cankarjev dom. --- Gazira Babeli and Patrick Lichty ACTING AS ALIENS the ways of Performance Art in Digital Realities Round table moderated by Domenico Quaranta Cankarjev dom, Ljubljana, Slovenia, hall M3/M4 and Odyssey Art and Performance Simulator: http://slurl.com/secondlife/Odyssey/122/45/25/ November 2, 2009 at 7 PM (CET), 10 PM (Second Life Time) What happens to performance when the place is a computer screen and time is better described as the timelessness you experience in front of it, as both a performer and a spectator? When reality fades into the background to be replaced by a simulated scenario where physical laws are disregarded and almost anything is possible? When the body itself becomes a software (and cultural) construction? On the occasion of the exhibition of Second Life performer Gazira Babeli hosted by Kapelica Gallery in Ljubljana, this panel will try to answer these questions involving some of the most important practitioners and theoreticians in the field. From the seminar room, curator Domenico Quaranta will moderate a round table that will alternate theoretical discourse and performances, involving: - Helfe Inhen, Manager of Odyssey Art and Performance Simulator, the place where the most active community of art practitioners in Second Life gathers. Odyssey will host the panel in Second Life, too; Join the lecture in Second life HERE: http://slurl.com/secondlife/Odyssey/122/45/25/ How to create an account on Second Life: HERE: http://www.aksioma.org/gaz/join_sl.html - Patrick Lichty, artist, theoretician, curator and (as Man Michinaga) founding member of the performing art collective Second Front; - Gazira Babeli; - and other members of the Odyssey community. PRESS Download high resolution image HERE http://www.aksioma.org/gaz/images/gazira_image.zip Gazira Babeli Self-portraits - Russian Roulette Courtesy the artist Gazira Babeli (http://gazirababeli.com/) has been living and working as an artist, performer and film-maker in Second Life since spring 2006. In September 2006 she published records of a number of ?non authorized performances? on the web, capturing the attention of art critics and artists. Artists above all. She then became part of Second Front, an international group of artists/performers dedicated to the formal, aesthetic, cultural and social exploration of a reality dubbed ?virtual?. She was involved in the launch of the first native artistic community in Second Life: Odyssey. In April 2007, after filming the movie/performance Gaz of The Desert, she staged an exhibition entitled [Collateral Damage]. Gazira Babeli has taken part in various festivals and events outside Second Life, including: Peam2006 (Pescara), DEAF07 (Rotterdam), Fabio Paris Art Gallery (Brescia), iMAL (Brussels), PERFORMA 07 NYC (with Second Front), DAM Gallery (Berlin). Most of Gazira Babeli's works are currently archived in the Locusolus region of Second Life. Patrick Lichty (http://www.patricklichty.com/) is a conceptually-based artist, writer, curator, and activist. He has been exhibiting internationally since 1990, and is best known for his 3D animations with the activist group, The Yes Men, and as Editor in-Chief of Intelligent Agent Magazine in NYC. Venues in which Lichty has been involved with solo and collaborative works include the Whitney & Turin Biennials, Maribor Triennial, Performa Performance Biennial, Ars Electronica, and the International Symposium on the Electronic Arts (ISEA). He is currently a member of the faculty of the Interactive Art & Media Department of Columbia College, Chicago. Domenico Quaranta (http://domenicoquaranta.com) is a contemporary art critic and curator based in Italy. PHD, he lectures internationally and teaches at the Accademia di Brera in Milan. With a specific interest in digital culture, Domenico regularly writes for Flash Art magazine. His first book titled, NET ART 1994-1998: La vicenda di ?da'web was published in 2004; he also co-edited, with Matteo Bittanti, GameScenes. Art in the Age of Videogames (Milan, October 2006) and edited or contributed to many other books. As a curator, he organized several exhibitions in Europe, including: Connessioni Leggendarie. Net.art 1995-2005 (Milan 2005); GameScenes (Turin 2005); Radical Software (Turin 2006); Holy Fire. Art of the Digital Age (Bruxelles 2008); For God?s Sake! (Nova Gorica, 2008); RE:akt! | Reconstruction, Re-enactment, Re-reporting (Bucharest ? Ljubljana ? Rijeka, 2009); Expanded Box 2009 (ARCO Art Fair, Madrid 2009); Hyperlucid (Prague Biennal, Prague 2009). Credits: Gazira Babeli ACTING AS ALIENS (Exhibition and performance) Curated by Domenico Quaranta Produced by Aksioma ? Institute for Contemporary Art, Ljubljana Co-produced by Kapelica gallery Gazira Babeli and Patrick Lichty ACTING AS ALIENS - the ways of Performance Art in Digital Realities (Lecture) Moderated by Domenico Quaranta Produced by Aksioma in the frame of the Seminar of Contemporary Performing Arts organized by Maska and Cankarjev dom Co-produced by Odyssey Art and Performance Simulator These activities are part of Aksioma's international program 2007-09 supported by the Ministry of Culture of the Republic of Slovenia and the City of Ljubljana. Executive producers: Marcela Okreti? and Janez Jan?a Special thanks: Fabio Paris Art Gallery, Helfe Ihnen, Jansmina Zalo?nik, Bojana Kunst Contacts: Aksioma - Institute for Contemporary Art Neubergerjeva 25, SI - 1000 Ljubljana, Slovenia Tel. +386-(0)41-250 669 aksioma@aksioma.org www.aksioma.org Links Aksioma ? Institute for Contemporary Art, Ljubljana | www.aksioma.org Kapelica gallery | www.kapelica.org Odyssey Art and Performance Simulator | http://odysseyart.ning.com Maska, Institute for Publishing, Production and Education | www.maska.si Cankarjev dom - Cultural and Congress Centre | www.cd-cc.si The Seminar of Contemporary Performing Arts | www.maska.si/en/symposium/seminar_of_contemporary_performing_arts --- Domenico Quaranta web. http://domenicoquaranta.com/ email. info@domenicoquaranta.com mob. +39 340 2392478 skype. dom_40 From nc-agricowi at netcologne.de Tue Oct 20 14:35:20 2009 From: nc-agricowi at netcologne.de (VCH) Date: Tue Oct 20 14:36:08 2009 Subject: [spectre] Call for proposals: SFC - Shoah Film Collection Message-ID: <20091020143520.F5043E19.B9EA9E82@192.168.0.3> Call for entries Deadline 20 December 2009 VideoChannel - video project environments is happy to announce the launch of "SFC - Shoah Film Collection" on 27 January 2010 - that day when the 65th return of the Liberation of the Concentration Camp of Auschwitz will be celebrated. For this purpose, VideoChannel released a call for proposals inviting film and video makers all over the world to reflect the topic of SHOAH and the various incorporated thematic aspects in order to contribute to keep vivid the memory of SHOAH and other genocides and crimes against humanity. SFC is also planned to form at a later stage the basis of the future exhibition project, entitled: Draft Title: SHOAH Please find the call, the regulations and the entry form on http://www.nmartproject.net/netex/?p=1549 ---------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org SFC - Shoah Film Collection http://videochannel.newmediafest.org/blog/?page_id=669 Draft Title: Shoah http://dts.engad.org ---------------------------------------------- powered by [NewMediaArtProjectNetwork]:||cologne - www.nmartproject.net the experimental platform for art and new media from Cologne/Germany From nc-agricowi at netcologne.de Wed Oct 21 09:36:54 2009 From: nc-agricowi at netcologne.de (JavaMuseum) Date: Wed Oct 21 09:37:42 2009 Subject: [spectre] Call for entries: JavaMuseum 2010 - Celebrate! Message-ID: <20091021093654.DE0787EF.F7BD67B0@192.168.0.3> Call for proposals ongoing from 1 September 2009-1September 2010 Celebrate! 2010 - 10 Years JavaMuseum - JavaMuseum - Forum for Internet Technology in Contemporary Art is celebrating its 10th anniversary in 2010, but that's not all --> in addition [NewMediaArtProjectNetwork]:||cologne will be celebrating its 10th anniversary in 2010, as well. On this occasion, JavaMuseum is planning a big show online, entitled: "CELEBRATE!" Founded in 2000 and active since 2001 as a corporate part of [NewMediaArtProjectNetwork:||cologne JavaMuseum is one of the relevant platforms for Internet based art on the net. Under the direction of Wilfried Agricola de Cologne, JavaMuseum realised more than 20 showcases and competitions of netart in a global context between 2001 and 2009 and is hosting a comprehensive collection of netart since 2000 including more than 400 artists and 1000 art works. In 2006, JavaMuseum launched - JIP - JavaMuseum Interview Project containing meanwhile more than 80 interviews with expersts and artists in the fields of digital and electronic art. On occasion of its 10th anniversary, JavaMuseum is planning to launch in autumn 2010 a netart show, entitled: Celebrate! in order to celebrate netart as an exciting, but anyway widely underestimated art genre, yet. This represents the best reason for inviting artists active on the fields of new, digital and electronic media to submit their latest or their older netart art projects which may originate from the years 2000-2010. Please find the details, regulations and entry form on http://www.nmartproject.net/netex/?p=1428 -------------------------------------------------------- JavaMuseum - Forum for Internet Technology in Contemporary Art http://www.javamuseum.org and JIP - JavaMuseum Interview Project http://jip.javamuseum.org are corporate parts of [NewMediaArtProjectNetwork]:||cologne the experimental platform for art and new media from Cologne/Germany info[at]nmartproject.net -------------------------------------------------------- From simona.lodi at toshare.it Thu Oct 22 09:40:00 2009 From: simona.lodi at toshare.it (Simona Lodi) Date: Thu Oct 22 09:40:24 2009 Subject: [spectre] Share Festival 09 - Exhibitions Message-ID: <4AE00C50.1020002@toshare.it> ENGLISH VERSION BELOW ---------------------------------------------------------------------- Newsletter 14.10.2009 Share Festival ? Market Forces 2009 /SPOTLIGHT ON....EXHIBITION! /---------------------------------------------------------------------- Cari amici di Share Festival, Ecco il primo dei 3 approfondimenti che vi accompagneranno per queste ultime settimane di attesa. Per arrivare preparati all'inaugurazione di Share Festival ? Market 2009, il 3 Novembre 2009 ore 18, Museo Regionale di Scienze Naturali, iniziamo dal cuore pi? profondo di Share Festival: le /*MOSTRE*/. /*SHARE PRIZE Mostra Share Prize*// //*--->*/ ? il fiore all?occhiello di Share Festival. Lanciato nel 2007, il premio vuole scoprire, promuovere e sostenere le arti digitali e conta una partecipazione circa 400 artisti da ogni parte del mondo. Una giuria internazionale ha selezionato le 6 opere finaliste: * Ernesto Klar* /Convergenze parallele / | *Lia* /Proximity of needs / | *Andreas Muxel */Connect / *Francesco Meneghini-William Bottin* /Sciame 1 / | *Ralf Baecker* /Calculating Space/ | *Random International / Chris O?Shea* /Audience / /3-8 Novembre ore 10-19, Museo Regionale di Scienze Naturali, Via Giolitti, 36 Torino. / /*Squatting Supermarket Squatting Supermarket *// //*--->*// /L?artista* Salvatore Iaconesi* aka xDxD.vs.xDxD/ /narra con una installazione interattiva l?evoluzione del quotidiano, entrando nel cuore vivo e pulsante di Market Forces: lo shopping. Guardare i prodotti sugli scaffali, scegliere, pagare, indebitarsi, farsi convincere e sedurre, relazionarsi con i loghi, messaggi, altre persone: comprare ? un?esperienza che riempie le nostre giornate, costruita attraverso immagini, suggestioni e strategie talmente complesse che sfuggono sistematicamente alla percezione dell?utente finale. /3-8 Novembre ore 10-19, Museo Regionale di Scienze Naturali, Via Giolitti, 36 Torino./ /*MARKET FORCES*/ /*Mostra Market Forces --->*/ Partendo dal progetto speciale per Share Festival 2009 di Salvatore Iaconesi, Squatting Supermarkets, dove ? narrata l?evoluzione del nostro quotidiano attraverso lo shopping ?aumentato?, il testo della mostra, curata da Simona Lodi, parte da questa domanda: gli artisti possono essere una fonte alternativa di conoscenze sull?economia? /3-8 Novembre ore 10-19, Museo Regionale di Scienze Naturali, Via Giolitti, 36 Torino. *end of cinema* //*Fino alla fine del cinema --->*/ curato da Luca Barbeni, questo /screening/ presenta una serie di opere audiovisive che iniziano un percorso proprio dove il cinema lo ha terminato, passando dalla linearit? all?interattivit? e da una visione collettiva a una individuale. *Queste opere non sono pi? cinema e non sono gi? qualcos?altro. */3-8 Novembre ore 10-19, Museo Regionale di Scienze Naturali, Via Giolitti, 36 Torino./ */*NATZKE* Form Follows Nature/ - mostra personale di Erik Natzke* ---> Artista, designer e programmatore, *Erik Natzke* crea e materializza le sue idee attraverso l?immaterialit? del codice informatico. La sinergia data dalla sua sensibilit? e dalla sua testardaggine gli ha permesso di spingere i limiti di questo media oltre le metodologie conosciute. Il suo ? un percorso di ricerca estetica e metodologica, dove il codice e numeri generano bellezza. Natzke, quando vuole disegnare un soggetto, non prende in mano la matita, ma apre il software editor di Flash e inizia a scrivere codice. /7/14 Novembre - Galleria Allegretti Contemporanea, via San Francesco D?Assisi,14 Inaugurazione sabato 7 novembre ore 19.00 / ------------------------------------------------------------ ENSLIGH VERSION ------------------------------------------------------------ ---------------------------------------------------------------------- Newsletter 10.14.2009 Share Festival ? Market Forces 2009 - Turin /SPOTLIGHT ON....THE EXHIBITIONS! /---------------------------------------------------------------------- Dear Share Festival friends, Here is the first of three newsletters in these last run-up weeks to the Festival, to whet your appetite and prepare you for the opening of the Share Festival ? Market Forces 2009 on 3rd November, 2009 at the Regional Museum of Natural Science in Turin at 6 PM. This week the spotlight is on: THE EXHIBITIONS. /* SHARE PRIZE Share Prize Exhibition*// //*--->*/ Launched in 2007, the Share Prize is the pride and joy of the Festival. Designed to discover, promote and support the digital arts, artists from all around the world take part in the contest every year. This year, the six finalists short-listed by the international panel of judges are: *Ernesto Klar* /Convergenze parallele / | *Lia* /Proximity of needs / | *Andreas Muxel */Connect / *Francesco Meneghini-William Bottin* /Sciame 1 / | *Ralf Baecker* /Calculating Space/ | *Random International / Chris O?Shea* /Audience / /4th-8th November, 10 AM-7 PM, Regional Museum of Natural Sciences, Via Giolitti 36, Turin/ /* Squatting Supermarket Squatting Supermarkets *// //*--->*// //Artist/* Salvatore Iaconesi* aka xDxD.vs.xDxD/ //looks at how our everyday lives have evolved through shopping, piercing into the pulsating heart of /Market Forces. Browsing products on shelves, choosing, paying, running up debt, being convinced and seduced, relating to places, messages and other people: shopping is an experience that fills our days, an experience constructed through images, suggestions and strategies that are all so complex that we, as final users, systematically fail to perceive them. /4th-8th November, 10 AM-7 PM, Regional Museum of Natural Sciences, Via Giolitti 36, Turin/ /* MARKET FORCES Market Forces Exhibition --->*/ Taking as its starting point Salvatore Iaconesi?s special project for Share Festival 2009, /Squatting Supermarkets/, which narrates how our everyday lives have evolved through ?augmented? shopping, the statement made by the exhibition, curated by Simona Lodi, explores the issue of whether artists can be an alternative source of information on the economy. /4th-8th November, 10 AM-7 PM, Regional Museum of Natural Sciences, Via Giolitti 36, Turin / /* end of cinema Until the End of Cinema --->*/ curated by Luca Barbeni. The exhibition screens a series of audio-visual works that begin where the cinema ceases to exist, taking us from the linear to the interactive, from the collective to an individual perspective. The works can no longer be said to be cinema, but nor are they something else*. */4th-8th November, 10 AM-7 PM, Regional Museum of Natural Sciences, Via Giolitti 36, Turin / */* NATZKE* Form Follows Nature/* - Erik Natzke Exhibition ---> Erik Natzke, artist, designer and programmer, creates and gives material substance to his ideas through immaterial computer code. His sensibility, combined with his stubborn resolve, has enabled him to push back the limits of his medium, beyond known methods and approaches. Natzke?s work focuses on aesthetics and methodology, in which code and numbers generate beauty. When Natzke wants to draw something, he doesn?t pick up a pencil. He opens his Flash software editor and starts programming. /7th-14th November - Allegretti Contemporanea Gallery, via San Francesco D?Assisi 14, Turin Inauguration Saturday 7th November, 7 PM / Se non volete pi? ricevere questa e-mail cliccate qui Questo messaggio ? stato inviato con -- Simona Lodi art director _____________ Share Festival for art and digital culture MARKET FORCES 3/8 November 2009 Museo Regionale di Scienze Naturali Torino - IT http://www.toshare.it __________ The Sharing Via Rossini 3 - 10124 Torino (IT) phone: 0039.011.588.36.93 mobile:+39.333.800.82.71 skype: simona.share.festival From paul at paul-brown.com Thu Oct 22 12:55:28 2009 From: paul at paul-brown.com (Paul Brown) Date: Thu Oct 22 12:56:19 2009 Subject: [spectre] CAS October Meeting - George Mallen & AGM Message-ID: The BCS Computer Arts Society SG is pleased to announce that our next presentation is by computer arts pioneer and CAS co-founder George Mallen. George's talk will be preceded by our AGM at 6:30 prompt. This talk is free and members of the public are welcome to attend. !Please note the later start! Wednesday 4 November 2009 AGM: 6:30 prompt Talk: 7:00 for 7:30pm Birkbeck College, Centre for Film and Visual Media 43 Gordon Square, London WC1H 0PD Nearest tubes - Euston Square, Warren Street & Russell Square Map: http://www.bbk.ac.uk/maps/interactive Title: Playing, making and knowing - art in a high tech culture Speaker: George Mallen At a time of increasing worry about impending crises of many different sorts - climate, food, water, energy, sociality and politics etc etc - is art in danger of being chucked into the corner as mere wealth absorption for those who have and irrelevant for those who haven't? Often it seems that the critical achievements of our culture are quietly made by scientists and engineers while artists apparently achieve great public acclaim for rather questionable work. Why is that? My talk will try to place art, and particularly computer art, in our growing understanding about the relationship between making, knowing and the computer as both knowledge repository and engine of new symbolism. George has worked with computers since 1962 having had a graduate appointment in the Mathematics Dept at the Royal Aircraft Establishment where many of the early pioneers of computing from Manchester and Bletchley Park had gathered. From there he went on to work with Gordon Pask on various cybernetic ideas. He co-founded System Simulation Ltd in 1970 and that has been his focus since. Diversions along the way have included academic involvements such as helping create the Department of Design Research at the Royal College of Art and introducing computing activities to the RCA. Another academic innovation was the creation of the Department of Communication and Media at Bournemouth University. But, these diversions included, over the years, SSL has supported computer art and the role of computers in cultural activities in many ways since its inception. The CAS Autumn Programme concludes: Wed 02 Dec - Iris Asaf CAS - supporting the computer arts for over 40 years The BCS CAS SG is a British Computer Society Specialist Group http://www.computer-arts-society.org ==== Paul Brown - based in OZ October 09 to January 2010 mailto:paul@paul-brown.com == http://www.paul-brown.com OZ Landline +61 (0)7 3391 0094 == 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 nc-agricowi at netcologne.de Thu Oct 22 17:20:48 2009 From: nc-agricowi at netcologne.de (JavaMuseum) Date: Thu Oct 22 17:21:50 2009 Subject: [spectre] October feature: Taiwanese video art Message-ID: <20091022172048.4510E609.9041A632@192.168.0.3> October 2009 Feature on VideoChannel - Video art from Taiwan http://videochannel.newmediafest.org/blog/?page_id=280 As the little brother of the continental China, Taiwan was undergoing during decades a special development, which is also manifesting itself in the practiced expressions in the arts. The feature of video art selected seven artists/directors who stand for diffrent approaches in the moving image media --> Yu Cheng Yu, Ana Yu, Yin-Ling Chen, Ying-Fang Shen, Jo-Lin Hsieh, Sandra S. Chiu, Yi-Chun Lo. Please find detailed info and the access to the feature here --> http://videochannel.newmediafest.org/blog/?page_id=280 ---------------------------------------------------- VideoChannel - video project environments http://videochannel.newmediafest.org is a corporate part of [NewMediaArtProjectNetwork]:||cologne www.nmartproject.net - the experimental platform for art and new media operating from Cologne/Germany info[at]nmartproject.net ------------------------------------------------------ From seamascain at gmail.com Thu Oct 22 17:24:09 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Thu Oct 22 17:24:44 2009 Subject: [spectre] ... at the cliffs of Moher Message-ID: <6f1e9ee40910220824k78106bd6rd928a22708eaf145@mail.gmail.com> _______________ SALMON POETRY (of Knockeven at the Cliffs of Moher in County Clare, Ireland) invites you to celebrate the publication of the book POETRY : Reading it, Writing it, Publishing it http://www.salmonpoetry.com/poetry.html The event will take place on Tuesday, the 27th of October at 7:00 p.m. in Chapters Bookstore, Parnell Street, Dublin 1, Ireland. Readers for the evening, introduced by Jessie Lendennie, will be Celia de Fr?ine, Seamus Cashman, Nessa O?Mahony, Maurice Harmon, Joan McBreen, & Anne Fitzgerald. This unusual volume consists of a number of essays by a range of poets; some run small presses or micro presses, some host writing workshops or organize reading series, some hold academic posts. Jessie Lendennie, the editor, wrote: "All are totally engrossed in the world of contemporary poetry. I wanted an international perspective so the contributors come from Ireland, Canada, Africa, Australia, Britain, & the U.S." To purchase the book, go to ... http://www.salmonpoetry.com/poetry.html For additional information, go to ... http://www.salmonpoetry.com/ Questions may be sent to ... bookshop@salmonpoetry.com In simplicity, S?amas Cain http://seamascain.writernetwork.com _______________ From Jim at spacestudios.org.uk Thu Oct 22 19:04:36 2009 From: Jim at spacestudios.org.uk (Jim Prevett) Date: Thu Oct 22 19:06:26 2009 Subject: [spectre] *REMINDER* Marching Rocks Gloves & Code Message-ID: Marching Rocks, Gloves & Code Experimental electronica: new, old and somewhere in-between. Saturday 24th October 7pm - Later. FREE at SPACE, 129 - 131 Mare Street, London E8 3RH SPACE and Culture Lab (Newcastle) come together to bring you an evening of experimental electronica, featuring performances from: Jamie Allen's CircuitMusic, Jo Kazuhiro, PixelH8, Massive Black Mountain (Will Schrimshaw & Nick J Williams), Adam Parkinson(Rare and Glorius) The Cane Toad Orchestra (OpenLab) and Dave Griffiths(Slub). DJ RE:ROOT (Marc Garrett) from arts collective www.furtherfield.org provides punk, new wave, no wave, post punk and early electronica from 1976 - 1984 and Dean Baldwin's "Minibar" the smallest bar in London will open its doors for one of the last times. Tell your enemies, friends and family- this is going to be good. More info at: http://www.spacestudios.org.uk/All_Content_Items/Media_Arts/MarchingRock sGloves&Code/ 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 Forthcoming Exhibitions: 6th November - 19th December 2009 NEU! Ruth Beale - WHAT I BELIEVE WIGAN CASINO (1977, Dir. Tony Palmer) Thanks Josie Faure Walker Communications Manager [ s p a c e ] 129 - 131 Mare Street London E8 3RH 0208 525 4346 Josie@spacestudios.org.uk www.spacestudios.org.uk Forthcoming Exhibitions: 6th November - 19th December 2009 NEU! Ruth Beale - WHAT I BELIEVE WIGAN CASINO (1977, Dir. Tony Palmer) From diana at faces-l.net Fri Oct 23 13:40:32 2009 From: diana at faces-l.net (Diana McCarty) Date: Fri Oct 23 13:41:04 2009 Subject: [spectre] Herbstradio 99.1 FM Berlin Weekend Program! Message-ID: <20091023134032.q4u25die8kogc8k4@webmail.servus.at> Radio is back. Kill your ipods. Herbstradio 99.1 FM Berlin Sept. 1 - Nov. 22, 2009 www.herbstradio.org Breaching the airwaves with a new breed of sound: Transmitting from two studios in the former east and west parts of the city, a new radio project marks the crossings of many cultural communities for the next three months. Herbstradio is a continuation of an ongoing international experiment: how to map the complex patterns of urban culture's productivity and transport it into the ether? While other cities around the world have permanent "free cultural radios", Berlin has only realized this in temporary forms. Partly, Herbstradio is a tribute to Berlin's potential to realize a permanent cultural channel like Resonancefm London; WFMU, NYC; Grenouille, Marseilles; Tilos Radio Budapest; Orange, Vienna and Corax, Halle or the former Radio100, Berlin. ich will mein Radio zurueck! Friday - 10.23.09 15:00 | G?zelradio > #7 Dubcoreorientalstep-Noexotic Planetcore (serhat Koeksal!) 16:00 | BarbNerdy > The Magic of Mixtapes Anhand der Mixtape Serie "Sharing means Caring" erkl?rt Barbara Hallama Ihre Philosophie ?ber Mixtape und Mixtape Songs. 17:00 | Grenzpunkt Null > Rex Joswig #3 Grenzpunkt Null ? oder Schnittstelle 89. Ostbiographien vor und nach dem Fall der Mauer. Teil 3 des Interviews mit Rex Joswig, Musiker. Die lebende Repetiermaschine, hat u. a. mit Herbst in Peking, Babylon 23, Badphish, Column One und Bert Papenfu?-Gorek gearbeitet. Im zweiten Teil der Sendung Telefoninterview oder Diskussion. 18:00 | Berliner Runde > Flaming Jack Smith Live Radio LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World Live Radio mit Susanne Sachsse, Marc Siegel und Stefanie Schulte Strathaus. 20:00 | Dschungelfunk > Literatur Spezial Magazin f?r Politik und Kultur. Pr?sentiert und produziert von der Wochenzeitung Jungle World. Der Streit um die Ausstellung "Die dritte Welt im zweiten Weltkrieg" 21:00 | Glorious Mono > series Funky beats for funky people. "Infinite Livez and guest dj Richard Steel present their new Friday night weekly show. With Special Guest: Soda! 23:00 | Grenzpunkt Null > reloaded von Rex Joswig Nachdem wir in den letzten 3 Tagen etwas ?ber die Biografie von Rex Joswig, dem Gr?nder der Band Herbst in Peking, erfahren haben, folgt ein H?hepunkt: Grenzpunkt Null reloaded von und mit Rex Joswig! Saturday 10.24.09 10:00 | Urban Peas > zeiTraum... die langsamste Morgensendung der Stadt. Immer Samstags, von 10 - 12 h Musik und Unterhaltung mit Manuela Krause (brumtone) und illustren G?sten. 12:00 | Nouri?s > Radyoun (Mittagssendung) Eine Radiosendung mit Noureddine Ben Redjeb. 14:00 | Polyphone Bewegung > Bewegungsr?dio (Nachmittagssendung) Alle sind weg - wir bleiben noch kurz? 16:00 | Polanskifunk > Dieter Zeesen Bluesband Wer sich schon einmal gefragt hat, was das eigentlich f?r Musik ist, die in vielen der Herbstradio-Jingles zu h?ren ist, der findet hier eine Antwort: Marcel Polanski stellt die Dieter Zeesen Bluesband vor. 17:00 | Sprechmaschine > Henry ohne Gnade Sprechmaschine ist ein Magazin, das sich seltsamen und unbekannten Themen aus Wissenschaft, Forschung und Kultur widmet. Heute: Klappe Zu - Kinosendung zum Baron-Film ?Henry ohne Gnade? 18:00 | Berliner Runde > Umwelt und Aktuelles Was ist die Berliner Runde? Stammtisch und Ger?chtek?che. Das Sendestudio ist in den zwei Stunden offen f?r Aktuelles und Jeden. Heute besch?ftigt sich die erste Stunde mit Umweltthemen und die zweite mit Themen aus Politik und Gesellschaft. 20:00 | CTM & General Public > On Air CTM (club transmediale) - festival for adventurous music and related visual arts, Berlin und der Projektraum General Public pr?sentieren im Wechsel jeden Samstag zwischen 20:00 - 22h00 ihre Auswahl an Sounds und Musik. 22:00 | Waltz & Kotai > Techno und Soundtracks Collage aus Tracks und Filmton von A.G.Waltz und Claudi Kotai. Sunday 10.25.09 Radio Voodoo > ... sendet wieder! Radio Voodoo ? spirituell, unkonfessionell, fleischfressend. 14:00 | Chaosradio Express > Wikipedia f?r Fortgeschrittene (Nachmittagssendung) Chaosradio Express ist ein seit 2005 erscheinender Interview-Podcast rund um die Themen Technologie und Gesellschaft. Heute: Energiesparh?user - Wissenswertes um aktuelle Energiespartechniken in Wohnh?usern. 16:00 | Sonntagskonzert > The Friends of Dean Martinez Dieter Zeesen pr?sentiert: Das Sonntagskonzert auf Herbstradio! Heute h?ren wir The Friends of Dean Martinez. 17:00 | Sprechmaschine > Der gnadenlose Henry Sprechmaschine ist ein Magazin, das sich seltsamen und unbekannten Themen aus Wissenschaft, Forschung und Kultur widmet. Heute die Flimmerstunde - Kinosendung zum Eisenberg-Film ?Der gnadenlose Henry (Das Remake)? 18:00 | Berliner Runde > Dipolantenne Was ist die Berliner Runde? Stammtisch, Ger?chtek?che, Platz f?r Aktuelles und Experimentelles. Immer sonntags h?ren Sie hier eine Runde mit dem Untertitel: Dipolantenne - Die schizonationale Radio-Show des Club der Polnischen Versager, mit Adam Gusowski, Piotr Mordel und G?sten. 20:00 | Mondkalb > Kr?ppel aus dem Sack 8 Behindert sein f?r Einsteiger: Erbgut alles gut? Gibt es ein Leben vor dem Unfall? Organspende? ? Bitte verlassen Sie meinen K?rper wie Sie ihn vorgefunden haben! 21:00 | mikro.fm > Die Herbstradio-Show "Unser Konzept ist diesmal, keines zu haben. ausser,dass wir keine Wiederholungen wollen und immer andereMenschen ins Studio einladen." 23:00 - 02:00 | Breakthrough > #1 A live expansion of recordings and both local and remote actions effecting the dislocation of representation, time and space. Tip For next week: Cobra Killer! KQSM, ?Judy? Lybke, All on Monday! Radio is back. Kill your ipods. Herbstradio 99.1 FM Berlin Sept. 1 - Nov. 22, 2009 www.herbstradio.org From marc.garrett at furtherfield.org Fri Oct 23 14:07:17 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Fri Oct 23 14:07:50 2009 Subject: [spectre] Do It With Others - (DIWO) at the Dark Mountain. In-Reply-To: References: Message-ID: <4AE19C75.3080707@furtherfield.org> Sorry for any cross posting... Do It With Others - (DIWO) at the Dark Mountain. You are invited to contribute to a Mail-Art project across physical and digital networks towards an open exhibition at HTTP Gallery We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history.- Uncivilisation, The Dark Mountain Manifesto. The Dark Mountain Project is ?a new cultural movement for an age of global disruption.? It aims to ?question the stories that underpin our failing civilisation, to craft new ones for the age ahead and to write clearly and honestly about our true place in the world.? Do It With Others (DIWO) at the Dark Mountainis a cultural collaboration for this age. ?Uncivilisation,? the Dark Mountain Manifesto, calls for a cultural response to our current predicament. Its challenge is offered to network-minded artists, technologists, writers and activists as a provocation ? to work together to re-envision the narratives and infrastructures that govern our relationships with the natural world, and how they might be unravelled and rewoven to reconfigure our place in it. As ?Uncivilisation? concludes, ?The end of the world as we know it is not the end of the world full stop.? Artists, technologists, writers, activists and all other living beings are invited to correspond with each other across physical and digital mail networks. Transmissions and missives may take the form of texts, images, sound, net movies, objects, software programmes and instructions and will be assembled for an exhibition of all submissions offering new myths and maps for future uncivilisation at HTTP Gallery. Do It With Others at the Dark Mountain is a collaborative project by Furtherfield.org and The Dark Mountain Project. Do you want to Do It With Others at the Dark Mountain? E-Mail: go to http://netbehaviour.org, subscribe to the NetBehaviour email list, correspond and join the explosive discussions in image, text, sound, movie and code. Mail via Royal Mail: working with, or around, striking mail-workers, send chain letters, circular interviews, or invent some rules for Royal Mail object relay. All submissions should arrive at HTTP Gallery by Thursday 26th November addressed to DIWO, HTTP Gallery, Unit A2, Arena Design Centre, 71, Ashfield Road, London, N4 1NY England, UK Join the Open Curation event: 12-3pm Friday 27th November ?09 to decide how to best display all submissions and entries at HTTP Gallery. Join us at the gallery or online by webcam, instant messaging and Skype. To learn how visit http://http.uk.net/diwodarkmountain Follow the blog http://http.uk.net/diwodarkmountain where Dark Mountaineer, Dougald Hine will be your guide to the emerging landscape of email and snailmail exchanges. Attend the Open Disassembly Event: 7-9pm Full Moon, 30th January ?10 Assemble at HTTP Gallery for the closing event to help us disassemble the display and to choose the work you would like to take home with you. Other Important dates Private View 7-9pm Full Moon, Wednesday 2nd December ?09 Gallery Open 12-5pm, Friday-Sunday, 4th-12th December 2009, 8th-30th January 2010 This is the second Do It With Others (DIWO) E-Mail-Art project initiated by Furtherfield.org. The first DIWO experiment in 2007 extended the Do-It-Yourself ethos of early net art, characterised by curiosity, activism and precision, towards a more collaborative approach, using the Internet as an experimental artistic medium and distribution system to foment grass-roots creativity. More about The Dark Mountain Project and Furtherfield.org The Dark Mountain Project is curated by Paul Kingsnorth and Dougald Hine. http://www.dark-mountain.net/ Paul is the author of One No, Many Yeses and Real England. He was deputy editor of The Ecologist between 1999 and 2001. His first poetry collection, Kidland, is forthcoming from Salmon Poetry. http://www.paulkingsnorth.net Dougald writes the blog ?Changing the World (and other excuses for not getting a proper job).? He is a former BBC journalist and co-founder of the School of Everything, and has written for and edited various online and offline magazines. http://www.dougald.co.uk This project is part of Furtherfield.org?s three-year 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. HTTP Gallery is Furtherfield.org?s dedicated space for media art. Furtherfield.org provides platforms for creating, viewing, discussing and learning about experimental practices in art and technology. Furtherfield.org and HTTP Gallery are supported by Arts Council England, London. Furtherfield.org http://furtherfield.org HTTP Gallery http://http.uk.net Furtherfied Media Art Ecologies http://furtherfield.org/mediaartecologies.php NetBehaviour email list http://netbehaviour.org From ab at mikro.in-berlin.de Fri Oct 23 16:41:37 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Fri Oct 23 16:47:09 2009 Subject: [spectre] sad news - maryanne amacher passed away Message-ID: word is going around that maryanne amacher, the unique musician, composer and sound artist, passed away yesterday, oct 22nd, 2009. http://en.wikipedia.org/wiki/Maryanne_Amacher From ab at mikro.in-berlin.de Fri Oct 23 19:00:51 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Fri Oct 23 19:21:29 2009 Subject: [spectre] exh. FEEDFORWARD. The Angel of History. LABoral, Gijon/Spain Message-ID: FEEDFORWARD. THE ANGEL OF HISTORY Cleaning up after the 20th century. What is progress now? 22.10.2009 - 05.04.2010 LABoral Centro de Arte, Gij?n, Spain Feedforward. The Angel of History addresses the current moment in history where the wreckage of political conflict and economic inequality is piling up, while globalized forces-largely enabled by the "progress" of digital information technologies-inexorably feed us forward. The exhibition title references Paul Klee's painting "Angelus Novus," which Walter Benjamin famously interpreted as an "angel of history" transfixed by the wreckage of the past that is piling up in front of him while being propelled backwards into the uncertain future by a storm from paradise (progress). CURATORS: Christiane Paul & Steve Dietz ARTISTS: AES+F, Christopher Baker, Stella Brennan, Paul Chan, Nancy Davenport, Nonny de la Pe?a y Peggy Weil, Hasan Elahi, Cao Fei, B?rbara Flux?, Daniel Garc?a And?jar, Fernando Garc?a-Dory, Goldin + Senneby, Harwood, Wright, Yokokoji, Knowbotic Research + Peter Sandbichler, Langlands + Bell, Jennifer + Kevin McCoy, Margot Lovejoy, Naeem Mohaiemen, Ali Momeni + Robin Mandel, Carlos Motta, Trevor Paglen, Rachael Rakena, Fez Fa'anana, Brian Fuata, Stephanie Rothenberg + Jeff Crouse, System-77CCR Consortium, Piotr Szyhalski, Tamiko Thiel + Teresa Reuter, Carey Young From ab at mikro.in-berlin.de Fri Oct 23 19:12:26 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Fri Oct 23 19:21:55 2009 Subject: [spectre] Exh/Perf/Lecture program 'Het Proces', generative art, Amsterdam Message-ID: Exhibition "Het Proces" Performance/lecture program The exhibition "Het Proces", now on view at Arti et Amicitiae until November 15, is devoted to "generative art", as exemplified by the work of Peter Struycken, Remko Scha, Driessens & Verstappen and Jochem van der Spek. Artists who embrace this approach, design physical or computational processes which generate images and objects in a largely autonomous way. Generative art has an intrinsically conceptual component; it tends to involve theory and to invite explicit reflection. The exhibition is therefore accompanied by a series of presentations which broach some relevant topics for discussion. The presentations take place on Friday evenings from 8 p.m. until 10 p.m. in the exhibition space of Arti et Amicitiae, Rokin 112, Amsterdam. Rooms are open from 7.30 p.m. http://www.arti.nl/tentoonstelling.php?id=217 Friday October 23: Enumeration Introduction by Remko Scha: Enumeration in Generative Art. This talk discusses a particular genre within the generative approach: the enumeration, i.e., the systematic listing of all instances of a particular concept. The esthetic possibilities of this genre were demonstrated in the conceptual art of the 1970's. A very ambitious application of the enumerative method occurred already in early 20th-century literature: the library containing all possible books. An equally far-reaching project was actually realized in recent digital art: the program generating all possible images. Performance by Samuel Vriezen (piano): "The Chord Catalogue" (1986) by Tom Johnson. The American composer Tom Johnson wrote many systematic pieces. The Chord Catalogue is one of his most rigorous works: it sums up all the 8178 distinct chords that the chromatic scale allows within an octave. Johnson: "It is not so much a composition as simply a list." Music critics have described this work as "a pointed lesson in music history and the relativity of perception" (Kyle Gann) and as "a transcendental experience" (Matthias Entress). Friday October 30: History Introduction by Remko Scha: The Prehistory of Process Art. At the end of the 18th century, Ernst Chladni discovered his famous method for visualizing the oscillatory motions of metal plates. Since that time, many other mechanical image-generation techniques were developed. This talk reviews this research tradition, and its connection with contemporary art. Lecture by Darko Fritz: Notions of the Program. Darko Fritz curated the world's largest historic overview exhibition of programmed art, presenting the case study of the New Tendencies (1961-1973) at the ZKM in Karlsruhe in 2008/2009. In this lecture he will show how the idea of "programmed art" emerged in the course of the 1960's, out of three different artistic backgrounds: (1) neo-constructivism and lumino-kinetics, (2) computer-generated art, and (3) conceptual art. The presentation will be accompanied by audio-visual documentation from the 1960's and from the recent ZKM exhibition. Friday November 13: Abstraction and Concept Art Introduction by Remko Scha: Abstraction and the Image Ban. The deep wisdom of the Biblical ban on mimetic representation becomes increasingly clear in today's image-based society. In this context, abstract art and concept art regain their original, socially relevant meaning. Lecture by Taconis Stolk: Concept and context. Concept Art aims at a purely mental esthetics, with its own principles of form and composition. This talk explores how conceptual art employs specific aspects of mathematical logic, and how a computational formulation of these practices may give rise to new forms of algorithmic conceptual art. Enquiries: Arti et Amicitiae or Remko Scha From greg.smith at utoronto.ca Sat Oct 24 22:35:16 2009 From: greg.smith at utoronto.ca (Greg J. Smith) Date: Sat Oct 24 22:35:49 2009 Subject: [spectre] Announcing Vague Terrain 15: .microsound Message-ID: <20091024163516.k3qiomx8gwwggkgk@webmail.utoronto.ca> Announcing Vague Terrain 15: .microsound The latest of edition of Vague Terrain is dedicated to celebrating the tenth anniversary of the .microsound community. Guest curated by the American composer Kim Cascone, the issue provides a range of commentary and context on "sub-atomic" musical aesthetics and a window into this globally distributed community of electronic musicians. In Cascone's own words .microsound is a fertile middle ground between "the ivory tower of sterile academia" and "the seizure-inducing din of the dance club". For those unacquainted with this zone of musical production, this collection of work provides a perfect introduction. Featuring text & video contributions by Ben Neill, Charles Turner, Dextro, Joanna Demers, Pere Villez, Thanos Chrysakis, Thomas Bey William Bailey and William L. Ashline. Feature audio contributions from Mike Rooke, Lubrication, Ronnie Cramer, [ruidobello], Richard Lainhart, sound art, TomDjll, Brett Ian Balogh, Scant Intone, Yota Morimoto, Jorge Castro, Joaqu?n Guti?rrez Hadid, Francesco Rosati, Asf?rico, Water Falls, Yann Novak, John Hanes, Epoch_Collapse, Jhenner Gayap Benadrilled, Skj?lbrot, Markus Jones, Jon Hawken, Adern X Fades 4:38, Julien Ottavi, Vanessa Rossetto, Kim Cascone, Larnie Fox, eddie135, Di.J Crisis, shg, Cheryl E. Leonard, No? Cu?llar, Gary R. Weisberg, Osvaldo Cibils, Kotra, Gintas K, John Kannenberg, Ricky Pannowitz, ocp, TheSAD, Margaret Schedel, Pereshaped, so/on, Eric Miller, Nux Vomica, v4w.enko, UmanoidSomeday, Epoch Collapse, Umanoid and No? Cu?llar. To view the issue please visit http://vagueterrain.net/journal15 From play at ubermorgen.com Sun Oct 25 01:47:18 2009 From: play at ubermorgen.com (UBERMORGEN.COM) Date: Sun Oct 25 01:47:35 2009 Subject: [spectre] Cabaret Voltaire Zurich, CREAM Award & Coded Cultures Yokohama Message-ID: <5C2EA65C-AB19-4731-8D7A-C1610EF54EBC@ubermorgen.com> Today . Cabaret Voltaire Zurich Switzerland, Sunday 25.10.09, 1800h Superenhanced Generator Interrogation Performance http://www.superenhanced.com http://www.cabaretvoltaire.ch/aktuell/aktuell.php?ID=152 Award . Sound of eBay - Special Mention; CREAM Competition CREAM International Festival for Arts and Media Yokohama 2009 http://www.ifamy.jp - http://www.ifamy.jp/en/competition/ http://www.Sound-of-eBay.com Retrospection . Coded Cultures Yokohama Japan 14-18.10.09 Superenhanced Generator Interrogation Performance http://codedcultures.org/jp/about/ - http://ipnic.org/superenhanced/ . Tx to Migros-Kulturprozent Switzerland, the City of Vienna (MA7/ NetzNetz) & 5uper.net f/support of Superenhanced Generator DVD . ?Werkbeitr?ge Digitale Kultur 2? Migros-Kulturprozent (French/German) W/feature UBERMORGEN.COM Superenhanced Generator http://www.digitalbrainstorming.ch/programm/dvd2 ** Will have DVD and UM.BOOK at Cabaret Voltaire Performance ** + Vvvvisit the SHIFT Festival in Basel Switzerland if you happen to be in the Dreilaendereck, it rocks! http://www.shiftfestival.ch/ fuck yeah! . lizvlx & Hans Bernhard, UBERMORGEN.COM officeR@ubermorgen.com, http://www.ubermorgen.com + UM.BOOK: MEDIA HACKING VS. CONCEPTUAL ART http://tinyurl.com/UM-Amazon-de http://tinyurl.com/UM-Merianverlag-CH-E http://www.Wormshop.nl http://tinyurl.com/Furtherfield-UM-Review + http://ubermorgen.com/manifesto + 1001 Songs, Cr?nica 043~2009 http://www.cronicaelectronica.org/?p=043 + http://www.ubermorgen.com/BlacknWhite + hansbernhardblog (daily drugs&food) on twitter http://twitter.com/hansblog (bow) From kate at futureeverything.org Tue Oct 20 11:50:33 2009 From: kate at futureeverything.org (kate@futureeverything.org) Date: Mon Oct 26 08:31:10 2009 Subject: [spectre] Ackroyd & Harvey and HeHe - Environment 2.0 Artist Talks Message-ID: <49588.1256032233@futureeverything.org> - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Environment 2.0 Artist Talks - Ackroyd & Harvey and HeHe - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FutureEverything's Environment 2.0 exhibition at Lancaster Institute for the Contemporary Arts (LICA) is an exploration of art and sustainability. The exhibition has successfully launched and is already attracting positive reviews: "...a fascinating show, that curators Drew Hemment and Dennis Hopkins should be proud of, and one that everyone should see, absorb and respond to." - The Lunecy Review http://bit.ly/29xA05 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Artist Talks - Ackroyd & Harvey and HeHe - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Peter Scott Gallery, LICA, Lancaster University Wednesday 21st October, 2.30pm-5pm http://futureeverything.org/news/artoctobertalks Join the artists Heather Ackroyd of duo Ackroyd & Harvey and Helen Evans of Paris-based HeHe in a discussion of their work in the Environment 2.0 art exhibition. FutureEverything and LICA are delighted to be welcoming two of the international artists whose work features in the show. As part of their visit the artist's will be taking part in a FREE artists talk event, 2.30pm-5pm Wednesday 21st October. The talk will offer an opportunity to hear the artists discussing their work and the outcomes of their actions at a local level. Entry to the talk is free and open to all, though capacity is limited. Info Contact: r.baynton@lancaster.ac.uk http://www.lancs.ac.uk/depts/peterscott/scott.htm Also? The Artists Talk event immediately follows The Nuffield Theatre's MAKING TIME year-long project launch - taking place in the almost overlooked natural garden to the left as you approach the Nuffield box office/Peter Scott Gallery at noon on Wednesday 21 October. Everyone is welcome. From sebastien.bourdeauducq at lekernel.net Fri Oct 23 13:11:15 2009 From: sebastien.bourdeauducq at lekernel.net (sebastien.bourdeauducq@lekernel.net) Date: Mon Oct 26 08:31:11 2009 Subject: [spectre] Looking for multimedia artists for a Democompo project Message-ID: <6556c414bc18cb60617d77beac8d61b3@localhost> Hi, We are looking for multimedia (mostly graphics) artists for a democompo project. You do not need to have an expert level in programming to participate (if your only contribution is good looking bitmap images, that's already a lot!), even though a little background is advisable if you want to do animated thingies or some rendered effects (we could help you however). This mini-project consists in developing a compo on the Milkymist open hardware system-on-chip platform that will present Sanobot, the toxic gas sensor and Twitter bot of /tmp/lab, a hackerspace set up close to a chemical factory. We look forward to presenting it at demoparties (unfortunately it was not ready for Main#4). What is a Demoparty: - http://en.wikipedia.org/wiki/Demoparty More info on Sanobot: - http://lekernel.net/blog/?p=446?: presentation of the project - http://lekernel.net/blog/?p=509?: some tech info - http://lekernel.net/blog/?p=517?: more tech details - http://lekernel.net/blog/?p=577?: some results - http://www.twitter.com/sanobot?: Twitter feed More info on Milkymist: - http://www.milkymist.org?: project homepage - http://www.milkymist.org/doc/paper_overview.pdf?: technical overview - http://www.tmplab.org/wiki/index.php/FPGA_Workshop?: workshop on FPGA System-on-Chips Project wiki page (with scenario outline... that you are of course invited to improve): - http://www.tmplab.org/wiki/index.php/DemoParty_Compo_with_MilkyMist So if you think you could design some cool graphics for this project, contact sebastien dot bourdeauducq at lekernel dot net. There is nothing to win, except loads of geek fun, some technical background, and hopefully a demoparty prize ;) Sebastien From oliver.grau at donau-uni.ac.at Mon Oct 26 10:21:22 2009 From: oliver.grau at donau-uni.ac.at (Oliver Grau) Date: Mon Oct 26 10:26:01 2009 Subject: [spectre] Christa SOMMERER - Lecture - Centre for Contemporary Art Laznia in Gdansk Message-ID: <4AE578220200003C00029706@gwgwia.donau-uni.ac.at> >> INVITATION << Centre for Contemporary Art Laznia in Gdansk, Poland, cordially invites You to the lecture of Prof. Dr. Christa SOMMERER >> Interaction Revisited - Interactive Art Research << on Monday, 26th October 2009, 6 pm Jaskolcza Street 1 80-767 Gdansk In 2009 Peter Weibel stated: "Artists, in the age of Youtube.com, Flickr.com, MySpace.com, and Second Life, lose their monopoly on creativity. Using contemporary media everyone can be artistically creative". If we subscribe to this notion, we have to ask ourselves what kind of implication this has for artists who are mostly concerned about pushing the boundaries of interaction design and interactive art and work in this field since many years How are technical aspects of these works interwtined with their artistic content ? And can we learn something from early notions of participatory art and see parallels in the interconnection between artistic message and form and their effects on mass products? By looking at various interactive projects we address those questions and revisit the notion of interactivity and participation from an artist practitioner's point of view. For further information please contact: Kasia Wozniak Curator Centrum Sztuki Wspolczesnej Laznia Centre for Contemporary Art Laznia ul. Jaskolcza 1 80-767 Gdansk Tel. +48 792003541 From oliver.grau at donau-uni.ac.at Mon Oct 26 10:27:57 2009 From: oliver.grau at donau-uni.ac.at (Oliver Grau) Date: Mon Oct 26 10:29:29 2009 Subject: [spectre] CHArt TWENTY-FIFTH ANNUAL CONFERENCE: OBJECT AND IDENTITY IN A DIGITAL AGE Message-ID: <4AE579AD0200003C00029713@gwgwia.donau-uni.ac.at> CHArt TWENTY-FIFTH ANNUAL CONFERENCE OBJECT AND IDENTITY IN A DIGITAL AGE Thursday 12 - Friday 13 November 2009 Birkbeck, University of London, Clore Lecture Theatre, Clore Management Centre, Torrington Square, London, WC1 7HX. THEME This year's CHArt conference engages with the idea of object and identity in relation to art practice, production, consumption, representation and display. The conference will explore new notions of the identity of the artist, including those involving collaboration and anonymity; new conceptions and ontologies of the art object, as processual, virtual, or hybrid; new means of consumption and reception, whether in galleries and museums, in public spaces, or over networks of broadcast and narrowcast; and the challenges these transformations bring to the display of art and to its curation and access. Places are limited so early booking is recommended. The booking form is available online on www.chart.ac.uk. Conference fees (pounds sterling) - include coffee/tea breaks and lunch. PROGRAMME THURSDAY 12 NOVEMBER KEYNOTE - Frieder Nake, University of Bremen, Germany. Only Artist. Only Engineer. Only Critic. Transcending Disciplines in Early Digital Art. SESSION 1 Patterns of Movement in Live Languages. Alex McLean, Geraint Wiggins, Goldsmiths, University of London. The Software in Art. Ernest Edmonds, University of Technology Sydney. Interfaces of Performance. Maria Chatzichristodoulou (Maria X), University of Hull; Janis Jefferies, Goldsmiths, University of London; Rachel Zerihan, Queen Mary University of London. The Screaming Head: Making the Most of the Random Attributes of Sensors in the Construction of a Virtual Performer. Mary Oliver, University of Salford. SESSION 2 Making Connections: Children, Objects, Meanings and Museums. Helena Tomlin and Irit Narkiss, The Manchester Museum. Art and Orphan Works: Ownership and Discovery. Annette Ward, University of Dundee; Annsley Merelle Ward, Gallant Macmillan LLP; James Stevenson, Victoria and Albert Museum; Stephen McKenna, Ian Ricketts, University of Dundee. Emergent questions: Digitisation, Cultural Heritage and the Social Agency of Images. Devorah Romanek, The British Museum. Cut and Paste Art History: Image Manipulation as Spurious Art Historical Proof of the Face of Shakespeare. Marcus Risdell, Garrick Club. SESSION 3 Re-Materialisation of the Art Object. Dew Harrison, University of Wolverhampton. Puppeteers, Performers or Avatars: A Perceptual Difference in Telematic Space. Paul Sermon, University of Salford. The Work of Art in the Age of Virtual Production. Andrew Sempere, IBM Watson Research. The Creative Use of Online Social Networking Sites to Increase Public Engagement and Participation in the Professional Arts Through Collaborative Involvement in Creative Practice. Sophy Smith, De Montfort University, Leicester. (The CHArt Annual General Meeting will take place at the end of day 1) FRIDAY 13 NOVEMBER SESSION 4 The Role of Art in Computer Game Design. Colin B. Price, June S. Moore, University of Worcester. The Artist as Designer, the Artist as User: Developing a Collaborative Framework for Artistic Engagement in ICT Design. Frederik Lesage, London School of Economics and Political Science. Big Bird is Watching You! Art, Activism and Technology in the Public Arena. Denitsa Petrova, Edinburgh College of Art. Are You Clean? Parasitic Art and Privacy. Jeremy Pilcher, Lancaster University. SESSION 5 The Case of Liberation Aesthetics Versus Digital Identit(ies). Timothy Allen Jackson, Savannah College of Art and Design, USA. Performing Information. Christoph Kl?tsch, Savannah College of Art and Design, USA. Exhibition Design as High-Level Programming Gabriel Menotti Gonring, Goldsmiths, University of London. SESSION 6 Art and Software Entropy. Wayne Clements, Chelsea College of Art and Design. Databasing the Arts:The Enactment of Art Objects in Networked Infrastructures. Sarah de Rijcke, Royal Netherlands Academy of Arts and Sciences. ArtLog: An Electronic Archive of Artistic Process Yvonne Desmond, Dublin Institute of Technology, Ireland. Try to Get that Kindle Signed: The Comic Book as Cultural Interface Ernesto Priego, University College London. BOOKING FEE CHArt Member: TWO DAYS ?120 CHArt Member: ONE DAY ?80 Non-member: TWO DAYS ?160 Non-member: ONE DAY ?110 CHArt Student Member: TWO DAYS ?65 CHArt Student Member: ONE DAY ?45 Student Non-member: TWO DAYS ?85 Student Non-member: ONE DAY ?55 .......................................... Hazel Gardiner Centre for Computing in the Humanities King's College London 26-29 Drury Lane London WC2 5RL hazel.gardiner@kcl.ac.uk +44 020 7848 2013 From marc.garrett at furtherfield.org Tue Oct 27 11:39:28 2009 From: marc.garrett at furtherfield.org (marc garrett) Date: Tue Oct 27 11:40:00 2009 Subject: [spectre] SOUND ECOLOGIES: LISTENING IN THE CITY In-Reply-To: <4757DF59.5090007@montevideo.nl> References: <4757DF59.5090007@montevideo.nl> Message-ID: <4AE6CDE0.7040400@furtherfield.org> SOUND ECOLOGIES: LISTENING IN THE CITY 10am-4pm, Wednesday 18th November 2009 Department of Music, City University London, Northampton Square, London EC1V 0HB A day of presentations, participatory workshops and informal performance around themes of urban sound, networked sound, locative media and acoustic ecology ? the relationship between living beings and their environment, as mediated by sound. Featuring Furtherfield (Ruth Catlow and Marc Garrett), and guest speakers Stanza, Peter Cusack, Ximena Alarc?n and Pedro Rebelo. The event is free, and open to anyone interested, including musicians, artists, curators, technologists; ecologically inclined thinkers, makers and doers of all kinds. For further information please visit http://furtherfield.org/soundecologies.php NB: BOOKING IS ESSENTIAL Space is limited. To reserve your place at Sound Ecologies please visit http://www.city.ac.uk/whatson/forms-2009/181109-sound-ecologies SOUND ECOLOGIES: LISTENING IN THE CITY is a partnership event funded by LCACE convened by Katharine Norman, Department of Music, City University London and Furtherfield.org From joris at v2.nl Tue Oct 27 14:41:23 2009 From: joris at v2.nl (V2_) Date: Tue Oct 27 14:41:52 2009 Subject: [spectre] V2_Newsletter November 2009 Message-ID: <4AE6F883.3040900@v2.nl> V2_Newsletter November 2009 V2_Events: The Origins of Innocence Oct - Nov 22, Rotterdam Exhibition open 12?6pm daily except Monday Special exhibition location: Witte de Withstraat 63, Rotterdam Bernie Lubell?s exhibition The Origins of Innocence, on view at V2_ through November 22, has received an enthusiastic audience response. Several visitors have even compared his machines to Leonardo Da Vinci?s. Anyone who hasn?t yet been to see the work can get an impression by watching a video of Bernie Lubell on YouTube or on our website. Don't miss this exhibition! http://www.v2.nl/events/the-origins-of-innocence _______________________________________________________________________ V2_Events: V2_ at the Internationaal Beeldfestival Rotterdam 2009 October 30?31, Rotterdam Rotterdam?s new ?Internationaal Beeldfestival? will take place on October 30 and 31 in the Lloydkwartier district. Various Dutch and foreign institutions, including V2_, are contributing to the program, which affords a broad and fascinating picture of various aspects of the media and image-making industry. V2_ has invited Julius von Bismark to give a presentation on his Image Fulgurator. The project won the Prix Ars Electronica for best interactive artwork at the Ars Electronica Festival 2008 in Linz, Austria. For tickets and complete program information, visit the festival site at http://www.beeldfestival.nl. http://www.juliusvonbismarck.com/fulgurator ________________________________________________________________________ V2_Lab: Intimacy V2_ received many responses to its call for a fashion designer to work on Studio Roosegaarde and V2_Lab?s wearable technology project Intimacy. We hereby wish once again to extend our sincere thanks to all the applicants. Designer Maartje Dijkstra is now at work designing and making the first prototype. We plan to present it publicly at the next Test_Lab. We also have good news related to media artist Daan Roosegaarde. His installation Dune 4.2 has been given a permanent home in the Rotterdam neighborhood of De Esch and will be officially opened on October 29. It was also announced recently that Roosegaarde?s work Flow 5.0 had won the Dutch Design Award in the spatial design category. http://www.v2.nl/lab/projects/intimacy V2_Institute for the Unstable Media Eendrachtsstraat 10 3012 XL Rotterdam +31(0)10 206 7272 v2@v2.nl From info at rybn.org Tue Oct 27 16:22:53 2009 From: info at rybn.org (rybn) Date: Tue Oct 27 16:28:25 2009 Subject: [spectre] =?iso-8859-1?q?=5BArtkillart=5D_Michael_Sellam_/_La_So?= =?iso-8859-1?q?ci=E9t=E9_de_Curiosit=E9s_/_Paris_31=2E10=2E2009?= Message-ID: *** english below *** Michael Sellam @ La Soci?t? de Curiosit?s Paris, 31 Octobre 2009 - 21h00 Le travail de Micha?l Sellam multiplie les r?f?rences au monde des loisirs populaires avec un int?r?t particulier pour les pratiques amateurs et les formes de sous et de contre-culture. Appartenant ? une g?n?ration qui a int?gr? l?utilisation de l'informatique et des nouvelles technologies, il s'appuie sur ces instruments techniques en les mixant aux pratiques populaires pour produire des rencontres monstrueuses et distordues. Ancr?s dans une pratique r?guli?re de la musique, de l'improvisation ? l'?lectronique en passant par la noise, ses projets appliquent aux objets et ?v?nements qu'il met en sc?ne des processus d'amplifications, de variations et de modulations. Associant la recherche musicale ? ses projets artistiques, il interroge, ? travers une d?marche complexe et vari?e, des formes qui se d?ploient de l'installation ? la vid?o, de la sculpture ? la performance, et produit un univers ? la fois spectaculaire et agressif dont la dimension sonore est particuli?rement importante. La tonalit? primitive et brutale de ses projets contient une forme de violence sourde et gratuite proche de la science-fiction post-apocalyptique. Son travail explore un ?change continu entre art et musique et consiste ? produire s?rieusement quelque chose qui ne l'est pas. Une approche politique de la musique. A l'occasion de la sortie du disque "Scratch" sur le label Artkillart, la Soci?t? de Curiosit?s invite Michael Sellam pour une soir?e de pr?sentation de ses diff?rents travaux sonores. La soir?e sera ponctu?e d'extraits du projet "The Flying Dutchman", d'une discussion avec Alexis Chazard, d'une performance synth?tique nerveuse, et se cl?turera par un concert sauvage de Wunderlitzer. http://www.michaelsellam.com/ http://wunderlitzermusic.free.fr/ http://chazardsellam.wordpress.com/ http://artkillart.tk/ - La pr?sentation du travail de Micha?l Sellam sera pr?c?d?e de la projection de Horn Please, un film de Laurent Perrier. D?but de la projection ? 20h15. Horn Please - Un film de Laurent Perrier Film? lors d'un voyage en Inde en 2006. Pendant un mois au milieu des indiens, Laurent Perrier a film? des t?tes, des expressions,des regards, des situations ; ce n?est pas un nouveau documentaire sur l?inde mais une sorte de carnet de voyages entre Delhi, le Rajasthan, Vanarassi (Benares), Mumbay (Bombay) et Goa. Le film cr?? au montage oscille entre Cin?ma exp?rimental et reportage, entre esth?tisme psych?d?lique et cin?ma v?rit?. http://www.soundonprobation.com - @ La Soci?t? de Curiosit?s ? 9 Cit? des Trois Bornes 75011 Paris / M? Parmentier / Goncourt http://instantnet.wordpress.com/soirees-a-venir/samedi-31-octobre-2009-artikilart-1-avec-michael-sellam/ http://instantnet.wordpress.com/ *** english *** Michael Sellam @ La Soci?t? de Curiosit?s Paris, 31 Octobre 2009 - 21h00 Michael Sellam's work refers to the World of Popular Entertainment, focusing on amateur forms, subcultures and countercultures. Michael Sellam belongs to a generation that has integrated computers and new technologies, mixing these practices to produce monstrous and distorted mutations. Combining musical research to his artistic projects - installations, video, sculpture, performance - Sellam produces a universe that is both spectacular and aggressive, where sound is particularly important ; the primitive and brutal tone of his projects contains a form of gratuitous violence, close to post- apocalyptic science-fiction. His work explores a continuous exchange between art and music, to seriously produce something that is not. A political approach of music. To celebrate the "Scratch" release on the Artkillart label, La Societ? de Curiositi?s invites Michael Sellam for a special evening, to present his sound practice. The evening will be punctuated with several excerpts of "The Flying Dutchman", a discussion with Alexis Chazard, a synthetic performance, and will ends with a wild concert of Wunderlitzer. http://www.michaelsellam.com/ http://wunderlitzermusic.free.fr/ http://chazardsellam.wordpress.com/ http://artkillart.tk/ - Horn Please Laurent Perrier Horn Please : Filmed during a trip to India in 2006, in Delhi, Rajasthan, Vanarassi (Benares), Mumbai (Bombay) and Goa. . For a month in the midst of the Indians, Laurent Perrier filmed faces, expressions, eyes, situations and this is not another documentary on India. The movie's form oscillates between experimental film and reportage, between psychedelic aesthetics and cinema-v?rit?. http://www.soundonprobation.com - @ La Soci?t? de Curiosit?s ? 9 Cit? des Trois Bornes 75011 Paris / M? Parmentier / Goncourt http://instantnet.wordpress.com/soirees-a-venir/samedi-31-octobre-2009-artikilart-1-avec-michael-sellam/ http://instantnet.wordpress.com/ From seamascain at gmail.com Tue Oct 27 17:13:57 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue Oct 27 17:14:34 2009 Subject: [spectre] ... two phantom objects Message-ID: <6f1e9ee40910270913p42c1956dgf5263fb14f9a89f4@mail.gmail.com> _______________ P H O S P H O R a surrealist luminescence Issue Number Two on the theme of "two phantom objects ..." seventy-two pages, B5 format, ISSN 1755-0009 Andrew Boobier, Gareth Brown, Eugenio Castro, Stephen J. Clark, Kenneth Cox, Jan Drabble, Guy Ducornet, Kathleen Fox, Bill Howe, Micha?l L?wy, Sarah Metcalf, Peter Overton, Mike Peters, No? Ortega Quijano, Michael Richardson, Franklin Rosemont, Bruno Solarik, Jan ?vankmajer, John Welson, John Hartley Williams published by the LEEDS SURREALIST GROUP http://leedssurrealistgroup.wordpress.com Price ?6.00 plus additional postage - ? 0.76 UK 2nd class AIRMAIL: ? 1.90 Europe - ? 3.00 Rest of World SURFACE MAIL: ? 1.80 Europe & Rest of World Send cheques/POs/IMOs (payable to ?Surrealist Editions?) to: PHOSPHOR, 6 Aberdeen Grove, Leeds, England, LS12 3QY or, e-mail surrealisteditions@surrealism.madasafish.com for a PayPal payment request LEEDS SURREALIST GROUP http://leedssurrealistgroup.wordpress.com In luminescence, S?amas Cain http://www.mnartists.org/Seamas_Cain _______________ From seamascain at gmail.com Tue Oct 27 19:45:36 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Tue Oct 27 19:46:11 2009 Subject: [spectre] ... to be entranced in Glasgow Message-ID: <6f1e9ee40910271145x49c31c0jd5639d0c1367063@mail.gmail.com> _______________ On Saturday the 31st of October 2009, at 8:30 p.m., in the Centre for Contemporary Arts, 350 Sauchiehall Street in Glasgow, Scotland ... Ce?l 's Craic will present an evening of poetry & music. Poetry from Alasdair Roberts, with M?iri Morrison & Sineag MacIntyre ... Also Stevie Jones & Alastair Caplin ... Alasdair Roberts? Who is he? Drawing on folklore, his poetry & songs are complex; contemporary & ancient, metaphysical & dark but also playful. Go to Ce?l 's Craic at Halloween to be entranced! M?iri Morrison, well-respected actress & singer, will be joining Alasdair Roberts on stage where we will see some Gaelic & English collaborations in spontaneity. Admission is ?8 (?5) ... For more information write to michelle.ceol@googlemail.com For more information about the Centre for Contemporary Arts, go to ... http://cca-glasgow.com/home For more information about Comhairle nan Leabhraichean (the Gaelic Books Council) go to ... https://lsh507.securepod.com/gaelicbooks.org/merchantmanager/ For more information about Ce?l 's Craic, go to ... http://www.myspace.com/ceolscraic Tapaidh leibh, agus ch? sinn ann thu! S?amas Cain http://www.saorsainn.net _______________ From simona.lodi at libero.it Wed Oct 28 10:08:37 2009 From: simona.lodi at libero.it (Simona Lodi) Date: Wed Oct 28 10:27:06 2009 Subject: [spectre] Share Festival 2009 - Performances Message-ID: <4AE80A15.7060904@libero.it> ---------------------------------------------------------------------- Newsletter 10.26.2009 Share Festival ? Market Forces 2009 - Torino /SPOTLIGHT ON....PERFORMANCE! // /---------------------------------------------------------------------- Dear Share Festival friends, in this second special newsletter the spotlight is on the performances that will be accompanying the Festival at its various venues. *PERFORMANCE * /*SHARE PRIZE*/ /ORCHESTRA MECCANICA MARINETTI plays Nag Hammadi / ? *Angelo Comino aka Motor * 3rd & 5th November, 6.30 PM, Regional Museum of Natural Science The orchestra consists of robot drummers that play steel drums ?live?, under the direction of a performer. The interactive rhythms of the OMM sound out the movement, work and machinery of Turin industry. The subtext moves along the lines of the /Nag Hammadi/, the third-century AD Gnostic text, before plunging into contemporary mythologies through pieces inspired by the works of Ballard and Burroughs, exploring the relationship between, and the fusion of, human and machine. / / /*Squatting Supermarket *//DIGITAL ORBIT NOCTURNE/ Friday, 6th November, 10 PM Sala Espace, via Mantova 38, Turin powered by Club To Club, Share Festival & VIEW Conference ? in partnership with Musica 90 Share Festival will be featuring the international collective for synesthetic media,* OPTOFONICA*, created by Maurizio Martinucci aka Tez, who lives and works in Amsterdam. Among the numerous artists working with the collective, we will be presenting Tez, with his performance /pv868/, *Martis Fennis* and *Evelina Domnitch+Dmitry Gelfand *with their work/ 10000 peacock feathers in foaming acid/, a performance using a soap film and laser. The /OSC (Optofonica Surround Cinema)/ will also be a feature of the night. Club To Club will be presenting: *Jon Hopkins*, composer, pianist and self-taught recording technician. Hopkins shows no disdain to working with the most diverse artistic forms ? adding to his movie soundtracks is his recent score for Entity, the latest production by choreographer Wayne McGregor; *Teho Teardo* is an Italian composer and musician. After having released a fourth album with Meathead and having worked with Mick Harris (Scorn, Napalm Death) and Lydia Lunch, Teardo now composes music scores for film and television. VIEW Conference will be presenting* ITALIANMIX*, a showcase of the best in independent Italian video production and creativity. An occasion for young filmmakers, digital artists, graphic artists, designers, audiovisual technicians, studios and production companies that are not on the ?official circuit? to strut their stuff before an international audience. /*MARKET FORCES*/ ANDREA VALLE/3quietman ? /LA TERRA GUASTA / 7th November, 7 PM ? Allegretti Contemporanea Art Gallery /La terra guasta/ is an installation based on motorized sound sources controlled by a computer, and is part of a broader project focused on building and using computer-controlled sound sources. Taking an ecological perspective, each piece in the ensemble is a percussion instrument built by connecting a small direct current motor (typically recovered from abandoned electronic goods such as CD/DVD players, mobile phones, and toys) to a resonator. As customary, all Share Festival 2009 ? MARKET FORCES conferences will be streamed live on our website. Se non volete pi? ricevere questa e-mail cliccate qui Questo messaggio ? stato inviato con From redazione at digicult.it Wed Oct 28 12:13:05 2009 From: redazione at digicult.it (Redazione Digicult) Date: Wed Oct 28 12:28:05 2009 Subject: [spectre] Digicult_Digimag 48 / October 2009_english version online Message-ID: Sorry for any crosspostings Digicult presents: DIGIMAG 48 / OCTOBER 2009 http://www.digicult.it/digimag_eng/index.asp The archive section, past articles and issues: http://www.digicult.it/en/Archive/ The updated list of authors and critics www.digicult.it/en/credits . . . . . . . . . . . . . . . . . . . . . . . "...The solution to the precarious question is not going to be found in the return to the old speculative, overindebted, overdeveloped, ecocidal, supremely unequal consumer economy of yore, the very same that has been responsible for the lion's share of greenhouse emissions deposited in the atmosphere over the last three decades, but in the fight for a new economic and welfare system built around the social and environmental needs of the precarious strata of society, ensuring that each human being on Earth is entitled to the same share of carbon emissions....Redistribution of wealth and power toward the precarious, growth of immaterial knowledge, cultural enrichment of society and massive expansion of leisure are fundamental social conditions for the horizontal, open-source design of a resilient postcapitalist society, freeing the time to pursue ecohacktive and permacultural activities, giving the time back to precarized and frightened people to think collectively about their own future, also cutting the need for quick consumption and instant satisfaction among precarious service and knowledge workers in the currently time-starved global society" Alex Foti, from "Climate Justice Action: precarious united for climate action" . . . . . . . . . . . . . . . . . . . . . . . . [INTERVIEWS]: - TONY OURSLER - http://www.digicult.it/digimag/article.asp?id=1597 - by Claudia D'Alonzo - ROBERTO PACI DALO' - http://www.digicult.it/digimag/article.asp?id=1600 - by Enrico Pitozzi - GEERT LOVINK - http://www.digicult.it/digimag/article.asp?id=1606 - by Donata Marletta - PETER CHILVERS - http://www.digicult.it/digimag/article.asp?id=1601 - by Matteo Milani - RAUL MARTINEZ - http://www.digicult.it/digimag/article.asp?id=1604 - by Barbara Sansone [REPORTS]: - ARS ELECTRONICA 2009 - http://www.digicult.it/digimag/article.asp?id=1608 - by Tiziana Gemin - WHEN THE EYE FLICKERS EXHIBITION - http://www.digicult.it/digimag/article.asp?id=1596 - by Alessio Galbiati - BRAZIL CONTEMPORARY EXHIBITION - http://www.digicult.it/digimag/article.asp?id=1607 - by Lucrezia Cippitelli - OLTRE LA VISTA DEL MONDO - http://www.digicult.it/digimag/article.asp?id=1609 - by Silvana Vassallo [FEATURING]: - VOOM BY ROBERT WILSON - http://www.digicult.it/digimag/article.asp?id=1613 - by Francesco Bertocco - CARLA DIANA: FROM REAL TO VIRTUAL - http://www.digicult.it/digimag/article.asp?id=1598 - by Barbara Sansone - KEMPINSKI BY NEIL BELOUFA - http://www.digicult.it/digimag/article.asp?id=1612 - by Alessandra Migani - VOLA VOLA / FLY ME MACHINIMA - http://www.digicult.it/digimag/article.asp?id=1611 - by Marco Riciputi - CLIMATE JUSTICE ACTION - http://www.digicult.it/digimag/article.asp?id=1602 - by Alex Foti - FACEBOOK'S SLACKERS - http://www.digicult.it/digimag/article.asp?id=1603 - by Loretta Borrelli [THEMES]: - THE UNCERTAIN HUMAN QUANTUM MECHANICS - http://www.digicult.it/digimag/article.asp?id=1610 - by Jeremy Levine - TO EVALUATE DIGITAL CREATIVITY - http://www.digicult.it/digimag/article.asp?id=1605 - by Luigi Ghezzi - CULTURA DI PROGETTO - http://www.digicult.it/digimag/article.asp?id=1599 - by Massimo Botta [COVER]: Zoetrope - Museo del Cinema di Torino . . . . . . . . . . . . . . . . . . . . . . . . [EDITORIAL STAFF] - Marco Mancuso - director - Claudia D'Alonzo - press office - Luca Restifo - technical consultancy - Riccardo Vescovo - graphic design - Laurea Magistrale in Traduzione Specialistica, Universit? IULM - editing - Giuseppe Cordaro - podcast - Mauro Minnone e Luigi Ghezzi - web 2.0 strategies [AUTHORS] 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, Alessandra Migani, 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, Marvin Milanese, Penelope.di.pixel, Alex Foti [TRANSLATIONS] Emanuela Cassol, Chiara Resmini, Luisa Bertolatti, Monica Fontana, Philippa Barr, Giulia Tiddens, Sara Cavagna, Valeria Grillo . . . . . . . . . . . . . . . . . . . . . . . . DIGICULT (www.digicult.it/en) is an online/offline Italian cultural and editorial platform, created with the aim to spread digital art and culture worldwide. DIGICULT focuses on the impact of new technologies and modern sciences on art, design, culture and contemporary society. DIGICULT was founded and is directed by Marco Mancuso, and is now 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 digital art and culture. DIGICULT is today a web portal updated daily with many news from all over the world, with calls for artists, with events and projects highlights, links, reviews and theoretical texts. DIGICULT is also the editor of the monthly magazine DIGIMAG (www.digicult.it/digimag_en/index), which focuses, with a critic and journalistic approach, on some important cultural and artistic issues like net art, hacktivism, video art, electronica, audio video, interaction design, artificial intelligence, new media, software art, performing art. DIGICULT produces an electronic music and audiovisual podcast, DIGIPOD (www.digicult.it/podcast), linked to the world of the netlabels and indipendent audiovisual productions online, and has also its own newsletter international service DIGINEWS. DIGICULT in finally involved with the art agency DIGIMADE (www.digicult.it/agency) in activities like special projects and curatorial in Italy and worldwide, media partnerships and special journalistic/critic reports of some important festivals, and is actually working as curator/promoter of some Italian Audiovisual artists and designers, presenting their work within some important festivals, galleries, exhibition, events and cultural centers in Europe and worldwide. . . . . . . . . . . . . . . . . . . . . . . . . Marco Mancuso Digicult Director - Digital Art & Culture Critic, Curator & Teacher ----------------------------------------- Via Thaon di Revel 9 20159, Milan - Italy Mob. +39.340.8371816 skype. sostakovich ----------------------------------------- http://www.digicult.it http://www.digicult.it/digimag http://www.digicult.it/agency From istha at nimk.nl Thu Oct 29 15:52:20 2009 From: istha at nimk.nl (Marieke Istha) Date: Thu Oct 29 16:29:52 2009 Subject: [spectre] MONITORING MEDIA ART PRESERVATION Message-ID: <4AE9AC24.6090206@nimk.nl> MONITORING MEDIA ART PRESERVATION +++ Preservation of display and playback equipment PACKED - Platform for the Archiving and Preservation of Audiovisual Arts (Brussels) and the Netherlands Institute for Media Art (Amsterdam) currently execute a research project into the preservation of display and playback equipment for video art. As part of this research project PACKED and NIMk ask the cooperation from organizations, archives and individuals. Since the emergence of the medium video, different recording, playback and display systems have been developed that got obsolete afterwards due to the technological evolution. This equipment (video recorders, monitors, projectors, .) has often become rare. But at the same time access to it is crucial to exhibit old video works and safeguard them for the future. PACKED and NIMk kindly ask organizations, archives and individuals that own this kind of equipment, maintain it, or need access to it to fill the questionnaire that you can find here (http://www.nimk.nl/en/index_nieuws.php?id=202). Answers from both the field of art as others fields are welcome. More information on the project can also be found at http://www.packed.be/en//projects/readmore/obsolete_apparatuur/ PACKED and NIMk thank you for your kind cooperation. This research project runs until the end of June 2010. It is supported by an international project grant from the Flemish Government in the framework of the Cultural Heritage Decree. ++++ To Transfer or to Transform #3 November 19th Start: 20.00 hrs Together with the Netherlands Media Art Institute, the Netherlands Institute for Cultural Heritage (ICN) is researching the installations Mill x Molen (1982,1990) by Bert Schutter and Panta Rhei (1988) by Ricardo F?glistahler. On Thursday night, November 19th at NIMk, Evelyne Snijders will present the researchproject and will give an introduction to the initial results of this investigation. Bert Schutter will present Mill x Molen and Ricardo F?glistahler will discuss with Paul Klomp the preservation process of Panta Rhei. The installations will be re-installed and presented on 19-21 November. During the set-up the work will be comprehensively documented so that instructions for re-installation and plans for developing an approach to its long-term conservation can be drawn up. The documentation of the case studies, drawing up best practice and guidelines for re-installation are elements of the IMAGO Revisited Project. Both installations are also case studies in the Obsolete Equipment project. More information on the project: http://www.nimk.nl/en/index_nieuws.php?id=205 ++++ 3th Inside Movement Knowledge Lab 23 - 30 October 2009 The third Inside Movement Knowledge lab will take place at DasArts, Amsterdam School of the Arts from 23 to 30 October 2009 followed by an expert meeting on dance reconstruction. The NIMk research group reviewed models for the documentation and reconstruction of contemporary art. As part of our ongoing project of producing a model for documenting and reconstructing Extra Dry, we studied existing documentation of EG | PC in preparation of an in-depth interview with Emio Greco and Pieter Scholten to take place in November. More information on the project can also be found at http://insidemovementknowledge.net/ ANNOUNCEMENTS Symposium Contemporary Art Who Cares? 10-12 June 2010 in Amsterdam. http://www.incca.org/contemporaryartwhocares Besides the 2010 symposium in Amsterdam, the Netherlands Institute of Cultural Heritage and the Foundation for the Preservation of Modern Art are organizing a seminar in December 2009, in Ljubljana Slovenia. http://www.incca.org/access2ca A Race Against Time: Online tutorial : Preserving Our Audiovisual Media The Conservation Center for Art and Historic Artifacts (CCAHA) traveled to 8 U.S. cities over the course of several years presenting the program entitled /A Race Against Time: Preserving Our Audiovisual Media./ This series of videos was developed based on the content from those programs. This online tutorial was developed for curators, librarians, archivists, collections managers and other staff who are involved in managing machine-based media collections in cultural institutions. Viewers will learn basic principles and concepts for managing audiovisual collections and will be provided with information and strategies for preservation, contracting for reformatting, and finding funding opportunities. http://www.ccaha.org/education/videos Reconstructing Swiss Video Art from the 1970s and 1980s (German and English Editions) Publication of the 2008 exhibition and symposium Reconstructing Swiss Video Art from the 1970s and 1980s by the AktiveArchive research project in collaboration with the Kunstmuseum Luzern. Focusing on the concept of the exhibition, the principle of re-performance implemented in the reconstructions, and the problems raised by the long term conservation of electronic works. http://www.jrp-ringier.com/upload/books/pdf/f1509.pdf Monitoring Media Art Preservation Online newsletter on preservation of the Netherlands Media Art Institute and offers information and news about ongoing research, presentations and publications dealing with video and media art preservation. The newsletter is in English only. SUBSCRIBE? send an email to preservation@nimk.nl Editor: Gaby Wijers gaby@nimk.nl Netherlands Media Art Institute Keizersgracht 264 1016 EV Amsterdam The Netherlands http://www.nimk.nl Facebook: www.facebook.com/NetherlandsMediaArtInstitute Twitter: http://twitter.com/NIMk_nl Flickr: www.flickr.com/photos/nimk Media Art Platform: www.mediaartplatform.nl -- From seamascain at gmail.com Thu Oct 29 17:07:09 2009 From: seamascain at gmail.com (=?ISO-8859-1?Q?S=E9amas_Cain?=) Date: Thu Oct 29 17:07:43 2009 Subject: [spectre] ... burning the darkness Message-ID: <6f1e9ee40910290907m59bd1e7ct97423225f3529bf8@mail.gmail.com> _______________ "The Poetry of Kristiina Ehin" A tri-lingual reading in Estonian, English & Irish from the book ... "P?letades Pimedust Burning the Darkness An Dorchadas ? Dh?" published by Coisc?im in Dublin, Ireland poetry written by Kristiina Ehin translated into English by Ilmar Lehtpere translated into Irish by Gabriel Rosenstock The evening will also feature Irish & Estonian music performed by Dave Murphy Tuesday > November 3, 2009 Time > 6.30 p.m. 112 St. Stephen?s Green West Dublin 2, Ireland Admission > free Contact > info@poetryireland.ie Kristiina Ehin has published five volumes of poetry in her native Estonia & has won a number of prizes there, including Estonia?s most prestigious poetry prize. "The Drums of Silence" (Oleander Press, Cambridge, England, 2007), a volume of her selected poems in English translation, was awarded the Poetry Society Corneliu M. Popescu Prize for European Poetry in Translation in 2007. Her work has been translated into twelve languages. Gabriel Rosenstock has written: "It shouldn't surprise one to learn that Ehin spent a year on an uninhabited island as a nature warden. She herself moves in the land of men like an aspen, an oak, with astonishing sensitivity & strength, an eternal openess to silence, to the past & to the future ..." Gabriel Rosenstock is a poet & haikuist, author/translator of over 160 books, mostly in Irish. "Rogha D?nta/Selected Poems" was published in 2005 by Cl? Iar-Chonnachta. The bilingual volume "Bliain an Bhand?/Year of the Goddess" appeared in 2007 from Dedalus Press. The second volume of his international anthology of sacred poetry "Guthanna Beannaithe an Domhain" is due shortly from Coisc?im. Ilmar Lehtpere has written: "The roots of Kristiina's very contemporary poetry are embedded deep in an ancient folk song tradition & in her organic view of the world. Like folk song, she invites the reader to share her experience at a primal level. The apparent but deceptive simplicity & directness of her language & her use of timeless imagery that bypasses the intellect & goes straight to the soul have enormous power, especially in our rootless, superficial times. Her subject matter is universal, yet deeply personal, & is expressed so vividly that her joys & sorrows seem to become one's own. Through Kristiina's poetry & prose one begins to understand what it means to be a woman, to be a mother." Ilmar Lehtpere had a bilingual upbringing in Estonian & English. He is the translator of Kristiina Ehin's "The Drums of Silence." His own poetry has appeared in Estonian & Irish literary journals. This, the official launch of the first trilingual Estonian-Irish-English book will take place along with a night of readings, music, & song featuring Kristiina Ehin, P?draig ? Snodaigh, Ilmar Lehtpere, Dave Murphy, & Gabriel Rosenstock. "P?letades Pimedust Burning the Darkness An Dorchadas ? Dh?" ... may be purchased from Litr?ocht at ... http://www.litriocht.com/shop/product_info.php?products_id=5753 or, the book may be purchased directly from Coisc?im leabhairgaeilge@eircom.net or, COISC?IM, TIG BHR?DE, 91 B?THAR BHINN ?ADAIR, BINN ?ADAIR, BAILE ?THA CLIATH 13, ?IRE Additional information about the book ... http://www.coisceim.ie/andorchadasadho.html Other books by Kristiina Ehin may be purchased at ... http://www.apollo.ee/search.php?keyword=Kristiina+Ehin Burning the darkness, S?amas Cain http://alazanto.org/seamascain _______________ From ab at mikro.in-berlin.de Fri Oct 30 08:13:00 2009 From: ab at mikro.in-berlin.de (Andreas Broeckmann) Date: Fri Oct 30 08:31:59 2009 Subject: [spectre] (fwd) Evil to the Core | New Exhibition at the Digital Art Lab Message-ID: Subject: Evil to the Core | New Exhibition at the Digital Art Lab From: "The Israeli Center for Digital Art" Date: Thu, 29 Oct 2009 23:49:01 +0200 October events Evil to the Core A New Project from the Israeli Center for Digital Art, Holon 03.11.2009 - 16.01.2010 Opening on 31.10.2009 @ 20:00 16 Yirmiyahu Street | 03-556-8792 | www.digitalartlab.org.il This exceptional project follows some of the key experiments that were conducted in the field of social psychology between 1961 to 1971, which deal with obedience to authority, individual responsibility and social responsibility. In the exhibition are a mix of art works and Israeli and international documentary films dealing with socialization, obedience, power, authority, and resistance, and by way of which arises another commonality - three fundamental methodologies: simulation, experiment, and reenactment. The points of entry in the research leading up to the exhibition are the experiments in social psychology of the 1960s and 70s in the United States: Stanley Milgram's "Obedience" experiment and Philip Zimbardo's "Stanford Prison Experiment," both investigated the measure of obedience to authority in cases where participants were instructed to implement actions contrary to their principles and conscience. These same provocative experiments are still taught today in the field of psychology. The exhibition wishes to raise questions on obedience, disobedience, conformism and social responsibility by way of the works and films exhibited therein. Participating artists: Rod Dickinson, Artur Zmijewski, David Tartakover, David Reeb, Amir Yatziv, and Noam Gelbart Screening Program: 52/50, Uri Bar-On Enraged, Eyal Itskovits To See If I'm Smiling, Tamar Yarom Machsomim, Yoav Shamir Z32, Avi Mograbi Films in the Exhibition: Eye of the Storm, ABC News Total Isolation, BBC Horizon The Human Behavior Experiment, Jigsaw Productions Obedience, Stanley Milgram Experiment The Stanford Prison Experiment, Zimbardo Curators: Ran Kasmy Ilan and Galit Eilat The exhibition is a collaboration with the Association for Civil Rights in Israel and their Program for International Humanitarian Law Rod Dickinson's participation supported by BI ARTS (British Israeli arts training scheme), an initiative of the British Council, Ministry of Foreign Affairs From nc-agricowi at netcologne.de Fri Oct 30 08:34:27 2009 From: nc-agricowi at netcologne.de (netEX) Date: Fri Oct 30 08:35:12 2009 Subject: [spectre] netEX: calls & deadlines -->November 2009 Message-ID: <20091030083427.3C63A71A.A0F42F87@192.168.0.3> netEX: calls & deadlines -->November 2009 ------------------------------------- [NewMediaArtProjectNetwork]:||cologne newsletter contents a) . news b) calls & deadlines --> 04 Calls: 2009 deadlines internal 20 Calls: October 2009 deadlines external 10 Calls: ongoing external/internal ------------------------------------------------ a) News --->Media/Art/Cologne announces the launch of CologneOFF V - 5th Cologne Online Film Festival on 13 Nov' 2009 in the context of Microwave New Media Arts Festival Hong Kong 13 Nov - 11 Dec 2009 and FONLAD - Digital Art Festival Guarda/Portugal 14 Nov 2009- 2 Jan 2010 http://www.mediaartcologne.org/blog/?p=53 ---> Media/Art Cologne announces NewMediaFest'2010 - the global networked event starting on 1 Jan 2010 - ending on 31 December 2010 Motto: 10th anniversary of [NewMediaArtProjectNetwork]:||cologne http://www.mediaartcologne.org/blog/?p=72 ------------------------------------------------ b) Calls & deadlines ---> ------------------------------------------------ 2009: deadlines internal **extended Deadline: 2 November 2009 VideoChannel - video project ebvironments call: Found Footage! details and entry form on http://www.nmartproject.net/netex/?p=1569 ** extended deadline 31 December call: soundart for SoundLAB VII - soundCelebrations details and entry form on http://www.nmartproject.net/netex/?p=1423 Deadline 20 December 2009 VideoChannel - video project environments Call: SF - Shoah Film Collection to be released on occasion 27 January 2010 - 65th return of the Liberation of Auschwitz details and entry form on http://www.nmartproject.net/netex/?p=1549 *ongoing deadline 1 September 2009 - 1 September 2010 Java Museum - Forum for internet Technology in Contemporary Art will be celebrating in 2010 its 10th anniversary and is looking for Internet based art from the years 2000-2010 details, regulations and entry form can be found on http://www.nmartproject.net/netex/?p=1428 ------------------------------------------------ November 2009 deadlines: external ------------------------------------------------ 30 November One World International Human Rights Documentary Film Festival Prague/Czech Republic http://www.nmartproject.net/netex/?p=1531 27 November Open ev+a 2010 Limerick/Ireland http://www.nmartproject.net/netex/?p=1668 25 November PlayLAB: Laboratory for experimenting with video games MediaLAB Prado Madrid/ES http://www.nmartproject.net/netex/?p=1685 23 November Free to Be US - video online competition - YouTube http://www.nmartproject.net/netex/?p=1688 21 November SCANZ 2011: Eco Sapiens - symposion- residency - New Zealand http://www.nmartproject.net/netex/?p=1623 16 November AV Festival Middlesborough (UK) http://www.nmartproject.net/netex/?p=1623 15 November 2nd Guthman Musical Instrument Competition http://www.nmartproject.net/netex/?p=1675 15 November Hors Pistes Film Festival 2010 - Centre Pompidou Paris/F http://www.nmartproject.net/netex/?p=1671 15 November Live 2011 Grand Prix Turku/Finland http://www.nmartproject.net/netex/?p=1682 15 November Zeppelin 2009 - Festival of Souind Projects Barcelona/Spain http://www.nmartproject.net/netex/?p=1599 13 November Abundance 2010 Festival Karlstad/Sweden http://www.nmartproject.net/netex/?p=1435 11 November Vizualizar?09 - MediaLAB Prodo Madrid/Spain http://www.nmartproject.net/netex/?p=1663 7 November Oudeis - Le Vigan/France - digital, electonic art meeting http://www.nmartproject.net/netex/?p=1645 3 November mikro_makro Festival Sluspsk/Poland http://www.nmartproject.net/netex/?p=1582 7 November Fresh: Abtsractions - Video and Film Festival Bangkok/Thailand http://www.nmartproject.net/netex/?p=1593 1 November HZ Online Journal - submission articles , netart, new media art, etc http://www.nmartproject.net/netex/?p=1590 1 November 2nd Moskow International Biennale of Young Art http://www.nmartproject.net/netex/?p=1481 1 November Project proposals for Fluxspace Arlington/USA http://www.nmartproject.net/netex/?p=1494 1 November 30 Seconds Film Festival Atlanta/GA/USA) http://www.nmartproject.net/netex/?p=1629 1 November Award New Media Foundation Liedts-Meesen Ghent/Belgium http://www.nmartproject.net/netex/?p=1348 ----------------------------------------------- Ongoing calls: external/internal ----------------------------------------------- ---> Selfshadows 2.= - net based project by Javier Bedrina -->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 nc-agricowi at netcologne.de Fri Oct 30 09:48:11 2009 From: nc-agricowi at netcologne.de (VideoChannel) Date: Fri Oct 30 09:48:51 2009 Subject: [spectre] Call for entries: Found Footage! Message-ID: <20091030094811.22567F24.66678FB9@192.168.0.3> extended Deadline: 15 November 2009 Call for entries Christmas feature on VideoChannel - video project environments http://videochannel.newmediafest.org --> Found Footage! Details and entry form on http://www.nmartproject.net/netex/?p=1569 -------------------------------------------- netEX - networked experience - http://netex.nmartproject.net powered by Media/Art/Cologne info[at]nmartproject.net ------------------------------------------- From txt at 1904.cc Fri Oct 30 14:17:11 2009 From: txt at 1904.cc (txt) Date: Fri Oct 30 14:26:38 2009 Subject: [spectre] =?iso-8859-1?q?=5Baether=5D=A0all_souls_berlin?= Message-ID: <4AEAE757.7040107@1904.cc> [12:48] OFFICIAL STATEMENT [12:48] FOR IMMEDIATE RELEASE [12:48] Berlin, Geneva, Rotterdam, New York, Brussels, Medellin, Sydney, Yorba Linda [12:48] scheduled for October 31st - 21:00 CET [12:48] Aether9, an experiment in collaborative realtime storytelling [12:48] is gathering souls in a dramatically online fashion. [12:48] BERLIN hosts a physical reunion, [12:48] a seance, [12:48] workshop, [12:49] conspiracy, residency, and eventually a performance. [13:66] wtf ALL SOULS BERLIN >>> Tommorow night, Saturday, Halloween, as a culmination of a week long residencey @ _____-micro research aether9 will present a live online performance before an audience in the rupert goldsworthy gallery in Berlin. The wireless building of a mass mind, controlling aether9 agents ...amongst Berliners unaware. Aether9 presents an interpretation of Fritz Lang's Doktor Mabuse streaming from a taxi speeding through Berlin. Join us online at 21:00 CET --> http://1904.cc /// about aether9 Aether9 is a collaborative art project exploring the field of realtime video transmission. It was initiated in May 2007 during a workshop at the Mapping Festival in Geneva, Switzerland. Developed by an international group of visual artists and collectives working in different locations (Europe, North and South America) and communicating solely through the Internet, ther9 is a framework for networked video/audio performance, and the collaborative development of dramarturgical rules particular to Internet modes of communication. The system functions as an open platform for participants of any technical level to transmit imagery in real-time and interact through a structured narrative performance questioning the issues of presence/absence, remote/local, identity and intimacy in the context of the electronic space. http://1904.cc/aether/ /// residence @ _____-micro research [berlin] http://www.1010.co.uk/ From m at 1010.co.uk Sat Oct 31 14:05:35 2009 From: m at 1010.co.uk (m) Date: Sat Oct 31 14:27:42 2009 Subject: [spectre] _____-micro_research workshops_30: November 7th 2PM: Data carving with Danja Vasiliev and Gordan Savicic Message-ID: A series of working groups, events and workshops at _____-micro_research [Berlin]; an independent research centre focusing on the expanded construction and experience of free software and open hardware. Calendar: October 31st 9PM: aether9 in performance at Rupert Goldsworthy Gallery November 7th 2PM: Data carving with Danja Vasiliev and Gordan Savicic Forthcoming matter: tv programming, [micro-]cuisine, plotting, handmade logic //<----------------------------------------------- November 7th 2PM: Data carving with Danja Vasiliev and Gordan Savicic * information excavation, digital archeology, offline privacy During the workshop we will explore the contents of found hard-disks (hard-disque trouv?). Using methods borrowed from computer digital forensics participants will peek into the lives of others - former owners of scavenged hardware. Hard-disks as the most intimate part of any computer system. In case of a personal computer - the most intimate part of person's life. Deductively, we will try to discuss and recreate 'psyche' portraits of those strangers and restore the time-lines that otherwise would have faded away. In the times of paranoiac privacy awareness we forget that online is not the only place to loose your identity. Although more and more personal data is stored on the Internet servers it is still written to hard-disks. There were several reports about Internet server's hard-disks ending up on flea-markets, being sold for little money. http://www.eworldwire.com/pressreleases/16402 http://redtape.msnbc.com/2006/06/one_year_ago_ha.html http://homepage.cc/harddisk http://mareichelt.de/pub/notmine/sanitizing.html By the end of the workshop all the hard-disks and/or the data will be destroyed! * Workshop prerequisites: All participants are asked to go local flea-markets or second-hand shops to pick up few old hard-disks. You may try eBay as well. Older = better, those disks don't need to be of large capacity, in fact 8-16 Gigabytes is the best size to be able to analyze it during one-day session. They also don't need to have any operating system. Make sure the disks are 3.5? and have standard IDE interface. Everybody is also expected to bring laptops (PC, Intel Macs) capable of booting from USB-sticks or CDs and equipped with USB2.0 interfaces. GNU/Linux command line knowledge will be advantageous, however it is not required. Workshop is lead by moddr_ - Danja Vasiliev and Gordan Savicic, experimentalists and interventionists on the edge of digital life and everyday technology. http://moddr.net 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://julianoliver.com), Derek Holzer (http://soundtransit.nl), Jeff Mann (http://jeffmann.com), Martin Howse (http://1010.co.uk), Kathrin Guenter (http://www.fotokatie.com), Alice Miceli (http://www.premiosergiomotta.org.br/blog/chernobyl2), 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/), Dave Griffiths (http://www.pawfal.org), Marc Boon (http://www.marcboon.com), Christian Faubel, Cordula K?rber, and Ralf Schreiber (http://ralfschreiber.com/), Roman H?feli and Olsen Wolf (http://www.netpd.org), Aymeric Mansoux and Jan-Kees van Kampen (http://www.goto10.org) _____-micro_research, pickledfeet, Linienstrasse 54, Berlin 10119 U2, Rosa-Luxemburg-Pl. U8, Rosenthaler Pl. Telephone: 3050187482. m@1010.co.uk _____-micro_research is supported by Hauptstadtkulturfonds, Berlin 2009 http://1010.co.uk/org/workshop.html From ajaco at xs4all.nl Sat Oct 31 18:32:16 2009 From: ajaco at xs4all.nl (Andreas Jacobs) Date: Sat Oct 31 18:32:48 2009 Subject: [spectre] [Nictoglobe RadioTV] Roland Hendriks plays John Cage's Sonatas for Prepared Piano zaterdag 31 Oktober 2009, 20:15 - 21:00 CEST Message-ID: <01BFCDB0-F086-4577-B5D7-F471DCC55F7B@xs4all.nl> Roland Hendriks plays John Cage's Sonatas for Prepared Piano zaterdag 30 Oktober 2009, 20:15 - 21:00 CEST NICTOGLOBE RADIO - TV 88.3 FM Amsterdam http://icecast.freeteam.nl/patapoe.m3u 20:15 - Roland Hendriks - John Cage Live recordings @ Peterburg Project Place, Amsterdam NL, 30 October 2009 Selden heard live performed music by John Cage! Enjoy! cf.: ::: Listen ::: ::: burgerwaanzin.nl ::: ::: Patapoe Schedule ::: Andreas Jacobs e: ajaco@xs4all.nl w: http://www.nictoglobe.com From simona.lodi at libero.it Tue Oct 27 15:27:52 2009 From: simona.lodi at libero.it (Simona Lodi) Date: Sat Nov 7 15:12:45 2009 Subject: [spectre] Share Festival 2009 - Performances Message-ID: <4AE70368.9060507@libero.it> ---------------------------------------------------------------------- Newsletter 10.26.2009 Share Festival ? Market Forces 2009 - Torino /SPOTLIGHT ON....PERFORMANCE! // /---------------------------------------------------------------------- Dear Share Festival friends, in this second special newsletter the spotlight is on the performances that will be accompanying the Festival at its various venues. *PERFORMANCE * /*SHARE PRIZE*/ /ORCHESTRA MECCANICA MARINETTI plays Nag Hammadi / ? *Angelo Comino aka Motor * 3rd & 5th November, 6.30 PM, Regional Museum of Natural Science The orchestra consists of robot drummers that play steel drums ?live?, under the direction of a performer. The interactive rhythms of the OMM sound out the movement, work and machinery of Turin industry. The subtext moves along the lines of the /Nag Hammadi/, the third-century AD Gnostic text, before plunging into contemporary mythologies through pieces inspired by the works of Ballard and Burroughs, exploring the relationship between, and the fusion of, human and machine. / / /*Squatting Supermarket *//DIGITAL ORBIT NOCTURNE/ Friday, 6th November, 10 PM Sala Espace, via Mantova 38, Turin powered by Club To Club, Share Festival & VIEW Conference ? in partnership with Musica 90 Share Festival will be featuring the international collective for synesthetic media,* OPTOFONICA*, created by Maurizio Martinucci aka Tez, who lives and works in Amsterdam. Among the numerous artists working with the collective, we will be presenting Tez, with his performance /pv868/, *Martis Fennis* and *Evelina Domnitch+Dmitry Gelfand *with their work/ 10000 peacock feathers in foaming acid/, a performance using a soap film and laser. The /OSC (Optofonica Surround Cinema)/ will also be a feature of the night. Club To Club will be presenting: *Jon Hopkins*, composer, pianist and self-taught recording technician. Hopkins shows no disdain to working with the most diverse artistic forms ? adding to his movie soundtracks is his recent score for Entity, the latest production by choreographer Wayne McGregor; *Teho Teardo* is an Italian composer and musician. After having released a fourth album with Meathead and having worked with Mick Harris (Scorn, Napalm Death) and Lydia Lunch, Teardo now composes music scores for film and television. VIEW Conference will be presenting* ITALIANMIX*, a showcase of the best in independent Italian video production and creativity. An occasion for young filmmakers, digital artists, graphic artists, designers, audiovisual technicians, studios and production companies that are not on the ?official circuit? to strut their stuff before an international audience. /*MARKET FORCES*/ ANDREA VALLE/3quietman ? /LA TERRA GUASTA / 7th November, 7 PM ? Allegretti Contemporanea Art Gallery /La terra guasta/ is an installation based on motorized sound sources controlled by a computer, and is part of a broader project focused on building and using computer-controlled sound sources. Taking an ecological perspective, each piece in the ensemble is a percussion instrument built by connecting a small direct current motor (typically recovered from abandoned electronic goods such as CD/DVD players, mobile phones, and toys) to a resonator. As customary, all Share Festival 2009 ? MARKET FORCES conferences will be streamed live on our website.