Special issue of tripleC: Communication, Capitalism & Critique ( http://www.triple-c.at)
Abstract submission deadline: January 15, 2015
Guest editors: Vasilis Kostakis, Ragnar Nurkse School of Innovation and
Governance, Tallinn University of Technology (Estonia), P2P Lab (Greece);
Andreas Roos, Human Ecology Division, Lund University (Sweden)
With an escalating environmental crisis and an unprecedented increase of
ICT diversity and use, it is more crucial than ever to understand the
underlying material aspects of the ICT infrastructure. This special issue
therefore asks the question: What are the true material and
socio-environmental costs of the global ICT infrastructure?
In a recent paper (Fuchs 2013) as well as in the book Digital Labour and
Karl Marx (Fuchs 2014), Christian Fuchs examined the complex web of
production relations and the new division of digital labour that makes
possible the vast and cheap ICT infrastructure as we know it. The analysis
partly revealed that ICT products and infrastructure can be said to embody
slave-like and other extremely harsh conditions that perpetually force mine
and assembly workers into conditions of dependency. Expanding this
argument, the WWF reported (Reed and Miranda 2007) that mining in the Congo
basin poses considerable threats to the local environment in the form of
pollution, the loss of biodiversity, and an increased presence of
business-as-usual made possible by roads and railways. Thus ICTs can be
said to be not at all immaterial because the ICT infrastructure under the
given economic conditions can be said to embody as its material foundations
slave-like working conditions, various class relations and undesirable
At the same time, the emerging digital commons provide a new and promising
platform for social developments, arguably enabled by the progressive
dynamics of ICT development. These are predominantly manifested as
commons-based peer production, i.e., a new mode of collaborative, social
production (Benkler 2006); and grassroots digital fabrication or
community-driven makerspaces, i.e., forms of bottom-up, distributed
manufacturing. The most well known examples of commons-based peer
production are the free/open source software projects and the free
encyclopaedia Wikipedia. While these new forms of social organisation are
immanent in capitalism, they also have the features to challenge these
conditions in a way that might in turn transcend the dominant system
(Kostakis and Bauwens 2014).
Following this dialectical framing, we would like to call for papers for a
special issue of tripleC that will investigate how we can understand and
balance the perils and promises of ICTs in order to make way for a just and
sustainable paradigm. We seek scholarly articles and commentaries that
address any of the following themes and beyond. We also welcome
experimental formats, especially photo essays, which address the special
Papers that track, measure and/or theorise the scope of the
socio-environmental impact of the ICT infrastructure.
Papers that track, measure and/or theorise surplus value as both ecological
(land), social (labour) and intellectual (patent) in the context of ICTs.
Understanding the human organisation of nature in commons-based peer
Studies of the environmental dimensions of desktop manufacturing
technologies (for example, 3D printing or CNC machines) in non-industrial
modes of subsistence, e.g. eco-villages or traditional agriculture, as well
as in modern towns and mega-cities.
Suggestions for and insights into bridging understandings of the
socio-economic organisation of the natural commons with the socio-economic
organisation of the digital commons drawing on types of organisations in
the past and the present that are grounded in theories of the commons.
Elaboration of which theoretical approaches can be used for overcoming the
conceptual separation of the categories immaterial/material in the digital
Benkler, Yochai. 2006. The wealth of networks: How social production
transforms markets and freedom. New Haven: Yale University Press.
Fuchs, Christian. 2014. Digital labour and Karl Marx. New York: Routledge.
Fuchs, Christian. 2013. Theorising and analysing digital labour: From
global value chains to modes of production. The Political Economy of
Communication 1 (2): 3-27.
Kostakis, Vasilis and Michel Bauwens. 2014. Network society and future
scenarios for a collaborative economy. Basingstoke, UK: Palgrave Macmillan.
tripleC: Communication, Capitalism & Critique is an academic open access
online journal using a non-commercial Creative Commons license. It is a
journal that focuses on information society studies and studies of media,
digital media, information and communication in society with a special
interest in critical studies in these thematic areas. The journal has a
special interest in disseminating articles that focus on the role of
information in contemporary capitalist societies. For this task, articles
should employ critical theories and/or empirical research inspired by
critical theories and/or philosophy and ethics guided by critical thinking
as well as relate the analysis to power structures and inequalities of
capitalism, especially forms of stratification such as class, racist and
other ideologies and capitalist patriarchy.
Papers should reflect on how the presented findings contribute to the
illumination of conditions that foster or hinder the advancement of a
global sustainable and participatory information society. TripleC was
founded in 2003 and is edited by Christian Fuchs and Marisol Sandoval.
The Media Arts and Technology program (MAT) at UC Santa Barbara presents:
MAT 595M Seminar Series
Next Monday, we have:
Dr. Rosanne Altstatt, New Media Art Historian
Monday, October 20, 2014, 12pm
Engineering Science Building, room 2001
Free to public. coffee will be served.
Art institutions tell stories of art, but what is their voice in
technoculture?s information-filled atmosphere? As the former artistic
director of the Edith Russ Haus for Media Art, Rosanne Altstatt has
listened closely to the media art institution and worked to develop its
voice. In this talk, Altstatt employs metaphors of aurality toward a
notion of the institution as an individual agent or entity in a
technocultural atmosphere that, like sound, surrounds one from all
directions. The art institution is envisioned as a ?silent acousm?tre,? a
voice with no human body that is authoritative in its impression of
omniscience while it simultaneously invites interested publics into its
arena with artists and artworks. The aural personality of the
institution?s architecture and its program produce an ?inter-reactive?
zone in which those who enter, however peripherally, influence the
permeable ?atmosphere? of its social space. As a contemporary art space
with the added complexity of being dedicated to presenting the perspective
of media art and theory, the media art institution is acutely aware of
itself within technoculture?s atmosphere.
Rosanne Altstatt is an art historian who specialized in new media. She
teaches curating and art history in Purdue?s Honors College and is Dean?s
Fellow in its National and International Scholarships Office. Her
curatorial projects include a broad span of media art, a microradio
station, a compendium of short graphic novels on the subject of cancer,
and an exhibition of vernacular studio photography that is now in
preparation. She was the inaugural Artistic Director of the Edith Russ
Site for Media Art in Oldenburg, Germany from 2001 through 2004,
Curator-Director of Videonale in Bonn, Germany from 1994 to 2001, and
Co-curator of the independent exhibition space Schnitt Ausstellungsraum in
2001. Dr. Altstatt wrote the first dissertation on the media art
institution and a monographic survey on video pioneer Steina Vasulka as a
master?s thesis. She has taught curating, art history, and mentored
artists at several institutions including Carl-von-Ossietzky University,
Maine College of Art, University of the Arts ZHdK, and Merzakademie.
We look forward to seeing you at the seminar next Monday!
J. Cecilia Wu
M595 Seminar Series – Sponsored by Media Arts & Technology
Visit the MAT595M’s home page at http://www.mat.ucsb.edu/595M/ for
detailed information and a list of speakers and talks.
Admin Contact J. Cecilia Wu – mat-seminars (at) mat.ucsb.edu
Sónar 2014 :: 12.13.14 June 21st Barcelona International Festival of Advanced Music and New Media
Sónar and the Sorigué Foundation announce SonarPLANTA, a venture for the creation of artistic productions in the new media sphere
The project will invite three internationally renowned artists to submit a proposal for a new creation that experiments with creative languages and technology. The selected artist will receive the prize of the production of the piece that will be premiered each year in the new SonarPLANTA space, in Sónar by Day at Sónar Festival.
Sónar 2014 hosts the first SonarPLANTA edition, which features one of the most important explorers of digital aesthetics in art: Carsten Nicolai (born Chemnitz, Germany, 1965), presenting his workunidisplay: a monumental immersive audiovisual installation that explores the logic of self-organizing systems and the limits of perception.
The piece consists of a wall of light and sound of colossal proportions: 6m x 36m, with a side mirrors that give it infinite aspect.
PLANTA is the new headquarters of the Sorigué Foundation and the Sorigué Group, which has just been premiered at the 14th Biennale di Architettura di Venezia. This artistic and business project is surrounded by an industrial landscape and will be the basis of inspiration for the creation of the works presented at SonarPLANTA in Sónar.
What is SonarPLANTA?
SonarPLANTA is the joint initiative by Sónar and the Sorigué Foundation which is being launched this year. It will be held over the next three years and aims to foster and celebrate research and experimentation with creative languages around the technology and New Media art.
Candidate artists invited to participate by SonarPLANTA must submit a work that takes as its starting point PLANTA – the new project by the Sorigué Group and the Sorigué Foundation, located in La Plana del Corb (Balaguer, Lleida), a space where industrial work, technology, art, architecture and nature all coexist.
SonarPLANTA is a key element in the philosophy of Sónar+D. Recognizing the creative maturity of digital languages and aesthetics, the aim of this project is to enable new artistic productions in the field of new media and other forms that are taking shape in the cultural space between new technologies and contemporary art.
Each year, a renowned artist in the field of art and technology will create a new production based on the natural and industrial landscape where PLANTA is located: mountains of cement, olive groves, digging machines, asphalt plants and concrete blocks stacked between natural fields.
The candidature selected each year will be presented in public for the first time at the next 3 editions of Sónar: 2015, 2016 and 2017.
Aims, recipients and artistic areas action
This initiative stems from the wish of Sónar and the Fundació Sorigué to:
– Promote and celebrate research and experimentation in creative languages in the field of technology and digital arts.
– Support and promote the work of the present generation of artists within the field of art and technology.
– Make it possible to produce new projects of great technical and aesthetic value.
– Raise the visibility of artistic creations by exhibiting them at Sónar Festival in Barcelona.
The selected project will be chosen from a restricted call for projects open every year to three international artists acclaimed for excellence in their work and for their unique contribution to the new media creative sphere. The call will include both well-established artists and up-and-coming creators who already have some successful productions under their belt.
Candidates who could apply can be artists, collectives or studios working in the following areas:
– Live audiovisual composing
– Sound art
– Kinetic sculpture
– Wireless technologies
– Video mapping
– Augmented reality
– Data visualisation
– Transmedia narratives
– Any other emerging forms in the cultural space between new technologies and contemporary creation
Artists will have to present a work featuring Planta as a starting point. PLANTA is the new project at the very heart of Fundació Sorigué and Grupo Sorigué, located in the business group’s quarry at La Plana del Corb (Lleida/Spain) combining art, science, technology, environment and architecture.
Sónar and its historic relationship with new media art
The investigation of the aesthetic possibilities of digital technologies, experimentation with new formats and languages on the frontier between sound, image and space has been one of the hallmarks of Sónar since it was held for the first time in 1994. The festival was launched in order to create a space for creators working in the territory where technology, cutting-edge contemporary culture and new sensory experiences converge. Since then, Sónar has been one of the key international events for this area of artistic production.
On its 20th anniversary, the festival implemented its commitment to contemporary art and the exploration of postdigital languages further by creating Sónar+D, the large forum for communities of the creative technologies. Sónar+D is a forum for thought and an active agent that promotes creative innovation in various fields, from the emerging industries that bring together culture and technology in unprecedented ways, to the expressive forms which are being shaped by a new generation of digital artists who are no longer emerging, or instead at the forefront of the artistic creation of our age.
unidisplay, the colossal immersive audiovisual installation by Carsten Nicolai
The central figure of the first SonarPLANTA is undoubtedly one of the most important explorers of digital aesthetics in art: Carsten Nicolai (born Chemnitz, Germany, 1965). At the forefront of contemporary art, his work dates back over twenty years and blurs the boundaries between sound and visual exploration and technological investigation, and between the laboratory, the stage and the gallery.
unidisplay is the most ambitious project by Carsten Nicolai in the festival’s history: a monumental immersive audiovisual installation that draws an infinite line in which the logic of self-organizing systems and the limits of perception are explored.
This installation – which has been thoroughly checked for its presentation at SonarPLANTA – presents the most basic items in his vocabulary, elevated to a monumental scale: clean lines and basic sonic tones that extend to infinity in a black box that envelops the viewer and plays with the principles of their perception.unidisplay is a project that constructs space and constantly reconstructs the landscape that the work itself creates. The elements it uses are reminiscent of indu
strial technologies – the pixel lines of the interfaces we use every day, the sonorous tones of electronic machinery – which in their work become principles for digital poetics that are all their own.
Sónar was one of the first international events to recognize the importance of the work of Carsten Nicolai, which makes him the perfect artist to launch the SonarPLANTA project. Few artists in the world represent the values of constant experimentation and the ability to transcend disciplines as well as he does. The German artist has been redrawing the boundaries of sound and the digital image for two decades, in both his musical work, with the Alva Noto project, and with the installations that bear his name, which are today present in museums and art centres throughout the world.
PLANTA and the Biennale di Venezia
PLANTA is a project dedicated to the essence of the Sorigué Foundation and the Sorigué Group which organically link the arts to their environment. PLANTA is based in a working industrial complex in Lleida (northeastern Spain), and was conceived as a meeting point for talent and creativity where art, science, technology, social responsibility, the environment and architecture all converge.
The building, for which construction began in the spring of 2014, will be a space dedicated to multidisciplinary artistic production and the new “flagship” of the business group. Sorigué Foundation will establish its art collection and generate synergies between artists and business by means of projects that invite artists from all over the world to produce their work based on the experience of this environment.
The architectural project, created by Kees Kaan and devised in the offices of Kaan Architecten, was recently premiered internationally by the Sorigué Foundation at the 14th International Architecture Exhibition at the Biennale di Venezia.
The Sorigué Foundation, established by Julio Sorigué and Josefina Blasco in 1985, works in the cultural, social and educational sphere with the support of the Sorigué Group, a business group that is a leader in the construction sector and industrial services in Spain. Since 1999, the Sorigué Foundation has been working on creating a collection of international contemporary art consisting of more than 450 works from all disciplines, alternating between internationally renowned artists and virtually unknown creators.
The Sorigué Foundation maintains an active policy of loans to Spanish and international institutions, collaborating with leading centres including the Thyssen-Bornemisza Museum in Madrid, the MOMA in New York, the Tate Gallery in Liverpool and the Arts Santa Mònica in Barcelona, among many others. Since 1995, it has also maintained a system of scholarships in order to support young talents in the arts, and it participates in various social projects.
An international meeting on the sonic turn in the arts June 10–11, 2014 Sound installation Edu Comelles: Last Days. Rèquiem per les Glòries(Requiem for les Glòries) June 9–15, 2014 CaixaForum Barcelona Av. Francesc Ferrer i Guàrdia, 6-8 08038 Barcelona, Spain obrasocial.lacaixa.es/laCaixaFoundation More information
What does the act of listening involve and which are its implications? CaixaForum Barcelona organises, in the context of the 21st edition of the Sónar Festival, the meeting “A l’Escolta (Listening).” The aim of this programme of talks, performances and other experiences around listening is to put forward and debate some of the questions raised by what we usually call “sound art.” What is sound art? Is it not, as Max Neuhaus indicated, a rather ambiguous name that, in fact, tells us very little? Does the name not place too much emphasis on sound understood as a simple medium and ignore everything that forms a part of its necessary correlative, i.e. this complex process of understanding reality that is listening? Seth Kim-Cohen, Salomé Voegelin, Edwin Van der Heide, Mattin, Marta García Quiñones, Carme Pardo, José Manuel Costa, Edu Comelles and Lluís Nacenta are the main guests invited to this international meeting, in which the intention is to re-appraise the theoretical and critical approach to an art of sound and listening.
Last Days. Rèquiem per les Glòries, by Edu Comelles Within the symposium “A l’Escolta,” Edu Comelles presents Last Days. Rèquiem per les Glòries (from June 9 to 15 in the CaixaForum entrance hall), a multi-channel sound installation based on the sounds recorded during the days preceding the start of the demolition of the raised roundabout at Barcelona’s plaça de les Glòries. Manipulated and reorganised at random, the rhythms of the vehicles passing over the expansion joints of the raised roundabout, the sustained vibrations of the metal parts of the architectural structure and the background hum of the construction work reappear as the spectral sounds from a vanished space.
Homage to Max Neuhaus (1939–2009) Posed as an exercise in “sound archaeology,” the installation Last Days. Rèquiem per les Glòriesworks as the sonic reverse of the graphic image of the “A l’Escolta” meeting. Inspired by the famous photograph of the Brooklyn Bridge that Max Neuhaus (1939–2009) dedicated in 1976 to Jo Jones, in which large capitals spell out the word “LISTEN,” the image of the poster for the meeting was taken under the raised Glòries roundabout just before demolition started. The graphic image of the symposium, the sound installation by Edu Comelles and the performanceEnlist by Seth Kim-Cohen and Mattin are intended as a homage to Neuhaus, one of the main pioneers in the art of sound and listening, on the 75th anniversary of his birth.
the launch of The Space, a new digital art space funded by the BBC and Arts Council which is being launched in two weeks time. It will be launched with one of the most ambitious digital events ever staged in the Turbine Hall at Tate Modern on 13th and 14th June 2014.
We’d like to invite you to a press conference at 9.00am on Friday the 13th June where a panel of experts including Ruth Mackenzie and a number of exciting BIG names in technology will formally announce The Space and all it has to offer.
The press conference – 09:00, Friday 13th June – Starr Auditorium (Tate)
Hack the Space – 24 Hour Hack commencing at 19:30, Friday 13th June – Turbine Hall (Tate)
Hack The Space at Tate Modern will take place continuously over 24 hours, bringing together artists whose medium is technology and hackers whose medium is art. The aim is to inspire exciting new forms of creativity.
The weekend will also include screenings of new commissions, demonstrations of robots, special digital effects and other exclusive events.
The launch of The Space will take place on the eve of London Technology Week from 16-20 June 2014.
Please see below for the official invite with all information.
You are invited to the launch of The Space – a virtual space for artists and audiences to invent and explore new digital art.
Friday 13 June at 9am
The Starr Auditorium, Tate Modern, Bankside, London SE1, London
Entrance: Main Entrance in Holland Street, SE1
KEYNOTE SPEAKERS CONFIRMED
(MORE TO BE ANNOUNCED)
Alex Graham, Chair, The Space, founder of the independent start up Wall to Wall, Chairman of the Sheffield Documentary Festival
Ruth Mackenzie, Launch Director, The Space, former Director of the London 2012 Cultural Olympiad
Joe Scarboro, Co-Founder, 3Beards
The Space is a new online agency to commission artists from the worlds of creative and digital industries, arts, and culture to create new work and to share free to audiences anywhere in the world.
The Space is set up by a pioneering partnership between the BBC and Arts Council England. And it is working with festivals, galleries, arts centres and others round the UK and internationally.
The Space will launch with an Open Call to invite new voices to pitch their ideas. The most original ideas will be commissioned by The Space.
The Space will be officially launched on the 13 June 2014 with the most ambitious Art Hack ever staged in the celebrated space of the Turbine Hall at Tate Modern.
Taking place over 24 hours, the brief for attendees is simple:
It’s a pleasure to announce that Loophole for All won the Golden Nica, first prize of Prix Ars Electronica,
one of the most prominent awards from socially engaged media art – in Linz, Austria. http://prix2014.aec.at/prixwinner/12143/
Shortly: The project exposed 215,000 anonymous companies in the Cayman Islands and attempted to sell their identities in order to democratize tax shields.
In one year Loophole4All.com received:
2 Cease and Desist letters from Chinese financial firms.
10 legal threats from business owners in the Cayman Islands.
12 articles in international newspapers.
1,000 orders made through the selling of companies.
700 USD made and lost through selling the identities of Cayman Island firms.
2 PayPal Account suspensions and a ban on trading.
25,000 investigative queries into the database of 215,000 entities.
900 subscriptions to the project’s newsletter with anonymous email addresses or from domains like: ey.com, hsbc.com, citi.com, kcs.com, etc.
Unfortunately, PayPal didn’t concede and I lost all the money that I earned from the selling of subversive artworks in a limited edition. In the meantime, my mailbox on the Cayman Islands appears to have been shut down and I haven’t received mail there in a few months. By the way, I am not making up a single detail of the project. Read the full story here: http://paolocirio.net/press/texts/text_loophole4all.php
There has finally been increased political pressure on the loopholes of anonymous companies, so I decided to move onto the next booming financial instrument that hasn’t yet been regulated, in fact my next project taps into the art market with a promising Smart model that allows everyone to collect art and increase the value of the collections.
Today, I introduce ArtCommodities.com. The platform offers a simple economic analysis of how value is created in contemporary art and proposes an innovative model that allows everyone to invest in art that matters with a new type of collectable object. Read more about the new model:http://ArtCommodities.com/?/c/model
By turning offshore firms in art commodities, you can now buy artworks from Loophole4All.com once again. Become the only owner of unique historical artworks for 99 cents and up!
* Global Direct http://paolocirio.net/work/global-direct
This project introduces the idea of real-time participation in world wide governance. It’s an ambitious project, which will be ongoing for a few months. It is a 2014 commission by Turbulence through the Jerome Foundation and It’ll be shown at Kasa Gallery in Istanbul in June and at DOX Prague in November.
* Fingerprints Catalogue http://DataAsCulture.org
This project is commissioned by Open Data Institute for shows at FutureEverything and Lighthouse in UK. It makes use of sophisticated browser tracking technology for an Anti-Social Sculpture. The fingerprints left on the catalogue and its artworks are collected for composing the display of the featured artworks.
* (W)orld Currency http://paolocirio.net/work/world-currency
A manipulation-proof currency through the creative formulation of an equation and a trading algorithm. It started through a commission at the Museumsquartier in Vienna and was shown in March at Borroworrob at HDLU in Zagreb, in September it’ll be exhibited during the Digital Design Weekend at the V&A Museum in London.
* Face to Facebook
It’s currently being shown in Big Bang Data at CCCB Museum in Barcelona and Out of Control at Ars Electronica Center in Linz. In these installations the audience can browse the epic dating website Lovely-Faces.com! The piece will be shown also at The Photographers’ Gallery in London during this summer.
* HD Stencils http://paolocirio.net/work/hd-stencils
It is an experiment with laser cutters and coding. This new technique for High Resolution stencils will be used with spray paint. A few painting will be shown in Berlin in 2015. While this summer you will see those graffiti on downtown’s walls.
V&A Digital Futures Tuesday 27 May 12.30pm – 6.30pm
V&A Digital Futures is an open platform for the display and discussion of new work by students, researchers, creative practitioners and other professionals working with digital media, interactive art, digital design, science and more. The programme offers opportunities to show and discuss work and ideas with fellow creative practitioners, researchers and the public, but also a platform to network and nurture discussion and future collaborations.
Join us for this special event, showcasing some of the brilliant collaborative projects and prototypes developed during the NASA Space Apps Challenge 2014 (https://2014.spaceappschallenge.org/) by teams working in Exeter, London, York and Leicester.
The International Space Apps Challenge is an international mass collaboration focused on space exploration that takes place over 48-hours in cities around the world. The event embraces collaborative problem solving with a goal of producing relevant open-source solutions to address global needs applicable to both life on Earth and life in space. The Space Apps Challenge events in the UK are being led by the Met Office – http://www.metoffice.gov.uk/conference/hackathons/space-apps-challenge
Leaf Patrol – Sanjay Bilakhia, Monti Ricardo, Natasha Trotman, Theo McCaie and Moira Morrison / Space Apps London Leaf Patrol’s response to the challenge focuses on measuring Ground level Ozone quality/pollution, using computer vision, coding and android devices to quantify and classify leaves via three stages: general leaf data collection, quantification and classification. The aim was to raise awareness about the environment among the general population with the hope that the general public would get involved and document the leaves in their areas. This could be scaled up stretching the ‘leaf patrol’ to a national and global level.
More than 80 professionals and artists taking part
This year’s powerhouse combination of ELEKTRA and MUTEK as the EM15 festival has produced an unprecedentedly extensive nighttime program, but also an intensive daytime program. Every year, each festival features a professional section that explores the issues underlying the industry, creativity, and production in the digital arts. This year concentrates both the familiar ELEKTRA International Marketplace for Digital Arts (IMDA) sessions and the MUTEK DIGI_SECTION component(presented by MOOG Audio), as well as the CONNECTING CITIES Symposium at the Phi Centre, over three jam-packed days.
Combining workshops, presentations, meetings and onstage interviews, which provide an outlet for the larger issues facing our community, as well as a forum to explore the latest technologies and speak to the most exciting creators, EM15‘s daytime program which is free and open to everyone, features a rich mixture of events that cater to the experienced professional, the emerging artist, or the curious observer.
From Monday, May 26 to Wednesday, May 28, the international symposiumorganized in collaboration with the Connecting Cities Network (especially its members Public Art Lab Berlin, Foundation for Art and Creative Technology Liverpool,Riga 2014 – European Capital of Culture and the Quartier des spectacles Partnership Montréal) offers exceptional insight into digital creation in public space. A free and public event, the symposium brings together international and Canadian experts from the field of urban media art for a series of keynote presentations and panel discussions that highlight contemporary concepts and outstanding creations while exploring three city visions: The Networked City, The Participatory City, and The Visible City. The members of the Connecting Cities Network and other international experts will also give short and dynamic presentations illustrating urban media manifestations and initiatives from their various cultural contexts, from Berlin to Melbourne, from Sao Paulo to New York City.
The IMDA combines artists and institutions through presentations and meetings, with the aim of creating new connections and outlets for digital works. Over two days (Thursday, May 29 and Friday, May 30), international festival directors, curatorsand Canadian and Québec artists have the chance to show their work to each other in a series of short presentations. The ultimate goal is to increase the international exportation and exposure of digital works from Canada and Québec.
Running from Wednesday, May 28 to Friday, May 30, DIGI_SECTION takes advantage of having some of the most exciting names in audiovisual creation and electronic music in town to host a series of onstage interviews that dig deeper into the practice, philosophies, and careers of select artists. HOLO magazine Editor-in-chief Greg J. Smith will host two conversations with some of the festival’s premier audiovisual artists, one with ALAIN THIBAULT and MATTHEW BIEDERMAN and the second one with PAUL PRUDENCE; The Wire Online Editor Jennifer Allan leads intimate, thoughtful conversations with two of the most compelling artists in contemporary electronic music, HOLLY HERNDON and HEATSICK; and the Ableton Lounge will feature discussions with two trailblazers and innovators in the field of technology and art practice, RICHIE HAWTIN and ROBERT HENKE.
Ourtechnological partners represent the cutting edge of new software, instruments and methods. Roland, whose products are synonymous with the birth of electronic music, preview their new line of AIRA instruments including a performance showcase featuring MATEO MURPHY. Ableton, the inventor of the industry standard real-time performance software Live, also spotlight the latest version of their program and their newest instrument, Push. Derivative, whose TouchDesigner software is at the heart of virtually every innovation in A/V creation and spectacular presentations of 3D mapping, lead a two-day workshop too. WaveDNA and MIXGENIUS show off their latest music creation (Liquid Rhythm) and online mastering software (LANDR), respectively, and Make Noise present their latest modular synthesizer.
Also on offer, the Montréal premiere of the documentary I Dream of Wires, shot partially at MUTEK 2012 and concerned with the history and resurgence of the modular synthesizer and its myriad manifestations in popular and experimental music. Filmed all over the world, the movie features dozens of interviews, and performance footage from artists like TRENT REZNOR, CEVIN KEY, GARY NUMAN, CARL CRAIG and MORTON SUBOTNICK.
For the aspiring artists and music industry types, FACTOR, the Foundation Assisting Canadian Talent On Recordings is offering an overview session of their various funding programs, as well as one-on-one meetings to help kickstart recording and touring careers and explain other opportunities in the music industry.
MUTEK and ELEKTRA would like to thank the following partners, who play a key role in their continued success and for their support of EM15: the Conseil des arts et des lettres du Québec, the Secrétariat à la région métropolitaine of the ministère du Conseil exécutif du Québec, the ministère du Tourisme du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal, the Festival and Cultural Event Office for the City of Montréal, the department of Canadian Heritage, FACTOR and Canada’s Private Radio Broadcasters, Musicaction, the ministère de la Culture et des Communications du Québec, the ministère des Relations internationales de la Francophonie et du Commerce extérieur du Québec, the Consulat général de Franceà Québec, the Goethe-Institut, LOJIQ, the Fédération Wallonie-Bruxelles, Wallonie-Bruxelles International, Délégation Wallonie-Bruxelles and the Culture Programme 2007-2013 of the European Union.
To their media and private partners: Solotech, Red Bull Music Academy, the Quartier des spectacles Partnership, Tourisme Montréal, Sapporo, Ubisoft, Musée d’art contemporain de Montréal, DHC/ART Foundation for Contemporary Art, Phi Centre, Moog Audio, MixGenius, Ableton, Roland, WaveDNA, Madmapper, Modul8, Make Noise, Derivative, the Society for Arts and Technology, Piknic Électronik, Montréal Digital Spring, International Digital Arts Biennial (BIAN), la Vitrine, C2MTL, Filaction, the ix Symposium, Laïka, the Connecting Cities Network, Public Ar
t Lab Berlin, FACT (Foundation for Art and Creative Technology) Liverpool and Riga 2014 – European Capital of Culture, Deezer, Ecocup, Resident Advisor, XLR8R, The Wire, FACT, Exclaim!, CULT#MTL, HOLO Magazine, Urbania, ETC Media, DAM, Ticarttoc, DOTS Digital Art Magazine, Artichaut, Inter, Infopresse, CISM, CKUT, CHOQ, CJLO, CHYZ, Hotel ZERO1, the Auberge Alternative du Vieux-Montréal, W Montreal, Hotel Hyatt, Hotel Holiday Inn Select, Amigo Express and Fitz & Follwell.
Stanza: Real Time City of Bits Installation Unveiled In Norway
The Trøndelag Centre for Contemporary Art, Norway is presenting the British artist Stanza with his ‘The Emergent City. A Life From Complexity to The City of Bits’.
Thre large scale installation by Stanza including a Mini, Mechanical Metropolis Runs On Real-Time Urban Data captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. The artwork explores new ways of thinking about life, emergence and interaction within public space.The project uses environmental monitoring technologies and security based technologies, to question audiences’ experiences of real time events and create visualizations of life as it unfolds. The installation goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time city as a shifting morphing complex system.
The data and their interactions – that is, the events occurring in the environment that surrounds and envelops the installation – are translated into the force that brings the electronic city to life by causing movement and change – that is, new events and actions – to occur. In this way the city performs itself in real time through its physical avatar or electronic double: The city performs itself through an-other city.
Cause and effect become apparent in a discreet, intuitive manner, when certain events that occur in the real city cause certain other events to occur in its completely different, but seamlessly incorporated, double. The avatar city is not only controlled by the real city in terms of its function and operation, but also utterly dependent upon it for its existence.
Contemporary art with the ambition of illuminating transformative processes as aesthetic phenomena. Among them is The Emergent City (2012) – an electronic city with hundreds of electronic components that receives and processes information from a network of wireless sensors, that the artist has placed around Trondheim city center.
Stanza uses multiple new technologies to create distances between real time multi point perspectives that emphasis a new visual space. The purpose of this is to communicate feelings and emotions that we encounter daily which impact on our lives and which are outside our control.
The Emergent City is an “Open social sculpture that informs the world and creates new meaningful artistic experiences. The artwork is also a highly technical project that gives vast amounts of information about the environment. By embedding the sensors like this we can re-engage with the fabric of space itself and enable new artistic metaphors within the environment.”
In the exhibition.
The Emergent City. A Life From Complexity to The City of Bits.
The artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork.
The Big Bang Data exhibition explores the emergence of the database as a framework for cultural and political thinking and the effects of datafication of the world.
CENTRE DE CULTURA CONTEMPORÀNIA DE BARCELONA
From 9 May until 26 October 2014
From 25 February until 24 May 2015
BIG BANG DATA explores the phenomenon of the information explosion we are currently experiencing. The last five years have seen the emergence of a generalized awareness among academic and scientific sectors, government agencies, businesses and culture that generating, processing and above all interpreting data is radically transforming our society.
The CCCB has created a space for exhibition projects that bring an integrative approach to the culture of the 21st century and the far-reaching transformations of the digital age.
BIG BANG DATA is the first in this series of proposals to address the areas of friction that these changes are introducing in the fields of science, technological and social innovation, and political, economic and cultural challenges.
For the five months of BIG BANG DATA, the expository space will also be a platform for meeting and debating this highly topical theme, with workshops, hackathons, education programmes and meetups for local and international communities.
Architect, strategic communicator, creative director in conceptualisation and design projects at exhibitions, installations, stage sets, museums and cultural institutions.
A platform formed by curators, journalists, university lecturers, independent researchers and cultural producers.
This is an experimental laboratory and a resources centre devoted to generating continuous thought on the role of innovation in the sphere of culture. An activity space and meeting point that aims to connect the local community with international professionals and knowledge networks that are temporarily circulating through Barcelona.
BIG BANG DATA a co-production CENTRE DE CULTURA CONTEMPORÀNIA DE BARCELONA
Under CCCB 20 ANYS
The exhibition can be visited At CCCB (Barcelona) – since 9th of May until 26th of October 2014
email@example.com >From: Rasa Smite <firstname.lastname@example.org> >Subject: FIELDS exhibition – welcome to Riga 2014! > > >Please see below the first ‘official’ >information on the FIELDS – large scale >exhibition that will feature about 40 very >interesting artworks. The event is specially >produced for Riga 2014, European Capital of >Culture – so you all are all very welcome to >Riga this year, and particularly for the FIELDS >opening – on May 15, 2014! > >hope some of you to see in Riga this summer – >the exhibition will be open till August 3, 2014 > >kind regards >Rasa > >- – – – – – – – – – – – – – – – – – – – – – – – >- – – – – – – – – – – – – – – – – – – – – – – – – > >Welcome to Riga – the European Capital of Culture 2014! > >FIELDS exhibition >Arsenals Exhibition Hall of the Latvian National Museum of Art >May 15 – August 3, 2014 > >Fields – patterns of social, scientific, and technological transformations. > >The changing role of art in society is one where >it does not just create a new aesthetics but >gets involved in patterns of social, scientific, >and technological transformations. Fields, >jointly curated by Rasa Smite, Raitis Smits and >Armin Medosch, presents an inquiry into patterns >of renewal and transition. The curators asked >which expanded fields of artistic practice offer >new ideas for overcoming the crisis of the >present and developing new models of a more >sustainable and imaginative way of life. > >In preparation for the Fields exhibition, a >widespread survey was undertaken, that did not >just look at art in the narrow sense but all >kinds of creative practices that bring together >new thinking, scientific knowledge, aesthetics, >technologies and social practices. A year in >advance, a public call was launched that was met >by over 200 proposals. The curators of Fields >could draw on international networks such as >RIXC’s Renewable Network and the European >collaborations Techno-Ecologies and >Soft-Control. The artist-in-residency series >Fieldwork on measurement ship Eleonore, Linz >2013, aimed at creating ideas and projects for >Fields. Workshops and panels at Transmediale >2013 – Berlin, Pixelache 2013 – Helsinki, and >the Media Art Histories conference Renew – Riga, >October 2013 were used to discuss work and >taxonomies for Fields. > >>From the 200 proposals received through the >>public call, the curators have chosen 40 works >>from all over the world, but with a special >>focus on Central, Eastern and Northern Europe. >>Fields will be exhibited between May 15th and >>August 3rd 2014, at the Arsenals exhibition >>space of Latvian National Arts Museum, the >>largest and most important exhibition space for >>contemporary art in Riga, as a part of Riga – >>European Culture Capital 2014. The exhibition >>will be accompanied by public lectures, >>Renewabl
e Futures conference as well as artist >>performances and concerts. A catalogue will be >>produced, which will consist of a special issue >>of the Acoustic Space peer reviewed academic >>journal, jointly issued by Liepaja’s University >>Art Research Lab and RIXC. > >Rasa Smite and Raitis Smits are artists and >founding directors of RIXC, an art institution >in Riga, Latvia, whose Art + Communication >festival has become one of the most important >festivals of this kind in Europe and worldwide. >Armin Medosch is a curator, writer and artist >based in Vienna, Austria. The Fields exhibition >is a follow-up project to Waves 2006, which was >also shown at Arsenals in Riga, co-curated by >Smite, Smits and Medosch. > >The curators selected works that are considered >to be contextual seedbeds for social change. The >changing role of art in society is one where it >does not just create a new aesthetics but gets >involved in patterns of social, scientific, and >technological transformations. > >Fields presents a lively landscape of art that >challenges existing viewpoints and deconstructs >social issues, but also proposes positive >visions for the future. A premise behind this >project was from the very start that no single >field and associated label can do justice any >more to the diversity of contemporary art >practices. Typically, today, the most >interesting practices are transdisciplinary and >transformative – they rely on new combinations >of existing fields-as-in-disciplines, combining >the artistic with the social and the natural, >the scientific and the emotional, the sensible >with the actual. > >Fields opens up the contemporary field for a >free and associative play of radical taxonomies, >remixing and recombining existing categories, >thereby carrying out important boundary work >that gives a new shape to the contact zones >between art, science, technology and social >engagement in the 21st century. >While the final list of artists may still >change, we would like to present some examples >for the radical diversity of approaches: > The relationship with nature plays a >major role in this exhibition, often in >combination with ideas from the open culture >that emerged on the net, about sharing resources >and tackling social issues through participatory >and social mechanisms. > In some cases, such as Leave it in the >Ground by Oliver Ressler (2013), or >Seedsunderground (2013-14) by Shu Lea Cheang, >the work carries a clear and direct political >message, concerning issues such as renewable >energy, sustainability or the fight for the >diversity of agricultural seeds and plants. > Other work, less overtly political, opens >our senses and minds to new ways of seeing the >world, referring to what French philosopher >Jaques Ranci?re calls the ‘distribution of the >sensible’. Lisa Jevbratt shows how different >reality is if we imagine to look at the world >with animal eyes. The Belgian collective Okno >combines rooftop gardening and beehives to >create new maps of the distribution of plant >life in cities. Erich Berger measures changes in >the magnetic field of the Earth. Manu Luksch >offers a free ride on a water taxi in exchange >for a conversation with Kayak Libre. > The human body itself becomes seen as a >node in a complex network of force-fields, where >nature, genetic science and political and >economical topics intersect. The Latvian artist >Gints Gabrans proposes to modify our bodies so >that, with the help of new enzymes, we can eat >grass and tree branches. Hu.M.C.C.- Human >Molecular Colonization Capacity project by Maja >Smrekar, Slovenia, uses an enzyme from the >artist’s body to create a yoghurt. Hans >Scheirl’s paintings and installation Transgenic >(TM) breaks through barriers between 2D and 3D, >simultaneously opening up new ways of artistic >and bodily trans-gression. > The intersection of social and visual >fields is the topic of works by Austrian video >artist Annja Krautgasser’s Prelude (2010) and >media artist Hannah Haslaati, Finland, who uses >principles known from Gestalt psychology to make >group dynamics visible. >The intersection of the globalised economy with >digital technologies, financial markets >exploitative labour practices and culture and >concerns of local communities and indigenous >people are addressed in works such as Histoire >?conomique (2013) by British artist Hayley >Newman, Working Life (2013) by Danish artist >collective Superflex and Eccentric Archive >(2012-14) by Ines Doujak and John Barker. > The relevations by Edward Snowden about >global surveillance activities of the USA >through its PRISM program has made evident how >important the invisible world of data flows and >data bases is. Data fields, battlefields and the >war on terror mark the background for works such >as Endless War (2012-14) by British-Japanese >artist couple YoHa (Graham Harwood and Matsuko >Yokokoji), and We should take nothing for >granted! – on the building of an alert and >knowledgeable citizenry by Slovenian artist >Marko Peljhan and Project Atol. > The relationship between matter and >information, as suggested by cybernetics pioneer >Norbert Wiener, is the topic of the Earth >Computer (2014) Martin Howse and Ghostradio >(2014) by Pamela Neuwirth, Markus Decker and >Franx Xaver. > Artists such as Martins Ratniks’ >installlation with 27 CRT TV screens, and French >artist Cecile Babiole’s sound installation are >engaging with the raw energy of electrical and >electro-magnetic fields, continuing work started >with the Waves project in 2006. > Relationships between electrical and >biological fields inform the work of Latvian >sound artist Voldemars Johansons, who, in >collaboration with RIXC’s own project Biotricity >(bacteria battery) has made music from >electrical signal fluctuations that are >generated by living micro-organisms. > >These are some key topics and examples of up to >40 works that will be shown at Fields. > >http://fields.rixc.lv > >Support: The Fields exhibition is supported by >Riga 2014 and Riga City Council, Latvian State >Cultural Capital Foundation, Latvian Ministry of >Culture, Austrian Ministry of Culture, French >Cultural Institute, Nordic Culture Point.
They survey and sniff, analyze and scrutinize. And of course, they take stunning images in various visible spectra. The 12 science instruments onboard the Cassini spacecraft are seemingly capable of doing it all. Each instrument is designed to carry out sophisticated scientific studies of Saturn, from collecting data in multiple regions of the electromagnetic spectrum, to studying dust particles, to characterizing Saturn’s plasma environment and magnetosphere.
The instruments gather data for 27 diverse science investigations, providing scientists with an enormous amount of information on the most beautiful planet in our Solar System.
Optical Remote Sensing Mounted on the remote sensing pallet, these instruments study Saturn and its rings and moons in the electromagnetic spectrum.
Fields, Particles and Waves These instruments study the dust, plasma and magnetic fields around Saturn. While most don’t produce actual “pictures,” the information they collect is critical to scientists’ understanding of this rich environment.
30 Years after Les Immatériaux: Science, Art, and Theory
21 – 22 May 2014
Centre for Digital Cultures Leuphana University of Lüneburg Postoffice Building, Sülztorstr. 21-25, 2nd floor
With Jean-Louis Boissier (FR), Andreas Broeckmann (DE), Francesca Gallo (IT), Charlie Gere (UK), Florian Hecker (DE/US), Yuk Hui (HK/DE), Robin MacKay (UK), Bernard Stiegler (FR), Tim Otto Roth (DE), and Anne-Elisabeth Sejten (DK).
This symposium is dedicated to the 30th anniversary of Jean-François Lyotard’s exhibition at the Centre Pompidou in Paris in 1985, entitled Les Immatériaux. The exhibition wanted to demonstrate the emergence of a new materiality produced by the advancement in telecommunications technology. The prefix im- announced a break from the modern conception of material, language, body, science, and art. Les Immatériaux showed how the desire of modernity produced a negation of itself and passed on to a new cultural form which Lyotard named postmodern. The symposium traces the discourses in the exhibition and its intellectual environment of the late 1970s and 80s, and it reflects on the new material conditions brought up by digital technologies in the last 30 years. What kind of sensibility is appropriate for our current material condition?
The symposium will be held in English. Admission is free.
Thursday, 21 May
13:00 – 14:00 Registration
13:00 – 14:00 Film Screening: Octave au pays des Immatériaux Auteur (dir. Daniel Soutif; Paule Zajdermann; François Kotlarski)
Organised by the Innovation Incubator and the Centre for Digital Cultures at Leuphana University of Lüneburg, in collaboration with the Leuphana Arts Program. The Innovation Incubator Lüneburg is an EU major project supported by the European Regional Development Fund and the federal state of Lower Saxony.
The first part of the seventh chapter of “The History of Computer Art” is now online in the English translation. The missing chapter VIII will follow. Chapter VII.1 on Computer- and Video Games: URL: [url]http://iasl.uni-muenchen.de/links/GCA-VII.1e.html[/url]
Japanese leading electronic musician/artist Ryoji Ikeda unveils his new installation supersymmetry at the Yamaguchi Center for Arts and Media (YCAM), a co-production with Le lieu unique, scène nationale de Nantes in France.
Having produced and exhibited an audio-visual work titled C4I at YCAM shortly after the Center’s opening in 2004, Ikeda had his first major solo show, datamatics, at YCAM in 2008. From one exhibition to the next, his work evolved in terms of scale and degree of precision, solidifying his worldwide reputation.
This installation is the first in six years after Ikeda’s second residency at YCAM, a newly conceived work based on the artist’s own performance piece superposition, which premiered in 2012. In his ambitious new work, Ikeda attempts to interpret quantum mechanics and quantum information theory from an aesthetic point of view, and challenge the boundaries of his trademark artistic style based on data observation.
Visitors to supersymmetry will be overwhelmed by sophisticated sound and visuals unfolding on a large scale, and gain deep insight into the scheme of things and the world at large. Vividly conveying Ikeda’s recent interest and commitment to quantum theory, the exhibition is made up of two works that reflect ideas inspired by Ikeda’s dialogues with researchers and engineers during his stay at the European Organization for Nuclear Research (CERN), the world’s largest particle physics research institute in Geneva, Switzerland, since February. The exhibition pairs the two installationssupersymmetry [experiment] and supersymmetry [experience], corresponding to the relationships between experimentation and observation in modern (particle) physics, and between representation and mathematical models.
As suggested by the appendix experiment in the former, in this work visitors can witness physical phenomena prior to being observed and recorded as data. Installed in the studio are three light boxes that emit intense white light. The surfaces of these light boxes are paved with microscopic spherical objects that behave in various ways according to the boxes’ slightly changing inclination. In contrast,supersymmetry [experience] features two 20-by-0.7-meter horizontal video screens arranged parallel to each other on the left and right side, along with two parallel rows of 20 monitors each, set up in the darkness of the exhibition space.
While images are successively displayed on the video screens, their respective movements are analyzed and described on the monitors lined up in front of them. The work dismantles the visitor’s consciousness as he/she attempts to grasp at once all the things that happen simultaneously in the multiple moving and blinking images and their respective complex, high-speed analyses on both sides of the installation. Audio and visual contents of both experiment and experience will be frequently updated in the future, to continually reflect Ikeda’s new scientific and mathematical interests.
Born in 1966 in Gifu, Japan. Lives and works in Paris. Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.
The 12th Linux Audio Conference (LAC) is scheduled to take place at the ZKM | Karlsruhe in spring 2014. The Conference brings together software developers, artists, musicians, composers and users who work with Linux and Open Source software.
Over four day period, discussions will be held in connection with a series of lectures, presentations and workshops on developments in the field of music production in Linux. Electro-acoustic works composed with Open Source software will be performed in several concerts. As part of “Playrooms” and “Soundnight” there will also be several live performances produced with the use of Open Source software, ranging from improvisation and club-compatible sounds.
The Conference was brought into being at the ZKM in collaboration with developers in the Linux audio community between 2003 and 2006. Since then, it has been pursued by renowned institutions within Europe and the USA, and is now, once again, about to ‘return home’ in 2014.
Installationen Thurs−Sat, May 1−3, 2014, each 2−6 pm
Lightune.G (Miodrag Gladović, Bojan Gagić): Lighterature Reading: Chapter 12
Louise Harris: Indusium
Hanspeter Portner: CHIMAERA − The Poly-Magneto-Phonic Theremin
Wolfgang Spahn: Bild einer Ausstellung [picture of an exhibition] − An Installation of Audio/Visual Interferences
Thursday, May 1, 2014 from 10 am Keynote/Lectures at the ZKM_Media Theater 10.00 am Götz Dipper, Frank Neumann, Jochen Arne Otto, Robin Gareus: Conference Welcome 10.30 am Jörn Nettingsmeier: (Keynote) 11.45 am Albert Gräf: A TouchOSC MIDI Bridge for Linux 2.00 pm David Robillard: LV2 Atoms − A Data Model for Real-Time Audio Plugins 2.45 pm Funs Seelen: Muditulib, a Multi-Dimensional Tuning Library 3.30 pm Winfried Ritsch: Towards Message-Based Audio Systems 4.30 pm Florian Meier, Marco Fink, Udo Zölzer: The JamBerry − A Stand-Alone Device for Networked Music Performance Based on the Raspberry Pi 5.15 pm Jürgen Reuter: Case Study − Building an Out Of The Box Raspberry Pi Modular Synthesizer
from 2 pm Workshops at the ZKM_Lecture Hall 2 pm Bart Brouns: A Realtime Synthesizer Controlled by Singing and Beatboxing (60 Min.) 2.45 pm Bent Bisballe Nyeng: DrumGizmo Drumkit Creation Workshop (135 Min.)
8 pm Concert I at the ZKM_Cube
Anthony Di Furia: Through the Space of Crying
Patrick Hartono: The Complete Series of Kecapi (2012−2013)
José Rafael Subía Valdez: Chiral − for Piano & Electronics (Piano: Rei Nakamura)
from 10 am Workshops at the ZKM_Cube 10.00 am Gabriel Nordeborn, Jörn Nettingsmeier: Groovin’ High − Remixing Music in Full-Sphere Surround (90 Min.) 11.30 am Jan Jacob Hofmann: Workshop on Blue-Environment for Higher Order Ambisonic Spatialisation and Spatial Granular Synthesis in Csound (60 Min.) 2.00 pm David Wagner: Exploring the Zirkonium MK2 Toolkit for Sound Spatialization (75 Min.)
from 2 pm Workshops at the ZKM_Lecture Hall 3.15 pm Louigi Verona: Project “droning” (60 Min.) 4.30 pm Harry van Haaren: OpenAV Workshop (60 Min.)
8 pm Concert II at the ZKM_Cube
Panayiotis Kokoras: Magic
Michael Edwards: anonymous obvious
Sean Reed: More Than Is Wise
Sean Reed: Orion
Ludger Brümmer: Glasharfe
10 pm Concert Playroom at the ZKM_Music Balcony
Jürgen Reuter: Random Noise − Concert for Sound Column Four Hands
Bruno Ruviaro & Carr Wilkerson: Vowelscape 1.0
Mauricio Valdés & Jure Pohleven: DNA Sequencer
Bruno Ruviaro & Juan-Pablo Caceres: Panela de Pressão
Saturday, May 3, .2014 from 10 am Lectures at the ZKM_Media Theater 10 am Aaron Heller, Eric Benjamin: The Ambisonic Decoder Toolbox 10.45 am IOhannes zmölnig, Christian Schörkhuber, Markus Zaunschirm: WiLMA − A Wireless Large-Scale Microphone Array 2.00 pm Miller Puckette: Processes in Real-Time Computer Music (45 Min.) 2.45 pm Sarah Denoux, Stéphane Letz, Yann Orlarey, Dominique Fober: FAUSTLIVE − Just-In-Time Faust Compiler… and much more 3.45 pm Anders Vinjar, Jean Bresson: OpenMusic on Linux 4.30 pm Kjetil Matheussen: Radium − A Music Editor Inspired by the Music Tracker 5.15 pm Götz Dipper, Frank Neumann, Jochen Arne Otto, Robin Gareus: Closing Ceremony
from 10 am Workshops at the ZKM_Lecture Hall 10.00 am Rui Nuno Capela: Qstuff* Past, Present, Future and Beyond (90 Min.) 2.00 pm Fons Adriaensen: Audio Measurements Using Free Software and Some Simple Hardware (180 Min.)
11.30 am−12.30 pm
Poster session at the ZKM_Foyer
Romain Michon: Mephisto − an Open Source WIFI OSC Controller for Faust Applications
Matthieu Amiguet, Barbara Minder: Linux as a Low-Latency, Rock-Stable Live Performance System
Yan Michalevsky, Julius Smith, Andrew Best: Extending the Faus VST Architecture with Polyphony, Portamento and Pitch Bend
Hanspeter Portner: Routing Open Sound Control Messages via Vanilla JACK to build Low-Latency Event Translator/Filter Chains and Map Unconventional Controller Data to Musical Ev ents
James Topliss, Victor Zappi, Andrew McPherson: Latency Performance for Real-Time Audio on BeagleBone Black
Neil Funk: Music Feature Extraction and Clustering with Hadoop and MARSYAS
8 pm Concert III at the ZKM_Cube
Luis Valdivia: Xaev1uox
Florian Hartlieb: Out of the Fridge
Fernando Lopez-Lezcano: Divertimento de Cocina
Clemens von Reusner: rooms without walls
Ali Ostovar: A Thin Light Behind the Fog
Bernardo Barros & Mário del Nunzio: Improvisation
10 pm Concert Soundnight at the ZKM_Music Balcony
Wolfgang Spahn: ENTROPIE
Renick Bell: Algorave Improvisation
Tiny Boats (Jason Jones & Jesse Crowley): Burn in the Sun
Yan Michalevsky: Locum Meum
Unsound Scientist (Amos Przekaza): Selected Works
Yen Tzu Chang: Self-luminous2 − Unbalance
Bart Brouns: The WOP Machine
William Light: visinin − Modern Electronic Club Music
Jakub Pišek: Turbosampler
Jeremy Jongepier: The Infinite Repeat
Superdirt² (Vincent Rateau & Daniel Fritzsche): Live Performance
The new dedicated program of the ISEA2014 conference, My Location, My Sense of Belonging, recognizes the importance of public space and the interrelationship of art, technology, design and the city. This program aims to discuss the role and influence of creative disciplines and technology on public interactions and the possibilities for enhancing urban spaces. Creative works in public space can help to create identity and a sense of belonging. Originating from a pearling and trading industry, the UAE has always been exposed and open to foreign cultures. In recent years, the country has been witness to rapid urbanization and has attracted a global multi-cultural society, factors that all impact the city on a daily basis. In this evolving reality, the role of culture in public space and of multicultural society on the notion of public space is an important aspect of sustainable city development. This program will host a series of short paper presentations, poster presentation, workshops (2-3hrs) and public programming along with external events such as a public round table discussion on Public Space and Public Art. SUBMISSION TO THIS SPECIAL PROGRAM CAN BE MADE IN THE FOLLOWING CATEGORIES: 1. SHORT PAPER SUBMISSION (2500-4000 WORDS) These sessions are best suited for a short summary of scholarly work and reports on current or completed research. Authors present summaries or overviews of their work, describing the essential features (related to purpose, procedures, outcomes, or product). Presenters are welcome, and highly encouraged, to include any visual support to assist delivery of their oral presentation. Individual abstracts will be accepted. Papers should be 2500-4000 words long (excluding the abstract, front matter and references) and should adhere to the conference paper submission guidelines (which can be found at www.isea2014.org). Submissions must be in English language. Submissions are due on May 30, 2014 and must include: • Presenter’s names and affiliations (contact details, organization, university) • Abstract (maximum of 300 words) and a bibliography 2. POSTER PRESENTATION The Poster Presentation Session will showcase a variety of in-progress research and completed or planned creative projects. Authors will stand next to their posters during the poster presentation sessions and facilitate interactions with conference attendees. Poster submissions guidelines will be provided after acceptance of a poster presentation abstract of 300 words. Deadline for abstract submission: May 30, 2014. 3. WORKSHOP PROPOSALS (2-3 HRS) Proposals for 2-3 hour workshops exploring the concepts of and solutions for public spaces need to present a description of the research issues that the workshop will address, including their context and practical application. The workshop proposal must contain a description of the workshop structure, planned participant’s involvement and anticipated contributions to the special program topic. The 2-3 page long workshop proposal shall follow a workshop submission guideline (to be found at www.isea2014.org). Deadline for workshop submission: July 1st, 2014. Deadlines: Submission of abstracts for papers and posters: May 30 Submission of workshops: July 1 Announcement of Acceptance: July 31 October 1st final draft of paper submission and presentation file Oct. 30-Nov 8 ISEA2014 Symposium Final submission of camera ready/publishable paper Dec. 1. Paper proceedings to be published in early 2015 http://www.isea2014.org/
Visit the ISEA2014 website for any additions to program submission or subthemes. http://www.isea2014.org/en/Submissions/call_Public_Space.aspx FOR QUESTIONS PLEASE CONTACT ISEA2014 COMMITTEE: email@example.com
Coding the Body organized by Leah Buechley Opening reception: Wednesday, March 19: 6-8 pm
On view: March 20 – May 10, 2014
Featuring work by: Francis Bitonti Karen Bradley Kelly Dobson Sarah Fdili Alaoui Ben Fry Yves Gellie Eunsuk Hur Nervous System Thecla Schiphorst Cait & Casey Reas Diane Willow Amit Zoran
If you visited Cambridge, Massachusetts, in the 1990s, you might’ve encountered a group of intense young people who looked like they stepped out of a sci-fi novel. Sporting fanny packs overflowing with cables and electronic equipment, and bulky headgear, these MIT students self-identified as cyborgs. A few members of the team kept their systems on at all times—in classes, meetings, and parties; out on dates and trips to the beach. (Thad Starner, who is now one of the technical leads on the Google Glass project, has worn his “wearable computer” continuously since 1993.)
Their primary aim was, in a phrase coined by the sci-fi author Verner Vinge, “intelligence amplification”.(1) They envisioned a benign human-machine synergy that would make people smarter, faster, and more efficient. The physical systems they wore consisted of a head-mounted display—a small transparent computer screen through which you could see both the real world and computer-generated graphics—connected to a computer and a one-handed keyboard.(2) At the heart of these systems though was code—the software that enabled wearers to interact with their devices and to store, organize, and retrieve data.
With this outfit they were able to take notes, look up information, send messages, and snap photos instantaneously, wherever they were. In the 1990s, before the widespread use of smart phones, such powers were unheard of. These prescient researchers foresaw and embraced an extreme version of the always-on, totally-connected life.
The cyborg is a popular imagining of the relationship between code and the body, of how people can and should relate to computers. Alluring and unsettling, this vision promises that we can be better than human: smarter, stronger, faster; but it leaves us suspicious that we will lose ourselves in the process—as parts of our bodies are gradually “augmented” or simply replaced by machines and software. I grew up on a farm, the child of back-to-the-earth hippies, steeped in a culture with a deeply rooted distrust of technology and the very notion of human progress. My relationship with technology continues to be an ambivalent one—equal parts enchantment, skepticism, and trepidation.
I was drawn to computers not for their abilities to augment or replace human intelligence, but for their expressive potential. A decade after the MIT cyborgs first emerged, when I began to research wearable computing, my interest stemmed from a fascination with fashion. I joined a small group of designers and engineers who were investigating how computers might expand the pallet we use to adorn and identify ourselves.
Nervous System’s designs look like they’ve been harvested from an ocean or meadow, not made with machines. A lacy filigreed earring looks like a veiny leaf skeleton; a twisting spiral necklace, like a piece of coral. Jessica Rosenkrantz and Jesse Louis-Rosenberg, the founders of the company, develop software that mimics biological processes. Their programs generate designs for objects that are, in turn, fabricated by 3D printers, laser cutters, or other automated tools.
The algorithms Jesse and Jessica write define not so much individual objects as entire families of forms. A program produces a basic structure. Each time it is run with new input parameters, it generates a new variation on the structure. Variations can also be created in a collaborative process between the software and the person who will ultimately wear the design. Code determines the framework for a piece, but a prospective wearer can fine-tune and play with contours until she finds a version she fancies.
A piece might begin with a 3D scan of her body. This scan provides a precise canvas on which to work—a perfect virtual representation of her figure. The software then digitally “grows” a pattern around this shape. Once the basic pattern is set, she can lower a hemline, loosen a sleeve, or create a more finely detailed decoration on a bodice. Despite these adjustments, the piece remains true to the aesthetic framework laid out by the program. Once the design is just the way the wearer wants, it’s 3D printed. No one else will ever have one like it. The product of this digital collaboration is utterly unique.
Software gives us new tools—interactivity, dynamics, and seemingly limitless complexity—that we can use to make beautiful and entirely original things. Code can help us communicate and explore our identities in compelling and delightful new ways.
In a famous paper in 1950, Alan Turing, the father of computing, posed the question, “can machines think?”.(3) Turing, like many scientists and mathematicians, assumed that there was no fundamental difference between the capabilities of a computer and that of a human brain. He supposed that it would only be a matter of time before a robot was developed that would be indistinguishable from a human.
Turing’s paper, Computing machinery and intelligence, described a simple test—the Turing Test—to determine whether or not a machine was sentient. The idea was straightforward: if a machine was good enough to fool a person into believing it was human, we could fairly assume it was indeed thinking—carrying out the same kind of process that occurs in our brains when we think.
Computer scientists were by no means the first to
dream of building human replicas. There is a long history of this kind of play and exploration. To take just one instance, the great automaton builder Jacques de Vaucanson constructed a collection of dazzling life-like forms in the 18th century. One of them, the Flute Player, was a full-sized android that could play twelve different songs on a flute by blowing air out of its mouth. Nine bellows powered the machine, which included a mechanism to mimic each facial muscle used in human playing.(4) As astonishing as it was, the Flute Player was limited; it couldn’t walk, talk, or smile.
Though robotics has progressed since then, it’s not clear that anyone is much closer to making a synthetic human being. However, contemporary researchers have discovered something useful: people are actually quick to ascribe personhood to machines. A robot need not be a perfect or even a close copy to pass Turing’s test. Humans, it turns out, are hardwired to look for life. We see faces in clouds, empathize with stick-figure cartoons, and relate to robots like they’re people even if they’re poor imitations.
Robots are servants. They do what we want them to do, what they’re programmed to do, often distasteful jobs we’d rather not do ourselves. They sweep our floors and fight our wars. Increasingly, they’re taking care of us. The Japanese government recently allocated approximately $24 million to develop robots for elder care, hoping that machines will be able to nurse the country’s aging population.(5) In the USA and Asia, “nanny robots” are being proposed as a solution to the lack of affordable childcare.(6) Roxxxy, the “sex robot girlfriend,” is a full service partner.(7)
If the researchers have it right, we’re likely to fall for, even to love, these synthetic companions. Will they love us back? Is a relationship with a machine that is programmed to please, to fulfill our every wish, a desirable substitute for the complex rewarding struggle that is a relationship with a person? Are we headed for a future in which we’re increasingly living “alone together” in professor Sherry Turkle’s phrase—next to one another, yet each of us isolated in our own personal, machine-mediated bubble?(8)
Codes and machines are claiming more and more of our time, our attention, and our physical selves. With each year, we spend more time interacting with computers and less time interacting with people and the natural environment. And yet, software is revealing vast new spaces of knowledge, expression, and experience—introducing us to entirely new ways of thinking about and interacting with the world.
Coding the Body interrogates the relationships between humans and code. It turns to cyborgs, robots, fashion designers, geneticists, artists, and others to explore how code is being used to understand, control, decorate, and replicate us. The exhibition celebrates the beauty of code and its manifestations while casting a wary eye on its ever-expanding power.
1. Vinge, V. (1993), “The Coming Technological Singularity: How to Survive in the Post-Human Era.” VISION-21 Symposium, NASA technical reports, NASA CP-10129. 2. Starner, T., Mann, S., Rhodes, B., et al. “Augmented Reality Through Wearable Computing,” Presence, Special Issue on Augmented Reality, vol 6(4) 1997. 3. Turing, A.M. (1950). “Computing machinery and intelligence.” Mind, 59, 433-460. 4. Wood, G. Living dolls: a magical history of the quest for mechanical life. Faber and Faber, London, 2002. 5. Iida, M. “Robot niche expands in senior care.” The Japan Times Online, 2013. http://www.japantimes.co.jp/news/2013/06/19/national/ robot-niche-expands-in-senior-care/. 6. “Roxxxy Sex Robot: World’s First ‘Robot Girlfriend’ Can Do More Than Chat.” Huffington Post, 2010. http://www.huffingtonpost. com/2010/01/10/roxxxy-sex-robot-photo-wo_n_417976.html. 7. Editor, B.R.H., Science. “Robot nannies threat to child care.” Telegraph.co.uk, 03:33. http://www.telegraph.co.uk/science/sciencenews/ 3343667/Robot-nannies-threat-to-child-care.html. 8. Turkle, S. Alone Together: Why We Expect More From Technology and Less From Each Other. Basic Books, New York, 2011.
Leah Buechley is a designer, engineer, artist, and educator whose work explores intersections and juxtapositions—of “high” and “low” technologies, new and ancient materials, and masculine and feminine making traditions. She also develops tools that help people build their own technologies, among them the LilyPad Arduino kit. She recently left her position as an Associate Professor at the MIT Media Lab to start a design firm. While at MIT she founded and directed the High-Low Tech research group. Her work has been exhibited internationally in venues including the Victoria and Albert Museum, the Ars Electronica Festival, and the Exploratorium, and has been featured in publications including The New York Times, Boston Globe, Popular Science, andWired. Leah received a PhD in computer science from the University of Colorado at Boulder and a BA in physics from Skidmore College. At both institutions she also studied dance, theater, fine art, and design.
Bringing together international experts from the field of urban media art, the symposium combines keynote presentations, workshops and panel discussions that explore three city visions: The Networked City, The Participatory City, and The Visible City. Furthermore, together with Montréal’s Partenariat du Quartier des spectacles, we discuss Montréal’s need for an urban digital laboratory in the context of the city’s recent efforts to gain Smart City status. Finally, the members of the Connecting Cities Network present manifestations of urban digital creativity from their various cultural contexts, from Berlin to Melbourne, from Sao Paulo to New York City.
The Montréal programme will also contain the 2014 CCN curators’ workshop. As a follow-up, we strongly encourage you to plan a stay in Montréal from 25 May to 1 June to participate in the MUTEK festival and many other events of Montréal’s first Printemps numérique!
11 May: Open call deadline 16 May: Publication of the selected projects 13 – 14 June: Public symposium 15 – 20 June: Production workshop 20 (evening) & 21 June: Public presentation of the projects in Brussels, Belgium
In the framework of the European project Connecting Cities: Participatory City 2014,iMAL (Brussels) organises an Urban Media Lab masterclass. A range of events from Symposium, to masterclass, a 6 days workshop led by the artist Luciano Pinna and by the Connecting Cities’ artist Ali Momeni & urban interventions will be held from mid-May to mid-June.
Look here at our partner iMAL Brussels for more information about the program and the open call for projects open until May 11.
The second version of Play! at the Galeria de Arte Digital do SESI Media Facade is soon going to end. Here some impressions of our CC Event #1 with the Participatory City project the Street Crosser from Noobware & Nutune.
Blank Canvas Street Art Festival 13 – 17 May 2014, Riga, Latvia
CC Workshop Suse Miessner 14 May 2014, Riga, Latvia
From May 13 – 17, 2014 the Blank Canvas street art festival is going to place in Riga and gather both local and foreign street artists to work on a range of walls in Riga, as well as highlight and explain the meaning of street art for a wider public. In the framework of Blank Canvas the Participatory City artist Suse Miessner will show her project Urban Alphabet and conduct a workshop on the 14 May to explore the city discover, document and map the diversity of type, tags and lettering.
This year’s ‘Art of Engineering’ award goes to… the Constitute for their Networked City project ‘Ready to Cloud’, which was curated and produced by Public Art Lab!
FERCHAU awarded projects between art and technology, with special focus on the topic ‘liquid Space’. Congratulations to the Berlin-based collective, who received the first prize for ‘Ready to Cloud’ and made the third rank with their EYEsect/an Out-of-Body-Apparatus.
4 – 8 September 2014, Linz, Austria C like creativity, catalysts, community, Connecting Cities?
This year’s Ars Electronica Festival theme is “C … what it takes to change”. The festival set for September 4-8 is an inquiry into the prerequisites and framework conditions necessary to enable social innovation and renewal to emerge and make an impact. The focus will be on art as catalyst. From September 4th to 8th, Ars Electronica will once again be a setting for reciprocal exchange and networking, a one-of-a-kind forum in which perspectives and opinions are negotiated and presented in the form of speeches, artistic installations, performances and interventions. It will be taking place at multiple locations throughout the city, in established artistic venues and public spaces alike.
Your project on the media façade of the Medialab-Prado in Madrid? Sure! You have a few more days to submit your project. Join the Programa la Plaza project by Sergio Galan and Victor Díaz and freely program a sequence for the 15 meters-wide Medialab-Prado screen.
Find more information and the program instructions here!
Connecting Cities is a European and worldwide expanding network aiming to build up a connected infrastructure of media facades, urban screens, projection sites and mobile units to circulate artistic and social content. More information on www.connectingcities.net
Sternberg Press is pleased to announce the publication of Subtraction by Keller Easterling, the fourth book in the Critical Spatial Practice series edited by Nikolaus Hirsch and Markus Miessen. Keller Easterling will be in conversation with architect and professor Nikolaus Hirsch and e-flux journaleditor Brian Kuan Wood for the book’s New York launch at e-flux. For the launch in Berlin, Easterling and Hirsch will join Juan A. Gaitán, curator of the 8th Berlin Biennale for a conversation at the Crash Pad c/o KW Institute of Art.
Unbuilding is the other half of building. Buildings, treated as currency, rapidly inflate and deflate in volatile financial markets. Cities expand and shrink; whether through the violence of planning utopias or war, they are also targets of urbicide. Repeatable spatial products quickly make new construction obsolete; the powerful bulldoze the disenfranchised; buildings can radiate negative real estate values and cause their surroundings to topple to the ground. Demolition has even become a spectacular entertainment.
Keller Easterling’s volume in the Critical Spatial Practice series analyzes the urgency of building subtraction. Often treated as failure or loss, subtraction—when accepted as part of an exchange—can be growth. All over the world, sprawl and overdevelopment have attracted distended or failed markets and exhausted special landscapes. However, in failure, buildings can create their own alternative markets of durable spatial variables that can be managed and traded by citizens and cities rather than the global financial industry.
These ebbs and flows—the appearance and disappearance of building—can be designed. Architects—trained to make the building machine lurch forward—may know something about how to put it into reverse.
Keller Easterling is an architect, writer, and professor at Yale University. Her books include Enduring Innocence: Global Architecture and Its Political Masquerades (Cambridge, MA: MIT Press, 2005), andOrganization Space: Landscapes, Highways, and Houses in America (Cambridge, MA: MIT Press, 1999).
Nikolaus Hirsch is a Frankfurt-based architect and curator. Recently, he was the Director of Städelschule and Portikus and curated “Cultural Agencies” (Istanbul, 2008), “I knOw yoU” (Dublin, 2013), and “Folly” for the Gwangju Biennale (2013). Current projects include “Real DMZ” (Korea, 2014) and “The Land Workshop” (Thailand, 2014–15).
Juan A. Gaitán is curator of the 8th Berlin Biennale for Contemporary Art.
Keller Easterling Subtraction Critical Spatial Practice 4 Edited by Nikolaus Hirsch and Markus Miessen Featuring artwork by Metahaven April 2014, English 10.5 x 15 cm, 112 pages, 9 color and 6 b/w ills., softcover with dust jacket ISBN 978-3-95679-046-1
Previous books in the Critical Spatial Practice series:
Nikolaus Hirsch and Markus Miessen, eds., What Is Critical Spatial Practice? (artwork by Armin Linke) Markus Miessen in Conversation with Chantal Mouffe, The Space of Agonism (artwork by Rabih Mroué) Beatriz Colomina, Manifesto Architecture: The Ghost of Mies (artwork by Dan Graham)
Mark von Schlegell, Ickles etc. (artwork by Louise Lawler) Robert Jan van Pelt, Darkness Visible (artwork by Trevor Paglen) Eyal Weizman, Roundabout Revolution
He studied the remote viewing accuracy of remote viewer Ingo Swann, as measured by a group of ratings of congruence (between Swann’s drawings and the locale being “viewed”) by 40 experimentally blind participants during stimulation with complex magnetic fields using a circumcerebral (around the head) eight-channel system.
Edward A. Dames, Tell Me What You See: Remote Viewing Cases from the World’s Premier Psychic Spy. Wiley, 2010.ISBN 9780470581773
David Marks, “The Psychology of the Psychic (2nd edn.)” Prometheus Books, 2000. ISBN 1-57392-798-8
Courtney Brown, Remote Viewing : The Science and Theory of Nonphysical Perception. Farsight Press, 2005. ISBN 0-9766762-1-4
Jim Schnabel, Remote Viewers: The Secret History of America’s Psychic Spies, Dell, 1997, ISBN 0-440-22306-7
Paul H. Smith, Reading the Enemy’s Mind: Inside Star Gate—America’s Psychic Espionage Program, Forge, 2005, ISBN 0-312-87515-0
Ronson, Jon, The Men who Stare at Goats, Picador, 2004, ISBN 0-330-37547-4, written to accompany the TV series The Crazy Rulers of the World The military budget cuts after Vietnam and how it all began.
Buchanan, Lyn, The Seventh Sense: The Secrets Of Remote Viewing As Told By A “Psychic Spy” For The U.S. Military,ISBN 0-7434-6268-8
F. Holmes Atwater, Captain of My Ship, Master of My Soul: Living with Guidance, Hampton Roads 2001, ISBN 1-57174-247-6
McMoneagle, Joseph, The Stargate Chronicles: Memoirs of a Psychic Spy, Hampton Roads 2002, ISBN 1-57174-225-5
Targ, Russell & Puthoff, Harold, Information transmission under conditions of sensory shielding, Nature 251, 602–607 (18 October 1974) doi:10.1038/251602a0 Letter0
Remote viewing (RV) is the practice of seeking impressions about a distant or unseen target using subjective means, in particular, extra-sensory perception (ESP) or “sensing with mind”.
Remote viewing was popularized in the 1990s upon the declassification of certain documents related to the Stargate Project, a $20 million research program that had started in 1975 and was sponsored by the U.S. government, in an attempt to determine any potential military application of psychic phenomena. The program was terminated in 1995 after it failed to produce any useful intelligence information.[n 1]
Whilst many artefacts today are produced, distributed and consumed solely in digital form, this situation is not completely new. Artefacts from previous eras have also been ‘born’ digital. The advent of micro- or home computers in the mid-1970s and 80s, for instance, saw a range of digital artefacts produced, amongst them digital games, demos, and other early software. These objects are complex and interesting as are the preservation challenges they pose. To issues of hardware and software deterioration are added characteristics such as real-time responsiveness, highly-invested fan communities, and the earliness with which decisions about significance and preservation strategies must be arrived at. Games preservation is emerging as an experimental domain where some of the thorniest issues in born digital cultural heritage are confronted. No longer a niche endeavour limited to those who played titles ‘back in the day’, developments in games preservation and related fields are of relevance to many different cultural forms, their scholars and custodians. Playability also creates interest in and enlivens the preservation message, making it easier for non-specialists to grasp.
We invite proposals for papers, panels, and workshops for an international conference on The Born Digital and Cultural Heritage, to be held at the Australian Centre for the Moving Image in Melbourne, 19-20 June, 2014. Recognising that born digital artefacts often require multiple sets of expertise, we are keen to receive proposals from researchers and practitioners in the range of disciplines, spheres of practice and institutional contexts concerned with born digital heritage. This includes libraries, archives, museums, galleries, moving image institutions, software repositories, universities, and more besides. Proposals might be theoretical, practical, policy, or otherwise oriented. Case studies of innovative practices, papers based on research with born digital artefacts, and new institutional approaches are equally welcome.
Possible topics include:
Born digital histories
Born digital items as cultural heritage
Changing notions of the collection
Selection, appraisal, deposit
Jurisdictions, overlaps, gaps
Resourcing, funding, partnerships
Archiving of media arts, architecture, broadcasting, etc
Relation of born digital preservation to digitisation programs
Inter-agency cooperation, federations and networks
Models of collaboration, outside experts, volunteers
Case Studies and Best Practices: Processes, Metadata, Systems, Services, Infrastructures
Thomas Apperley and Jussi Parrika
The ‘Born Digital’ Archive: Rethinking Platform Studies Methodological Heuristic
Platform studies is a recent and prominent scholarly methodology for ‘born digital’ histories. The platform studies book series was introduced in 2009 with Racing the beam (Montfort & Bogost, 2009). The project was left deliberately open, but the book is the series retained a few common features: 1) a focus on a single platform; 2) a detailed investigation of the technologies; 3) a concern with how platforms are embedded in culture and society, and the reciprocal relations between platforms and culture/society.
Through a critical engagement with platform studies from the perspective of media archaeology this paper will argue that the method implicitly establishes an archive relevant to a particular platform from the available materials. This may include a collection of software, developer interviews, contemporary magazine and news articles, and even other paratexts. How this particular archive is produced varies from project to project, but the process of producing the archive shapes the perception of the platform immensely. This archive established through platform studies acts as a methodological heuristic that produces a historic and physical entity—the platform—that can be examined and mapped as a stable node within an otherwise unruly network of material and social/cultural relations.
In this paper we argue that by examining how the platform studies archive is produced highlights the role that the preservation of games and software has in shaping scholarly understanding of platforms and their historic context. Furthermore, platform studies archives strongly indicate that how ‘born digital’ texts are understood is contextualized through other contemporary non-digital texts, like magazines and box and cabinet art.
Keywords: digital archive, digital game, media archaeology, platform studies
Public space is a hole everybody strove to close, but it could not be plugged; that is why it was called public. The money that permeates this hole is like a sieve. It preserves nothing and and retains nothing, so far as we can remember.
Master of Arts in Spatial Strategies Weissensee School of Art, Berlin
The Master of Arts course in Space Strategies is founded on a conception of praxis in urban space that draws on architectural and artistic practices, focusing on the discipline of art in public space. In the context of post-war modernity, art in public space has played a crucial role in the discussion of the social relevance of art. However, it has become necessary to reconsider the concept of space and the concept of publicness.
Space Strategies parses the concept of space in terms of virtual, global and urban spaces, confronting public space, and artistic production within it, with the actuality of these three spaces. With global developments of the past two decades having completely undermined what is regarded the shared conception of publicness (Öffentlichkeit), the Master course seeks to redefine the challenges and political responsibilities of the individual within contemporary contexts. Space Strategies aims to understand artistic work as an insistence on publicness as a sphere where democratic participation constitutes social spaces, living spaces, and the allocation of essential resources.
Applicants are sought from all disciplines of fine arts and humanities, as well as graduates and professionals from the fields of architecture, urbanism, and cultural and social sciences. The Master course offers further qualifications in the cutting edge between artistic praxis and discourse, from art theory and art criticism to political theory and art history, critical urban research, migration studies, and automata theory. Catchphrases such as artistic research, interdisciplinary, intervention and artistic curating are critically scrutinized. In the same way, the structure of the course itself is interrogated as a product of the Bologna Process of European education reforms. This process is part of a trend that is rendering knowledge subordinate to efficiency, reducing it to an artefact that is expedient to the market one day, only to be rationalised away the next. Since the economisation of knowledge goes hand in hand with the economisation of urban space, it is of particular importance to tease out these parallels in relation to the urban, the virtual, the global and ourselves.
Spatial Strategies above all aims to develop an independent artistic or art-related praxis that above all draws on a sense of autonomy and a political sensibility.
The Master of Arts degree is awarded upon successful completion of the program.
Lecturers Alice Creischer, Andreas Siekmann: Political Theory/Art in Public Space Günter Nest: Intercultural Comparative Studies Stephan Mörsch/Gerda Heck: Migration/Urbanism Michael Schwarz: Automata Theory Kathrin Wildner: Critical Urban Research
The MIT Program in Art, Culture and Technology (ACT) and the MIT Center for Art, Science and Technology (CAST) present Public Space? Lost & Found, a two-day symposium and accompanying exhibition to celebrate the living legacy of artist and educator Antoni Muntadas and collectively redefine ideas of public space and its multiple functions. Convening scholars, artists, architects, and planners from MIT and beyond, the symposium will engage contemporary critical discourses and practices on public space.
The symposium and exhibition investigate the definitions of public space across disciplines, and the tools, tactics, and consequences of reclaiming—or to use a term coined by Muntadas, creating interventions in—public space through art and architecture. Public Art, that is art in public space, is a concept that has been in discussion and revision throughout the evolution of the terms “art” and “city” themselves. Recent movements—including those in Egypt, Madrid, New York, and around the world in Occupy communities—have exposed the distance between “public” and “space” and reflect citizens’ interests in recovering and re-appropriating the city or town square. The themes of the symposium draw from Muntadas’s career at MIT and his artistic practice, a legacy that directly affects the work and philosophies of many of the invited speakers.
Click here to reserve a seat and learn more about the symposium and exhibition.
Friday, April 18 Opening remarks by Adèle Santos (Dean of the School of Architecture + Planning, MIT) 2pm
Panel 1: “Private Public Spaces: Cultural Identity and Context” 2:30pm Speakers: Ina Blom (Oslo University), Antoni Muntadas (ACT, MIT), Néstor García Canclini (Universidad Autónoma Metropolitana, Mexico City) Respondents: Doris Sommer (Cultural Agents, Harvard), Ana Maria León (HTC, MIT) Moderator: Meejin Yoon (Architecture, MIT)
Panel 2: “Reclaiming Public Space/Surveillance and Control” 5pm Speakers: Teddy Cruz (UCSD), Marjetica Potrč (HFBK, Hamburg), Krzysztof Wodiczko (GSD, Harvard). Respondents: Jane Hutton and Adrian Blackwell (GSD, Harvard) Moderator: Catherine D’Ignazio (Media Lab, MIT)
Exhibition opening reception 7–9pm
Saturday, April 19 Welcome by Otto Piene (Professor Emeritus, Director Emeritus of CAVS, MIT) 10am
Panel 3: “Alternatives for Contemporary Public Space: Interdisciplinary Praxis” 10:30am Speakers: Juan Herreros (GSAPP, Columbia), Dennis Adams (Cooper Union), Angela Vettese (IUAV, Venice) Respondent: Caroline Jones (HTC, MIT) Moderator: Ute Meta Bauer (NTU, Singapore)
Panel 4: “Speculations on the Future of Urban Space: Utopia” 2pm Speakers: Gediminas Urbonas (ACT, MIT), Andrés Jaque (Princeton), Mark Wigley (GSAPP, Columbia) Respondent: Ana Miljacki (Architecture, MIT) Moderator: Alexander D’Hooghe (CAU, MIT)
Panel 5: “Public Space: Research, Projects, Production” 5pm Speakers: Jennifer Allora (Allora & Calzadilla), Marrikka Trotter (GSD, Harvard), Matthew Mazzotta (ACT, MIT), Coryn Kempster (Harry Gugger Studio) Respondents: Beatriz Colomina (Princeton University School of Architecture), Azra Akšamija (ACT, MIT) Moderator: Antoni Muntadas (ACT, MIT)
Closing remarks by Nader Tehrani (Head of the Department of Architecture, MIT) 7pm
This program is made possible by funding provided by the MIT Center for Art, Science and Technology (CAST); the MIT School of Architecture and Planning, Office of the Dean (SA+P); MIT Department of Architecture; the MIT Program in Art, Culture and Technology (ACT); the Council for the Arts at MIT (CAMIT); MIT Comparative Media Studies/Writing (CMS); Center for Civic Media; and the Media Lab.
Click here to learn more about the program and exhibition.
MIT Program in Art, Culture and Technology Massachusetts Institute of Technology 77 Massachusetts Avenue, E15-212 Cambridge, MA 02139-4307 act.mit.edu
he “Disruptive Impulses” project is a presentation of the current activities of three artists – Ryan Jordan (UK), Gerard Lebik (PL) and Maciej Ożóg (PL), whose performances in diverse ways address the problem of utilisation of all available audio sources in a critical way.
Spoiled, destroyed, malformed, prepared, hacked – all analogue and digital electronic devices used in an unconventional way; interception and signification of electromagnetic waves, human body sounds and signals; unpredictable eruptions of sound, bursts of light and image – psychophysical experience of emergent energy. Decomposition, deconstruction, reconfiguration, recombination, interception, misappropriation, reuse, disruption, technological indeterminacy control/chance.
Detection NYC. Sonic Archaeology Workshop at Harvestworks 5/6 April
$B!H(BThe pick was [then] used to hammer on the surface, and by this means, the Angle Ditch was discovered. The sound produced by hammering on an excavated part is much deeper than on an undisturbed surface, a circumstance worth knowing when exploring a grass-grown downland, though not applicable to cultivated ground.$B!I(B $(Q#|(B [Augustus Pitt Rivers. Excavations in Cranborne Chase. Volume IV. 1895]
This two day workshop, guided by Martin Howse, will equip participants with a range of practical techniques for audible, forensic examination of both the material and immaterial.
A series of experimental situations will be constructed, investigating materials through audible excitation, transformation and detection including ultrasound, light modulation, surface playback, and electrochemistry. The workshop will also examine classical techniques for the study of electronic voice phenomena (EVP), and suggest new detection strategies.
Russian Medical-Technological Academy, Research-Practical Center of Traditional Medicine and Homeopathy the Ministry of Health of the Russian Federation. 34/4/188 , Novatorov Street, Moscow – 117421, Russia.
remote perception Remote perception indicates that man is capable of maintaining contact with the outside world relying on dowsing and his own paranormal abilities . In this case dowsing should be recognized as an all-purpose method of cognition in natural science and acquisition of information from the environment
physicist extrasensorial astronomy interferometry wave force electromagnetic field spatial phenomenology copper wire plastic pipe geophysics gravitatorial force gravitatorial field solar system
subterranean water forces telluric currents geochemistry geo-electromagnetic-studies magnetometer
1894 Podmore, F. Apparitions and thought-transference. Walter Scott, London.
1908 Atkinson, William Walker. Practical psychomancy and crystal gazing: psychic phenomena of distant sensing. Advanced Thought Publishing, Chicago.
1911 Leadbeater, C. W. Inner life. Theosophical Publishing House, Adyar.
1939 Bret, P. T. Les métapsychoses: La métapsychorragie, la télépathie, la hantise. Vol 1: Introduction et la métapsychorragie fantasmale. J. B. Baillière, Paris.
1952 Sigstedt, C. O. The Swedenborg epic. Bookman Assoc., New York.
1955 Baldick, Robert. The life of J. K. Huysmans. Clarendon Press, Oxford.
1975 Fisher, R. Cartography of inner spaces. In R. K. Siegel & L. J. West (Eds.), Hallucinations: Behavior, Experience, and Theory (pp. 197-239), John Wiley & Sons, New York.
1975 Grof, Stanislav. Out-of-body experiences, traveling clairvoyance and clairaudience, space travels and telepathy. In his, Realms of the human unconscious: Observations from LSD research (pp. 186-190). Viking, New York. [257p, illus, index, bibl]
1977 Eisenberg, Howard. Out-of-the-body experiences. In his, Inner spaces: Parapsychological explorations of the mind (pp. 48-50). Musson Book, Don Mills, Ontario. [184p, index, bibl]
1977 Swedenborg, Emanuel. Journal of dreams. Swedenborg Foundation, New York.
Adam Harvey / Adrian Hon / Alex Box / BBC Connected Studio / Ben Dalton / Ben Hammersley / Bio Strike / Blank Media / BUQs / CoGet / Fixperts / Francis Bitonti / Golan Levin / James Bridle / Jon Rafman / Karen Mirza & Brad Butler / Larissa Sansour / Lauren Bowker / Lisa Kori & Caitlin Morris (Fabrica) / Mark Leckey / Near Future Laboratory / Nicky Kirk and Mel Woods / Open-Circuit / Pan Studios / Peter Gregson / Rohan Gunatillake / Ryan Trecartin / Sam Meech / Smart Citizens / Stefanie Posavec / Storystorm / Superflux / thickear / Unit X / YoHa / Zuloark
Adam Greenfield / Adam Harvey / Adrian Hon / Alex Fleetwood / Alex Gluhak (Intel) / Alexandra Daisy Ginsberg / Alexandra Deschamps-Sonsino / Anab Jain / Anthony Dunne / Ben Vickers / Clare Reddington / Dan Hill / Dan Williams / Eleanor Saitta / Emer Colman / Garnet Hertz / Golan Levin / Holly Gramazio / Irene Ng / James Bridle / Jon Kingsbury / Justin McGuirk / Katalin Gallyas / Koert van Mensvoort / Liam Young / Mia Ridge / Mike Bracken (Digital Director, UK Cabinet Office) / Neil Crockett (CDEC) / Paul Graham Raven / Paul Wolinksi & Joe Shrewsbury / Rachel Rayns (Raspberry Pi) / Seb Chan / Simon Giles (Accenture) / Space Lady / Tom Armitage / Tomas Diez / Volker Buscher (Arup) / Zuloark
Darkside (Nicolas Jaar & Dave Harrington) / Robert Henke (Monolake) / Dean Blunt / Mika Vainio / Source Direct / Ninos Du Brasil (Nico Vascellari) / EVOL / Longplayer for Voices and Listening Post / Evian Christ / Koreless / Lorenzo Senni / Visionist / TCF / Florian Kupfer / Tom Boogizm / RVDS (Golden Pudel) / Patricia (Opal Tapes) / Andrew Lyster / Miwa Matreyek / EMN & David Leonard / Peter Edwards (Casperelectronics) / Joker Nies / Richard Scott / Rob Hordijk / Martin Messier: Projectors (World Première) / Ex-Easter Island Head / Mooncircle label showcase ft. KRTS (Debut UK tour) + Submerse + Rain Dog / The Space Lady (Debut European Performance) / Tim Hecker / Julianna Barwick
This one day event (10am – 4:30pm; registration from 9:30am) will be of interest to people involved in:
Arts and humanities research
Game design and development
Play and game cultures
New media journalism
The event is free and refreshments and a buffet lunch will be provided at no extra cost. The Business School is fully accessible and includes hearing loop facilities. If you have any additional needs please contact us in advance.
The Business School is well served by public transport with Oxford Road Train Station a 10 minute walk from the venue. There is ample off-road parking nearby.
Further information about the day will be emailed to participants prior to the event. If you have specific questions or enquiries about the day please contact Scott Gaule (firstname.lastname@example.org)
The day will comprise of workshops and presentations from leading exponents of socially aware game design and play cultures. It will also provide an opportunity for participants to play examples of these games, and practice how to make them.
Playing for change: The transformative power of gaming
Joost will discuss his ideas on this contemporary moment being marked by a renaissance in play and the ludification of culture. He will describe something about the changing landscapes of play and games in contemporary society and introduce the concept of playability, and its usefulness in understanding social change processes.
Matt will introduce recent Blast Theory projects online and on the streets. Works such as Ivy4Evr (a text messaging drama for Channel 4) and I’d Hide You (a mixed reality game for The Space commissioned by the BBC and Arts Council England) place conversations at the centre of the experience. Participants chat with scripted bots, performers and each other. In multiplayer, multiplatform environments is this a model for games that move beyond physics?
Join designer Mary Flanagan in a dynamic, quick paced set of modding exercises where participants will alter familiar physical game mechanics in order to intentionally highlight particular human values. Become practiced at quickly changing designs and thinking about values.
The Diego de la Vega co-op is a case study that uses transmedia storytelling as a tool to intervene the thing we call reality. Books, currency, futures, labour, shares, solidarity agriculture and sports are some of the investment tools that sustain the Variable Network State nano-macro-economy and its social and political activities.
Obscuring physical play: How to make digitally enabled folk games
This is an active play session where we explore how to make digitally enabled folk games, where bodily interactions are obscured and changed by technology. We will look at differences between digital and analogue games and what we can learn from both. We will explore what enhanced play we can achieve in the hybrid space between the digital and analogue play. More specifically, we will play the classical folk game Lemon Joust and our digital counterpart. After this we will play a game on our new Human Reconfigured setup and brainstorm on variations of the game.
Over lunch participants are invited to play games. The social change arcade machine will be present, loaded up with games with “Something to say”.
Our friends from the Manchester pervasive game collective ‘The Larks’, will also be recruiting participants over the lunch break to play-test their new game about social mobility and class, called ‘Know your Place’.
Jon Rafman, BR-265, Barbacena, Minas Gerais, Brazil, (2012). Archival pigment print on aluminium. Seventeen Gallery.
It is not a good opening paragraph, as opening paragraphs go:
A friend of mine showed me how to use Google Maps. I’m sure you’ve seen it. It lets you use satellite images to look at locations all over the world. A few years ago, I was in a car accident.
Besides unnecessarily explaining Google Maps, “Satellite Images” begins by executing exposition with brutality and an utter disregard for the show-don’t-tell “rule.” But this is creepypasta, an authorless horror story from the bowels of the internet. A kind of new iteration of the urban legend, with the internet as its city, creepypasta generally takes the form of as FOAFlore (ie friend-of-a-friend lore), comments on a forum, or a final, strangled pleading blogpost, posing as authentic testimony rather than fiction. The genre thrives on anonymity and slipshod writing, both of which boost the stories’ presumed veracity. Will Wiles describes the genre as having “an eerie air of having arisen from nowhere… a networked effort to deliver dread in as efficient a way as possible.”
Giving Contours To Shadows. February – November 2014 Exhibition: May 24 – July 27, 2014
The art and research project Giving Contours to Shadowstakes its cue from the Glissantian concept that history, a “functional fantasy of the West“, cannot be left in the hands of historians only. In that sense, the project looks at ways, by which artists, curators and thinkers relate to their epoch, to times past and to the drawing of prospective trajectories, thus weaving alternatives to established narratives – from embodiment practices to possibilities of pre-writing of History. Unfolding into a group exhibition at Neuer Berliner Kunstverein and SAVVY Contemporary and a performance program at Maxim Gorki Theatre and Gemäldegalerie in Berlin, as well as a roundtable series in Nairobi and Berlin, a series of satellite projects in Marrakech, Dakar, Lagos and Johannesburg, Giving Contours to Shadows reflects on philosophical, socio-cultural and historical aspects of global interest. With a particular interest in creating space for different epistemologies, the project will cast light on discourses that transcend Western perceptions of history, and propose contemporary narratives that brave the colonial and post-colonial discourses.
Recounting the past and history’s trace to the present through works that stand as a voice of the unspoken or the unuttered, the exhibition and satellites are framed in four thematic sections: Performing and Embodying History,Wandering through History, Sequestrating History and Pre-Writing History. Furthermore, the roundtable program is dedicated to discussions on the ideologies of space, performativity and the archive, the imaginary of the present, and notions of pre-writing history.
Satellite #1 – Marrakech, Morocco On February 28, 2014 Giving Contours to Shadowsembarked with its first satellite project – a collaboration with the exhibition project If You’re So Smart, Why Ain’t You Rich? On The Economics Of Knowledge (curators: Bonaventure Ndikung and Pauline Doutreluingne) in the framework of the 5th Marrakech Biennale. Both projects interweave especially through the intervention of Emeka Ogboh, whose work Oshodi Stock Exchange links thesatellite projects in Marrakech and Lagos.
Roundtable #1, Satellite #2 – Nairobi, Kenya Livestream: http://www.ustream.tv/channel/gcts-roundtables-nairobi Organized in collaboration with Jimmy Ogonga and the Centre for Contemporary Art of East Africa, and hosted by The NEST, the first Giving Contours to Shadows roundtable platform will take place in Nairobi on March 12 and 13, 2014. With the titles Beyond Amnesia: Alternative Narrations and The Written, The Spoken: Legends, Myths, Fictions & Histories, the two-day sessions will engage Kenyan artists and thinkers with an invitation to explore the limits of the hegemonic and teleological relationship between concepts of the historic, and the future. Paulo Nazareth will do a performance in the framework of Satellite #2.
Program Exhibition May 24 – July 31, 2014: Neuer Berliner Kunstverein and SAVVY Contemporary, Berlin Opening: May 23, 2014 at n.b.k. / May 24, 2014 at SAVVY Contemporary
Artists: Mathieu Kleyebe Abonnenc, Jelili Atiku, Fayçal Baghriche, Neïl Beloufa, Halida Boughriet, Marcio Carvalho, Virginia Chihota, Chimurenga Lab, Em’kal Eyongakpa, Mounir Fatmi, Serge Olivier Fokoua, Badr el Hammami / Fadma Kaddouri, Adelita Husni-Bey, Wanuri Kahiu, Bouchra Khalili, Kiluanji Kia Henda, Kapwani Kiwanga, Donna Kukama, Kemang Wa Lehulere, Ato Malinda, Nástio Mosquito, Ingrid Mwangi / Robert Hutter, Paulo Nazareth, Otobong Nkanga, Ahmet Öğüt, Emeka Ogboh, Lerato Shadi, Alexandre Singh, Hank Willis Thomas, Emma Wolukau-Wanambwa
Performance program May 25–28, 2014: Maxim Gorki Theatre, Berlin June 25, 2014: Gemäldegalerie / Staatliche Museen zu Berlin
Satellite projects March 1–22, 2014: 5th Marrakech Biennale Parallel Project March 12–13, 2014: Centre for Contemporary Art of East Africa,Nairobi September 2014: Kër Thiossane, Dakar October 2014: Video Art Network / CCA, Lagos November 2014: Parking Gallery / VANSA, Johannesburg
Roundtable I–III March 12–13, 2014: Centre for Contemporary Art of East Africa, Nairobi May 23, 201: Exhibition Opening Statements, Neuer Berliner Kunstverein June 25–27, 2014: Neuer Berliner Kunstverein and SAVVY Contemporary, Berlin
Curator: Bonaventure Soh Bejeng Ndikung // Co-curator: Elena Agudio // Roundtable Series Co-curator: Storm Janse van Rensburg // Curatorial Assistant: Maria Gracia Guimarães n.b.k. team: Director: Marius Babias // General Management / Head of Video-Forum: Kathrin Becker // Head of Communication and Public Program: Silke Wittig // Project Coordinator: Susanne Husse // Internship: Isabell Herzog
Giving Contours To Shadows is a project by SAVVY Contemporary and Neuer Berliner Kunstverein. Funded by the TURN Fund of the German Federal Cultural Foundation. Supported by Ernst Schering Foundation.
For further information on the project and to follow its research and program trajectories visit the blog:www.givingcontours.net
How does the NSA spying scandal affect us as artists? What is the role of art and artists after the revelations of Edward Snowden? The digital has moved from the margins and has become central to every day life. Can art be a means to critically reflect on the possibilities and the implications of the digital? Have new technologies become a means exclusively to service power and surveillance? Or can they be made to service protest and resistance?
Together with artists Julian Oliver and Danja Vasiliev and WikiLeaks-founder Julian Assange, we will explore questions around art, free internet and surveillance.
In the afternoon, Julian Oliver and Danja Vasiliev, authors of the ?Critical Engineering Manifesto?, will give participants of their NETworkshop insights into the technical and political dimensions of the Internet. Their workshop deals with questions of how technology shapes communication, how networks are built and how they are manipulated.
2. BOOK LAUNCH – ?DELIVERY FOR MR. ASSANGE?, ECHTZEIT VERLAG
We are very happy to announce our book ?Delivery for Mr. Assange. Ein Paket f?r Mr. Assange?.
The book recounts the many stories that occurred around ?Delivery for Mr. Assange? and ?Delivery for Mr. Rajab?. It follows the Deliveries from our perspective, describing the extraordinary deliveries, all the craziness and the uproar it caused on the internet in a fast-paced gonzo narrative.
Together with musician Bit-Tuner, author and Bitnik member Daniel Ryser will launch the newly published book.
You can buy your copy on Saturday at the Helmhaus or order it from your favourite local bookshop or online:
3. JULIAN ASSANGE LIVE A Conversation between Julian Assange & !Mediengruppe Bitnik
In a conversation between !Mediengruppe Bitnik and Julian Assange at the Ecuadorian embassy in London via video-link we will focus on art under mass surveillance. We will talk with Julian about his perspective on the deliveries, his take on mass surveillance and where to go from here. There will be time for some questions from participants at the end of the conversation.
La representación del paisaje ha sido un elemento central de la creación artística a lo largo de los años y en todas las culturas. Un repaso a los últimos siglos permite constatar de qué formas la reproducción de paisajes realistas o la escenificación de otros imaginarios revelan las preocupaciones y especificidades culturales de cada periodo.
En la actualidad habitamos un medio en el que el movimiento cada vez mayor de personas y bienes y los flujos ininterrumpidos de datos que recibimos y emitimos han introducido un nivel de complejidad enorme. Si en otra época sólo se podía vivir en un único espacio-tiempo (el aquí y ahora), la computación en red y móvil ha dotado a cada individuo, de alguna forma, de un cierto don de ubicuidad. Pero además, esas mismas herramientas proporcionan una capa de información constante que afecta a nuestra percepción del entorno en tiempo real. Esa omnipresencia de la informática se vio favorecida por la invención de la interfaz gráfica: un avance pionero de finales de la década de los setenta que posibilitó el desarrollo de la computación a escala masiva.
Datascape, una revisión de cómo abordan los artistas contemporáneos la complejidad del mundo, toma su nombre de una noción de realidad cada vez más complicada debido a los datos que la rodean. El título, que funde los vocablos Datos (data) y Paisaje (landscape), sugiere que, en estos momentos, los artistas han integrado las diversas fuentes susceptibles de constituir sistemas de representación de múltiples capas, desde lo más clásico a lo más tecnológico. Pero, además, la mayor parte de las obras exploran ese espacio borroso entre aquello que es físico y lo que no lo es, transponiendo y yuxtaponiendo elementos dentro y fuera de la pantalla y, al hacerlo, plantean una reflexión sobre el estado de confusión perceptiva y de cambio que este nuevo continuum espacio-temporal ha generado.
Comisario: Benjamin Weil
Artistas: Burak Arikan, Angela Bulloch, Nerea Calvillo, David Claerbout, Harun Farocki, Joan Fontcuberta, Michael Najjar, Enrique Radigales, Thomas Ruff, Karin Sander, Charles Sandison, Pablo Valbuena
Una coproducción de:
Con el apoyo de:
LABoral es una institución multidisciplinar que produce, difunde y favorece el acceso a las nuevas formas culturales nacidas de la utilización creativa de las tecnologías de la información y la comunicación (TICs). Su programación, transversal e integrada, está dirigida a todos los públicos y tiene como fin último generar y compartir conocimiento.
Basic Crypto for Everybody The internet is currently a bit broken. Our reading habits, conversations, social graph, and location are constantly logged and stored for big data analysis. This workshop is about opting-out of this social experiment and establishing some personal space without the usual eavesdroppers. Specifically we will be looking into preventing browser tracking, securing communication channels and direct online payments (TOR, GnuPG, OTR, and Bitcoin). In this workshop we will help you getting your computer safe and private again.
Tor is a network of virtual tunnels that allows people and groups to improve their privacy and security on the Internet. It also enables software developers to create new communication tools with built-in privacy features. Tor provides the foundation for a range of applications that allow organizations and individuals to share information over public networks without compromising their privacy.
End-to-end encryption (E2EE) is a digital communications paradigm of uninterrupted protection of data traveling between two communicating parties. It involves the originating party encrypting data to be readable only by the intended recipient, and the receiving party decrypting it, with no involvement in said encryption by third parties. The intention of end-to-end encryption is to prevent intermediaries, such as Internet providers or application service providers, from being able to discover or tamper with the content of communications. End-to-end encryption generally includes protections of both confidentiality and integrity.
Stefan Hechenberger was a resident at Eyebeam, hacking on OpenFrameworks with Zach Lieberman and other OF ninjas. Beyond this he indulges in exploratory software and hardware engineering with an emphasis on architecture, product design, tangible media, and motion design. Previously he has been studying in Germany and California and holds a masters from New York University/ITP. His background is Computer Science, Astronautics, Art, and Design.
Surveillance, hacking & privacyFacelessFes t, lecture day 2 A lot of people say: ‘I have nothing to hide’. Facebook and Google are practically taking over the world. What will happen when Google Glass is released? Will we still have a private life? Journalist Maurits Martijn sheds a light on this. Stefan Hechenberger takes us into the world of hacking and open source. And Dan Hassler-Forest presents his research on superheroes and surveillance culture. There’s food at 19:00, first lecture will kick off at 20:00.
Stefan Hechenberger was a resident at Eyebeam, hacking on OpenFrameworks with Zach Lieberman and other OF ninjas. Beyond this he indulges in exploratory software and hardware engineering with an emphasis on architecture, product design, tangible media, and motion design. Previously he has been studying in Germany and California and holds a masters from New York University/ITP. His background is Computer Science, Astronautics, Art, and Design. His talk will broach the hack as a form of expression, culture hacking and the open source movement.
Maurits Martijn studied communication science and philosophy of science at the University of Amsterdam. From 2007 to 2012 he was editor at Vrij Nederland. And at the moment is he writing about technology and surveillance for De Correspondent. He will show us what big technology companies do or can do with our information.
Dan Hassler-Forest is a lecturer in English literature at the University of Amsterdam. He specializes in popular culture and media theory. Dan regularly publishes scholarly work on topics such as comic books, contemporary literature, and popular media. Tonight he will question superheroes as the embodiment of surveillance culture. And talk about masks in relation to the superhero’s (non-)identity.
From April 1-3 you can join workshops and lectures about privacy, seduction and surveillance. In our exhibition Faceless 100+ artworks explores the trend to hide, mask or edit the face. In these 3 days you can expect workshops by artists Jeremy Bailey, Zach Blas and Stefan Hechenberger.
Esfera Pública Digital (II). Acción política en la red. Lúdica, expresiva y significante
04.03.2014 18:00h – 20:00h
Lugar: Auditorio (2ª planta/2nd Floor)
Charla de José Manuel Sánchez Duarte en la que reflexionaremos sobre si la acción política en la red define nuevos perfiles de militancia o si por el contrario asistimos a prácticas convencionales con una fachada digital.[streaming en directo]
Sesión en abierto del Máster en Comunicación, Cultura y Ciudadanía Digitales (Máster CCCD) de la Universidad Rey Juan Carlos.
– Sampedro, V. y Sánchez Duarte, J. M. (2014) Participación ciudadana en las campañas electorales. Debates teóricos y una aproximación tipológica en: Cotarelo, R. y Olmeda, J. R. (Comps.) La democracia del siglo XXI. Política, medios de comunicación, internet y redes sociales. Madrid: Centro de Estudios Políticos y Constitucionales.
“Los gobiernos, los parlamentos y los tribunales están siendo interpelados por un contrapoder generado en la Red y en red. También, ¿sobre todo?, fuera de internet. En el siglo XXI la prensa convencional ya no funciona como cuarto poder. Sobrevivirá como profesión y negocio ayudando a que emerja otro contrapoder que incorpore y promueva las “prácticas y organizaciones tecnológicas” de la ciudadanía.
En este seminario reflexionaremos sobre cómo las tecnologías digitales han alterado el número y los rasgos de los actores que expresan la opinión pública así como el espacio donde esta se forma. Al hilo de acontecimientos como las filtraciones masivas de wikileaks reflexionaremos sobre la emergencia de un cuarto poder en red.” Víctor Sampedro
Post Media Lab at Leuphana University, L?neburg “Taking Care of Things- I got to know and work with artist/hacker Marcel Mars who introduced me to his ambitious project ?Public Library-Memory of the World? http://www.memoryoftheworld.org/public-library/
I will be joining Marcel and others in March for an intensive phase of development on a number of fronts. The following discussion is the first of a number of conversations That will cover questions as they arise in the development process.
Abaixo, os trabalhos que serão parte do livro TECNOMAGIA, em processo de finalização. Infelizmente, quando transpostos para a wiki, muitos deles foram desformatados e perderam algumas referências, como notas de rodapé e etc. Em breve disponibilizaremos aqui o PDF com todos os textos, ilustrações e referências diagramados e formatados corretamente.
Suponha um sistema que consiste em dois recipientes contendo um total de 10 moléculas azuis e 10 moléculas vermelhas. Há apenas uma configuração com a qual as moléculas podem ser arranjadas de maneira que as 10 moléculas azuis estão em um recipiente e as outras 10 estão em outro. Por outro lado existe um grande número de maneiras em que podemos arranjar 5 de cada cor em cada um dos recipientes.
“Entropic View of Computation” in Mead, C., Conway, L., Introduction to VSLI Systems, (Reading, Mass.: Addison Wesley, 1980), p. 366
Descristalizacao foi uma oficina de dois dias e um evento de performance em ambiente fechado que aconteceu no final da primavera 2011 em Londres. Jonathan Kemp (http://xxn.org.uk) and Ryan Jordan (http://ryanjordan.org) conceberam o evento em torno de duas premissas:
1) Que a vida em si inicia-se de cristais aperiódicos (a la Erwin Schrödinger ) codificando infinitos futuros num pequeno número de átomos, a cristalização da carne pelo Capital limita estes futuros ao ponto da exaustão,
2) Se os computadores e os minerais quais estes são feitos são considerados similarmente cristalinos, então a sua descristalização, que é um aumento na sua desordem, é possível através de uma realimentação positiva que irrompe e escala a entropia através de suas estruturas e descamba na sua patologia presente, Capital.
Este jogo, juntamente com a definição de Cibernética de Norbert Wiener e a definição de “Teoria da Informação” de Claude Shannon entraram em cena pelo fim dos anos 1940, pressentindo sua instalação em todo lugar onde o mise-en-scène do Capital crescia no centro do palco. O alvo declarado da cibernética é entender o comportamento inteligente dos sistemas focando em sua “comunicação, controle e mecânica estatística, seja na máquina ou no tecido vivo” e estendido para encampar cérebros, “máquinas computantes e sistema nervoso”, todos caracterizados como sistemas auto regulados feitos de redes nodais escaladas. Rapidamente identificando que esta regulação é mais efetiva em passar a informação através do sistema, suas noções fundamentais são fundadas nestas informações, retroalimentação, entropia e ambiente. Comportamentos futuros seriam ajustados pela retroalimentação da performance com a máxima adaptabilidade para autorregulação e auto reprodução. Os materiais são descontextualizados de qualquer coisa que não seja mecanicamente nodal na modelagem e governança da nava-mãe Terra ( classificação e prazo de validade de alimentos por exemplo) e reciclar é subentendido como um mantra crucial para sustentar a teia desta vida.
Cyberpunk como alquimista moderno
O Cyberpunk como alquimista moderno. por Timothy Leary e Eric Gullichsen A geração baby-boom cresceu num mundo eletrônico (de 1960 a 1970), de ligar e sintonizar telas de TV e de computadores pessoais. Os Cyberpunks, crescendo nos anos 80 e 90, desenvolveram novas metáforas, rituais, e estilos de vida para lidar com o universo da informação. Mais e mais de nós estão se tornando xamãs de fuzzy-logic e alquimistas digitais. Os paralelos entre a cultura dos alquimistas e dos adeptos cyberpunks de computadores são muitos. Ambos empregam conhecimento de um arcano oculto desconhecido pela população em geral, com símbolos secretos e palavras de poder. Os “símbolos secretos” compõe a linguagem dos computadores e matemática, e as “palavras de poder” instruem sistemas operacionais para realizarem tarefas hercúleas. Conhecendo o preciso código de um programa digital permite que ele seja conjurado à existência, transcendendo assim o trabalho muscular ou a pesquisa mecânica. Ritos de iniciação e aprendizado são comuns a ambos. “Feitos psíquicos” de telepresença e ação a distância são realizados pela escolha de uma opção no menu. Jovens alquimistas digitais t????V?êm ao seu dispor ferramentas de inteligência e poder inimagináveis pelos seus predecessores. Telas de computador são espelhos mágicos, apresentando realidades alternativas nos vários graus de abstração ao controle (invocação) do alquimista. O mouse ou caneta da mesa digitalizadora são o bastão, controlando o fogo do monitor e amplificando a força criativa do operador. Dis
Al igual que con la bomba atómica en los últimos días de la Segunda Guerra Mundial, el virus informático conocido como Stuxnet, descubierto en 2010, pareció marcar el comienzo de una nueva era de guerra. En la era de la ciberguerra, según advirtieron los expertos, en vez de explosivos, tanques y ametralladoras, tendremos ataques silenciosos y basados en software, o al menos serán el primer paso antes de la artillería pesada.
O tal vez no. Casi cuatro años después de que fuera identificado por primera vez en público, Stuxnet es una anomalía: es la primera y única ciberarma que, según se sepa, haya sido desplegada. Algunos expertos en ciberseguridad e infraestructura crítica quieren saber por qué. ¿Hay un menor número de objetivos realistas de los que se sospechaba? ¿Son este tipo de armas más difíciles de construir de lo que se pensaba? ¿O es que, sencillamente, la actual generación de ciberarmas está muy bien escondida?
Estas preguntas rondaban la mente de los principales expertos del mundo en seguridad de sistemas de control industrial la semana pasada durante la conferencia anual S4 celebrada en las afueras de Miami (EEUU). S4 reúne a los mejores expertos del mundo en seguridad de reactores nucleares, redes eléctricas y líneas de montaje.
En S4 casi todos estuvieron de acuerdo en que, mucho después de que el nombre de Stuxnet haya desaparecido de los titulares, algunos sistemas de control industrial, como los Controladores Lógicos Programables Siemens, siguen siendo vulnerables.
El investigador de seguridad de la firma IOActive, Eireann Leverett, aseguró a los asistentes de la conferencia que las prácticas de seguridad comunes en el mundo de la tecnología de la información dentro de las empresas siguen siendo algo poco común entre los proveedores que desarrollan sistemas de control industrial (ver “El enorme reto de proteger las redes eléctricas frente a los ‘hackers‘”). Leverett observó que los sistemas de control industrial modernos, que se venden por miles de dólares la unidad, a menudo vienen con tipo de software que carece de los controles de seguridad básicos, como la autenticación de usuarios, la firma de código para evitar actualizaciones de software no autorizadas, o el registro de eventos para permitir a los clientes realizar un seguimiento de los cambios en el dispositivo.
También está claro que, en los años transcurridos desde que Stuxnet salió a la luz, tanto las naciones desarrolladas como en desarrollo han aprovechado las operaciones cibernéticas como nueva y fructífera vía para la investigación y el desarrollo (ver “Bienvenidos a la industria del software malicioso“). La exanalista de inteligencia del Departamento de Defensa de EEUU, Laura Galante, que ahora trabaja para la firma Mandiant, señaló que EEUU no sólo está haciendo un seguimiento de las actividades de naciones como Rusia y China, sino también de Siria y el objetivo preferido de Stuxnet: Irán. Galante señaló que las armas cibernéticas dan a las naciones más pequeñas y pobres una forma de aprovechar fuerza asimétrica contra enemigos mucho más grandes.
Aun así, las armas cibernéticas verdaderamente eficaces requieren un nivel de experiencia extraordinario. Ralph Langner, quien tal vez sea la máxima autoridad mundial en cuanto al gusano Stuxnet, sostiene que la mera piratería de sistemas críticos no cuenta como guerra cibernética. Por ejemplo, Stuxnet fue noticia por haber usado cuatro vulnerabilidades de agujeros de “día cero” (o no descubiertos previamente) en el sistema operativo Windows. Pero Langner señala que la experiencia metalúrgica necesaria para entender la construcción de las centrifugadoras de Irán era mucho más impresionante. Los que crearon Stuxnet necesitaban saber la cantidad exacta de presión o el par necesario para dañar los rotores de aluminio por dentro y sabotear, así, la operación de enriquecimiento de uranio del país.
Concentrarse en herramientas basadas en software que puedan causar daño físico establece un listón mucho más alto para los debates relacionados con las armas cibernéticas, señala Langner. Según ese estándar, Stuxnet fue una verdadera ciberarma, pero el ataque Shamoon de 2012 contra la gigante petrolera Saudi Aramco y otras compañías petroleras no entran en esa categoría, a pesar de que se borraran los discos duros de los ordenadores infectados.
Hay quienes argumentan que las condiciones para el uso de una ciberarma tan destructiva simplemente no han surgido de nuevo, y no es probable que surjan por algún tiempo. Operaciones como Stuxnet, es decir, proyectos sigilosos diseñados para degradar lentamente la capacidad de enriquecimiento de Irán a lo largo de los años, son la excepción y no la regla, señaló Thomas Rid desde el Departamento de Estudios de Guerra en el Kings College de Londres (Reino Unido). “No hay demasiados objetivos que se presten a una campaña encubierta como la de Stuxnet”, señaló Rid.
Rid aseguró a los asistentes que la calidad de la inteligencia reunida sobre un objetivo concreto marca la diferencia entre una cirberarma eficaz y un fracaso.
También es posible que se hayan utilizado otras armas cibernéticas, pero las circunstancias que rodean a su uso son un secreto, protegido por los gobiernos como información “clasificada”, o por estrictos acuerdos de confidencialidad.
De hecho, Langner, que trabaja con algunas de las principales empresas y gobiernos industriales del mundo, afirmó que conoce otro ciberataque físico, en este caso vinculado a un grupo criminal. Pero no quiso hablar de ello.
Los profesionales del control industrial y académicos se quejan de que la información necesaria para investigar ataques futuros se mantiene fuera del dominio público. Y las compañías eléctricas, las empresas industriales y los propietarios de las infraestructuras críticas están tomando conciencia de que los sistemas que, según creían, estaban fuera del alcance del internet público, muy a menudo no lo están.
Mientras tanto, la tecnología está impulsando cambios cada vez más rápidos y transformadores como parte de lo que se conoce como el internet de las cosas. La conectividad general a internet, en combinación con ordenadores y sensores de bajo coste y minúsculos, pronto permitirá a los sistemas autónomos comunicarse directamente entre sí (ver “La nevera que enviaba ‘spam’“).
Si no se incluyen medidas de seguridad apropiadas en los productos industriales desde el primer momento, el potencial de ataques y el daño físico aumentan de forma espectacular. “Si seguimos ignorando el problema, vamos a tener serios problemas”, señaló Langner.
The digital revolution was a dinner party but its afterglow is not. The once utopian promises of high-definition audiovisuals, real-time electronic communication and infinite storage possibilities are just some of the digital culture perspectives that are now widely disseminated. At the same time as these phenomena are still shrouded in the glossy aesthetics of the digital, their tarnished appeal cannot be denied in a world where ‘big data’ is also the ‘big brother’ of mass surveillance and where the ‘cloud’ is made of the metals and minerals of the ‘earth’ on which data centers are built. Far from immaterial and neutral, our post-digital culture is one where tech is deeply embedded in the geophysical and geopolitical. This is evident at the significant ‘other sites’ of digital culture such as e-waste dumps, mines, mass-digitisation companies and security agencies. transmediale 2014 proposes the post-digital moment of ‘afterglow’ as a diagnosis of the current status of the digital hovering between ‘trash and treasure’. afterglow conjures up the ambivalent state of digital culture, where what seems to remain from the digital revolution is a paradoxical nostalgia for the futuristic high-tech it once promised us but that is now crumbling in our hands. The challenge that this moment poses is how to use that state of post-digital culture between trash and treasure as a still not overdetermined space from which to invent new speculative thought and practice. Are there means of renewal in the excess, overflow and waste products of the digital afterglow?
What does it mean to speak about digital culture today, and what are the implications of the term post-digital? The conference takes afterglow as a metaphor for the present condition of digital culture, examining the geopolitical, infrastructural and bodily consequences of the excessive digitisation that has taken place over the course of the last three decades. These topics have been divided into three streams that each reflect a different aspect of digital culture in the afterglow: An Afterglow of the Mediatic, chaired by Jussi Parikka and Ryan Bishop of the Winchester School of Art, focuses on the materiality of the digital from a geopolitical and geophysical perspective; Hashes to Ashes, chaired by Tatiana Bazzichelli, reflects on the strategic infrastructure of the digital and the backdoors behind the glossy surface of connectivity; Will you be my TRASHURE?, chaired by Francesco Warbear Macarone Palmieri and Katrien Jacobs, speaks about the body of the digital, and its implication on identity, sexuality and pleasure as a way to reflect on politics and culture.
El Museo de Arte Contemporáneo de Barcelona (MACBA) presenta la exposición ‘Justo delante nuestro. Otras cartografías del Rif’, que profundiza en su línea de actividades centrada en el área del Mediterráneo –norte de África y Oriente Próximo– y en la emergencia de nuevas formas de sociedad civil en el contexto del mundo árabe.
El proyecto parte de una geografía concreta, las montañas del Rif, donde ha tenido lugar una experiencia de intercambio entre artistas y los habitantes de esta zona del Magreb. A partir de esta experiencia se trata de redibujar los procesos por los que surge una idea artística en un contexto determinado, y reflexionar sobre la noción de autoría, las condiciones de creación de la obra de arte y su inscripción dentro de la institución del museo, es decir, en la historia.
El comisario de esta muestra, Abdellah Karroum (Marruecos, 1970), trabaja como editor, comisario e investigador de arte. Ha fundado y dirigido múltiples proyectos, como L’appartement22, un espacio experimental para exposiciones y artistas creado en 2002 en Rabat, Le bout du monde, desde 2000, y la editorial de arte Éditions Hors’champs. Formó parte del equipo del Musée d’art contemporain de Burdeos entre 1993 y 1996, donde fue comisario de numerosas exposiciones e iniciador del laboratorio Art, Technology and Ecology de ESAV-Marrakech. También fue miembro del jurado del León de Oro en la Bienal de Venecia de 2007, comisario del Pabellón Marroquí en la 54 edición de esta Bienal (2011) y parte del equipo de curadores de la Trienal de París de 2012.
Reflexión y estudio
Justo delante nuestro. Otras cartografías del Rif invita a diferentes artistas nacionales e internacionales a producir obras que acerquen a los visitantes a reflexionar sobre cómo se acota la autoría en las prácticas de archivo, cómo se integran dentro de las políticas museísticas y cómo ambas cuestiones pueden ilustrar un contexto social y político concreto.
Se trata de áreas de pensamiento fundamentales para entender, no sólo la lógica del dispositivo, sino para reflexionar sobre los valores de la cultura en relación con la creación artística contemporánea y la tensión entre alta cultura y las culturas populares.
Relacionados con el tema se realizará un seminario previo que permitirá presentar los primeros materiales derivados de la investigación y crear un debate sobre temas como el valor del archivo y los diferentes tipos de patrimonio generados en el los procesos de creación: material, intangible, visual, literario, oral, etc. El objetivo es plantear una reflexión sobre las relaciones históricas y de intercambio cultural entre las dos riberas del Mediterráneo fuera de los procesos de emancipación nacional que el Magreb ha experimentado en relación con el colonialismo europeo.
Paralelas a la muestra se realizarán otras actividades como un programa de radio (en España en RWM-Ràdio Web MACBA y en Marruecos Radioappartement22), una publicación en catalán, español, árabe y francés y la muestra de otras producciones anónimas generadas en el contexto geográfico y cultural del valle del Rif, con cualidades estéticas, pero que no llegan a considerarse obras de arte. Se expondrán también las investigaciones resultantes de este proyecto de intercambio y se analizarán cuestiones relativas al sujeto creador y al valor de la obra de arte en cuanto a objeto y en cuanto a documento.
– See more at: http://www.hoyesarte.com/evento/2014/01/arte-del-mundo-arabe-en-el-macba/?utm_source=Danny%20Lyon,%20retratando%20a%20Am%C3%A9rica%20/%20Estrenos%20de%20cine%20/%20Ron%20Galella,%20paparazzi%20/%20Julio%20C%C3%A9sar&utm_medium=boletin&utm_campaign=boletin#sthash.WKZSW4lx.dpuf
The CTM 2014 Radio Lab is dedicated to exploration and experimentation at the interface between the medium of radio and live performance. Two participative projects, co-commissioned by Deutschlandradio Kultur, ICAS, ECAS, Goethe-Institut, and CTM will premiere at the festival.
Walk That Sound by Lukatoyboy 27.1. – 1.2.2014 // 18 – 19:00 daily // West Germany Help create a moving urban sound portrait by scouting around Kottbusser Tor in Berlin-Kreuzberg with walkie-talkies.
∏-node by ∏-node ∏-node will be broadcasting its hybrid radio stream online, 24 hours a day, from 24.1.–2.2.2014 via http://p-node.org. Both local Berliners and radio/hacker enthusiasts worldwide are invited to feed content (live music, streams, talks) into ∏-node’s diffusion stream as of 24.1. via an IRC (internet relay chat) on the group’s website.
Those in Berlin are invited to visit ∏-node at its week-long home in the Where is Jesus? café (20.1–2.2.2014, daily 11–22h), and to participate in the project by building radio transmitters and various devices such as small radios, cheap emitters/transmitters, and frequency jammers. The public is also invited to search for radio transmitters diffusing ∏-Node’s ongoing, 24-hour broadcasts. Transmitters will be placed in different locations in the Kreuzberg neighbourhood daily, and indicated on the p-node.org map.
A week’s worth of radio play will conclude at a joint closing performance:
CTM 2014 Radio Lab
Westgermany, Sun 02.02.2014, 18:00, Tickets Free entrance
Tutores:* Alex Posada, Guillem Camprod�n, Tomas Diez *Calendario: *28 y 29 de enero 2014 de 17h a 21h
El taller est� destinado a personas con inter�s en programaci�n b�sica basada en Arduino, y el Internet de las cosas (IoT), y que adem�s tengan inter�s en participar en la red de sensores ciudadanos mas grande de Barcelona, la cual se implementar� en otras ciudades. En el taller se cubrir�n todos los aspectos t�cnicos y filos�ficos del proyecto, tanto en hardware como software, y se har� una introducci�n a como funciona cada parte del mismo. Al mismo tiempo, se espera que el taller sirva de punto de encuentro de personas con intereses similares para establecer posibles actividades futuras de la comunidad. * **�Qu� aprendo?* A programar y customizar el Smart Citizen Kit A entender la estructura de datos de plataformas de IoT como Cosm u OpenSen.se A usar la plataforma Smart Citizen A entender las variables ambientales que afectan la calidad del espacio publico que uso * **�Qu� me llevo despu�s del taller?* Un Smart Citizen Kit con todos los sensores b�sicos: Temperatura, Sonido, Humedad, NO2, CO, cantidad de Luz. Un perfil creado en Smart Citizen para interactuar con otros miembros de la comunidad La afiliaci�n a la comunidad Smart Citizen Barcelona, la cual no tiene ning�n costo.
Matr�cula: 50� Precio del Kit (la compra de los materiales es opcional): 150� Kit Smart citizen + 50� caja
*Clara Piazuelo* Programes de transfer�ncia de coneixement
HANGAR.ORG |; email@example.com
T: 0034 93 307 66 26
Passatge del Marqu�s de Sta. Isabel, 40 E-08018-Barcelona
Sound, Gender, Technology ? “Where to” with Cyberfeminism? Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin Tickets 5 ?
Saturday 1st Febuary 2014 14:00
Lectures and panel discussion: Sadie Plant (UK/CH), Susanne Kirchmayr (AT), Fender Schrade (DE), Marie Thompson (UK) Moderation: Annie Goh (UK/DE)
Sadie Plant (UK/CH) ?Mixing music, cybernetics, and feminism.? Some thoughts on the longstanding connections between music and cybernetics.
Susanne Kirchmayr (AT) “Generative transformations – Deviate from the grid” Susanne Kirchmayr wil deliver insights into her praxis of sound production and composition. Drawing on her background in linguistics, her recent compositions have worked with human, often female voices to deal with themes of the disintegration of spoken languages, deconstruction and reorganization of meanings and [grammatical] structures. In her presentation, she will also demonstrate her research into the musical potential of concurrent sequences with divergent timings in order to go beyond the scope of ordinary rhythmic synchronizations. https://femalepressure.bandcamp.com/track/waiting https://soundcloud.com/indigo
Fender Schrade (DE) “Performing Between Their Bodies And Your Ears. Stories of a Trans*gendered Live Sound Engineer.” Fender Schrade approaches live sound engineering through an artistic as well as a trans*feminist perspective. The talk will discuss the particularities of the agency of a live sound engineer and the interactions with space, bodies, technology and sound.
Marie Thompson (UK) ?Feminizing noise? In this talk, Marie will explore the relationship between constructions of femininity and noise, which is understood here as an affective, transformative force, rather than simply as unwanted sound. She will suggest that ?feminine? noises are often deemed negative; not because of what they mean, but as a result of the transformations they threaten to induce. Marie will raise questions around essentialism ? does talking of a feminine or feminized noise require us to adopt an essentialist position, or can an alternative approach be found?
Keynote Lecture by Tara Rodgers Kunstquartier Studio 1 Mariannenplatz 2 10997 Berlin
Sound Knowledge: Rethinking Histories and Futures of Electronic Music (Video Conference)
How do we know what we know about the history of electronic music, and how does this knowledge frame, and sometimes limit, approaches to the creative, technical, and social possibilities of music-making in the present? What knowledge might sound itself give us to live more mindfully and create more expansively? This lecture draws upon feminist theories and archival research to explore these questions in the context of the CTM festival’s theme of “discontinuity,” which calls for challenging and presenting alternatives to existing histories of electronic music.
Dr. Tara Rodgers (Analog Tara) is a composer, historian and critic of electronic music, based in the Washington, DC, area. She has presented work at the Tate Modern, the Museum of Contemporary Canadian Art, on the Le Tigre Remix album, and in many other forums. She is the author of numerous essays on music, technology, and culture, and of Pink Noises: Women on Electronic Music and Sound (Duke University Press, 2010), a collection of interviews that won the 2011 Pauline Alderman Book Award from the International Alliance for Women in Music. She currently serves on the editorial boards of Leonardo Music Journal and Women & Music. http://www.pinknoises.com/
Call for Papers ‘Merging Media: An Interdisciplinary Conference on the Study of Hybrid Arts’
4th November 2013
Event Date: Saturday 1st February 2014
Event Location: University of Kent, Canterbury
Deadline for submissions: 13th December 2013
Although we naturally recognise different artistic media as distinct forms music, painting, sculpture, film, dance, theatre, architecture, animation, and so on we also understand that these mediums can nevertheless have a meaningful dialogue in the creation of new artworks. Over the course of art history there have been numerous occasions when different media forms have merged or been juxtaposed for artistic purposes. These intermedial examples have seen word and image intertwined on the page in the illuminated books of William Blake; experimentation with the partnership between painting and music in Modest Mussorgsky’s Pictures at an Exhibition; performance and musicmixed in Variations by John Cage; the deconstruction of paintings through digital visual manipulation in Peter Greenaway’s lectures; and the recent National Theatre Live and Royal Opera House theatrical performances being broadcast onto cinema screens. These instances and many more demonstrate a long tradition of medium boundaries being crossed, media being combined to accentuate one another, or the creation of a new medium altogether.
It is particularly relevant to consider the subject of merging media at a time when discussions of media archaeologies, media convergence and the transmedia phenomena permeate contemporary academic debates. This conference seeks to engage with these topics by exploring the theories and histories of hybrid art, as well as the effect new technologies have upon our understanding of this concept. The emergence of digital technologies is an important strand in this investigation because it has both facilitated the creation of new art forms (such as 3D digital animation) and generated the remediation of older forms (for example, the digitisation of literature for consumption on computerised devices, and new forms of interaction with fine art online through virtual galleries).
This one-day conference is for postgraduate students and early career researchers whose work incorporates the interdisciplinary topic of artistic hybridity and intermediality. We invite proposals for 20-minute presentations (individual papers or pre-formed 3-paper panels) or performance pieces from candidates across arts and humanities. We welcome papers, panels and performances that investigate “merging media” through a variety of interpretations. Possible research topics for submission can include, but are not limited to:
Hybridity of forms: case studies which explore instances where two or more established art forms are combined. What is the effect of this hybridisation?
Hybridity and technology: the impact of new technologies upon intermedial art forms, both past and present. Does technology facilitate the “merging” of media for artistic purposes, or is this an inevitable side-effect of and an unavoidable trajectory towards a larger media convergence culture?
Hybridity and history: specific case studies of merged media from the past, from Wagner’s conception of gesamtkunstwerkwhere all art-forms are united as one total art to the revolutionary intermedial ‘decadence’ of Warhol’s Exploding Plastic Inevitable, and others.
Hybridity of performance: how performance is incorporated with various art media, from architecture in site-specific performances, to video in multi-media productions. How do we engage with performance through technology? How does the notion of “intermedial” relate to the performance of art?
Hybridity and the audience: what effect does a “hybrid art” form have upon its audience? How does merging media provide new opportunities for engaging with artworks?
Hybridity and remix culture: how various art forms are recycled and reused in the establishment of new works of art (e.g. the reprocessing of “found footage” for the purposes of art; fan-made hybrid products).
Hybridity and modes of production: ways in which hybridisation impacts upon the production or creation of an artwork. What relationship does this production have with the development and influence of new technologies? What implications do intermedial modes have upon the idea of a singular artist? Which organisations or institutions inspire or enable the creation of hybrid art?
Hybridity and sites of exhibition: what is the relationship between the intermedial art and how it is exhibited? Is there a convergence between performance and exhibition? How is the exhibition of such work impacted by technology? Or is it technological itself (such as the internet)?
Hybridity and theory: work on the historical or future discourse of intermediality. What implication does contemporary “merging media” hold for theory? How should hybrid arts be theorised and which elements such as production, exhibition or audience interaction should be centralised in this scholarly debate?
Please send abstracts (300 words) for proposed papers, panels or performances and a short biographical note firstname.lastname@example.org
Deadline for submissions is 13th December 2013. Should you have any queries, please contact us at the e-mail address above.
Dr Duncan White (Central Saint Martins) – “The Dizziness of Freedom”: Some Notes on Falling in Artists’ Film
In his performance work, ‘The Boy who Fell Over Niagara Falls’, Bas Yan Ader began to develop an art practice around an on-going fantasy of falling. In his films Fall 1 andFall 2 he attempted to realise this fantasy of falling. In this talk, I want to consider how this set of gestures (along with a number of other falling off points) can be read in relation to theories of the image and the event. What does this ‘return to nature’ (if that’s what it is) in which the artist does not make art so much as ‘subject himself to the forces of gravity’, tell us about concepts of experience, mediation and identity in an age ‘after the destruction of experience’? As well as Bas Yan Ader, the talk will include reference to the work of Carolee Schneemann, Yves Klein, Ana Mendieta and the Bureau of Inverse Technology.
Each paper will be 20 minutes, with 30 minutes at the end of the session for Q&A
Session 1 – 11.30-1.00
Panel 1: Evolving Books and Libraries
Dennis Moser (University of Alaska Fairbanks) – ‘Everything Old is New … Again — The Continued and Evolving Intermediality of the Artist’s Book’
David Devanny (University of Falmouth) – ‘The Reader as Performer: Decoding Responses to Digital Literatures’
Inga Paterson & Alan Hooper (Glasgow School of Art/Mackintosh School of Architecture) – ‘Non-Library What?’
Panel 2: Appropriation & Incorporation
Nathaniel Wong (Simon Fraser University) – ‘Remaking the Ready’
Sabina Sitoianu (Independent Scholar) – ‘The impact of artistic incorporation of media layers on affective engagement and on our understanding of the index inTerminal Bar (Stephan Nedelman, 2002)’
Zahra Tavassoli Zea (University of Kent) – ‘In search for the lost God in the ‘God-Art’ myth: a meditation on Godard’s triptych, Passion, Prénom Carmenand Je vous salue, Marie’
Panel 3: Spaces – Exhibition and Experience
Claire Hurley (University of Kent) – ‘Workplace/ Home Space: Ba
rbara Guest Writing out of the “Studio”’
Cristina Miranda de Almeida (University of the Basque Country and Internet Interdisciplinary Institute/UOC) – ‘ New materialities and sensibilities. Understanding Smart cities as hybrid ecologies for art experience’
Graham Asker (London Metropolitan University) – ‘Exploring misperception of scale using digital and analogue media’
Session 2 – 2.00-3.30
Panel 1: Beyond the Text
Biserka Anderson (University of Strathclyde) – ‘Journalism as art: Breaking the cultural and stylistic boundaries in multimedia newsroom production’
Nicole Sierra (University of Oxford) – ‘Pictures that Don’t Move: Fiction, Mass Media, and Postmodern Pictorial Collage’
Agata Kolodziej (Jagiellonian University) – ‘Poetry as an Event. When Page on Stage meets the Audience’
Panel 2: Bodies – Virtual and Real
Laura Vorwerg (Royal Holloway) – ‘An issue of Horse and Hound: hybridity and interdisciplinarity as creative solutions in A Dog’s Heart and War Horse’
Ian Grant (University of West London) – ‘Digital Shadows: Performing Hybrid Shadow Theatre’
Amie Rai (University of Kent) – ‘Body as Intermediary, Body as Hybrid’
Panel 3: Creative Practices in Art
Julian Ross (University of Leeds) – ‘Between Air Art and Japanese Expanded Cinema’
Lewis Church (Queen Mary) – ‘The Lower East Side and Lydia Lunch’
Stephen Kenyon (Aberystwyth University) – ‘”Boxing the Chimera” – narrative containment and expansion in the art of Penny Hallas’
Session 3 – 3.45-5.15
Panel 1: Digital/Live Performance
Jo Scott (Royal Central School of Speech and Drama) – ‘Inter-constructions: hybrid creative processes in live intermedial practice’
Christopher Collard (Vrije Universiteit Brussel) – ‘Moving or Morphing Target? Hypermedial Hybrids, Diller & Scorfidio-Style’
Sarah Passfield (University of Kent) – ‘Affective dramaturgy – embodied spectatorship and choreographic practices in Dance Theatre: Liz Aggiss’English Channel’
Panel 2: Gaming Technologies and Beyond
Joseph Norman (Croydon School of Art) – ‘Speaking Landscapes’
Thomas Hale (University of Roehampton) – ‘Let’s Play: Celebration and Cynicism in Videogame Fan Production’
James Cockbill (University of Wolverhampton) – ‘Transmedial Aesthetics in Contemporary American Cinema Case Study: Avatar and L.A. Noire’
Panel 3: Merging Visual Cultures
John Hudson (University of Lincoln) – ‘Hybridization as a consequence of the Theatre of Totality’
Caleb Turner (University of Kent) – ‘Avenging Movie Tie-Ins: Stretching The Superhero Narrative Trajectory Across Film Franchises (onto Television Episodes, Video Games, Graphic Novels, Online Spoilers and Beyond)’
We are delighted to announce that the confirmed keynote speaker for Merging Mediawill be Dr Duncan White (Central Saint Martins, University of the Arts London).
Dr White’s research interests include: the crossover between experimental film; theories of space; performance and reception; written and visual media; and poetry.
More information about Dr White’s research can be found here: http://www.arts.ac.uk/research/research-staff/a-z/dr-duncan-white/
Recent Research (taken from Arts website):
“I am currently working on a book entitled Art After the Destruction of Experience. I am the lead author and co-editor of Expanded Cinema: Art Performance Film (Tate Publishing 2011), an in-depth account of the histories of Expanded Cinema focusing on questions around notions of space, time and spectatorship in experimental live film and video. I am also working on event-based research projects that include, “Light Writing”, which considers the rich and varied use of text in artists’ film and video and “Flicker and Hum” which explores the relationship between film and experiments in sound. I am also interested in experimental writing practices.”
2013: Journal Article ‘Art After the Destruction of Experience: DIAS and Experimental Film in Britain’,Millennium Film Journal ed. by Grahame Weinbren
2012: Chapter ‘Media Prepositions for ‘Platon’s Mirror’: Echo/ Shadow/Light’ in Andreas Beitin, Leonhard Emmerling, Blair French (eds) Platon’s Mirror (Walther Koenig Books)
2012: 7 poems ETZ (Journal) ed. by Pete Spence
2011: Book co-author and editor Expanded Cinema: Art Performance Film, with David Curtis, Al Rees and Steven Ball. (Tate Publishing)
2011: Journal Article ‘Printology: Film Exercises on Paper’ Sequence ed. by Simon Payne
2010: Journal article ‘From White Calligraphy to Video Semiotics -Takahiko Iimura’s Light Writing’ an Interview with Takahiko Iimura, Afterall, edited by Melissa Gronlund
2010: Journal article ‘British Expanded Cinema and the ‘Live Culture’ 1969-1979′, Journal of Visual Culture in Britain Vol. 11, Issue. 1. Published by Routledge. Edited by Ysanne Holt.
2010: 2 poems Jacket (journal) ed. by Pam Brown
2009: Journal article ”The American Areas”: Place, Language and the Construction of Everyday Life in the Novels of Ben Marcus’, in Jacket, ed. by John Tranter and Pam Brown. Available online here.
2009: Journal article ‘Beyond the Frame: Mapping Expanded Cinema’ in Vertigo, ed. Gareth Evans
2008: Journal article ‘Unnatural Facts: The Fictions of Robert Smithson’ in Journal of Writing in Creative Practice, Vol.1, no. 2. pp.161-176. Published by Intellect Ltd. Edited by Julia Lockheart and John Wood.
Recent conference papers/events/exhibitions
2013: ‘Automatic Writing’ video installation for Publish and Be Damned Book Fair, ICA, London
2013: ‘Taking Place’ film screening, Black Maria, Kings Cross Crossing, Central Saint Martins College of Arts and Design
SUDLAB è lieto di invitarla all’inaugurazione della mostra “Tactical Glitches” a cura di Rosa Menkman e Nick Briz. Un evento internazionale che esplora le frontiere della ricerca artistica sui nuovi media.
Durante l’opening, il curatore, critico e teorico Domenico Quaranta modererà un talk con Rosa Menkman e Nick Briz. Chiuderà l’evento un DJset live in contemporanea da Londra, Los Angeles, Derby e Portici.
In allegato tutte le informazioni sulla mostra ed il programma dell’opening.
SUDLAB | NEW MEDIA ART con il Patrocinio di: Consolato Generale degli Stati Uniti d’America | Napoli Ambasciata del Regno dei Paesi Bassi | Roma
“TACTICAL GLITCHES” a cura di Rosa Menkman e Nick Briz
“Le tecnologie generano false aspettative. Un mp3 player si può ad un tratto bloccare. Il monitor di un computer potrebbe per un istante visualizzare immagini frammentate. Un errore nel caricare un sito internet può rendere impossibile la visualizzazione di un layout. Queste inaspettate occorrenze le chiamiamo GLITCH.
Questi bug, quasi mai prevedibili e solitamente sgraditi, sono talvolta deliberatamente provocati. Il risultato di questa istigazione deliberata e creativa è quello che noi chiamiamo GLITCH ART”
Rosa Menkman, Nick Briz
glitchr (LT) | Theo Darst (USA) | Pox Party (USA) | Glti.ch Karaoke (UK – ROK) UCNV (JP) | Ana Hui Zhang (CN) | Sherpa (GT) | Benjamin Gaulon (FR) Tatjana Marusic (CH / DE / HR) | Nancy Mauro-Flude (AUS)
Opening: 24 Gennaio, 2014 – Ore 19:00 (Ingresso Gratuito) Sede: II Viale Melina, 6 – 80055 Portici (NA) Orario visite: dal lunedì al venerdì ore 11:00 -18:00 – su appuntamento Finissage: 24 Febbraio, 2013 – Ore 18:00 Website ufficiale evento http://www.tacticalgl.it/ches/
INFO MOSTRA Opening: 24 Gennaio, 2014 – Ore 19:00 (Ingresso Gratuito) Sede: II Viale Melina, 6 – 80055 Portici (NA) Orario visite: dal lunedì al venerdì ore 11:00 -18:00 – su appuntamento Finissage: 24 Febbraio, 2013 – Ore 18:00 Website ufficiale evento http://www.tacticalgl.it/ches/ Tactical Glitches è una produzione SUDLAB Info: email@example.com | 081274763 | www.sudlab.com | facebook.com/SUDLAB CURATORS TALK | DJ SET | OPEN CALL Durante la serata del vernissage sono in programma un “Curators Talk” ed un esclusivo Dj Set. Un evento parallelo di matrice web coinvolgerà il pubblico a livello internazionale a partecipare ad una open call sulla piattaforma “0p3nr3p0”. PROGRAMMA – Opening Mostra: 24 Gennaio 2014 – ore 19:00 – Curators Talk: ore 19:45 Moderatore: Domenico Quaranta (Critico e curatore d’arte contemporanea, docente presso l’Accademia di Belle Arti di Brera e direttore artistico del LINK Centre for the Arts of the Information Age) http://domenicoquaranta.com – Dj Set | GLTI.CH – Breaks: ore 21.00 GLTI.CH collabora con audaci djs in città di tutto il mondo per mettere insieme un live, un party pieno di energia dai ritmi e cambi di tono inaspettati che trasformano guasti tecnici in motivi per cui scatenarsi! Per Tactical Glitches live performance da London (UK), San Francisco (USA), Derby (UK), Portici (ITA). http://glti.ch/category/breaks/ – 0p3nr3p0.net Un contenitore di opere della glitch art aperto al pubblico messo a punto da Nick Briz & Joseph Yolk Chiocchi – gestirà una open call per lavori web (video, immagini, suoni, html) che appariranno online e dal vivo al SUDLAB durante la mostra. http://0p3nr3p0.net/submit BIOGRAFIE CURATORI – Rosa Menkman Ogni tecnologia possiede degli errori propri,connaturati. Rosa Menkman è un’artista/teorica che si concentra su reperti visivi creati da errori sia nei media analogici che digitali. Le immagini che crea sono il risultato di glitches, compressioni, feedback e altre forme di frastuoni. Anche se molti percepiscono questi errori come esperienze negative, Menkman enfatizza le loro conseguenze positive. Combinando sia il suo background accademico che pratico, Menkman miscela i suoi pezzi astratti con una superba opera di teoria ( studi glitches). Oltre la creazione di un formale “Vernacular of File Formats”, che si posiziona entro il suo lavoro teorico, dà vita anche ad opere nel suo Acousmatic Videoscapes. In queste videoscapes si sforza di connettere concettualmente, tecnicamente e a volte narrativamente,sia opere sonore che video. Nel 2011 Rosa ha scritto the Glitch Moment/um, un libro sullo sfruttamento e la diffusione delle opere glitch (pubblicato dall’ Institute of Network Cultures), ha organizzato il GLI.TC/H festivals sia a Chicago che ad Amsterdam e co-curato Aesthetics symposium della Transmediale 2012. Oltretutto, Rosa Menkman sta perseguendo un dottorato a Goldsmiths, Londra con la supervisione di Matthew Fuller e Geert Lovink. http://rosa-menkman.blogspot.it/ – Nick Briz Britz è un artista che lavora con i nuovi media, un educatore e organizzatore di eventi, di sede a Chicago. Il suo lavoro è stato mostrato a livello internazionale in festival e istituzioni, compresi il FILE Media Arts Festival (Rio de Janeiro, BR); Miami Art Basel; the Images Festival ( Toronto, CA) e il Museum of Moving Image (NYC). Ha tenuto lezioni e organizzato eventi in numerose istituzioni come lo STEIM (Amsterdam, NL), il Museo d’Arte Contemporanea Di Chicago, la Fondazione Marwen e l’ Istituto d’Arte di Chicago. Il suo lavoro è distribuito attraverso la Video Out Distribution (Vancouver, CA) ma anche liberamente e pubblicamente sul web. http://www.nickbriz.com/ SUDLAB SUDLAB è un centro di produzione culturale e ricerca artistica non profit ad alto coefficiente tecnologico. Spazio aperto in continuo divenire ideato per favorire progettazione integrata ed interazioni creative; piattaforma attiva nella divulgazione di buone pratiche; laboratorio di ricerca ed
aggregazione interdisciplinare. L’attività del centro si concentra su progetti di artisti, intellettuali, scienziati e tecnici orientati per natura alla ricerca ed alla sperimentazione. In particolare guardiamo a personalità e professionalità creative che sperimentano nei loro lavori contaminazioni ed ibridazioni tra media, superfici, linguaggi, idee, progetti, materiali, strumenti. Organizziamo progetti, mostre, eventi, seminari, azioni formative e divulgative finalizzate a comunicare globalmente contenuti di qualità, eccellenze e progetti innovativi. Nella ricerca di una crescita continua e collettiva di persone e territori, SUDLAB è impegnato nel monitoraggio e nello scambio di best practice da altre esperienze, luoghi, territori. Lavoriamo costantemente alla costruzione ed al mantenimento di una rete di eccellenza internazionale composta da artisti, studiosi, istituzioni, enti profit e no-profit attivi nei domini delle arti visuali, della comunicazione e delle culture digitali.
Taller de construcció col·lectiva de Droika y de flones.
Taller on construïrem col·lectivament un drone per a la comunitat Telenoika (el Droika), al mateix temps que construïremFlones per grups. http://flone.aeracoop.net
Flone: transforma un smartphone en un drone.
En aquest taller aprendrem a muntar i operar un Flone: un quadcopter DIY no tripulat, dissenyat per volar un smartphone aprofitant la seva càmera i connexions inalàmbriques que es controla a través d’un altre Smartphone, sense necesitat de cap emissor . Flone pot prendre fotografies o vídeos aèris i pot volar controlat a través de una xarxa wi-fi entre els dos smartphones.
El taller inclourà la construcció per grups de Flones (ideal de 2 a 4 persones per Flone). El taller s’articula amb una trobada setmanal durant els dos mesos de març i abril, els dimecres de 17h a 21h de la vesprada.
Cada dimecres tindrà una petita part teòrica i una part pràctica de construcció. Les dos primeres setmanes començarem amb la construcció del drone de Telenoika i els 7 últims els dedicarem a la construcció dels Flones.
Drones. Visió general. ¿Qué són? ¿Com funcionen?
Espai Aèri: Normatives, alegalitats.
Mesures de seguretat.
Flone. Transfromant un smartphone en un drone.
Construcció DIWO de una xarxa de flones.
Nocions de vol.
Flone complet: Estructura amb motors, variadors, placa de vol / Batería / Carregador de batería. Material Inclòs :: 150€
El taller és gratuït. Inscripció::firstname.lastname@example.org
Les persones que no construeixin cap drone seràn asignades en grups el primer dia.
Els 150€ del cost material per construïr el Flone s’han d’abonar abans del 15 de febrer de 2014.
El preu no és per persona sinó per equip que construeixi un Flone.
Es recomana portar el següent material per cada equip de construcció::
Caixeta amb compartiments per guardar el material
Professors acompanyants:: Lot Amorós i Alexandre Oliver.
AUDICIONES DE MÚSICA GRABADA. MÚSICA DE LAS VANGUARDIAS
Fecha: del 19 de octubre de 2013 al 15 de marzo de 2014 Horario: 17:30 h. Lugar: Despacho del Rey (Pabellón Real) Dirección: Francisco Ramos ENTRADA LIBRE HASTA COMPLETAR AFORO
Vuelven las Audiciones de Música Grabada al CAAC y, como en pasadas ediciones, se prestará especial atención a la música de las vanguardias. Se escucharán obras que, por distintas circunstancias, no han sido interpretadas en concierto entre nosotros y a las que ahora podemos acceder gracias a la grabación fonográfica. Las sesiones giran, fundamentalmente, alrededor de cinco compositores (Karlheinz Stockhausen, Jean-Claude Eloy, Luigi Nono, Jakob Ullmann y Michel Chion) y de una época concreta de la modernidad musical, los años 70 del siglo XX, que suponen una liberación del material sonoro tras el radicalismo al que se viera sometido el lenguaje en las dos décadas anteriores.
11 de enero 2014 ELLEN BAND. Two ships (2005). Electrónica. ALVIN CURRAN. Canti illuminati (1977). Electrónica. PIERRE HENRY. Antagonismes IV (1996). Electrónica.
18 de enero 2014 SALVATORE SCIARRINO. Variazioni (1974). Violoncello y orquesta. MORTON FELDMAN. Patterns in a chromatic field (1981). Cello y piano. MORTON FELDMAN. Violin and orchestra (1979)
25 de enero 2014 MORTON FELDMAN. Trío (1980) [DVD]. Violin, cello y piano.
1 de febrero 2014 FRANCIS DHOMONT. À propos de K. (2006). Electrónica. ELIANE RADIGUE. Transamorem-Transmortem (1974). Sintetizador. HARLEY GABER. In memoriam (2010). Electrónica.
8 de febrero 2014 BERNARD PARMEGIANI. De natura sonorum (1975). Electrónica. ALVIN LUCIER. Crossings (1984). Clarinete y oscilador de ondas; Small waves (1984). Cuarteto de cuerdas, trombón, piano y 12 teteras; Wind shadows (1994). Trombón y oscilador.
15 de febrero 2014 MICHEL CHION. Nuit noire (1979-85). Electrónica. TREVOR WISHART. Encounters in the republic of heaven (2011). Electrónica. HEINER GOEBBELS. Schwarz auf weiss (1996) [DVD]. Teatro musical.
22 de febrero 2014 MICHEL CHION. Le prisonnier du son (1972-91). Melodrama electrónico. ROBERT ASHLEY. Automatic writing (1979). 2 voces solistas, electrónica y polymoog. TOM JOHNSON. An hour for piano (1971). LUC FERRARI. Et tournent les sons (1977). Improvisación y electrónica.
1 de marzo 2014 BERND ALOIS ZIMMERMANN. Requiem por un joven poeta (1969). Recitador, soprano, bajo, 3 coros, orquesta, grupo de jazz, órgano y electrónica. LOUIS ANDRIESSEN. De staat (1977). 4 voces de mujer y 27 instrumentos. CORNELIUS CARDEW. The great learning (Paragraph 3) (1969). Órgano, orquesta, coro y percusiones.
8 de marzo 2014 GYÖRGY LIGETI. Le grand macabre (1977) [DVD]. Ópera.
15 de marzo 2014 DENNIS JOHNSON. November (1962). Piano.
Message: 1 Date: Mon, 13 Jan 2014 20:52:59 +0700 From: “michael gurstein” <email@example.com> To: “NetBehaviour for networked distributed creativity” <firstname.lastname@example.org> Subject: [NetBehaviour] FW: An Internet for the Common Good: Engagement, Empowerment and Justice for All: A Community Informatics Declaration Message-ID: <email@example.com> Content-Type: text/plain; charset=”us-ascii”
Effective use of the Internet will benefit everyone. Currently the benefits of the Internet are distributed unequally: some people gain power, wealth and influence from using the Internet while others struggle for basic access. In our vision, people in their communities and everywhere – including the poor and marginalized in developing and developed countries, women and youth, indigenous peoples, older persons, those with disabilities — will use the Internet to develop and exercise their civic intelligence and work together to address collective challenges.
More than a technology or a marketplace, the Internet is a social environment, a community space for people to interact with the expectation that principles of equity, fairness and justice will prevail. Internet governance must ensure that this online social space functions effectively for the well-being of all.
A community informatics approach to Internet governance supports equal distribution of Internet benefits and addresses longstanding social, economic, cultural and political injustices in this environment. Questions of social justice and equity through the Internet are central to how the Internet and society will evolve. People in different communities must be empowered to develop and adapt the Internet infrastructure to reflect their core values and ways of knowing.
We support development of an Internet in which communities are the “first mile” and not the “last mile.” We believe the primary purpose of the Internet is not to mine data and make knowledge a commodity for purchase and sale but rather to advance community goals equally and fairly within these distributed infrastructures.
We aspire to an Internet effectively owned and controlled by the communities that use it and to Internet ownership that evolves through communities federated regionally, nationally and globally. The Internet’s role as a community asset, a public good and a local community utility is more important than its role as a site for profit-making or as a global artifact. The access layer and the higher layers of applications and content should be community owned and controlled in a way that supports a rich ecology of commercial enterprises subject to and serving community and public interests.
As citizens and community members in an Internet-enabled world we have a collective interest in how the Internet is governed. Our collective interests need to be expressed and affirmed in all fora discussing the future of the Internet. As a collective, and as members of civil society, we have developed a declaration for Internet governance based on principles of community informatics. We appreciate your interest and welcome your support.
A just and equitable Internet provides:
1. Fair and equitable means to access and use the Internet: affordable by all and designed and deployed so that all may realize the benefits of effective use. The poor and marginalized, women, youth, indigenous peoples, older persons, those with disabilities, Internet users and non-users alike; no one, from any community globally, should be without Internet access. 2. Equitable access within communities to the benefits of the Internet, including information, opportunities to communicate, increased effectiveness of communications and information management, and opportunities to participate in system development and content creation. Everyone, within all communities, should have the right, the means and the opportunity to use the Internet to share the full intellectual heritage of humankind without undue cost or hindrance. 3. Respect for privacy — people must be able to conveniently use the Internet in a way that is credibly protected against large-scale surveillance or interference by government authorities or corporate interests. 4. Infrastructure that ensures the maximum level of personal security and reliability. 5. Opportunities for all within all communities to build, manage, and own Internet infrastructure as and when it is needed. 6. Internet governance by democratic principles and processes – including privileging input from communities affected by decisions and ensuring inclusion of the widest possible perspectives supporting the development of our digital environments. 7. A peer-to-peer architecture with equal power and privilege for each node or end point and complete neutrality of the architecture and medium for all users and all applications. 8. Recognition that the local is a fundamental building block of all information and communications and the “global” is a “federation of locals.”
9. Equal opportunity for all to connect and communicate in a language and culture of their choice. 10. Recognition and equal privileging of many types of knowledge and ways of knowing, building from the capacities of each individual, community and knowledge society. 11. The means for information freely provided on and through the Internet to be freely available for the use and benefit of all. 12. Support for collaboration, engagement, education, solidarity, and problem-solving as the stepping stones to civic intelligence and the capacity of communities, civil society, and all people to equitably and effectively engage in informed self-governance.
You are invited to endorse this Declaration as an Individual and/or as an Organization
This document was prepared by a group of Community Informatics activists and endorsed by consensus of the Community Informatics community 21.12.13 (a version edited for style and grammar and not content was re-endorsed 28.12.13.)
[We are very much looking for sign-on’s on the Declaration (see below) as we want to take this statement to the Global Multistakeholder Meeting on the Future of Internet Governance <http://www.cgi.br/brmeeting/announcement.html> that the President of Brazil is convening in April on principles for Internet governance post-Snowden. We think that there will be very strong pressure to maintain the status quo with some minor technical changes and we are hoping to generate some significant momentum for a broader initiative towards an Internet for the Common Good.]
CREATIVIDAD, INNOVACIÓN, CONOCIMIENTO newsletter
newsletter En el año 2011 un par de jóvenes universitarios catalanes, Marc Martí-Costa (UB) y Marc Pradel (UAB), publicaron un artículo en la revista científica European Urban and Regional Studies en el que, bajo el título de “¿La ciudad del conocimiento contra la creatividad urbana?”, a partir del estudio de las relaciones existentes (o mejor dicho inexistentes) en la ciudad de Barcelona entre los talleres de artistas y los procesos de regeneración urbana, ponían el dedo en la llaga de la evidente ignorancia, o incluso contradicción, entre ambas políticas a escala territorial. El plato fuerte de su investigación se basa en lo que sucede en el barrio del Poblenou, donde la apuesta smart singularizada por el “distrito 22@” coexiste con la presencia creciente de fábricas de creación, entre las que destaca el centro “Hangar” promovido por la Asociación de Artistas Visuales de Catalunya, sin ninguna relación evidente y con unos niveles más bien preocupantes de desconocimiento y esquizofrenia.
La cuestión, ciertamente, no es exclusiva de Barcelona, Catalunya o España. Más de una vez hemos puesto aquí en evidencia la necesidad de situar la creatividad artística en el centro de las políticas de innovación, conocimiento y competitividad. No obstante, los discursos de la innovación y sus profetas apuestan más bien por otro tipo de creatividad, una creatividad ingeniera, y se resisten a considerar este rol central de las artes y de la cultura. A escala europea, iniciativas como la Estrategia 2020 sufren de este mal, también patente en muchos organigramas de instituciones nacionales, regionales o locales en los que la promoción de las artes convive, a pesar de tensiones y desconfianza, con la innovación. Proyectos como, por ejemplo, “Creative Clash”, orientado a promover la presencia a escala europea de artistas en organizaciones de producción de bienes y servicios, son todavía una excepción que más bien confirma la regla.
Los clásicos distinguían claramente entre lo que denominaban mimesis (vinculada al valor artístico fundado en la copia y la repetición) y lo que denominaban poiesis (asociada a un valor social, no necesariamente artístico, basado en la invención). Será a partir del Renacimiento cuando las artes dejen de ser miméticas y se libren de la sujeción al modelo y al canon, transformándose en poéticas. El paradigma del artista como creador, superador del artesano que repite, constituye un atributo central de la Modernidad que alcanza su más alta expresión a lo largo del Romanticismo y que, a lo largo del siglo XX, con el surgimiento de las Vanguardias primero y la aparición del Postmodernismo más tarde, da un paso atrás privilegiando un nuevo tipo de creatividad asociada a la imparable ascensión de las tecnologías digitales. ¿Quizás estemos ahora en los albores de una nueva etapa?
Eduard Miralles, Presidente del Patronato de la Fundación Interarts.
Nuevo marco de colaboración entre países del Mediterráneo para luchar contra la inmigración irregular
19 / 09 / 2013 MADRID
El director general de la Guardia Civil ha presentado el Proyecto Seahorse Mediterráneo
La cooperación existente entre países africanos de la zona del Océano Atlántico se extiende ahora a los países del Mar Mediterráneo con el fin de contribuir a la lucha contra la inmigración irregular en esta zona
Los países actualmente asociados al proyecto son España, Francia, Italia, Malta, Portugal, Chipre, Grecia y Libia
Durante la jornada se han tratado temas como la adaptación de esta iniciativa a otras de la misma índole que son financiadas por la Unión Europea y la próxima incorporación a este proyecto de Argelia, Túnez y Egipto
El director general de la Guardia Civil, Arsenio Fernández de Mesa, ha presentado en la mañana de hoy en la Dirección General de la Guardia Civil el proyecto Seahorse Mediterráneo, con el que se pretende establecer un marco de colaboración para fomentar la lucha contra la inmigración irregular entre los países mediterráneos. Hasta el momento esta cooperación se centraba en la zona del Océano Atlántico.
El director general ha indicado que “la Guardia Civil ha venido desarrollando una serie de iniciativas que la han situado como referencia en la proyección de la seguridad pública en nuestros puertos, aeropuertos y en la mar, especialmente en lo que se refiere a la lucha contra la inmigración irregular y al control de las fronteras”.
Como ejemplo de estas iniciativas Fernández de Mesa ha mencionado el proyecto SIVE, CLOSEYE o el nuevo Centro de Coordinación y Vigilancia Marítima de Costas y Fronteras (CECORVIGMAR), cuyas nuevas dependencias están previstas inaugurar próximamente.
Asimismo ha manifestado que “el proyecto Seahorse Mediterráneo es una continuación del camino emprendido en 2006 en la vertiente atlántica africana que ha contribuido en gran medida a disminuir la presión migratoria por vía marítima, la cual ha pasado de más de 31.000 inmigrantes interceptados en el año 2006 a los pocos centenares (332) que fueron interceptados en el año 2012”.
Según sus palabras “la Guardia Civil va a liderar durante los próximos años este proyecto que supondrá una gran oportunidad para la Institución y para España para seguir manteniendo la iniciativa para la protección de las fronteras”.
Tras el acto de apertura se ha celebrado una mesa redonda donde se ha expuesto diferentes aspectos del Proyecto Seahorse Mediterráneo como la migración irregular, el tráfico ilícito y la gestión de fronteras. Además, se han presentado los componentes principales de la Guardia Civil que van a participar en este proyecto así como los retos y resultados que se esperan conseguir en el mismo.
Por otro lado, durante la jornada se han tratado temas como la adaptación del proyecto con otros de la misma índole que son financiados por la Unión Europea y la próxima incorporación en el Proyecto de Argelia, Túnez y Egipto.
Proyecto Seahorse Mediterráneo
El Proyecto Seahorse Mediterráneo ha sido aprobado por la Comisión Europea y se implantará durante los próximos tres años. Participarán, además de España, Francia, Italia, Malta, Portugal, Chipre, Grecia y Libia. Además, se ha establecido que para diciembre de 2014 se incorporen Argelia, Túnez y Egipto.
Con este proyecto se pretende establecer la “Red Sehorse Mediterráneo” en países del norte de Africa, la formación de los operadores africanos del sistema Seahorse, así como la realización de cursos sobre vigilancia marítima para los Guardacostas de Libia, o sobre vigilancia de costas y fronteras terrestres en Libia, aunque se incluirán los países norteafricanos que se adhieran al proyecto.
La Guardia Civil, con la idea de combatir de manera más eficaz la lucha contra la inmigración irregular con la cooperación entre diferentes Estados, persigue desde hace tiempo la idea de establecer en el arco mediterráneo una red de comunicaciones por satélite entre los países que voluntariamente quieran adherirse a la misma.
Función de la Guardia Civil
Por lo que respecta a España, nuestro país participa en el proyecto a través de la Guardia Civil, dentro de la cual la Jefatura Fiscal y de Fronteras ha asumido la dirección de la ejecución del mismo, y para lo cual cuenta con el apoyo de Servicios, Unidades o Centros que resultan afectados por el mismo (CECORVIGMAR como beneficiario final o el Servicio de Telecomunicaciones como órgano técnico).
Fases del Proyecto Seahorse
Entre 2006 y 2008 se desarrolló el Proyecto “SEAHORSE” en el que se realizaron acciones de cooperación con Marruecos, Mauritania, Senegal y Cabo Verde (visitas, cursos de formación marítima e inmigración, patrullas mixtas, Oficiales de Enlace, Conferencia Policial Europa-África).
Posteriormente se estableció el Proyecto “SEAHORSE NETWORK” donde se presentó una red segura de comunicación por satélite para el intercambio de información entre España, Portugal, Marruecos, Mauritania, Senegal y Cabo Verde.
Asimismo, durante 2009 y 2010 se implantó el Proyecto “SEAHORSE COOPERATION CENTRES”. En dicho proyecto se realizaron actividades de cooperación con los países africanos de la red Seahorse. Se ampliaron las comunicaciones a Marruecos, Gambia y Guinea Bissau.
Para más información pueden ponerse en contacto con la Oficina de Prensa de la Guardia Civil, teléfono 915 146 010.
This two-part symposium addresses the transformation of the museum in the age of social media. How does the presence of networked digital devices affect our experience of art in the museum’s galleries? In what ways do these historical shifts in the mediation of our perception reflect our beliefs about the function of the museum in our society? How can we understand the role that the numerous corporate digital platforms utilized by museums and their publics play in the presentation of art? We will explore the ways in which rapid public sharing from within the museum transforms our attitudes toward works of art and the spaces that house them, seeking to assess the stakes of this affective digital economy.
Distinguished scholars, curators, and artists discuss these questions in two sections—a panel of long-form presentations followed by a fast-paced series of short creative lecture propositions, followed by discussion among audience and participants.
Part I: Long-form Panel
Opening remarks and discussion moderated by Christiane Paul.
Edward A. Shanken
Donna De Salvo
Part II: Micro-lectures
Discussion (moderated by Christiane Paul and Gordon Hall).
Ben Thorp Brown
João Enxuto and Erica Love
Mendi and Keith Obadike
Shared Spaces is organized by the Whitney Museum of American Art and Gordon Hall, Director of the Center for Experimental Lectures, and João Enxuto and Erica Love, Whitney Independent Study Program, 2012–2013.
This event will be utilizing a site-specific network developed by programmer and activist Dan Phiffer. Please bring your laptop or device for use.
$8 general admission; $6 senior citizens and students.
This program is free for members but advance registration is required by emailing firstname.lastname@example.org with your name and membership number.
Illusions of Thunder, and Sound Art as Mainstream Cultural Commodity
The following paragraphs served as the introduction and preamble to the presentation on “Sound Art as Mainstream Cultural Commodity”, given at the “What is Sound Design?” symposium, at The Edinburgh College of Art, 28 Nov 2013, and are in turn based on elements of the “Rorschach Audio” talk presented at the “Theatre Noise” conference, at The Central School of Speech & Drama, London, 23 April 2009. With apologies here to those readers who will be familiar with some of these arguments already, the introduction adds some important points – not least about what you might call the prehistory of contemporary sonic art. The following paragraphs were followed by an abridged version of the existing “Rorschach Audio” talk; then, in terms of delivering this talk’s political punch-line, followed by a series of videos which show how almost all the audio illusions demonstrated in the preceding talk are already known to and employed by creative artists, albeit artists who primarily operate within popular culture, as opposed to what’s conventionally thought of as being fine-art…
“There is a perception, particularly among contemporary art critics and arts commentators, but also among members of the public, that sound art is a relatively new art form. Of course the truth is that sounds produced by voices are among the earliest raw materials ever subjected to any form of creative manipulation. Speech itself is an art-form, and therefore poetry and literature of the oral tradition are, alongside music, the oldest forms of sound art, and probably the oldest art-forms. On that basis it can be argued that far from being a marginal or in any way “difficult” art-from, sound art is instead the most primal, the most pervasive, and arguably the earliest form of creative art. The argument put forward in my book “Rorschach Audio” is that, paraphrasing Aristotle’s “Poetics”, since written language is based on symbolic visual representations of indivisible sounds, the earliest form of sound recording technology was not, as is generally presumed, any form of machine, but was in fact written language. Alongside poetry and literature of the oral tradition, even written literature and poetry are therefore forms of sound art. So, when one considers music, poetry, literature, theatrical dialogue, theatrical sound effects and architectural acoustics, and particularly also sound design for contemporary cinema and computer games, it can be argued that, in its various diverse and widespread manifestations, sound art is one of, if not the, most mainstream and commercially important of cultural commodities.
By way of illustration, the art of designing theatrical sound effects is for instance quite clearly a form of sound art, which goes back at least as far as those architects whose expertise ensured that the proverbial pin could be heard dropping throughout the auditoria of ancient Greek amphitheatres. As regards specifically British history, the theatrical historian Robert Mott describes how since as long ago as “Shakespearian days” a “popular” method for simulating thunder sounds in theatre involved using “a cannon-ball rolling down a trough and falling onto a huge drum”. Robert Mott states that “some people were not pleased with this cumbersome technique”, so, in 1708, the theatre critic and dramatist John Dennis designed a thunder effect for his play “Appius & Virginia” at Drury Lane. John Dennis “invented something more realistic and controllable – a large piece of thin copper sheeting suspended from a frame by wires”. “The thunder sheet was a great success, and as a result other stage productions began using his effect. This infuriated Dennis to the point where he would angrily confront the offending producer by charging ‘you, Sir, are stealing my thunder!’.”Dennis is also said to have stated that “that is my thunder, by God; the villains will play my thunder, but not my play”. What this anecdote provides is not just another example of “early” sound art – of sonic art that predates contemporary fine-arts practice by 200 years – but also potentially the earliest recorded instance of what amounts to an intellectual property dispute between sound artists. This dispute was in fact so important that the phrase “stealing my thunder” has, for hundreds of years, been immortalised as common usage in no less than the English language.
The fact that, despite such histories, sonic art is not generally perceived to be a mainstream art-form, has arguably a great deal to do with phenomena of psychology of perception, and it is the psychology of perception of audible speech which forms the central focus of the book I’ve mentioned – “Rorschach Audio”. “Rorschach Audio” starts as a critique of so-called Electronic Voice Phenomena research. EVP is a belief system, whose adherents believe they’re able to literally record the voices of ghosts; and, as the demonstrations I’m about to present show, the misperception of stray radio and communications chatter as ghost-voices stems from misrepresentations of psychoacoustic phenomena. EVP practitioners misperceive voices they’ve recorded because those voices are sufficiently ambiguous, and because the beliefs EVP followers attach to them are sufficiently strong, to produce sound illusions which can be, if not objectively convincing, at least emotionally appealing. As well as demonstrating intriguing auditory phenomena, this talk is relevant to the sonic arts because so many, often high-profile, sound artists work with EVP, and because the ideas presented link to the individual generally recognised as the most important Western artist ever, and because they link to what is arguably the most important work of visual arts theory! I will now present a shortened version of the “Rorschach Audio” talk. Then, referring back to our theme of Sound Art as Mainstream Cultural Commodity, show as many examples as time permits of similar illusions to those discussed in “Rorschach Audio”, as they’re employed in mass-market mainstream popular arts culture.”…
On International Human Rights Day, 562 authors, including 5 Nobel Prize laureates, from over 80 countries have joined together to launch an appeal in defense of civil liberties against surveillance by corporations and governments. 5 Nobel Prize Winners have signed: Orhan Pamuk, J.M. Coetzee, Elfriede Jelinek, G?nter Grass and Tomas Transtr?mer. Also among the signatories are Umberto Eco, Margaret Atwood, Don DeLillo, Daniel Kehlmann, Nawal El Saadawi, Arundhati Roy, Henning Mankell, Richard Ford, Javier Marias, Bj?rk, David Grossman, Arnon Gr?nberg, Angeles Mastretta, Juan Goytisolo, Nuruddin Farah, Jo?o Ribeiro, Victor Erofeyev, Liao Yiwu and David Malouf.
This global pledge was organized by an independent international group of authors – Juli Zeh, Ilija Trojanow, Eva Menasse, Janne Teller, Priya Basil, Isabel Cole, and Josef Haslinger. On Dec 10 it is published in 30 news papers all around the world:
In recent months, the extent of mass surveillance has become common knowledge. With a few clicks of the mouse the state can access your mobile device, your e-mail, your social networking and Internet searches.
It can follow your political leanings and activities and, in partnership with Internet corporations, it collects and stores your data, and thus can predict your consumption and behaviour.
The basic pillar of democracy is the inviolable integrity of the individual. Human integrity extends beyond the physical body. In their thoughts and in their personal environments and communications, all humans have the right to remain unobserved and unmolested.
This fundamental human right has been rendered null and void through abuse of technological developments by states and corporations for mass surveillance purposes.
A person under surveillance is no longer free; a society under surveillance is no longer a democracy.
To maintain any validity, our democratic rights must apply in virtual as in real space.
* Surveillance violates the private sphere and compromises freedom of thought and opinion.
* Mass surveillance treats every citizen as a potential suspect. It overturns one of our historical triumphs, the presumption of innocence.
* Surveillance makes the individual transparent, while the state and the corporation operate in secret. As we have seen, this power is being systemically abused.
* Surveillance is theft. This data is not public property: it belongs to us. When it is used to predict our behaviour, we are robbed of something else: the principle of free will crucial to democratic liberty.
WE DEMAND THE RIGHT for all people to determine, as democratic citizens, to what extent their personal data may be legally collected, stored and processed, and by whom; to obtain information on where their data is stored and how it is being used; to obtain the deletion of their data if it has been illegally collected and stored.
WE CALL ON ALL STATES AND CORPORATIONS to respect these rights.
WE CALL ON ALL CITIZENS to stand up and defend these rights.
WE CALL ON THE UNITED NATIONS to acknowledge the central importance of protecting civil rights in the digital age, and to create an International Bill of Digital Rights.
WE CALL ON GOVERNMENTS to sign and adhere to such a convention.
Juli Zeh Germany Ilija Trojanow Germany Eva Menasse Germany Janne Teller Denmark Priya Basil UK Isabel Fargo Cole USA Josef Haslinger Austria
ELECTRIC SIGNS is a poetic and timely documentary about signs, screens and the urban environment, directed by Alice Arnold. The film’s narrator, a city observer modeled on the critic Walter Benjamin, takes us on a journey thru a variety of urban landscapes, examining public spaces and making connections between light, perception and the culture of attractions in today’s consumer society. www.urbanmediaaesthetics.org Curated by Tanya Toft
ELECTRIC SIGNS is a poetic and timely documentary about signs, screens and the urban environment, directed by Alice Arnold. The film’s narrator, a city observer modeled on the critic Walter Benjamin, takes us on a journey thru a variety of urban landscapes, examining public spaces and making connections between light, perception and the culture of attractions in today’s consumer society.
The film is structured as a documentary essay in the spirit of city symphony films, and features Hong Kong, Los Angeles and New York, as well as Tokyo, Las Vegas, Shanghai, Vienna, Macau, Berlin, Seoul, Prague, and Kaohsiung. Also featured are interviews with prominent lighting designers; advertising and marketing professionals; urban sociologists and visual culture experts; community activists; a public space artist whose work offers alternative ideas about the use of media in the public sphere; and with people in the city who walk, sit, work, shop and daydream in these spaces. The spine of the film is a voice-over narrative by a ‘city observer’ (inspired by the work of Walter Benjamin) who takes us on a journey thru a variety of urban landscapes and who weaves together the film’s themes, cities and various personalities.
The conversation following the screening between the director Alice Arnold and curator Tanya Toft will address the notions of spectacle, politics and perspectives on future critical engagement with urban screens.
The screening and conversation is part of an ongoing curatorial project titled Urban Media Aesthetics (urbanmediaaesthetics.org), launching in December 2013 and curated by Streaming Museum curator Tanya Toft. This is a platform for research, reflection and critical discussion on urban media aesthetics. Its on going research is conducted through interviews with curators, artists, architects, cultural planners and artistic producers who, through their practices, have contributed to the shaping of a territory, which is also the territory of possibilities for future practices. The platform facilitates various public events based on the issues brought up in the underlying research and interviews, through screenings, salons and urban art installations, in partnership with various platforms and communities for art and technology. It also facilitates a series of critical writing responses, which from multiple viewpoints investigate themes and subjects particularly relevant to urban media aesthetics now.
Urban Media Aesthetics is initiated with support of CuratorLab / Konstfack University College of Arts, Crafts and Design.
Conference Call: ECREA’s 5th European Communication Conference
The European Communication Research and Education Association (ECREA), in partnership with Lusofona University, will organise the 5th European Communication Conference (ECC). The Conference, due to take place in Lisbon from 12 to 15 November 2014, has chosen as its overarching theme, ‘Communication for Empowerment: Citizens, Markets, Innovations?. The organisers call for proposals in all fields of communication and media studies, but particularly invite conceptual, empirical, and methodological proposals on inter- and transcultural communication phenomena and/or on comparative research. that link the general conference theme, as developed below, to the fields pertinent to each ECREA section.
CFP: ‘Communication for Empowerment: Citizens, Markets, Innovations?
The ubiquitous presence of the media in contemporary society has led to the macro-institutions of society increasingly adapting themselves to (new) media logics , whereby there ceases to be a clear-cut separation between media and other social/cultural institutions. This situation begs for an analysis of how the fast-paced social and technological innovations of our media ecology alter various aspects of daily life, transforming national boundaries into transnational spaces, with resonance on markets and consumption. At the same time that the liberalization of content creation brought about by new media paves the way for innovations and the democratization of the creative economy through the production and distribution of user-generated content, we increasingly witness the prevalence of large economic groups in the design, control and filtering of information. Moreover, the interactive dimension of new technologies not only allows for the voluntary visibility of individuals and groups, but also acts as a means of disciplinary surveillance. As such, increasing cultural, economic and technological convergence implies the mastering of new literacies that allow for the use and critical understanding of both media form and media content. Reflection on the regulatory politics of the communication sector is thus paramount to facilitating both greater mobilization as well as political and cultural participation on the part of the common citizen in public space. Further, we should rethink the necessary balance between the public interest and the interests of the market, so as to ensure the promotion of citizenship, social capital and social inclusion.
Abstracts should be written in English and contain a clear outline of the argument, the theoretical framework, and, where applicable, methodology and results. The preferred length of the individual abstracts is between 400 and 500 words (the maximum is 500 words). Panel proposals, which should consist of five individual contributions, combine a panel abstract with five individual abstracts, each of which are between 400 and 500 words.
Participants may submit more than one proposal, but only one paper or poster by the same first author will be accepted. First authors can still be second (or third, etc.) author of other papers or posters and can still act as chair or respondent of a panel. All proposals should be submitted through the conference website from 1 December 2013 to 28 February 2014. Early submission is strongly encouraged. Please note that this submission deadline will not be extended.
Launch of CfP: 1 December 2013 Deadline for abstracts: 28 February 2014 Notification of Acceptance: 30 April 2014 End of Early Bird Registration Fee: 31 August 2014 Deadline for Online Registration: 31 October 2014
The Host Organisers
Prof. Dr. Manuel Jos? Dam?sio (President of the Local Organising Committee) Prof. Dr. C?lia Quico (Executive Coordinator of the Local Organising Committee) Email Contact: email@example.com ——-
Abstract: I. A. Richards development of feedforward is reviewed. The impact of feedforward on the work of Marshall McLuhan is then surveyed and shown to have influenced his use of figure/ground, the user as content, the content of a new medium is some older medium, the use of the probe, effects preceding cause, avoidance of a point of view and roles versus jobs.
The term feedback is a commonly used term that most people are familiar with. Googling the term feedback resulted in about 2.48 billion hits. Less familiar is the term feedforward, which elicited only about 2 million hits less than 1% of the hits for feedback. The concept of feedforward, which I will introduce to you in this essay, is a very powerful concept that was first formulated by I. A. Richards in 1951 and which subsequently had an important impact on the work of Marshall McLuhan. The thesis that I intend to develop in this essay is that I. A. Richards? notion of feedforward had a feedforward effect of the work of Marshall McLuhan and helped McLuhan or at the very least influenced McLuhan to develop a number of his key ideas, including:
1. his notion of figure/ground,
2. the user is the content,
3. the content of a new medium is some older medium,
4. the use of the probe as a research tool,
5. the idea that effects can precede causes, and
6. the notion that a point of view is best avoided in doing research.
7. the prevalence of roles versus jobs in the electric age.
We will first examine Richards? development and use of the notion of feedforward in his study of rhetoric and then study how the notion of feedforward impacted McLuhan?s approach to the study of media.
I. A. Richards? area of research was rhetoric, which he considered to be more than just the art of persuasion. Richards was concerned with the accuracy of human communication. He considered the field of rhetoric to be about finding remedies for avoiding misunderstandings and hence improving communication as well as understanding how words work. He believed the notion of feedforward was an important tool for achieving these ends. Feedforward is basically a form of pragmatics where pragmatics is the use of context to assist meaning.
Richards considered his formulation of feedforward to have been one of his most important accomplishments. In an article entitled The Secret of ?Feedforward? he was invited to write for the Saturday Review summing up his life?s work, he wrote,
The process by which any venture of [a] creative sort finds itself, and so pursues its end, is something I have learned, I hope, something about. Indeed, I am not sure I have learned anything else as important? I realize now what a prime role belongs to what I called ?feedforward? in all our doings. Feedforward, as I see it, is the reciprocal, the necessary condition of what the cybernetics and automation people call ?feedback.?
The term feedforward according to the Oxford English Dictionary (OED) was first introduced into the English language by I. A. Richards in 1951 at the 8th Macy Conference entitled Cybernetics: Circular Causal and Feedback Mechanisms in Biological and Social Systems in a talk entitled ?Communication Between Men: The Meaning of Language.?
Once the epitome of Japan’s post-war success, its electronics firms are in crisis
TO SEE the problems facing Japan’s electronics companies, pop into one of the huge gadget shops in Tokyo’s Akihabara district (pictured above), the consumer-electronics capital of the world. Nine domestic firms make mobile phones. Then head over to the appliances section: five of the same firms offer everything from vacuum cleaners to rice cookers. Three of them make the escalators that carry you through the shop. In short, the industry has too many companies selling too broad a range of products that overlap with one another.
This “supermarket” strategy, in which each company has a hand in every area, worked well during Japan’s incredible economic boom between 1960 and 1990. “Made in Japan” gadgets, once cheap and flaky, ended up as world leaders in quality, humiliating America’s electronics industry along the way. Consumers at home and abroad snapped them up, generating vast trade surpluses and bitter trade tensions.
But the companies got bigger and bigger, priding themselves on their girth rather than their profits. Many now have over 500 affiliates, from travel agencies to restaurants. Old practices linger. It is not uncommon for employees to recite the corporate mission in the morning, or stop work in the afternoon as the company song reverberates across the cubicles. LaserDisc players never really caught on after being introduced in 1980, but Pioneer stopped shipping them only last month.
Having predicted full-year profits only three months ago, the giants are now forecasting massive losses. Sony expects an operating loss of ¥260 billion ($2.6 billion). Its Welsh boss, Sir Howard Stringer, is fighting to overcome internal resistance as he tries to restructure the firm. He wants to close factories and cut over 16,000 jobs including, controversially, some staff who expected lifetime employment. He has been trying to push through many of these changes since his appointment in 2005. But only now can he get his way. At a news conference on January 29th Sir Howard said Sony had been “putting off unpleasant decisions” and now had to “move in a hurry”. The same is true of Sony’s rivals.
Panasonic is expected to post a net loss of ¥380 billion loss for 2008. Hitachi and Toshiba, which make everything from nuclear reactors to the toasters they power, have been hit by the collapse in sales of microchips. Hitachi’s loss is expected to be ¥700 billion, and Toshiba’s ¥280 billion. Sharp, NEC and Fujitsu are also expected to lose money. In a damning sign of the times, Fujitsu’s bosses recently called upon the firm’s 100,000 employees in Japan to buy its goods. This week shares in Hitachi and NEC fell to their lowest levels for three decades. All this seems to have prodded the giants into action: all have announced job cuts and factory closures of extraordinary brutality by Japanese standards.
Better late than never
Privately, senior executives have long known that their companies were in crisis. But like Sir Howard, they faced strong internal resistance to change. Bosses were reluctant to cut projects initiated by their predecessors to whom they owed their jobs, to axe superfluous divisions, or to abandon cosy relationships with trusted suppliers. With docile domestic investors and a network of friendly cross-shareholdings, there was little outside pressure to restructure. Besides, samurai believe it is better to fight to a tragic and noble end than to surrender (which, in the corporate world, is equated with being acquired).
There were signs of change in December when Panasonic agreed to buy a majority stake in Sanyo Electric for around $9 billion. Struggling Sanyo had been whittled down by three banks that had bailed it out three years earlier (including a foreign one, Goldman Sachs). Panasonic gets Sanyo’s respected battery and solar technology, but must still “throw out the sinking trash,” in the words of one banker. The pity is that no one expects the deal to signal further consolidation. Panasonic (called Matsushita until it adopted its best-known brand as its corporate name last year) had great difficulty combining two of its divisions in 2004. Bringing Sanyo into the fold will be even harder.
Instead of consolidation, companies have been pursuing a strategy of “internal M&A”, in which business units are shut down or sold to other firms, so that each company ends up more focused. Fujitsu, for example, hopes to unload its loss-making hard-disk business, but it recently took full control of a joint-venture to sell computers as part of a push into computer-related services. Sony, which is concentrating on media technology, sold its “Cell” chip unit to Toshiba, which is specialising in semiconductors. Sharp and Pioneer have formed an alliance to unite their LCD and audio technologies.
This process will intensify as companies make deeper cuts. But will it be enough, given that domestic demand for electronics is shrinking fast and foreign rivals are taking market share elsewhere? South Korea’s Samsung and LG in televisions, and China’s Haier in home appliances, threaten to do to Japan what Japan did to America, by producing high-quality products at low prices.
The long-term answer, Japanese bosses believe, is to move into clean technologies such as solar panels and electric-car batteries—new areas where Japanese firms are already strong. The government’s new stimulus package reintroduces a subsidy for green technologies to encourage such a shift. With the exception of the South Korean conglomerates, few other firms have the research-and-development resources to compete in these areas. But the Japanese companies’ size is also a disadvantage. Investors who want to bet on solar power or electric cars do not want to be saddled with rice cookers or restaurants. At last, it seems, the giants have realised this.
University of California Press, 2004 – Music – 276 pages
There is more to sound recording than just recording sound. Far from being simply a tool for the preservation of music, the technology is a catalyst. This is the clear message of Capturing Sound, a wide-ranging, deeply informative, consistently entertaining history of recording’s profound impact on the musical life of the past century, from Edison to the Internet. In a series of case studies, Mark Katz explores how recording technology has encouraged new ways of listening to music, led performers to change their practices, and allowed entirely new musical genres to come into existence. An accompanying CD, featuring thirteen tracks from Chopin to Public Enemy, allows readers to hear what Katz means when he discusses music as varied as King Oliver’s “Dippermouth Blues,” a Jascha Heifetz recording of a Brahms Hungarian Dance, and Fatboy Slim’s “Praise You.”
cyberspace, cd, mp3. from erik satie to janet jackson. effects on listeners and digital music culture. U.S. copyright law against mp3 or p2p. examples such as edison: businessman, engineer, executive, industry. controversy with motion pictures exp.group who in 1992 launch the MPEG-I / CD, germany. experiments and devices with data sound about the sonic experience. the launch of MP3 in 1990’s. the apparition of P2P networks such NAPSTER and KAZAA. sound digital files implementation. Lawrence Lessig telling about how digital world is the world of ideas, different from the world of objects. the copyright is then a physical property. internet and digital music files change this perception. also, the portable devices. in 2000, 1 of 150 were conected to internet in AFRICA where the 0,5% of population has access to Internet.
listen the cyberspace. MP3, P2P, economic reasons. resources, ideas, and things, digital. lawrence lessing and lacan. cyperspace and real space. imaginary. simbolic. phonographs. cyberspace is teh digital network. accessibility. speed. easy. internet as territory. music. interaction labs: U.V.I. artists, research, internships, music, live, performance, live mapping, sound-art. medialabs, databases.
download 2002, 29% americans, 21% listen radio, accessibility to music, NAPSTER, cyberspace and popular music. albums and companies, idea is to buy. P2P and MP3 platforms, comercialization, playlists, affordability, burn CD, record industry, personal compilations, free loading, download, file-sharing, free internet, cd sales downturn.
collective, 2oo2, 57% buy, 24% increase buy, KAZAA download, P2P file-sharing, CD personal connection, MP3 – P2P illegal download, copyrights, record companies. RIAA vs NAPSTER. file-sharing. copyright. 2000. copying. downloading. uploading. transmiting. distributing. music composition. sound recording. NAPSTER. MORPHEUS. GROKSTER. illegal activity. suspected. bullying. hurting songwriter. revolution. change industry. industry and law. illegal file-sharing. JOHN PERRY BARLOWelectronic frontier foundation. law and population. opinion. piracy. lawrence lessig. violation of control. access, control. MP3 virtual world. file-sharing since 1998, 2003. copyright, constitutionally, copywrong, market, non-comercial. MP3, law industry. licensing system, april 2003 APPLE, launch i-tunes music store, technology, law, culture.
dj is communication, recording technology, phograph, gramophon, hip-hop, scratching, technics, vestax, numark, BPM; beats per minut. pioneeer, 1000 records available, dj, LP, CD, live performance, logical resistance, cultural aesthetic value, interaction technology, 1980 tribal culture, messages, dj, records, scratch, mixer, movement, hand apparat, turntablism, mechanical reproduction.
u s e r u n f r i e n d l y is the first solo exhibition in the UK for UBERMORGEN – the Swiss-Austrian-American duo founded in 1999 by lizvlx and Hans Bernhard. The exhibition features installations, videos, websites, actions, pixellated prints, digital-oil paintings and photographs in a hyper-active, super-enhanced exploration of censorship, surveillance, torture, democracy, e-commerce, and newspeak. The works seek to destabilise our understanding of the influence of technology, corporations and governments on our everyday lives and subvert the dominant networks of power that structure our world.
The exhibition includes two new installations – Do You Think That’s Funny? – The Edward Snowden Files (2013) and CCTV – A Parallel Universe (2013) – that continue UBERMORGEN’s open-ended investigations into corporate and governmental authority; investigations that involve and implicate both the artists and the audience in a complex global network of power and influence. Perpetrator (2013) – a series of photographic and video works based on the life of Guantanamo Bay military guard Chris Arendt and his two month stay at the artists’ home in 2008 – and [V]ote-Auction (2000) – a platform that enabled trading of electoral votes in the presidential race between George W. Bush and Al Gore – broaden the scope of the artists’ research to consider the nature of and links between institutional and individual agency and responsibility.
Throughout the exhibition the infiltration and influence of the digital realm on the physical is further explored through paintings, prints and photographs. The Deephorizon (2010) series of digital-oil paintings (based on aerial images of the 2006 oil rig disaster in the Gulf of Mexico) reconsiders ‘oil painting’ as a live performance of process-based art form. Whilst the Psych|OS (2002 and 2012) series of photographs explores our relationship with mental illness, and complements the Oldify (2013) series of prints that utilise the Oldify™ app that takes an image and ages it: ‘It’s the perfect way to confront your own mortality during the springtime of your life.’
In a section of the exhibition, Aram Bartholl curates a selection of UBERMORGEN’s Net.Art works on a series of wireless routers hung in the gallery. Each artwork is assigned a single Wi-Fi router, which is accessible through devices such as smart-phones, tablets or laptops. The content of the artwork is visible only on the visitor’s private screen.
UBERMORGEN’s research-based practice is driven by a desire to satisfy their own curiosity, without the constraints of having a defined political agenda or preconceived beliefs: ‘If art and art production politicises itself, it becomes political and ceases to be art’. Influenced by Dada and the Viennese Actionists, UBERMORGEN’s ‘digital actionism’ utilises modern technologies and performance-based strategies to devise multi-layered, flexible narratives that blend fact and fiction to draw both the artists and the audience in a real-time, ever-evolving high-stakes game.
The exhibition is accompanied by a 32pp publication featuring an essay by curator Magda Tyżlik-Carver and conversations between UBERMORGEN and Austrian quantum physicist Dr. Tobias Noebauer and between UBERMORGEN and Edward Snowden. The publication can be purchased from the gallery or via the online shop or downloaded here.
The 11th annual Piksel Festival for Electronic Art and Free Technologies
– Exhibitions ? workshops ? live art ? presentations – November 21st-24th, Bergen (NO) – http://13.piksel.no
The 11th edition of the Piksel Festival takes place in Bergen (NO) November 21st-24th 2013. This years theme – RIOT – connects to the diversity in the tradition of hactivist art and specifically the use of tactical media, digital resistance and electronic disturbance as more relevant now than ever before.
Will Burn, Maria Colina Perez, Sergey Dushkin, Azahara Cerezo, F.A.T., Geraldine Juarez, Magnus Eriksson, Mark Beasley, Louise Harris, Wolfgang Spahn, Artemis Papageorgiou, Aforditi Psarra, Stefan Tiefengraber
Trasformatorio, The Open Modular Synthesizer, Creating Performance Systems with Pd, Raspberry Pi and Arduino, F.A.T. ? Free Art & Technology, MicroFlo: flow-based programming for microcontrollers, All the lines arrive to NAZCA
Piksel11 is supported by The Norwegian Art Council, Bergen Municipality, Hordaland County, PNEK, BEK, Grundtvig ? Lifelong Learning Program and others.
PIKSEL :: FREE AS IN ART! ————————————————– Piksel is an international event for artists and developers working with free and open technologies in artistic practice. Part workshop, part festival, it is organized in Bergen, Norway, and involves participants from more than a dozen countries exchanging ideas, coding, presenting art and software projects, doing workshops, performances and discussions on the aesthetics and politics of free technologies & art.
Christopher Baker (USA), Natalie Bookchin (USA), Mamadou Cissé (Senegal), Hasan Elahi (India, USA), c a l c & Johannes Gees (Spain & Switzerland), Eva Domènech (Spain), Marc Lee (Switzerland), Gabriel Mascaro (Brazil), Antoine Schmitt (France), Georgie Roxby Smith (Australia), David Schnell (Germany), Wolfgang Zach (Germany)
Worldwide networking creates new, global aesthetic tendencies: that is the tenor of this exhibition. It presents a selection of outstanding key works by international artists. The exhibition’s main objective is to take interim stock of the most prominent tendencies in contemporary art in the first decade of the 21st century whose works are directly or indirectly influenced by the new languages of digital media, social network cultures, and networking processes—both in a formal and conceptual as well as in an aesthetic sense.
The title plays with various concepts: “Generation” describes the new generation of Internet users; “i” stands for current cultural concepts such as, for example, interactivity, interface, intercommunication, etc.; and “2” refers to the tag “Web 2.0” or social media, which strike a very new path that is geared toward prosumers.
What happens to the internet after the Snowden revelations? Do we just sit tight and let the most important cultural and economic force of the last two decades get turned into a giant surveillance honeytrap? London CryptoFestival is the biggest public and academic manifestation in the UK after the spy-network has been exposed. The unique day-long festival is aimed at showing paths beyond the logic of fear and coercion offered by the state on the one hand, and business models based on surveillance on the other.
London CryptoFestival brings together leading security engineers, computer scientists, civil rights groups, hackers, activists and artists to evaluate the current situation and to show ways forward.
Alongside this, three strands of hands-on workshops present user-friendly tools to increase security by encrypting email, web-use, chat and other data.
Workshops Over twenty workshops will teach non-experts how to use advanced tools to support internet privacy, secure personal data, and to use the internet, mobile phones and computers without falling easy prey to spooks. Workshops will include: Internet of Things; Tor (secure web-browsing); PGP (secure email); Metadata; TCPDump (analyzing network traffic); File encryption; Bitmessage (chat); Talk (chat); OTR (chat); Digital Double (app); Chokepoint Project; and more to be announced. Bring your computer and start working with these tools. Workshops are suitable for all skill levels.
Art IOCOSE ? present First Viewer Television Orsolya Bajusz ? Swarming Talent Competition Deckspace ? Community Access
Born in Salt Lake City but based in Paris, Eric Baudelaire uses various formats to explore politically-charged historical events and documents. In FONS ÀUDIO #21 he discusses the background and context of the ideas and procedures behind ‘The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images’.
In ‘The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images’ Baudelaire creates a transmedia piece (a film shot on Super 8, but also photographs and printed documents) that brings to light the personal stories, the political intrigue and the life journeys of these three iconic figures linked to the Japanese Red Army in the course of almost three decades living underground in Lebanon. Like other works by Baudelaire, this piece emphasises multiple tensions, between yesterday and today, between the real and the fictitious, the absent and the present, over-documentation and oblivion, actual events and memory. Always focusing particularly on Masao Adachi, the Japanese filmmaker and political activist who, in the sixties, developed a methodology for critical analysis based on the observation of the landscape.
Baudelaire’s work thus stems from an experimental approach, almost in the scientific sense: what happens when you apply a theory that is virtually an unexplored mystery to the person who created it? An experiment that, Baudelaire claims, raises other interesting questions, regardless of the end result. Is it possible to reconstruct those twenty-seven years of exile in Beirut through the study of the day-to-day surroundings of its protagonists? What narratives can we deduce from the remains of certain architectural and power structures? How do we, in general, reconstruct history through fragmented and terribly subjective fragments? What role do images play in this reconstruction?
00:20 Introduction to the work 01:33 The characters and their journey 03:22 Masao Adachi’s Landscape Theory 08:36 Anabasis as analogy 12:03 Adachi and the permanent revolution 13:56 The revolutionary potential of a camera
Ràdio Web MACBA is a radiophonic project from the MACBA website that explores the possibilities of the internet and radio as spaces of synthesis and exhibition. The programs are available on demand, and as a podcast subscription. http://rwm.macba.cat http://twitter.com/Radio_Web_MACBA
Germany may invite Edward Snowden as witness in NSA inquiry Green politician meets US whistleblower in Moscow to discuss possibility of helping parliamentary investigation into US spying
Edward Snowden may be invited to Germany as a witness against the US National Security Agency.
Action is under way in the Bundestag to commission a parliamentary investigation into US intelligence service spying and a German politician met Snowden in Moscow on Thursday to discuss the matter.
Hans-Christian Str?bele, the veteran Green party candidate for Berlin’s Kreuzberg district, reported that the US whistleblower was prepared in principle to assist a parliamentary inquiry.
But Str?bele warned of the legal complications that would come with Snowden leaving Russia, where he has been granted asylum after leaking documents on mass NSA surveillance. Witnesses to parliamentary enquiries are usually given the financial support and legal protection required for them to travel to Germany.
During the meeting, Snowden handed Str?bele a letter addressed to the German chancellor, Angela Merkel, which will be read out publicly on Friday afternoon.
The latest developments will encourage those who hope Germany may eventually grant political asylum to Snowden. In June, his application for asylum there was rejected by the foreign ministry because, legally, he had to apply for asylum in person and on German soil. If Snowden was brought to Germany as a witness, he could meet these requirements.
Activists are said to be considering other means of getting Snowden to Germany. Under paragraph 22 of the German residence law, Snowden could be granted a residence permit “if the interior ministry declares it to be in Germany’s political interest”. After reports of Merkel’s mobile phone being hacked by the NSA, such conditions could be said to apply.
Some German politicians and newspaper columnists have backed calls for Snowden to be invited as a witness. The justice minister, Sabine Leuheusser-Schnarrenberger, told the Passauer Neue Presse newspaper: “If the allegations build up and lead to an investigation, one could think about calling in Snowden as a witness.”
Thomas Oppermann, of the Social Democrats, said: “Snowden’s claims appear to be credible, while the US government has blatantly lied to us on this matter. That’s why Snowden could be an important witness, also in clearing up the surveillance of the chancellor’s mobile.”
In S?ddeutsche Zeitung, the columnist Heribert Prantl wrote: “Granting asylum to Snowden could be a way of restoring Germany’s damaged sovereignty.”
The Bundestag will hold a special session to discuss NSA spying on 18 November. The Green party and the leftwing Die Linke have been leading calls for that session to result in a parliamentary investigation. Latest reports indicate that the Social Democratic party will support such a move, which would mean it would most likely go ahead.
Thanks to Edward Snowden we now know the British state conducts unprecedented interception of data flowing in and out of the UK Internet. It does so without individual warrants. This massive surveillance is widely thought to be lawful and bigger than that of the US. In the US surveillance is conducted with some protections for US citizens. Yet while a debate about surveillance has started in the US, it has so far passed the UK by.
In fact UK citizens are double surveilled. As foreigners for the purpose of US surveillance our use of US cloud based services – like gmail – make us fair game for warrantless US surveillance as well.
In this Cybersalon we bring together Europe’s foremost authority on security, Caspar Bowden, the former head of Microsoft Security – who will set forth the technical and legal basis of surveillance, and why this is such an important moment.
Also on the panel will be Becky Hogge – Author of the book “Barefoot in Cyberspace: Adventures in search of techno-Utopia’. Becky also sits on the Advisory Council of the Open Rights Group where she was their first full-time Executive Director and changed UK policy on electronic voting and communications surveillance.
And bringing us an international perspective will be Kenneth Page – the Policy Chief for Privacy International.
In this Cybersalon we’ll discuss issues like
“They do it because they can”: What is the role of big data technologies and advances in UX and hardware in the increase in government ability to surveil and what are the trends – what does the future hold?
What’s the fuss? Is it ok for Google to know more about us than the government? And – by the way – If you have nothing to hide, then what’s to fear?
What are the implications for Net freedom around the world, and for the very character of the Internet? Is the Net a commons or as an American general recently claimed, a global free-fire zone?
If we accept that people are not about to stop using the Internet, what is the best way to counter surveillance? Is the solution to snooping: technological, politics or the market?
Moderator: Wessel van Rensburg, former investigator for the South African Truth and Reconciliation Commission and digital strategist at RAAK .
In Contagious Architecture, Luciana Parisi offers a philosophical inquiry into the status of the algorithm in architectural and interaction design. Her thesis is that algorithmic computation is not simply an abstract mathematical tool but constitutes a mode of thought in its own right, in that its operation extends into forms of abstraction that lie beyond direct human cognition and control. These include modes of infinity, contingency, and indeterminacy, as well as incomputable quantities underlying the iterative process of algorithmic processing.
If the epoch of a technology is signaled by the simultaneous appearance of new potential uses and looming ethical questions, then without a doubt we’ve entered the age of the drone. In mid-October, individuals from the drone industry, aviation policymakers, lawyers, engineers, makers, activists, and artists gathered at the first Drone and Aerial Robotics Conference (DARC) in New York City to draw together the swarm of questions and possibilities that this technology engenders.
Defining “drone” is no small part of the problem. Those who work in the industry shy away from the “d-word for many reasons, not least of which is the image of the “drone strike.” The US government is using the more innocuous acronyms of UAV (unmanned/unpiloted aerial vehicle) or RPA (remotely piloted aircraft) to simply evoke the technology’s long-accepted use as surveillance tools—with which to guide other weapon strikes. But an acronym makes for crappy branding, and it seems the word drone is here to stay.
And yet, we’re not any closer to defining wh
hat a drone is. A drone is a quadcopter that fits in the palm of your hand. It’s a massive flying wing, rigged with solar panels so that it can orbit the atmosphere continuously. It is the Mars rover Curiosity, it is a Roomba, it is a driverless car. It is the mapping software running on your flying machine, or it is the smart phone that is used to control it. A drone is all of these, and a drone is the collection of social issues that accompany these technologies, as autonomous algorithms, ubiquitous surveillance, and flying weapons make their way into our cities and skies, changing our way of life for good.
When you bring together all the people who have a stake in this definition, you get a very interesting conversation, but not a very coherent answer. Throughout the talks and sessions of DARC, it became clear that each set of interests has a different idea of what drones mean, and there is not a lot of common ground between them.
For example, Michael Toscano, the head of the Association for Unmanned Vehicle Systems International (UAVSI), what some might call the “drone lobby,” views drone problems as a marketing issue. “Predators are what people think of when they hear the word drone,” he said during his talk. In his view, safety and privacy are the two biggest issues facing the industry—but from the perspective of perception. His solution is to focus on shifting the discourse around drones so that the public stops thinking of Predators and instead visualizes the safety and security of machinery. He didn’t mention how drones would actually be used to further privacy and safety, other than the often-repeated caricature of drones as a “humanitarian and policing tool,” with no case studies to back up that assertion.
On the other hand, you have Code Pink and other allied anti-war protesters, who turned out to heckle Toscano and to educate conference attendees about the drone strikes in Pakistan, Afghanistan, Yemen, Somalia, and other countries, those acknowledged by the US military and those not. Drones, to them, are just another “symptom” of the military-industrial complex, and in this way, a potent symbol for their anti-war protest campaigns. However, their passion was not shared by the engineers at the conference, who simply view their drone-related projects as part of the much wider commercial aerospace industry.
with Alessandro Ludovico, Jennifer Chan, Lanfranco Aceti and Ruth Catlow
What we thought to be a historic moment when figures from within and without the established art cannon first encountered the disruptive effects of digital network communications, turned out to be an ongoing research project by Bassam El Baroni, Jeremy Beaudry and Nav Haq.http://www.arpanetdialogues.net/about/.
In the period between 1975 and 1979, the Agency convened a rare series of conversations between an eccentric cast of characters representing a wide range of perspectives within the contemporary social, political and cultural milieu. The ARPANET Dialogues is a serial document which archives these conversations. Even more unusual perhaps was the specific circumstances of the conversation: taking advantage of recent developments in telecommunications technology, the conversation was conducted via an instant messaging application networked by computers plugged into ARPANET, the United States Department of Defense’s experimental computer network. All participants in the conversation were given special access to terminals connected to ARPANET, many of them located in US military installations or DOD-sponsored research institutions around the world. Excerpts from each session will be published as they become available.
The ARPANET Dialogues is an ongoing research project by Bassam El Baroni, Jeremy Beaudry and Nav Haq.
“Visibility Machines” explores the unique roles Harun Farocki and Trevor Paglen play as meticulous observers of the global military industrial complex. Investigating forms of military surveillance, espionage, war-making, and weaponry, Farocki and Paglen each examine the deceptive and clandestine ways in which military projects have deeply transformed, and politicized, our relationship to images and the realities they seem to represent. The exhibition initiates critical questions about the crucial part images play in revealing essential but largely concealed information, and places the oeuvres of Harun Farocki and Trevor Paglen within the broader cultural and historical developments of the media they are creatively working with, namely photography, film, and new media.
Visibility Machines: Harun Farocki and Trevor Paglen explores the ways in which these artists move beyond the mere production of critical images, activating a systematic appropriation and subversion of the structures supporting the military reality they confront,” says Niels Van Tomme, Visiting Curator at the CADVC.
Video artist and filmmaker Harun Farocki addresses the primary links between technology, politics, and coercion. Establishing a critical dialogue with images, image-making, and the institutions that produce them, he reveals increasingly complex relationships between people and machines, vision and violence. Visual artist and photographer Trevor Paglen investigates the covert activities of U.S. secret military operations, collectively known as the “Black World.” Closely studying the politics of perception, Paglen utilizes complex technologies of seeing in order to reveal the historical relationships between photography and political domination.
“In presenting these two exceptional contemporary artists, the Center wants to bring attention to the technological, philosophical and legal implications of the subject matter they address. The issues raised by Farocki and Paglen resonate deeply with the community of UMBC and the wider Washington, DC and Baltimore area,” says Symmes Gardner, Executive Director at the CADVC.
Visibility Machines: Harun Farocki and Trevor Paglen is accompanied by a series of public programs for which the CADVC partners with prominent organizations in Washington, DC and Baltimore. These programs include a moderated conversation between Harun Farocki and Trevor Paglen (October 21, National Gallery of Art), an interdisciplinary panel discussion on drones with Missy Cummings, Marko Peljhan, and Peter W. Singer (November 14, National Academy of Sciences), and a film program curated by Sonja Simonyi (early 2014, location and dates to be announced). Please visit the CADVC website for details and regular updates on all public programs.
Admission to the exhibition and public programs is free. The Center for Art, Design and Visual Culture is open Tuesday through Saturday from 10am to 5pm and is located in the Fine Arts Building of UMBC. For more information call +1 410 455 3188, or visit the CADVC website.
Book Visibility Machines: Harun Farocki and Trevor Paglen 224 pp, full color. Edited by Niels Van Tomme. Newly commissioned essays by Jimena Canales, Jonathan Kahana, and Hilde Van Gelder. Reproductions of artworks and texts by Harun Farocki and Trevor Paglen. Published by The Center for Art, Design and Visual Culture. Available from D.A.P | Distributed Art Publishers, Inc., spring 2014.
An international tour is currently being organized through December 2016. An alternative version of the project will be on view at the Akademie der Künste in Berlin, Germany (September–December, 2014), after which Visibility Machines will travel to Gallery 400 in Chicago (January–March, 2015). For inquiries, please contact Symmes Gardner at firstname.lastname@example.org.
Visibility Machines: Harun Farocki and Trevor Paglen is supported by the Andy Warhol Foundation for the Visual Arts, the Elizabeth Firestone Graham Foundation, the Institut für Auslandsbeziehungen, the Goethe-Institut Washington, DC, the Baltimore County Commission on Art and Sciences, and the Maryland State Arts Council.
Center for Art, Design and Visual Culture UMBC 1000 Hilltop Circle Fine Arts Building, 105 Baltimore, MD 21250 Hours: Tuesday–Saturday, 10am–5pm
Marc Garrett interviews Isabelle Arvers about the AntiAtlas of Borders project. Control systems along land, sea, air and virtual state borders are the subject of work and mutation for scientists, artists, filmmakers, performers, hackers, customs agents, and workers in the surveillance industries and the military.
This is the first of two interviews with Isabelle Arvers who has collaborated with the IMERA team (the Mediterranean Institute for Advanced Research of Aix-Marseille University), to curate this expansive and dynamic project. The first interview discusses the operational side of the project and the next interview examines selected writings, artworks, projects and ideas featured as part of the project.
Isabelle Arvers is an independent author, critic and exhibition curator. She specializes in the immaterial, bringing together art, video games, Internet and new forms of images by using networks and digital imagery. She has organized a large number of exhibitions in France and overseas (Australia, Canada, Brazil, Norway, Italy, Germany) and collaborates regularly with the Centre Pompidou and French and international festivals. http://www.isabellearvers.com/
November, 8-9, 2013, Migros Museum fuer Gegenwartskunst, Zurich.
The symposium will present and discuss current practices of reading, researching, publishing, and curating that have been enabled by the internet and its social technologies; while exploring new formats and advocating the open circulation of knowledge. An emphasis will be placed on contemporary artistic and curatorial practices as being temporary effects of processes of negotiation between subjects, contexts and their relations. How do the proposed new public and social spaces appropriate the territories designated online (and paper) formats of magazines for creative formats of display, criticism, participation, narration and positioning? The encompassing title “Third, fourth and fifth spaces” marks the trajectory back and fourth from the academic-driven notion of curatorship towards curating and curatorial practices and, consequently, a democratic approach to knowledge and culture despite the commodification of education and the festivalisation of art events. We wish to look at the practices that reassess this notion today and are situated by its urgent (geo)political, humanistic, instigating and controversial potentialities. As well as practices that are informed by subjective drives, subversions, opacities, risks, desires, beliefs and solidarities. We would like to discuss how subjects are positioned in these forms of editorial processes, as producers and as publics who are becoming interchangeable, how affects and participation are positioned and which new forms developed recently. ————- Concept: Nataša Petrešin-Bachelez (Manifesta foundation, Manifesta Journal) & Dorothee Richter (ZHDK, Postgraduate Programme in Curating, ICS & University of Reading, OnCurating.org) ————
Keynotes: Marie Luise Angerer and Oliver Marchart
Panellists: Sepake Angiama, Michael Birchall, Virginie Bobin, Florian Dombois, Marc Herbst, Roberto Jacoby, Jepchumba, Dominique Lämmli, Nataša Petrešin-Bachelez, Kristina Lee Podesva, Dorothee Richter, Alun Rowlands, Sigrid Schade, Christoph Schenker, Michael Schwab, Silvia Simoncelli, Ashok Sukumaran, Caleb Waldorf, Aaajiao (XU Wenkai).
Web-Publications and Platforms:
ADA (African Digital Art) http://africandigitalart.com/ CAMP camputer.org CIA (Centro de Investigaciones Artísticas) www.revista.ciacentro.org/ Fillip http://fillip.ca/ Journal of Aesthetic Protest www.joaap.org Journal of Artistic Research (JAR) http://www.jar-online.net/ Manifesta Journal www.manifestajournal.org Mouvement http://www.mouvement.net/ Novel www.novelnovel.org On Curating www.oncurating.org Public Access Digital Media Archive, www.pad.ma Ramona http://ramona.org.ar/info Triple Canopy http://canopycanopycanopy.com We need money not art we-need-money-not-art.com Witte de With Review www.wdw.nl/?wdw_project_type=magazine-launch Zeit fuer Vermittlung www.kultur-vermittlung.ch
Programme: See detailed information below. Tickets can be purchased directly from the Migros Museum on the day of the symposium.
Organisation: ZHdK Postgraduate Programme in Curating, ICS Institute Cultural Studies for the Arts, DKV, ZHdK (Mirjam Bayersdorf, Michael Birchall, Dorothee Richter, Silvia Simoncelli); IFCAR Institute for Contemporary Art Research, DKM, ZHdK (Annemarie Bucher, Dominique Lämmli, Christoph Schenker.)
Support: We greatly acknowledge the support of: University of Reading Department of Art, Migros Museum für Gegenwartskunst, and the Institut Francais
Between online and offline spaces: curatorial dialogue.Moderation: Michael Birchall
Novel (Alun Rowlands) Triple Canopy (Caleb Waldorf) Witthe de With (Virgini Bobin) Journal of artistic research (Florian Dombois & Michael Schwab)
Digital space and web-platforms as political spacesModeration: Silvia Simoncelli
Aesthetics and Protest (Marc Herbst) Fillip (Kristina Lee Podesva) Zeit der Vermittlung (Anna Chrusciel,) Mouvement (Charlotte Imbault)
Digital Bonding. Utopian aspects and new dependencies From the outset, a promise has been attached to digital images, crediting them with a special immediacy, tactility, and thus also affectivity. Many recent theoretical approaches in media and cultural studies underpin a development that distances itself from critiques of representation and orients itself toward an affective reading or an affective interpretation of the visual. According to current theories accompanying this shift, digital media are contributing to these changes in a range of ways. Digital media, the theories claim, are freshly questioning the status of the image, having fundamentally altered its production, reception, and propagation, as well as the relationship between viewer and image, thus calling for a different theory, a ›new philosophy of media‹. Questions to deal with concern the emergence of the social media (new masses, new audiences) and thus new modes of subjectivation – both aspects which might get more attention in the field of artistic practice. Marie-Luise Angerer is a professor of media and cultural studies at the Academy of Media Arts in Cologne, Germany. Her research focus on affectivity, media technology, and new theories of materiality and social fantasies. http://wissenschaft.khm.de/wpersonen/mla/marie-luise-angerer/
The Curatorial Function in Times of Crisis In this talk I will ask, by moving beyond the digital/analogue divide, what a politically engaged curatorship means in times of crisis. Taking e-flux and the recent Istanbul Biennale as case studies, I will try to shed light on the problems and possibilities of curating, if by the latter we understand a practice of organizing consensus as well as dissensus within and beyond cultural institutions. Oliver Marchart is professor of sociology at the Dusseldorf Art Academy.
Moderator: Sigrid Schade is the head of the Institute for Cultural Studies in the Arts, DKV, ZhdK.
1. Between online and offline spaces: curatorial dialogue Organised by. Postgraduate Programme in Curating, Miichael Birchall The presence of online publications and curatorial platforms has presented a
new set of conditions for curators, publishers and the various publics who interact with this content. As themes may traverse both offline and online spaces, how does the public interact with this? Can publication platforms relate to new publics without preexisting institutional frameworks? Can publication platforms operate exclusively as web only interfaces? What are the emerging models of practice in this area? This session will feature four contributions from publication platforms, each sharing their own perspective on these issues; as well as broadening the topic further.
JAR is a peer-reviewed, biannual journal, whose goal is to publish original research from artists of all disciplines and promote the renegotiation of art’s relationship to academia by coupling an innovative approach to publishing with peer-reviewing and scholarly rigour. A free, online resource, the journal attracts an international readership. With the aim of displaying and documenting practice in a manner that respects artistic modes of presentation, JAR uses the Research Catalogue, which provides a free-to-use online writing space where text can be woven together with image, audio and video material. The result is a journal that promotes experimental approaches to ‘writing’ and provides a unique ‘reading’ experience, while carefully fulfilling the expectations of a peer-reviewed academic journal. Links: http://www.jar-online.net, http://www.researchcatalogue.net Florian Dombois (*1966 in Berlin) is an artist with a special attention for sound and a Professor at ZHdK in Zurich. In his work he has focuse on models, landforms, labilities, scientific and technical fictions. He lives in Cologne and Berne. Link: http://floriandombois.net Michael Schwab is a London-based artist and artistic researcher who investigates postconceptual uses of technology in a variety of media including photography, drawing, print-making, and installation art. He is tutor at the Royal College of Art, London, and the Zurich University of the Arts as well as research fellow at the Orpheus Institute, Ghent. He is co-initiator and inaugural Editor-in-Chief of JAR, Journal for Artistic Research. Link: http://www.seriate.net
Novel is a journal of artists writing which manifests itself through exhibitions, readings and events (http://temporarysite.org/) Alun Rowlands is a curator and writer living in London. Curatorial projects and publications include ‘Vendor: Broadsheet #1’ (ICA, London), ‘3 Communiqués’ (Bookworks), ‘Barefoot in the Head’ (Article Press, Performa), ‘The Dark Monarch’ (Tate St Ives). He is is co-editor of ‘Novel’ a journal of artists writing which manifests itself through exhibitions, readings and events a.o ‘Novel at dépendance’, Brussels, ‘Time Again’, Sculpture Centre, New York and ‘Millennium Magazine’, MoMA, New York. He is Professor of Art at the University of Reading and contributes to the Research Platform in Curating, University of the Arts Zurich and Reading.
Triple Canopy is a magazine based in New York. Since 2007, Triple Canopy has advanced a model for publication that encompasses digital works of art and literature, public conversations, exhibitions, and books. This model hinges on the development of publishing systems that incorporate networked forms of production and circulation. Working closely with artists, writers, technologists, and designers, Triple Canopy produces projects that demand considered reading and viewing. Triple Canopy resists the atomization of culture and, through sustained inquiry and creative research, strives to enrich the public sphere. Caleb Waldorf is an artist currently living in Berlin. His practice operates at the intersection of publication, pedagogy and technology with a focus on developing on/offline collaborative platforms. In 2007, he co-founded and is currently the creative director of the magazine, Triple Canopy. Since 2008, he has served on the committee for The Public School, an open framework for self-organized learning initiated in Los Angeles by Telic Arts Exchange. His latest long-term collaboration was with The Museum of Modern Art’s C-MAP initiative on a platform called post, launched in early 2013.
WdW Review WdW Review is a new online platform aimed at informing our ever-expanding spheres of action in an age of constant reformations be they aesthetic, geographic, economic, communal, ecological, and even spiritual. This project seeks to foster a new collegium of knowledge partners in a purpose-built infrastructure so as to address how the world is shaped today as a consequence, or in spite of national, international, and other group ideologies. Virginie Bobin is Assistant Curator at Witte de With since April 2013. As an (independent) curator and critic, she has developed specific interests for performance, experimental forms of artistic research, the role of art, artists and art institutions in the public sphere, and formats that go beyond exhibition-making, and she has been Associate Editor of Manifesta Journal since 2011.
Michael Birchall, Moderation, “Between online and offline spaces: curatorial dialogue”. Michael G. Birchall is a curator and writer with an interest in collaborative and participatory art practices. In Germany he has curated exhibitions and projects including ‘Wie geht’s dir Stuttgart/How are you doing Stuttgart?’ and ‘Hier und Jetzt’ – at Künstlerhaus Stuttgart. He is currently a PhD candidate in Art, Critique and Social Practice at the University of Wolverhampton (UK). Michael is co-publisher of OnCurating and a lecturer in the postgraduate program in Curating at the ZHDK.
2. Digital space and web-platforms as political spaces Organised by. Postgraduate Programme in Curating, Silvia Simoncelli Throughout years of long lasting crises, revolutions, occupations, the Internet has often played the role of an international stage for the broadcasting of dissent. Artistic and curatorial practices have responded to the economical and political turmoil with projects characterized by a growing attention to the current social situation – often controversially received. How have web platforms and online journals developed their current political position in between real life constrains and digital freedom? Has new media created a virtual space for debate which can interact effectively with the everyday? Can dissent be mediated, reviewed and discussed, in the same way in which artistic practice is? This panel will address these and further questions, with the participation of four online journals and magazines operating from different positions.
Fillip is Vancouver-based organization that presents art, culture, and ideas primarily in the form of Fillipmagazine. In addition to the magazine, Fillip publishes books, special projects, as well as public talks and symposia including Judgement and Contemporary Art Criticism (2009), Intangible Economies (2012), and Institutions by Artists (2012). Kristina Lee Podesva is an artist, writer, educator, and Editor at Fillip based in San Francisco. Her writing has been published in Fillip and Bidoun, as well as in books and catalogues such as Turn Off the Sun (2013, Fundación/Colección Jumex/ASU), Waking Up from the Nightmare of
Participation (2011, Expodium), Vector: Critical Research in Context (2011, Vector Association), Recipes for an Encounter (2010, Western Front & REV-), Judgment and Contemporary Art Criticism (2010, Fillip Folio), and Komma: (after Dalton Trumbo’s Johnny Got His Gun) (2010, Fillip). She has co-edited the books Institutions by Artists: Volume 1 (2012, Fillip Folio), Tradition Versus Modernity (Forthcoming, Archivo: Diseño y Arquitectura), and 100% Vancouver (2011, Fillip).
The Journal of Aesthetics & Protest is a project founded in Los Angeles California in 2000 with the intention of being a clearing-house for the aesthetic inventions of the alter-globalization movement. The project’s mission has evolved since then in dialog with the research, thought-needs, creative potential and existential realities of our collective members, broader community and readers. Current projects include the translation of book on Spain-based activist practices, a catalog on the NYC-based MoRUS squatting museum, and the upcoming 9th issue. Marc Herbst is a independent researcher, writer and artist with an interest in activism and expanded notions of social change. He is co-editor of the Journal of Aesthetics & Protest.
Zeit für Vermittlung – Le temps de la médiation – Tempo di mediazione– an online publication on gallery education The publication “Zeit für Vermittlung“ was edited by the Institute for Art Education on behalf of Pro Helvetia and is available online in German, French and Italian athttp://www.kultur-vermittlung.ch/zeit-fuer-vermittlung/. The handbook is the result of an accompanying research on Pro Helvetia´s Art and Audience programme and presents introductory essays and in-depth texts on nine key issues in learning in the arts, a glossary, examples of educational practice and around 40 perspectives of practitioners and stakeholders from the Swiss cultural field. An English version of the publication is intended. Anna Chrusciel has been working for the Institute for Art Education (IAE) since May 2009. Together with Carmen Mörsch she was responsible for the accompanying research of Pro Helvetia’s Art and Audience programme from 2009-2012. She is the initiator of the contemporary drawing festival “The Big Draw Berlin”. After gaining a diploma in Business Communication she worked for the Jewish Museum Berlin. She is currently writing her doctoral thesis on the discourses of impact in art education.
Moderation: Silvia Simoncelli Silvia Simoncelli is art historian and independent curator. She is professor at Brera Art Academy, Milan, and course leader of the Advanced Course in Contemporary Art Markets, at NABA in Milan. She holds a position of assistant researcher for the Postgraduate Program in Curating at ZHdK, Zurich and she is co-editor of the web journal OnCurating.
3. Art, Internet, Communities This panel brings together multiple perspectives on how web presence serves art and art communities. Based on specific examples, panel members will discuss several key questions: who is communicating with whom? How does online presence strengthen or alter persisting notions of art? Which platforms are active for several years and which ones tend to be short-lived?
Organized by IFCAR Institute for Contemporary Art Research, ZHdK (Annemarie Bucher, Dominique Lämmli and Christoph Schenker).
African Digital Art is an online collective and a creative space where digital artists, enthusiasts, and professionals can seek inspiration, showcase their art, and connect with emerging artists. Since its inception, African Digital Art has presented unparalleled ideas, individualistic works, and insightful designer solutions by the African creative community. African Digital Art has become a platform for innovation and inspiration with a sophisticated blend of fresh talent and successful designers and artists. Pushing Digital Boundaries has become the tagline that is now fused with African Digital Art’s identity,www.africandigitalart.com. Jepchumba has been listed by Forbes as one of the 20 Youngest Power Women in Africa 2012 and by the Guardian as one of Africa’s Top 25 Women Achievers. A cultural ambassador, Jepchumba is the founder and creative director of African Digital Art. Jepchumba is dedicated to promoting the growth of the creative economy in Africa (www.jepchumba.com).
CAMP is a collaborative studio whose projects are related to media and its history, formats, and distribution. The group’s process often follows the spirit of open-source communities. CAMP is also a co-initiator of Pad.ma, an online digital-media archive. Recent exhibitions in which CAMP has participated include the Kochi-Muziris Biennale, India (2012); Gwangju Biennale, South Korea (2012); Documenta 13, Kassel, Germany, and Kabul, Afghanistan (2012); The Ungovernables, New Museum Triennial, New York, USA (2012); Edgware Road Project, Serpentine Gallery, London, UK (2011– ), http://www.camputer.org/,http://pad.ma. Ashok Sukumaran co-founded CAMP in 2007 with Sanjay Bhangar and Shaina Anand. Ashok Sukumaran is an artist and critical media practitioner. His early work as a media artist received many awards, including a Golden Nica at the Prix Ars Electronica in 2007. With CAMP, he has developed artistic projects involving urban water, electricity, CCTV systems, sea trade and other mobile, distributed phenomena.
Ramona.org.ar is an online platform that has been seeking to bring together the contemporary art scene in Argentina since 2001. It produces and provides information about exhibitions, performances, lectures, panels, courses, and calls for artist-in-residence programmes. It also offers a free space for reviews of current shows, unpublished articles, and online links of interest. It is updated on a weekly basis and its homepage is sent as a newsletter to 45,000 subscribers. Ramona online stems from the monthly print magazine of the same name, which appeared in Buenos Aires from 2000 to 2010. The 101 printed issues of Ramona have been digitized, indexed, and made available on Ramona web. This platform is also linked to boladenieve.org.ar (Snowball since 1999), the self-elected artists’ online database whose membership totals more than thousand artists working in Argentina www.ramona.org.ar, boladenieve.org.at. Roberto Jacoby has been working in media arts since 1966. Much of his work is related to friendship technologies and strategies of joy. Among his projects are Project Venus, an online and offline community with its own currency. In 2011, Museum Reina Sofia presented a large retrospective of his work and he was participated in the 29th Sao Paulo Biennale.
Established in 2006, we-need-money-not-art.com is a new media art information platform that promotes new media art in China. http://www.we-need-money-not-art.com/ Aaajiao (XU Wenkai) is one of China’s foremost media artists, bloggers, and free culture developers. He is interested in re-formulating questions about networked culture, power, command, and control. As such he focuses on the use of data and its various forms of display, and how meaning is understood through moving from reality to data, and back. His most significant aesthetic contribution to new media in China is social: he acts as a vector for the interpretation and communication of international and local trends in the usages of software in artistic practice. In 2003, he established the sound art website cornersound.com, in 2006 the Chinese blog we-make-money-not-art.
Welcome: Christoph Schenker, Head of the Institute for Contemporary Art Research (IFCAR), Zurich University of the Arts (ZHdK).
Moderation: Sepake Angiama & Dominique Lämmli Sepake Angiama is an independent curator and educator based in Berlin and London. She was the Curator of Public Programmes at Turner and is currently in charge of the art education programme of Manifesta. Dominique Lämmli is an artist, professor of Fine Arts, and researcher at ZHdK, focus: art in global contexts. Together with Annemarie Bucher she co-runs the research venture foa-flux.net.
With most of our team just back from Mexico City, after a rousing seven days of celebrating MUTEK Mexico’s 10th anniversary we would first like to extend our congratulations, love and the entire MUTEK Mexico organization.
The festival has presided over an explosive decade of growth in Mexico City as it has matured into a hub for contemporary electronic music and technological innovation, increasingly plugged into the global circuit. What began as a 3 night micro-festival in 2003, has evolved into a weeklong affair featuring more than 80 artists and professionals from 13 different countries, enjoyed by thousands of festivalgoers.
It has not been easy to pull off the event year after year, with so many challenges in terms of funding and logistics in Mexico, but MUTEK Montreal director Alain Mongeau has remained steadfast in his belief in the project: “Year after year since 2003, the MUTEK.MX team has shown a relentless determination to implement and develop the festival’s roots and philosophy in an always inspiring and daring manner in Mexico. For its 10th anniversary the festival clearly reached new heights and relevancy within the Mexican context, which is very promising for the future”. A special applause is in order for MUTEK Mexico director Damian Romero, and his decade of dedication to the festival.
A whirlwind journey from beginning to end, the trajectory of MUTEK Mexico carried us through a crazy array of experiences. The opening A/VISIONS concert at the stunning Teatro de la Cuidad, was sold out for the 10 piece, BRANDT BRAUER FRICK ENSEMBLE who had the entire place on their feet at the end. Another standout,RAIME, shook the foundations of the theatre a few days later, on a bill that includedHERMAN KOLGEN and the misfit genius of MATMOS, appearing in Mexico for the first time ever.
This year’s edition also hosted an international symposium, supported by the Centro de Cultura Digital and ICAS, which brought a new level of discourse and purpose with its overarching theme of Creativity and Innovation in the Public Space. Speakers and presenters from across the European and North American network intersected with their Mexican and Latin American counterparts to discuss collaboration, urban creativity, interactivity, funding and sustainability issues.
An important element of every MUTEK festival mandate, involves the cultivation of local scenes, communities and artists, and MUTEK.MX presented several programs under the PLAY banner that featured locals at the top of their game: FAX, VAMPIRE SLAYER, PEPE MOGT and POINT LOMA, from various points in Mexico, along with FRIKSTAILERS and MR. EDDY + REALITAT, from Argentina, just to name a few.
The sound and visuals were spectacular on a scale not seen before there, with the NOCTURNES conceived and executed by a cadre of gifted Montreal visual artists and scenographers: ALEXIS LAURENCE, IREGULAR, BAILLAT CARDELL & FILS and DIAGRAF.They transformed the Foto Museo Cuatro Caminos into a throbbing, immersive environment for stellar sets by ACTRESS, the full band version of THE FIELD and an epic, closing Dj set from JAMES HOLDEN — while in the venue’s smaller space, MACHINEDRUM’s Vapor City Live, stole the show. MOUNT KIMBIE, KODE 9 and JETS ran away with the next evening’s festivities at the Plaza Condesa, and AMON TOBIN’S final performances of ISAM 2.0 closed the circle on Sunday night. We are very proud to have been involved in the debuting of this project at MUTEK Montreal in 2011. ISAM toured through select festivals in the ICAS network and across the world for almost 3 years, bidding its final farewell during this edition of MUTEK Mexico, as the project in this form, is now officially retired.
Apart from a few glitches and delays, one of which was the torrential rain and hail that threatened to take down the set and equipment for ISAM 2.0, things ran very smoothly, with all venues operating at capacity and teaming with the unbridled enthusiasm of thousands of festivalgoers.
And they’re going to do it all again! The festival’s 11th edition, will take place during thefirst week of November, 2014.
Creativity and Innovation in the Public Space
In association with ICAS and Centro de Cultura Digital!
Creativity has become a watchword among policymakers and specialists in design and urban regeneration, seeking to revive economic and cultural life in 21st-century cities. Concepts such as creative cities and creative industries have begun to influence thinking on how creativity can contribute to urban renewal. This Symposium aims to frame discussion around the challenges involved in developing creative projects in public spaces, and to explore how, through ever-evolving formats, artistic content, and diverse collaborations, creativity is becoming a crucial tool in shaping a city’s image, as well as its cultural
10:00! WELCOME !
Damián Romero – MUTEK.MX, Mexico City / Alain Mongeau – MUTEK, Montreal / Grace Quintanilla – Centro de Cultura Digital, Mexico City!
10:10! PRESENTATION !
Ejival – Static Discos, Tijuana ! !
Ejival, the symposium’s host, will give some brief opening remarks about the program, its themes and the line-up of participants.
10:15 – 11:45! UPDATE ON PRACTICES, IN MEXICO AND ELSEWHERE
Gabriella Gomez-Mont – Laboratorio para la Ciudad, Mexico City / Susa Pop – Public Art Lab, Berlin.! The director of the Mexico City government’s creative think-tank, Laboratorio para la Ciudad, and the director of Berlin’s Public Art Lab, contextualize the current reality of creative work in public spaces, drawing on their experiences and taking the perspective of these two cities
11:45 – 13:45! COLLABORATIVE NETWORKS
Mike Stubbs – Foundation for Art and Creative Technology (FACT), Liverpool.!
! The director of the UK’s leading digital media center presents two case studies, in which he is directly involved, in order to underline the importance of devising new collaborative work tools to help create solid creative projects.
11:50! Case Study 1: EMARE. ! Adriana Casas – Multimedia Center, Centro Nacional de las Artes (CENART), Mexico City. ! Mike Stubbs and the director of CENART’s Multimedia Center explain what the EMARE project is and how they develop artist residencies in Mexico, the UK, Germany, France and Holland, with the support of the European Commission’s Culture Program and in collaboration with other international organizations.
12:30 ! Case Study 2: CONNECTING CITIES! Susa Pop – Public Art Lab, Berlin / Mónica Cachafeiro and Patricia D. Larrondo – Medialab Prado, Madrid / Alain Mongeau – MUTEK, Montreal / Hugues Sweeney – ONF, Montreal.
15:30 – 17:00 ! SOUNDS IN THE URBAN ENVIRONMENT
This broad topic, introduced by Carsten Stabenow, will explore the multifarious relations between sound and architectural space.
15:45! Case Study 3: TUNED CITY! Carsten Stabenow -Tuned City, Berlin.!
TUNED CIY is a platform that examines the relationship between sound and
space within the urban environment, the methods of mediating between the
two, their importance in city planning processes, and how this research can be
translated to an audience and into the design of public policies.
16:15! Panel 1: ARCHITECTURE, SOUND AND NEW TECHNOLOGIES IN CITIES OF THE FUTURE. Carsten Stabenow -Tuned City, Berlin / Martin Craciun – alonso+cracium, Montevideo / Abel Perles – Productora, Mexico City / Natalia Britos – Museo Universitario del Chopo, Mexico City! Building audiences, mediating, mixing fields, and blurring the limits of the art
fields. How to collaborate with local institutions, and their infrastructures, to try
to make things change from the very inside?
17:45 – 19:00 ! Panel 2: PRODUCING INTERACTIVE CONTENT IN THE PUBLIC SPACE! Hugues Sweeney, ONF, Montreal / Mafer Olvera, Instituto de la Juventud del Distrito Federal, Mexico City / Simón Levy, Calidad de vida, Mexico City / Pierre Fortin, Quartier des Spectacles, Montreal / Alejandro Machorro, Cocolab, Mexico City! The head of French-language interactive media production of the National Film Board of Canada, together with several project developers from Mexico City and Montreal, discuss how citizens can play a creative role in the urban space, and how the creation and production of valuable interactive artistic projects can have a social role in the spaces we inhabit. !
10:00 – 10:15 WELCOME! Ejival – Static Discos, Tijuana !
The host recaps the previous day’s key moments and conclusions, and present the program of the day ahead.
10:15 – 11:45 Panel 3. CREATIVE URBAN PROJECTS AS PROMOTIONAL TOOLS FOR CITIES Olof Van Winden – TodaysArt, The Hague / Paola Desentis – BONUS, Creative Week Mx, Mexico City / Pierre Fortin, Quartier des Spectacles, Montreal / Alejandro Ramos Saavedra – Aldea Digital Telmex, Mexico City!
This discussion will examine how creative infrastructures and events are important in cities’ cultural, economic, social and ecological agendas.
11:45 – 14:00 ! FUNDING & DECISION-MAKING Kate Lesta – Communikey, Boulder! The founder and director of this interdisciplinary organization dedicated to social, cultural and ecological innovation briefly introduces this session, that will look at new models of interrelationships between art, money and society. Kate will also the moderator of the panel analyzing the creative sector’s increasing contribution to the economy—both on a local and on an international level.
12:00! Case Study 4: SIETE MEDIA Roberto Lopez – Siete Media, Mexico City! Siete Media is a 100% Mexican company that specializes in the use of new media and focuses on innovation through the combination of design with technology. !
12:40! Panel 4: SOURCES OF FUNDING AND PARTNERS!
Mike Stubbs, FACT, Liverpool / Bryan Kasenic – Beyond Booking, New York City
/ Susa Pop – Public Art Lab, Berlin / Alejandro Alonso – Siete Media, Mexico City . Public funds, private investment or crowdfunding — How to fund creative events in the public space? This panel discusses themes that help to understand the complexity and challenges of funding, irrespective of its source, and how to collaborate with partners when organising such events.
15:30 – 17:00 hrs.!
Panel 5: THINKING ABOUT SUSTAINABILITY!
Nicolas Wierinck – Yes we camp!, Marsella / Olof Van Winden – TodaysArt, The Hague/ Kate Lesta – Communikey, Boulder! These three cultural figures discuss the possibility of applying the knowledge and experience gained from each project to set up sustainable strategies, through the efficient use of resources.
17:00 to 17:30 Break!
17:30 – 18:30 !
Josette Melchor – Gaffta, San Francisco!
Gray Area Foundation for the Arts uses an innovative model for the management of nonprofit creative organizations that combines research, education, public programs and exhibitions. GAFFTA is a diverse community of coders, artists, entrepreneurs, civic leaders that believe in the potential of creatively applied digital art and technology to transform society. In this last talk, the organization’s executive director shares her thoughts about the road ahead in terms of creativity and innovation in the urban space.
SAT 19 – SUN 20 OCT ¬ SMALL GLOBAL – BLOOMSBURY FESTIVAL. LONDON WC2. UK. SAT 19 – SUN 20 OCT ¬ PATHWAYS:KX SCREENING- BLOOMSBURY FESTIVAL. LONDON WC2. UK. SAT 19 – SUN 20 OCT ¬ SECURED BY DESIGN SCREENING- BLOOMSBURY FESTIVAL. LONDON WC2. UK
Bloomsbury Festival will premiere the new D-Fuse Small Global – Extreme Energy installation on Sat 19th – Sun 20th October(11/12-6pm). The event is free and there will be a panel discussion at 2pm on Saturday 19 October with Dr. Damien Short, director of the Extreme Energy Initiative, award-winning environmental photographer Garth Lenz, UK anti-fracking campaigner Katy Dunne, and D-Fuse.
Small Global is an immersive installation that combines data visualisations with high-resolution images and surround sound to address issues of global consumption and environmental degradation. With two modules, Deforestation and Coltan, produced in 2005 at Eyebeam [NYC], the new Extreme Energy module takes a look at the increasingly desperate measures taken to extract more fossil fuels out of the earth’s crust. The current module has been developed in collaboration with the Extreme Energy Initiative at the School of Advanced Study, University of London. Multiple transparent screens are arranged in a cube, catching the light of the projections in several layers, before the images continue on to diffract on the walls, ceiling and floor of the space. Members of the audience can walk around and inside the cube, their bodies becoming part of the projection surfaces. Surround sound immerses the space, and interaction sensors allow visitors to reveal visual information with their presence.
Small Global outlines an interdependence that often goes unnoticed in an environment saturated with marketing messages, and that precisely these messages are designed to make us forget: The production of the goods we consume can have devastating consequences in parts of the world that we might not even be aware of. This project is supported by Arts Council England, School of Advance Study,Vivitek Projectors.
During the festival D-Fuse will be screening previous works includingPathways:KX, originally a multi-screen video installation about how the London area of King’s Cross has been represented in film, and the video Secured by Design, which explores the intensive surveillance of public spaces in London.
Where: Deller Hall, Senate House (basement), Malet Street, London WC1E 7HU We hope to see you there! Find out more in an interview with the creators.
The Surveillance Self-Defense project is a work in progress, and has yet not been updated to reflect the 2013 revelations about the NSA surveillance programs. Please note that the law and technology can change quickly, and portions of the SSD may be out of date.
Please use the SSD as a starting point for your own research, but check for more recent facts, cases and authorities. Please note that, even if a statement made about the law is accurate, it may only be accurate in one jurisdiction (place); as well, the law may have changed, been modified or overturned by subsequent development since the entry was made. The materials in the SSD are for informational purposes only and not for the purpose of providing legal advice. You should contact your attorney to obtain advice with respect to any particular issue or problem.
The SSD Project
The Electronic Frontier Foundation (EFF) has created this Surveillance Self-Defense site to educate the American public about the law and technology of government surveillance in the United States, providing the information and tools necessary to evaluate the threat of surveillance and take appropriate steps to defend against it.
Surveillance Self-Defense (SSD) exists to answer two main questions: What can the government legally do to spy on your computer data and communications? And what can you legally do to protect yourself against such spying?
After an introductory discussion of how you should think about making security decisions — it’s all about Risk Management — we’ll be answering those two questions for three types of data:
First, we’re going to talk about the threat to the Data Stored on Your Computer posed by searches and seizures by law enforcement, as well as subpoenas demanding your records.
Second, we’re going to talk about the threat to your Data on the Wire — that is, your data as it’s being transmitted — posed by wiretapping and other real-time surveillance of your telephone and Internet communications by law enforcement.
Third, we’re going to describe the information about you that is stored by third parties like your phone company and your Internet service provider, and how law enforcement officials can get it.
In each of these three sections, we’re going to give you practical advice about how to protect your private data against law enforcement agents.
Finally, we’ve collected several articles about specific defensive technologies that you can use to protect your privacy, which are linked to from the other sections or can be accessed individually. So, for example, if you’re only looking for information about how to securely delete your files, or how to use encryption to protect the privacy of your emails or instant messages, you can just directly visit that article.
Legal disclaimer: This guide is for informational purposes only and does not constitute legal advice. EFF’s aim is to provide a general description of the legal and technical issues surrounding you or your organization’s computer and communications security, and different factual situations and different legal jurisdictions will result in different answers to a number of questions. Therefore, please do not act on this legal information alone; if you have any specific legal problems, issues, or questions, seek a complete review of your situation with a lawyer licensed to practice in your jurisdiction.
A Conversation between Edward Snowden and UBERMORGEN
We met Edward Snowden at Vienna’s International Airport in Vienna on July 2nd, 2013 shortly after Bolivia’s presidential aeroplane, having been denied the right to cross their respective airspaces by France, Spain, Italy and Portugal, was forced to land in Schwechat. Snowden had been on board as a guest of Evo Morales.
Shortly after the arrival of the plane, a close friend of ours, who works at the airport, tipped us off. It took us less than thirty minutes to grab our stuff and arrive by cab. Our friend guided us through airport security into a rather filthy office area in the former main terminal.
We found Edward Snowden in a small, stuffy, neon-lit room, where he seemed to have been deposited like a questionable parcel that nobody wanted to touch or knew what to do with. After our initial hello and how are you’s, Edward described the rather strained behaviour of the Austrian Authorities. He said they seemed to go out of their way in order not to have to talk to him: they wanted to keep their record clean and stay ‘neutral’.
Historically, having served as an intelligence hub between East and West, Austria has a record of facilitating secret service meetings that few other countries can match,. We were quite astonished that there were no OGA’s in the room with Mr. Snowden, so we grabbed the opportunity and started to talk with him. He immediately lighted up and actually seemed happy to see a couple of friendly faces. We spoke quietly but fast since we had no idea how much talking-time we had left.
Photographs: Dancing in the Rain by Pfadfinderei + The Constitute, Connected Cultures Sao Paulo 2013 Lummo Blocks by Lummo Team, Media Facades Festival Europe 2010
Interactive technologies enable citizens to participate directly in artistic urban media projects. Thus they can play an active role in their urban environment instead of being passive consumers.
How can we open the screens as digital stages for public interventions? What is the impact of participatory projects realised in the European space on audience and community development of the European neighbourhoods?
PARTICIPATORY CITY 2014
CALL FOR PROPOSAL FOR THE PARTICIPATORY CITY 2014
AARHUS – BERLIN – BRUSSELS – DESSAU – HELSINKI – ISTANBUL – LINZ – LIVERPOOL – MADRID – MARSEILLE – MELBOURNE – MONTREAL – RIGA – SAO PAULO – VIENNA – ZAGREB
As participation has become hegemonic – from prosumers to crowdsourcing, from collaborative practices to civic media – there is a demand for a redefinition of the notion of participation itself. The much-discussed idea of collective creativity should now be explored and developed into transformative actions. With the goal of raising awareness being no longer enough, we want to look into practices of situated, world-making interventions that redefine reality and can have an impact on everyday life.
We invite artists to submit projects that enable citizens to experience new ways of interaction with the urban environment and to understand, respond to, evaluate and question the transformations that the city is undergoing.
CALL FOR PROPOSALS: PARTICIPATORY CITY 2014
Media facades and screens are our medium of choice for these collective experiences as they function as a membrane between the urban space and the digital world. They can become stages for the citizens to perform fictional roles and reinvented identities, and integrate multiple media, infrastructures and spatialities. They are an interface between technology, practice and place and make our experiments visible to a large public audience.
The Connecting Cities Network currently includes 18 European and worldwide partners who aim at building up a networked infrastructure of urban media facades for the circulation of artistic works. As a paradigmatic feature in dynamics of urban corporatization, these big screens and animated surfaces in the public space are an extremely relevant factor in the cultural and social exploration of the city. When operated as a trans-local platform for participative and networked artistic scenarios they open up new possibilities for citizens to explore their local neighborhoods and to engage in a trans-local exchange with other cities.
In 2014, with the topic of Participatory City, the Connecting Cities Network will in particular discuss the question of how urban media facades as a temporary field of interaction can become a catalyst for shared encounters and a platform for urban activism. Can art projects trigger an engagement of the citizens within their local communities? Can they connect the local public virtually with remote places? Can they help us exchange our expectations and visions with our (European) neighbours? Participatory City 2014 is all about experimenting in the public space with participatory processes that aim at exploring these and other questions.
Participatory City 2014 will take place in Berlin, Brussels, Helsinki, Linz, Liverpool, Madrid, Montreal, Riga and Sao Paulo. The Connecting Cities infrastructure to be considered by the artists for this Call for Proposals corresponds to the urban media facades of these cities (see www.aec.at/connectingcities). Nevertheless we also welcome proposals directed to other partner cities of the Connecting Cities Network. We will forward these proposals to the partner cities who might then decide to join our 2014 Connecting Cities Events.
CRITERIA FOR SELECTION
An urban media artwork that…
– operates in the temporary context of our 2-3 day Connecting Cities Events on the local Connecting Cities infrastructure
– engages the audience in a participatory process, for example sharing of information, collaborative mapping, sensing the city experience, etc.
– offers a possible networked scenario through which it (virtually) connects communities / neighbourhoods / citizens / audiences in at least two cities
– possibly develops a discourse on the medium of urban media facades, for example their potential for urban activism, their function as community platforms for public debates and urban activism or their role as trans-local windows throughout Europe and beyond
– presents an original artistic approach, for example playfulness / criticism / social concern / environmental concern / etc.
An urban media artwork that…
– takes into consideration all technological aspects (resolution, size, daylight compatibility, content management systems, internet connectivity, site specificity etc.) of the Connecting Cities infrastructure in at least one of the participating partner cities (Berlin, Brussels, Helsinki, Linz, Liverpool, Madrid, Montreal, Riga, Sao Paulo). Details about the CCN infrastructure in each city can be found at www.aec.at/connectingcities.
– provides the technological possibility of a networked scenario in which it connects at least two participating cities
– possibly uses locative commons and open source software that encourage community knowledge sharing
– possibly facilitates alternative encounters with the public space through innovative interfaces like motion tracking, data visualisation processing, semantic web, mobile and embodied interaction interfaces, streaming technologies, etc.
FORESEEN ACTIVITIES – PARTCIPATORY CITY 2014
1. CCN Workshop at transmediale
Jan / Feb 2014 in Berlin
(with participation of the selected artists)
2. Connecting Cities Lab
Summer 2014 in Brussels and Berlin
(with participation of the selected artists)
3. Connecting Cities Events
May – November 2014 in all participating cities
(with participation of the selected artists)
4. CCN Conferences
May 2014 in Montreal
November 2014 in Riga
November 2014 during the Media Architecture Biennale in Aarhus
5. Evaluation panel at Ars Electronica
(with participation of the selected artists)
PRESENTATION OF THE SELECTED PROJECTS: CONNECTING CITIES EVENTS 2014
The selected projects will be presented during the Connecting Cities Events (CC Events) which are city-to-city interventions that connect the CCN infrastructure of media facades, urban screens and projections in real-time.
Between May and November 2014 several CC Events will be organised by the CC partners, each of them lasting 2-3 days. Each selected artwork will be shown during at least one CC Event and will be embedded in local framework programmes. Depending on the city such a framework programme can be for example the Ars Electronica Festival, Nuit Blanche, AND Festival etc.
The ultimate goal of the Connecting Cities Network is to circulate the produced artworks between the cities, so there is a high potential that an artwork will be shown in several cities and at several CC Events. This will allow the artists to communicate and present their projects to a great number of the European public.
PARTICIPATORY CITY SPECIAL ARTISTS’ ACTIVITY: CONNECTING CITIES LAB 2014
In summer 2014 we will invite the selected artists to the Connecting
Cities Lab, taking place in Brussels and Berlin. This one-week workshop focuses on the conception of DIY projects for new technologies like mobile screens, ambient performance projections and intelligent wearables. Using open source solutions wherever possible, we aim at developing tools that can be employed by multiple audiences for DIY activism and creative projects in the public space.
CALL FOR PROPOSAL / PROCEDURE
Selection of the artists’ works
The curators of the Connecting Cities Network will select at least 7 artist projects for the Connecting Cities Events of the Participatory City 2014. These projects will be presented on the urban media facades of the CCN and open live windows to other cities. The main challenge of Participatory City will be to identify contents with relevance on an international level and a site-specific local level by including the public audience in an artistic scenario.
Curators of the Connecting Cities Network
Susa Pop (Public Art Lab, Berlin), Mike Stubbs (FACT, Liverpool), Christopher Lindinger (Ars Electronica, Linz), Yves Bernard (iMal, Brussels), Céline Jouenne (Vidospread, Marseille), Ekmel Ertan (Amber Platform, Istanbul), Nerea Calvillo (Medialab-Prado), Minna Tarkka (m-cult, Helsinki), Gernot Tscherteu (Media Architecture Institute, Vienna), Diana Civle (Riga 2014), Darko Fritz (MSU Zagreb), Alain Mongeau (MUTEK, Montreal), Martin Brynskov (University of Aarhus), Marilia Pasculi (Verve Cultural, Sao Paulo), Pascal Lefebvre (Quartier des spectacles, Montreal)
Fee and production budget
Artist fee: 1.500 €
Production costs: 3.000 €
This is the basic production budget for developing and presenting the artwork in one city.
The artist fee and production costs for the adaptation of the artwork in other cities, for example in a networked scenario, will be determined individually for each selected artwork with the partner who wants to adapt it.
See below or go to www.connectingcities.net for more information about the Connecting Cities Network. We advise you to have a look at the artworks that were selected for Networked City 2013.
You can find more information about the urban media facades and venues of the Connecting Cities Events atwww.aec.at/connectingcities/.
If you have any further questions, please send an email email@example.com
ABOUT THE CONNECTING CITIES NETWORK
The Connecting Cities Network (CCN) is initiated by Public Art Lab Berlin and involves 18 international partners in 16 cities:
Aarhus – Aarhus University
Berlin – Public Art Lab
Dessau – Foundation Bauhaus Dessau
Helsinki – m-cult
Istanbul – Amber Platform
Linz – Ars Electronica
Liverpool – FACT
Madrid – Medialab-Prado
Marseille – Videospread
Marseille – Marseille-Provence 2013
Melbourne – Federation Square
Montreal – MUTEK
Montreal – Quartier des spectacles
Riga – Riga 2014
Sao Paulo – Verve Cultural
Vienna – Media Architecture Institute
Zagreb – Museum of Contemporary Art
Connecting Cities focuses on networked urban screens as a medium to establish a trans-local infrastructure for the citizens to encounter the public space across a coextensive dimension that connects online and offline layers, local neighborhoods and cosmopolitan European clusters. As a paradigmatic feature in dynamics of urban corporatization, big screens and animated surfaces in the public space are an extremely relevant factor in the cultural and social exploration of the city.
We will investigate this creative potential within a 4-years artistic research programme that combines workshops and conferences with the production of artworks and other artistic activities, leading to several Connecting Cities Events. During these events, the participating cities will be connected in an intercultural real-time exchange where a broad public audience can interact with the produced artworks. The Connecting Cities Events follow three curatorial topics that are also of social relevance:
Networked City 2013 opens urban media facades as real-time windows between the cities and connects local neigbourhoods beyond national borders.
Participatory City 2014 engages the citizens in the collaborative creation of their urban environment and encourages them to use urban media facades as a digital stage to directly communicate and debate in the public space.
Visible City 2015 visualises open data generated through sensor and data networks on urban media facades and creates awareness of the environment.
October 18: Urban Lights Ruhr—symposium, 4–10pm October 19: Urban Lights Ruhr—symposium, 10am–7pm
Urban Lights Ruhr addresses artificial light in urban space in the Ruhr area. An international symposium on October 18 and 19 focuses on basic questions around temporary festivals on the subject of light art and light design. In parallel, Urbane Künste Ruhr together with the two artists collectives realities:united andosa (office of subversive architecture) realize experimental light works in Bergkamen, one of the nine cities of the network Hellweg ein Lichtweg. Urban Lights Ruhr is realized in cooperation with FH Dortmund, the city of Bergkamen, the Centre of International Light Art Unna and the project network Hellweg ein Lichtweg.
The architect group osa plans for Urban Lights Ruhr a special ceremony of farewell to the central residential tower in Bergkamen, which has been vacant for the past 15 years and is to be demolished at the end of this year. Two sides of the 60-meter-high residential tower have been painted in black and will serve as projection surface for a laser installation. The laser production seizes scenarios from the tower’s history and simulates its demolition, finally letting the tower disappear in the black of the night. A radio channel will be set up temporarily to broadcast reports and stories about the residential tower as told by citizens of Bergkamen.
With the installation Sender, the artists’ collective realities:united from Berlin realizes the choreography of an industrial robot. Located on the parking deck adjoining the residential tower, the robot will act differently by day and night and depending on the weather. In the daytime the robot will wave a flag and at night it will hold a glow stick. Whenever the weather deteriorates, the robot protects itself with an umbrella or a roof.
The international symposium on October 18 and 19 will be attended by Manuel Abendroth (LAb[au]),Marco Canevacci (Plastique Fantastique), Jan Ehlen (RaumZeitPiraten), Mona El Khafif (CCA San Francisco, URBANlab), Didier Faustino (Mesarchitecture), Alexander Stublic (Sans façon), Mathias Wagner K. (Hellweg ein Lichtweg) and others. On October 18, the guests are invited to a staged dinner featuring table talks with artists and persons from the cultural sector, whilst on October 19, urban issues will be discussed with experts of light art. The students of the master course of scenography and communication of the FH Dortmund will set the scene at vacant premises in the tower arcades in Bergkamen.
Urbane Künste Ruhr Urbane Künste Ruhr is the new art organization in the cultural metropolis Ruhr. Based on the unique urban landscape of the Ruhr Area, we together with artists, networks, and cultural institutions investigate the core of urbanity. Under the artistic direction of Katja Aßmann, Urbane Künste Ruhr develops and realizes projects that define the design of cities in a new way—always on-site and together with the people living here. Urbane Künste Ruhr risks a new perspective on the Ruhr Area, the city in general, and the possibilities of art.
Partners and Supporters City oft Bergkamen Centre for International Light Art Unna HELLWEG ein LICHTWEG Fachhochschule Dortmund, department of design/ scenography
Flossie 2013 brings together FLOSS women developers, entrepreneurs, researchers and policy-makers, digital artists and social innovators for an exciting mix of talks, spontaneous discussions and open workshops. Flossie 2013 brings the benefits of open thinking to artist and entrepreneurs and the insights of diverse innovators to FLOSS development.
Flossie 2013 is a two-day event for women who use or are otherwise interested in opening and diversifying technology to drive innovation, to share and inspire. For us, diversity is the solution – not the problem!
In a word, ‘anyone’. However, the event is organised around a common commitment to celebrating and enabling womens contribution to FLOSS culture and, therefore talks, workshops and exhibitions will be by women only (specifically including trans and genderqueer women) but men are welcome to attend the event if they have an interest in the gendering of technology. In particular, Flossie 2013 will be of interest to:
Women users of FLOSS in digital arts, free culture, and social movements
Women coders and developers
Coders and advocates of open knowledge, open data, open education and open research
Researchers, students and writers
Women entrepreneurs, not-for-profits, and social innovators
Whether you code, tinker, use FLOSS in your projects, want to explore open alternatives, or just want to change the world, all women are welcome – from expert to novice, or anywhere in between. Flossie 2013 is a chance to showcase your project, share skills, find inspiration, or talk about something which really interests you. We’re also scheduling plenty of time to network, share and build on ideas, and to meet new friends and old. Both days will contain micro-talks and birds of a feather sessions, as well as longer and more structured workshops and discussions. We will also be showcasing an exhibition of digital artwork.
Technologies of the future will have an increasingly important social element – the future is unfolding at the interface between social vision and a technologically ‘smarter’, networked world in which smart phones, smart homes, wearable devices, domotics and ambient interfaces communicate with other devices but also to ‘sense’ human movement and be able to use data about us to learn and adapt to our preferences. But is this technological future gendered?
Talks on any topic related to this theme – including gendering technologies, open data, privacy, vulnerability, domestic domain, design
Skills/creativity workshops (processing.org and http://wiring.org.co/, makey makey, soft-circuit boards), libre-graphics 3D design and printing, open data, small data, GIS
Message: 1 Date: Sun, 13 Oct 2013 01:32:00 +0530 From: Prem Chandavarkar <firstname.lastname@example.org> To: email@example.com Subject: Re: <nettime> Pascal Zachary: Rules for the Digital Panopticon (IEEE)
This discussion thread indicates that (a) there is a high level of discomfort with the current situation of the digital panopticon, and (b) bringing the oversight of engineers (or other humans) into the loop is not really going to change things much because there are wider systemic issues at stake here.
So what do we do about it? Or given that it is likely to be a long and arduous struggle: where do we start? My sense is that a fundamental issue on which a great deal of work is needed is the question of how presence is authenticated within space.
This springs from Lawrence Lessig’s argument that there are four primary factors that condition our behaviour: (1) Laws; (2) Markets; (3) Social and cultural norms; and (4) Architecture. And it is at the level of architecture where things have changed the most. When all architecture is physical, the spaces we move through are directly and explicitly tangible to a high degree. We sense and perceive the spaces we are in, their limits and links, their division into private and public realms, which space is proximate, which one is distant, and who inhabits these spaces along with us. And we plan and adjust our behaviour accordingly. But all architecture is not physical any more, and many of the spaces we inhabit on a day to day basis are virtual. This affects not only the tangibility of the space, but also the dynamics of presence within it.
An example that brings the issue into focus is a pornography store. In its physical version, if you see an eight year old child walking into the store you can quickly form a judgment on whether this is acceptable or not. More significantly, on the basis of such judgments society can legislate on whether children should be allowed in such stores. But in the virtual version of the pornography store you never have a clear sense of who has entered the space. You cannot even clearly define the limits of the space to the level you could in a physical store, which further obscures the possibility of your perception of who inhabits the space along with you. The challenge of defining acceptability in a wider moral sense now becomes problematic to a high degree.
The reason why one is uncomfortable with allowing a young child into a pornography store is that there is an inherent power imbalance contained in this juxtaposition. Pornography deals with a realm of behaviour that demands a minimum threshold of physical and psychological maturity, and when a child who has not yet crossed this threshold enters such a space the child does not possess the means to cope with the demands that the space makes on him/her. And if you are thrown into a situation whose demands you cannot resist because you are not empowered with the means of resistance, then the power imbalance is likely to lead to a compromise of rights that are believed to be fundamental. The child’s right to liberty is compromised in a pornography store by the high possibility of psychological disturbance and sexual exploitation that could result from this juxtaposition.
So when you spend a substantial portion of your life in virtual spaces, and an inherent characteristic of such virtual space is that presence is never properly authenticated, then you will never know who is in that space with you, and therefore are not in a position to perceive the power imbalances you are subjected to. It is like a child walking into a pornography store that has worked out a way of masking its identity, so that the child is not even aware of entering such a store. In such a situation how can you protect and preserve fundamental rights?
The destabilisation of presence causes further complications to our social contract. In our current notion of the social contract we surrender a certain level of freedom to authority in order to benefit from the order that ensues. So we agree to be subjected to the authority of government, judiciary, or police. But we do not grant this authority to everyone, we confine it to specific institutions. And we place constraints on these institutions to limit the possible abuse of authority: we confine their operation to specific spaces such as courthouses, and when we cannot enforce such spatial constraints we insist on uniforms or badges of identity and insist that the presence of these identity markers is rendered explicitly visible when their authority is invoked. And on top of this we seek systems of checks and balances, where each of these institutions is subjected to oversight from the other, and finally subjected to public oversight through the right to information, a free pres s, and democratic vote. All this springs from the age old question of who will watch the watchmen. How do we tackle this question in virtual space where the lack of authentication of presence prevents us from even recognising the watchmen?
And then there is the issue of the traces we leave of our presence in a space. After we have left a physical and public space, if anyone wishes to ascertain what we did in that space from the traces we left in it, the inherent complexity and messiness of physical reality demands a forensic effort that is so difficult and complex that it is worth attempting only when there is clear evidence of a serious crime having been committed. This fact allows us to retreat into the shelter of private space, where if we share it at all it is only with a very small group of people with whom we share emotional bonds and purpose. The option of retreat into this sheltered realm is crucial to our sustaining our ability to construct a sense of self and identity. And the evolution of the identity we construct is predicated upon a distinct separation between public and private realms, for the continued movement between the two allows us to use one to critically evaluate the other. The right to pri vacy is thus fundamental in the construction and evolution of personal and social identity. But when we inhabit virtual space we leave traces that are not only explicit but are easy to gather and aggregate. And when presence is unauthenticated we do not know what traces we have left, who is gathering them, and the extent to which the aggregation of traces allows others to infer what we think and do in the private realm. How can we protect the right to privacy in such a situation?
Bentham’s panopticon was one of the first devices to explicitly use the masking of presence. The prisoners modify their behaviour not because the guard is watching them, but because the presence of the guard is masked and so they do not know whether the guard is watching them or not. In such a situation it is safer for the prisoners to assume that the guard is always watching them, and they therefore police themselves. Bentham argued that this makes the panopticon an efficient design as one saves labour because the occasional presence of the guard in the tower is sufficient. Bentham’s utilitarian philosophy (and I do not wish to enter into a defence or critique of utilitarianism here) sought the maximising of the overall level of happiness in society. A criminal has already compromised the overall level of happiness by committing a crime, and further compromises that level of happiness by the fact that society has to extend effort in running prisons. Therefore an efficient pris on design helps to increase overall levels of happiness. This argument holds only if the panopticon is confined to prisons, and I am sure Bentham would have been very troubled by the pervasiveness of the digital panopticon.
Ultimately it comes down to the question of what kind
of law we should have. A quest for a moral society implies a law that not only defines fundamental rights that are intrinsic and inalienable to the human condition but also provides for the inclusive protection of such rights in day to day life. And our current law only takes physical space into account, which leads to fundamental rights being unenforceable in virtual space. So as virtual space penetrates further and further into our lives, the feasibility of the quest for a moral society becomes thrown into doubt. We need a law that allows for the protection of fundamental rights in virtual space.
This strikes to the core question of governing the internet. Many have argued that the internet should be self-regulating and should not be governed. This is a valid argument when it pertains to the infrastructural dimensions of the internet, but is questionable when it pertains to the spatial dimensions of the internet. A system for spatial construction that is efficient is not necessarily moral. Moral questions are complex: we will probably never find perfect answers, and the goal should be to continually evolve towards higher levels of morality. For this we need spaces that are inclusive, where power imbalances are minimised, with strong demands for transparency and accountability, where the diversity of voices in the debate is high, and where resistance is seen as healthy. Self regulating systems where rapid change is easy have a tendency to bypass resistance, or (when power imbalances are high) to even exterminate it.
We face the immense challenge of constructing a new political and legal theory. While this is an arduous task where change will be slow and long term, we must remember that whatever we have achieved in constructing constitutional democracy is because a group of thinkers attempted such a challenge a few centuries ago and this thinking empowered a shift from an acceptance of feudalism and colonialism to a quest for an ethical modernity. We probably have the means to affect change at a faster rate that what was possible in this earlier transition, but until we take on this challenge we will see little relief from the forces that currently trouble us.
Message: 2 Date: Sat, 12 Oct 2013 23:53:37 -0100 From: nettime’s_roving_reporter <firstname.lastname@example.org> To: email@example.com Subject: <nettime> Milton Mueller: Core Internet institutions abandon the US Government
The core Internet institutions abandon the US Government
October 11, 2013
In Montevideo, Uruguay this week, the Directors of all the major Internet organizations – ICANN, the Internet Engineering Task Force, the Internet Architecture Board, the World Wide Web Consortium, the Internet Society, all five of the regional Internet address registries – turned their back on the US government. With striking unanimity, the organizations that actually develop and administer Internet standards and resources initiated a break with 3 decades of U.S. dominance of Internet governance.
A statement released by this group called for “accelerating the globalization of ICANN and IANA functions, towards an environment in which all stakeholders, including all governments, participate on an equal footing.” That part of the statement constituted an explicit rejection of the US Commerce Department’s unilateral oversight of ICANN through the IANA contract. It also indirectly attacks the US unilateral approach to the Affirmation of Commitments, the pact between the US and ICANN which provides for periodic reviews of its activities by the GAC and other members of the ICANN community. (The Affirmation was conceived as an agreement between ICANN and the US exclusively – it would not have been difficult to allow other states to sign on as well.)
Underscoring the global significance and the determination of the group to have a global impact, the Montevideo statement was released in English, Spanish, French, Arabic, Russian and Chinese. In conversations with some of the participants of the Montevideo meeting, it became clear that they were thinking of new forms of multistakeholder oversight as a substitute for US oversight, although no detailed blueprint exists.
But that was only the beginning. A day after the Montevideo declaration, the President and CEO of ICANN, Fadi Chehadi – the man vetted by the US government to lead its keystone Internet governance institution – met with Brazilian President Dilma Rousseff. And at this meeting, Chehade engaged in some audacious private Internet diplomacy. He asked “the president [of Brazil] to elevate her leadership to a new level, to ensure that we can all get together around a new model of governance in which all are equal.” A press release from the Brazilian government said that President Rousseff wanted the event to be held in April 2014 in Rio de Janeiro. The President of ICANN thus not only allied himself with a political figure who has been intensely critical of the US government and the NSA spying program, he conspired with her to convene a global meeting to begin forging a new system of Internet governance that would move beyond the old world of US hegemony.
Make no mistake about it: this is important. It is the latest, and one of the most significant manifestations of the fallout from the Snowden revelations about NSA spying on the global Internet. It’s one thing when the government of Brazil, a longtime antagonist regarding the US role in Internet governance, gets indignant and makes threats because of the revelations. And of course, the gloating of representatives of the International Telecommunication Union could be expected. But this is different. Brazil’s state is now allied with the spokespersons for all of the organically evolved Internet institutions, the representatives of the very “multi-stakeholder model” the US purports to defend. You know you’ve made a big mistake, a life-changing mistake, when even your own children abandon you en masse.
Here at the Internet Governance Project we take only a grim satisfaction in this latest turn of events. We have been urging the USG to end its privileged role and complete the privatization of the DNS management for nearly ten years. The proper substitute for unilateral Commerce Department oversight, we argued, was not multilateral “political oversight” but an international agreement articulating clear rules regarding what ICANN can and cannot do, an agreement that explicitly protects freedom of expression and other individual rights and liberal Internet governance principles. We have heard every argument imaginable about
why this did not have to happen: no one really cared about the governance of the DNS root; there was no better alternative; the rest of the world secretly wanted the US to do this; etc., etc. A combination of arrogance, complacency and domestic political pressure prevented any action.
Had that advice been heeded, had the US sought to divest itself of its unilateral oversight on its own initiative, it could have exercised some control over the transition and advanced its cherished values of freedom and democracy. It could have ensured, for example, that an independent ICANN was subject to clear limits on its authority and to new forms of accountability, which it badly needs. Now the U.S. has lost the initiative, irretrievably. The future evolution of Internet
The FVNMA Media Archeologies Institute at SAIC is honored to present Erkki Huhtamo to kick off the programming taking place this fall.
Erkki Huhtamo’s media-historical excavations have established him as leading figure in the field of Media Archeology. His creative vision, thorough research, and unique style have helped to enlighten a media-saturated public on the genealogies that have been eclipsed or forgotten through the years. Huhtamo’s version of media archaeology is particularly concerned with excavating secret, forgotten, neglected, and suppressed histories. For his presentation at MAI, Huhtamo will draw from his work with topos study – which Huhtamo defines as as recurring discursive concepts, visual or audio, that can be traced cross-historically, and to various extents, cross-culturally – and present a selection of topoi associated with modern media technology such as the “hand of God,” permeable screen surfaces, the “cloud”, and the relationship between 19th astronomical lanterns and stargazing apps available today on mobile phones.
>> THE FVNMA MEDIA ARCHEOLOGIES INSTITUTE AT SAIC
The Film, Video, New Media, Animation department at the School of the Art Institute of Chicago will present a series of lectures and workshops that will take place throughout the Fall 2013 semester. Its main objective being to provide a site for inquiry into the burgeoning field of Media Archeology. Leading figures in the field will visit SAIC and present their research and various theory-practice approaches within the Media Archeological framework in order to inform, inspire, and initiate media-art practitioners and researchers in Chicago. Participants are this fall are: Erkki Huhtamo, Lori Emerson, Chris Ottinger, Ben Fino-Radin, and Nick Briz. All lectures and workshops are free and open to the public.
AAH Conference, Royal College of Art, London, UK, April 10 – 12, 2014 Deadline: Nov 11, 2013
Parsing the Pixelated: The Histories of Digital Art
Session at the Association of Art Historians 2014 Annual Conference
Although digital art precedes the creation of the world wide web in the early 1990s, it is only more recently, facilitated by affordable and widely distributed connected technology, that digital art has become firmly established as an artistic category. Yet the term remains nebulous, including many disparate forms and types of art: from manipulated photographs to interactive installations to works existing on or made by a computer. Furthermore, the History of Art has yet to substantively account for digital art, frequently deferring to the tools and methods of visual culture studies in recognition of a broader cultural phenomenon. Repositories of digital art have also recently been founded: on the one hand, the Museum of Modern Art, New York has started to acquire video games for its collection, on the other, the Google Art Project gathers together a virtual mega-collection of artworks drawn from the world’s leading museums (including 7-gigapixel images of their masterpieces).
This session will explore the definitions of and approaches toward digital art. It will be primarily concerned with the digital as an artistic medium and its relationship to and within art history. Papers may include but are not limited to: digital artworks (both on- or offline), historical precursors, digital theories and methodologies, the internet and the democratisation of art, interactive and experience-based art, ‘curated’ content, objecthood vs. virtuality, conservation and obsolescence, and scopic regimes. The session aims to locate and investigate discussions about art that is (or was) state of the art.
sure, amateur DIT surveillance defines fb and credit, but lets not forget the enthused amateur surveillance defining fame. or fashion. or any of those. (i’m still convinced that the nsa is modelling a new version of capital..
louis fourteenth enthused about greed as a mechanism for policing the burgeoning bourgeoisie. hence the legislation for capitalism. or as althusser, what would the subject be if it wasnt capital?
> The concept of the panopticon has been very popular ever since Foucault > elevated it to the rank of a central metaphor for modernity in > “Discipline and Punishment” (1975). And the NSA revelations seem to > confirm its usefulness once again. <…>
The IMC Lab + Gallery is pleased to present “Climate Art: New Ways of Seeing Data”, a show on the perspectives of data, climate, and art curated by Isabel Walcott Draves, Founder of LISA(Leaders in Software and Arthttp://softwareandart.com/).
This data visualization exhibit is part of the MARFA Dialogues/NY, a citywide examination of climate change science, environmental activism and artistic practice happening this October and November in New York City. Marfa Dialogues/NY features more than 20 Program Partners, including the IMC Lab + Gallery, and a spectrum of exhibitions, performance, and interdisciplinary discussions at the intersection of the arts and climate change.
Can the things we once thought of as infinite be quantified? If they are not infinite, when will they end?
This collection of works brings together a selection
of pieces by established software artists Ursula Endlicher , Ben Fry, Aaron Koblin, Nathalie Miebach, Camille Seaman, and Karolina Sobecka, which attempt to measure the immeasurable: the directed gaze, existence, the sky, power.
Looked at through the lens of climate change, these works make us think about our interaction with the natural world, and whether something that used to seem impassive, impenetrable, and immovable — the globe, the bedrock we stand on,
this Earth — is in fact as fragile as a cloud.
If taking the measure of something means forming an opinion about it, the data driving these pieces make us think more carefully about the logistics of our environment. The exhibit invites the viewer to notice our ecosystem and consider our impact upon it as a real and quantifiable force.
“In an era of climate change and species extinction, it only makes sense that we try to document the minutiae of what remains. But it is just as logical to pause from time to time to consider what cannot be calc ulated”. Akiko Busch, Author, The Incidental Steward: Reflections on Citizen Science
The exhibit opens October 12, 7-9 PM at the IMC Lab + Gallery and will remain on view through November 27.
RENEW is the 5th edition of the International
Conference on the Histories of Media Art, Science
and Technology. RENEW will take place in Riga,
October 8-11, 2013, hosted by RIXC Centre for New
Media Culture in Riga in partnership with the Art
Academy of Latvia, Stockholm School of Economics
in Riga, Liepaja University’s Art Research Lab at
and Danube University’s Center for Image Science.
RENEW will host three days of keynotes, panels
and poster sessions on the histories of networked
digital, electronic and technological media arts.
The RENEW conference will be complemented by a
variety of affiliated events, including the
ART+COMMUNICATION festival, with SAVE AS – a
thematically related media art exhibition,
receptions, live performances and concerts.
Tuesday, October 8 at 18.00, Stockholm School of
Economics in Riga, Strelnieku street 4a
Prof. Errki HUHTAMO / University of California, Los Angeles
“…HEY YOU, GET OFF OF MY CLOUD” MEDIA ARCHAEOLOGY AS TOPOS STUDY
There are many ways of doing media
archaeology. This lecture will offer a closer
look at one of them: topos study. Topoi are
formulas and “frozen” expressions that are
recycled within cultural processes. They appear,
disappear and appear again across centuries, and
are used to give expression for different ideas
in different contexts. The lecture will explain
how topos study can increase our understanding of
both contemporary media culture and its history.
Several examples will be analyzed. Michelangelo
will meet the Rolling Stones will meet iCloud.
Prof. Lev MANOVICH / The City University of New York
LOOKING AT ONE MILLION IMAGES: HOW VISUALIZATION
OF BIG CULTURAL DATA HELPS US TO QUESTION OUR
The explosive growth of cultural content
on the web including social media since 2004 and
the digitization efforts by museums, libraries,
and other institutions make possible a new
paradigm for the study of both contemporary and
historical media. Rather than only focusing on
isolated artifacts, we can use computational data
analysis and visualization techniques to study
the patterns in massive cultural data sets.
* NETWORKED ART (Plenary session)
Chair: Douglas KAHN
Speakers: Roddy HUNTER. Curating the Network-as-Artwork after
David THOMAS. The Crystal Stereoscope: The
Architectural Reconstruction of Vision
Rachel O’DWYER. Spectres of the common: a historical overview of radio
Mikhel PROULX. Ambiguous Images in Disambiguous Networks
* NETWORKED ART (Panel A)
Chair: Dieter DANIELS
Speakers: Nanette HOOGSLAG. The material image
Darko FRITZ. Agents of social and political
change in the early digital arts from the
Katja KWASTEK, Kevin HAMILTON. Slow Media Art
Ksenia FEDOROVA. Transmediality, Transduction and
Aesthetics of the Technological Sublime
Brogan BUNT. Walking as Mediation: Experiments in Non-Technological
11.15-13.00 (parallel session)
* MEDIA ARCHEOLOGY (Panel A)
Chair: Erkki HUHTAMO
Speakers: Michael CENTURY. Videotex – another panacea that failed
Chris HALES. Cinelabyrinth and the Later Work of Radúz âinãera
Rudi KNOOPS. Cylindrical anamorphosis:
thaumaturgical origins and contemporary workings
Patrick ELLIS. A Bird’s-eye View of “Urban
Renewal”: Media Archeology of the Panstereorama
Artemis WILLIS. Unfreezing Movement: Whaler out
of New Bedford, the Purrington-Russell Panorama
and the Media-Archaeological Imagination
* NETWORKED ART (Panel B)
Chair: Tatiana BAZZICHELLI
Speakers: Ernest EDMONDS. Network Art at the Birth of the Internet
Yara GUASQUE. Perforum Desterro and Perforum S?o
Paulo: reconsidering the collaboration between
the periphery and the center /
Margret Elisabet OLAFSDOTTIR. The
Roth-Fillou-Palsson connection as networking art
Timo KAHLEN. Signal-To-Noise, 2011
Annick BUREAUD. Pre Internet Art: Art and Minitel
in France in the 80’s. A Fragmented History
13.45-15.15 (parallel session)
* MEDIA ARCHEOLOGY (Panel B)
Chair: Joanna WALEWSKA
Speakers: Alberto FRIGO. Existential Scavenging:
Cultural Artifacts for Future Archaeologists
Vanina HOFMAN. Machines Agency in the Construction of Media Arts
Perttu RASTAS. Erkki Kurenniemi – Finnish hybrid
of Stockhausen, Buckmister Fuller and Steve Jobs
Paul LANDON. The vidéothé?tre of Montréal’s
Vidéographe: The forgotten screening room
José R. ALCALA, Beatriz ESCRIBANO. Critical
review of the movements that come from the use of
electrographic processes of generation,
reproduction and printing of images during the
second half of the XX Century
* PARADIGM SHIFT (Panel A)
Chair: Armin MEDOSCH
Speakers: James WERNER. Post Media Awareness and the Art Museum’s
Brian REFFIN SMITH. The Anti-Kuhn: Post-Media
Art, a Zombie-Pataphysical Approach
Jay HETRICK. Félix Guattari and the Post-Media Era
Dietmar UNTERKOFLER. Layers, Cold Systems and
Diagrams – Conceptual Art in Yugoslavia as Media Art?
Saskia KORSTEN. Reversed Remediation in a Revealed Simulation
15.30-16.10 (parallel panel)
* NETWORKED ART (Panel C1): New Media Memory – Digital London
Chair: Eva PASCOE
Speakers: Richard BARBROOK. Network Art at the Birth of the Internet
Eva PASCOE. Cyberia: the world’s 1st cybercafe
Jim BOULTON. Digital Archaeology Project
16.15 -17.00 (parallel panel)
* NETWORKED ART (Panel C2): Glitch Art
Chair: William LOCKETT
Speakers: William LOCKETT: Hybrid Agency and
Glitch in Digital Games: revisiting the politics
and aesthetics of perceptual disorientation
Daniel TEMKIN: Glitch & Esoteric Programming
Jon CATES: GL1TCHYST?RIES
* NETWORKED ART (Presentation Session)
Chair: Nishant SHAH
Speakers: Oliver GINGRICH. Holographic Projection Art – 1863 – 2013
Aymeric MANSOUX. Tales of Copyleft
Jamie ALLEN, Ryan JORDAN. Signal Aesthetics
Alex BARCHIESI. caotica_lex: a hybrid emergent
system for DISTRactive experiences
José OLIVEIRA. The Art of Systems and the Systems
of Art: Theories and Practices
Daniela CATONA. Presence and Absence – The Body and the New Media
17.00-18.00 (parallel session)
* MEDIA ARCHEOLOGY (Presentation Session)
Chair: Joanna WALEWSKA
Speakers: Marko RAKIC. Art and history in the age of Digital amnesia
Gabriel VANEGAS. Back to the Future in a Place Called America
Andrew PRIOR. Slow moment(um): Using media
archaeological models in tracing glitch
Joana BICARCO. Gestures of wonder: touching and waving before machines
Joanna WALEWSKA. Phonograph as a Double Agent:
Bronislaw Pilsudski’s research on the native
people of Siberia
Maria MIRE. Phantasmagoria: the archetypal apparatus of expanded
Magnus ERIKKSON. The “Hot Line Riots” as Media Archaeological Artefact
* NETWORKED ART (Poster Session – all day)
Posters: Laura POTROVIC, Darko JEFTIC. Network in
Movement: Movement Museum, Body, Breath, Gaze
Multi-museum, Autopoiesis, Transformation,
Liminality, Emergence, Presence Trans-museum
immersive multimedia technologies as surgery on
space or vivisection of realities?
JÇnis GARANâS. Immersive multimedia technologies
as surgery on space or vivisection of realities?
Rajashree BISWAL. Politics and dynamics of web art in India in the post
Ayhan AYTES. Intelligent Machines: Mediating the
Boundary between the Human and the Nonhuman
Esteban GARCIA. Photo and Palette: Early Pixel-Based Computer Art
Lauren HINKSON. Douglas Wheeler’s Infinity Rooms: Unrealized Media Art
Daniela de PAULIS. OPTICKS and Visual Moonbounce
Simon HAGEMANN. Aspects of the communication
network in performance arts: connectivity,
cultural and human exchange, power relations
ART+COMMUNICATION 2013 festival features:
* SAVE AS Exhibition Opening
Venue: Maskavas str. 12/1, kim? Contemporary Arts
Center, Spikeri Creative Quartier
Curator: Raitis Smits / RIXC. Artists: JODI (NL),
Alexei Shulgin & Aristarkh Chernishev (RU), Olia
Lialina (RU/DE), Cécile Babiole (FR), Heath
Bunting (UK), Evan Roth (UK/US/FR), Rasa Smite,
Raitis Smits & Xchange / E-Lab / RIXC (LV),
Dragan Espenschied (DE), Lamberto Teotino (IT),
Benjamin Gaulon, Karl Klomp, Gijs Gieskes & Tom
Verbruggen / ReFunct Media (FR/NL), Parag Kumar
Mital (UK), Robert Sakrowski & Constant Dullaart
/ net.artdatabase.org (DE/NL).
* COMPOSTING THE CITY / COMPOSTING THE NET
Performance by Shu Lea Cheang (FR) & Martin Howse (UK)
Venue: Maskavas str. 8, Spikeri Creative Quartier
* ARCHIVING (Plenary session)
Chair: Christiane PAUL
Speakers: Bartek KORZENIOWSKI. Static and active
archiving – strategies of re-presenting new media artworks
Oliver GRAU. Contemporary (Media) Arts & the Humanities in our
Annet DEKKER. The value of authenticity for net
art, a call for authentic allliances
Hanna Barbara HÖLLING. Versions, variations, and
variability. Possibilities and potentialities in
the preservation of computer based art
* ARCHIVING (Panel A)
Chair: Frieder NAKE
Speakers: Magdalena NOWAK. KwieKulik Archive:
Documenting and Preserving Art in Communist Poland
Morten SONDERGAARD. The Media Artist as Functionary: Show-Bix, ?rhus
Leila TOPIC. From New Tendencies to new
tendencies: Media art Collection of Zagreb Museum
of Contemporary Art
Grahame WEINBREN, Isaac DIMITROVSKY. Showing
Artists’ Cinema in the 22nd Century
Ay?a BAYARK. Rethinking Museums and the Role of New Media in
Tjarda de HAAN. Project: re:DDS, a case study of webarcheology
11.15-13.00 (parallel session)
* PARADIGM SHIFT (Panel B)
Chair: Armin MEDOSCH
Speakers: Emit SNAKE-BEINGS. DiY participatory
culture: Allowing space for inefficiency, error and noise
Steven MATIJCIO. Nothing Left to See: The Denial of the Image in Media
Gabriela GALATI, Amos BIANCHI. The Threshold
Stacey SEWELL. Bodily Fragments
Lauren FENTON. A Garden of Machines:
human/technological entanglement and the
emergence of robotic art
Damien CHARRIERAS. The gamification of New Media
Arts? The effectivities of video game engines in
new media arts worlds
* ARCHIVING (Panel C): Through the Conservator’s
Eye: Collecting, Preserving and Displaying Media Art Speakers
Chair: Christiane PAUL
Speakers: Joanna PHILLIPS. Sustaining Media Art
Collections: A New Focus in Conservation
Patrícia FALCAO. Managing Inherent Change
Martina PFENNINGER. Extending Contemporary Art Conservation
Agathe JARCZYK. Building the Foundations for a New Conservation
15.30-16.45 (parallel panel)
* EE-HISTORIES (Panel B)
Chair: Inke ARNS
Speakers: Andrew PATERSON. Contextual Media
Experiments: Locative axis between Finland and Latvia
Raivo KELOMEES. Constructing Narrative in Interactive Documentaries
Slavo KREKOVIC. Tracing Discontinuities: Writing
Histories of Experimental Sound-based Media in
Slovakia and Central/Eastern Europe
Peter Tomaz DOBRILA. KIBLA 20 years: The Oldest New Media Centre
Barbora SEDIVA, Katarina GATIALOVA. REMAKE:
REthinking Media Arts in C(K)ollaborative Environments
* ARCHIVING I (Presentation Session)
Chair: Hanna Barbara HÖLLING
Speakers: Kristian LUKIC. Media Art, Commons and Artificial Scarcity
Frieder NAKE. Recording and Recoding
Aurelie HERBET. Immaterial art stock project:
conservation challenges and issues of digital art
works carried out in online immersive platforms
Ricardo Dal FARRA. e-arts conservation: between
ethical concerns and practical strategies
Angela BARTHOLOMEW. Chronicling Closure: Digital
Initiatives and Virtual Visibility at the
Stedelijk Museum (2004-2011)
Laura LEUZZI. Italian video art centres and
archives: a treasure yet to discover
17.00-18.00 (parallel session)
* ARCHIVING II (Presentation Session)
Chair: Dieter DANIELS
Speakers: Nils JEAN. A Typology of New Media Art Renewals
Georgina RUFF. The Consequences of the Apparatus: Otto Piene’s
Tomohiro UESHIBA. A visual projection system of
Dumb Type’s performance “S/N”
Clarisse BARDIOT. A video-annotation software to
document digital performances
Sandra FAUCONNIER. The CD-ROM Cabinet: a
non-institutional documentation and preservation initiative
Ianina PRUDENKO. Ukrainian media art. Experience of archiving
* ARCHIVING (Poster session – all day)
Posters: Jana WEDEKIND. ON:meedi:a – Online
Multimedia Archiving for New Media Art
Kari YLI-ANNALA. From Helsinki Film workshop to
VILKE, artists media art collection
Sandra MARTORELL, Fernando CANET. The Internet as
a Place for Discussion and Preservation of the Art of Film
Valentino CATRICAL?, Elio UGENTI. Recreating
Imaginary. Strategies of Preservation,
Archiviation and Reuse of Media Art Histories
Christina VATSELLA. Conserving the new media
installation: the challenges of the monitor
Canan HASTIK, Arnd STEINMETZ, Bernhard THULL.
Using CIDOC CRM for Real-Time Audiovisual Art
SneÏana ·TABI. MAR· into new media?
Timothy HICKS. Rewinding Fast, Forward
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
* NEW IMAGERY (Plenary session)
Chair: Oliver GRAU
Douglas KAHN. The Arts of Energetics
Christiane PAUL. Digital Aesthetics Now and Tomorrow
Giselle BEIGUELMAN. Memories of Sand: Digital
art, cyberculture and the urgency for a new
approach to memory
Paul THOMAS. Richard Feynman’s diagrams, quantum
physics, parallel universes and the potential for
expression in media art
* NEW IMAGERY (Panel A)
Chair: Wendy COONES
Ashley SCARLETT. Materialty & New Media Materials
Alessandro LUDOVICO, Bronac FERRAN. Portraits of
the XXI century: representations and
misrepresentations of face and artistic responses
Florian WIENCEK. Activating The Archive: Meta-Experience of Media Art
Ana Carolina da CUHNA, Damián Peralta
MARINELARENA, Valentina Montero PENA.
Participatory Art and Mobile Webs in the Latin
American context – the influence of free and
corporative mobile communication networks on
participatory art proposals
11.15-13.00 (parallel panel)
* TECHNO-ECOLOGIES (Panel A)
Chair: Andrew PATERSON
Speakers: Brian DEGGER. Fermentations and net.culture as resiliency
?sa ST?HL, Kristina LINDSTRÖM, Eric SNODGRASS.
Living and Dying with Obsolescence
Julian PRIEST. Gravito Ergo Sum
Christoph THEILER, Renate PITTROFF. Fluid Control – Media Evolution in
Aura B?L?NESCU. The Integrative Media Work of
Art, the Keystone of a New Reality
Kuai Shen AUSON. 0h!m1gas: biomimetic stridulation environment
* NEW IMAGERY (Panel B)
Chair: Wendy COONES
Speakers: Jungyeon MA. Renewing the Story of CTG:
Haruki Tsuchiya’s Lifelong Research on Energy
Venzha CHRIST. Micronation/Macronation
Olga KISSELEVA. Media art as a tool to build a
post-industrial society : an example from the
Laine KRISTBERGA. Feminist Aesthetics in the Baltic Video Art
Laura BELOFF. Crafting Techno-Ecological Human
13.45-15.15 (parallel panel)
* TECHNO-ECOLOGIES (Panel B)
Chair: Shu Lea Cheang
Clea T. WAITE. Media is not a medium (it’s garbage)
Stahl STENSLIE. From Virtual to Rock Solid Art.
Maryse OUELLET. A Renewed Sublime: Images of
Infinity in Damatics by Ryoji Ikeda
Takis ZOURNTOS, Marjan VERSTAPPEN, Caroline
LANGILL, Dot TUER. Speculative Realist Media Art
Technologies: Probing into the Nature of Things
Juan Carlos DUARTE REGINO. Sonic Ludic
Interaction: Pulsar Kite as an artistic research
on sound feedback within eco logical space.
Leif BRUSH. Terrain Instrument 1 2
ART-SCIENCE (Panel A)
Chair: Annick BUREAUD
Speakers: Ryszard W. KLUSZCZYNSKI. Curating Art and Science
Roberta BUIANI. Representing the microscopic:
ecological vs sustainable in art and science
Maciej OZOG. Reinventing the body in musical
performance. From biosignals sonification to wetware
Erich BERGER. Field_Notes – A brief history of
art&science field work in the context of the
endeavors of the Finnish Society of Bioart
Tega BRAIN, Brad MILLER. le_temps: A media arts
response to Big Biology Data in the Anthropocene
GEOSPATIAL (Panel A)
Chair: Machiko KUSAHARA
Speakers: Erandy VERGARA. Motion, Perception and
Interaction: Discussing the Kinetic Genealogies
of Interactive Arts
Marc TUTERS. Avant-garde of the Control Society: Locative Media 10
Eva KEKOU. informational space and its architectural interpretation
Gavin MACDONALD. Moving bodies and the map:
relational and absolute conceptions of space in GPS-based art
David Maulen de los REYES. Prospective interfaces
from an alternative modernity Project. South
American Integral Architecture, Organic
Constructivism & Bio Digital Architecture
PARADIGM SHIFT (Presentation Session)
Chair: Raivo KELOMEES
Speakers: Chiara PASSA. The widget art gallery
Maryam BOLOURI. Rethinking Post Media Aesthetics:
Tracing the Visual Evolution and changes in Media Arts
Matthew EPLER. ReCode Project
Atif AKIN. Man-Machine Aesthetics with Derrida’s Parergon
Ilva SKULTE. Poetry is/or Art
Firoza ELAVIA. Presentism: the new imaginary in digital images
Kazuhiro JO. Cutting Record – a Record without
(or with) Prior Acoustic Information
TECHNO-ECOLOGIES (Presentation Session)
Chair: Andrew PATERSON
Speakers: Claudia ROSELLI. Resilient networks
through art practices. Old Delhi – New Media
Conor McGARRIGLE. Locative Histories: exploring
the continued influence of early Locative Media art
Andres Burbano VALDES. Inventions at the Borders of History
José Miguel GÓMEZ PINTO. Hybrid Square – the Use
of New Media as a Management Tool Towards a
Common Urban Space Activation.
Helene von OLDENBURG, Claudia REICHE. THE MARS PATENT – a living
Ebru YETISKIN. Ecomediatic Data
* PARADIGM SHIFT (Poster session – all day)
Posters: Heinz-Günter KUPER, Jens-Martin LOEBEL.
HyperImage 3.0: Of Layers, Labels and Links
Heba AMIN. Voices from the Revolution
Kestas KIRTIKLIS. German Media Theory: Theory of Media or Theory of
Richard MISEK. The Death of Remix Cinema
Jacek SMOLICKI. The role of Sound art as an archiving practice
Franziska HANNSS, Esther LAPCZYNA, Rainer GROH. The body-perceiving
Reba WESDORP. Digital Performance Art. An on and offline game
Ian GWILT. making data – data making
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
* Introduction of the Selected Host Re:2015 by
steering committee members and Christopher Salter
* Keynote lecture by Lev MANOVICH. LOOKING AT ONE
MILLION IMAGES: HOW VISUALIZATION OF BIG CULTURAL
DATA HELPS US TO QUESTION OUR CULTURAL CATEGORIES
Venue: Latvian Academy of Arts, Kalpaka blv. 13
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
ART+COMMUNICATION 2013 festival features:
* RUND-FUNK-EMPFANGS-SAAL. Environmental radio
music for extreme long waves – by Edwin van der
Heide (NL) & Jan-Peter E. R. Sonntag (DE)
Venue: RIXC Media Space (at Artists Union House),
11. novembra krastmala 35, entrance from Minsterejas str.
ART+COMMUNICATION 2013 Festival Closing Event:
CONCERT AND AUDIOVISUAL PERFORMANCES by Michael
Century (US), Theo Burt (UK), Luca Forcucci (CH),
Matthew Biederman & Alain Thibault (CA), Irina
Spicaka, Krisjanis Rijnieks & Platons Buravickis
Urbe utilises analogue and digital media, its main exploration focusing on the aesthetics of urban landscapes. The overall concept is the exploration of physical acoustics within the historical reflection of space.
In 2012, we began this project in Mexico as part of a collaboration with four independent audio and visual artists. As result, the project was presented at three venues: Chopo Museum in Mexico City, CEEMAS in Morelia and Laboratorio Sensorial in Guadalajara.
This year URBE is inspired mainly by the complex history of Berlin and its urban geography.
The proposals that URBE-BERLIN presents this year are based on urban histories and the constant post war geographical changes in a global context.
URBE-BERLIN is comprised of Verónica Mota, Jon Evans, Amanda Gutiérrez, Anthony Janas, Daniela Gast and Seamus O’Donnell.
Live presentations in Germany curated by URBAN ARTS BERLIN
RUINEN UND SCHATTEN
“Ruinen und Schatten” is an audio project by Verónica Mota Galindo, which reflects the city of Berlin in its form as an urban context in constant change. This project portrays the eternal state of renovation, the historical shadows of the past, the oblivion of lost memories and the new tendencies in Berlin. Using analogue instruments, samplers, percussive objects (subjected to Musique Concrète techniques), audio effects, records, tapes, field recordings, voice-overs and historical footage, the artist will create a 20 minutes work for live performance (solo).
The conceptual background of this project are the daily life of children and adults in post-war Berlin after the destruction of the Third Reich, the migratory and social effects caused by the construction and destruction of the Berlin Wall and the ruins and renovation of East and West Berlin.
Verónica Mota Galindo is a sound artist from Mexico City based in Berlin since 2002. Her sonic works have received much attention in Europe, Australia and the United States. Some of her most important creative collaborations have taken place with important artists and musicians based in her new home such as: Miriam Wuttke (Performance Art), Jon Evans (Live Music/Performance), Annie Stubbs (Music), Alain Ledezma (Music) y Miro Mastro- pasqua (Film), to mention just a few.
Verónica Mota Galindo has won regard in the audio arts field with her solo project CUBOP. The more significant releases in which CUBOP has taken part are: Sacredly Silver and Equally Gold – A Sidereal Tribute to COIL (ElseProducts-2013), 36 Aus 430 Von 30 (Edizioni Passarotto, 2013), CASTRATION Compilation (SP- Records, 2012) Fetus Frolics (Urban Arts Berlin, 2012) and Avantgarde Master Pieces (Liebe Records, 2011).
She is musically active in five sonic projects: The Sublime, The Abject, The Devil and Miss Jones, Materia Negra and Espectra Negra.
“Auferstanden Aus Ruinen” (German for “Risen from Ruins”), the national anthem of the extinct East German Democratic Republic (DDR), described the situation of Germany after the defeat of the National Socialists through the time of the military occupation until the formations of the two exclusive republics of post-war Germany.
Nowhere were these ruins more typified than in the city of Berlin.
The project takes the form of the national hymn of the DDR, “Auferstanden Aus Ruinen” and uses its modalities and general form as the backbone of the piece. Historical recordings will be used to describe the linear narrative (which will sequentially describe a period of 40 years) and will be accordingly treated, sampled and layered according to a score. Techniques derived from Musique Concrète such as hard gating, frequency-shifting, filtering, reversing and other kinds of synthesis to create a “meta-hymn” to the People’s Republic. The story is basically that of the Berlin, capital city of the DDR, and its Rise and Descent into Ruins.
Jon Evans is a sonic and visual artist and musician. He studied painting and sculpture in the early 1980s before forming the industrial music groups The Unconscious Collective (with Louis Burdett, ex-Free Kata) and Last Dominion Lost (with Dominik Guerin, ex-SPK, and John Murphy, ex-Current 93), as well as being the singer of the Australian sleaze- rock band, The Methylated Spirits. Current musical projects include The School For Cadavers (with Julian Percy), The Grimsel Path (with John Murphy) and The Sublime (with Verónica Mota, a.k.a. Cubop).
Objects collected in the city of the performance are elevated to a new status. In the process of sampling and manipulating the sounds of these objects a new (but old) story is teased into being, persuaded to reveal the epic journey of its city. By reducing the city to a few objects and then abstracting their metaphoric properties to a live sound piece is the preferred method of the artist, KnifeLoop, to learn of the hidden beauty and ugliness, and the mystique that lurks beneath the surface of all cities.
NoisiV, an experimental music group consisting of LifeLoop (SÈamus O’Donnell’s stage name) and Androvirus. They work with a mix of field recordings, homemade instruments and live sampling manipulation.
Seamus O’Donnell is an Irish sound artist who lives in Berlin. His work includes projects in the field of sound and media art, experimental radio and live improvisation. He is co initiator of the series of experimental music concerts in Salon Bruit Berlin, which has regularly organized events since 2002 has been involved in many different temporary radio projects (such as PiRadio, RebootFM, Radio Tesla, Funkwelle and currently 88vier).
“Right now I am most interested in live-sampling of sounds and noises, whether acoustic or electronic, the repetition and manipulation of these samples and the discovery of new sounds through this journey. I use knives, metal bowls, self-built electronics, tapes, a 4-track sampler and magnetic and contact microphones.”
The suburbs emerge as an unconscious desire for self-segregation. This stems from the conscious motivation to remove oneself and family from the physical chaos of the city.
Suburbia became a satellite space with the goal to preserve and embalm the traditional symbols of the middle class. Symbols such as the nuclear family, home ownership, and proud consumerism are all mummified in the suburban landscape.
The images will speak and show the absence of the human physical presence, showing only house exteriors and personal belongings.
The audio portion will emphasize the two states found in the suburbs. The tension between planned construction and the entropy in the human mind, as found between the architecture and residents of Suburbia will also be explored in the audio during the performance.
Collaborative project by Amanda Guitiérrez and Anthony Janas.
Amanda Gutiérrez is a Chicago-based artist from Mexico who focuses on the concepts of memory, home and urban landscapes in the context of the social, political and personal effects of migratory displacement. She uses photography, video and sound to create an ambiguous assemblage of remembered stories. She has participated in several programs worldwide like the FONCA program at the Banff Centre of the Arts in Alberta (CA) in 2009, the Taipei Artist Village in Taipei (TW) in 2009 and the Centre for Art and Media Karlsruhe (DE) in 2002.
Anthony Janas. Born on June 8th 1984. B
orn into a blue collar family and raised with a working class mentality. Previous solo work, Easter Sea (tt tapes) Simpleton Electronics (nihilist records), Birthday (third sex records). Member of Chicago Krauthause group Deep Earth.
Anthony Janas uses electronic music as a device to examine and express the irrational and predictive territories of the human condition. This is achieved through modular synthesis because of the instruments logical computation. Modular synthesizers have crude computing capabilities that can construct a simple song, although they can behave and express elements that appear groundless or be interpreted as musical structures that are abstract or experimental.
In a multilayered performance narrative of 10 minutes Desire and Satisfaction are conceptual anchors in this piece set and related to Berlin.
Through video projection, sound, object and the character of a performing hedgehog (myself) this piece pierces through personal and historical high and low points relating to Desire and Satisfaction within the time frame of 1976 until 2013.
Daniela Gast Germany, Berlin 1976
She completed her Bachelor in Fine Art/Sculpture, at the National College of Art Design, Dublin, Ireland, 2003. Her art practice is expressed through video, sound, installation art and performance art. In recent years the focus has been on creating and showing 5-15 minute performance pieces using her body, video, sound and costume.
Opening Reception on Friday, September 20, 7 p.m. Urban spaces are not but a conglobation of houses, industrial estates, and streets, they are an expression of a heterogeneously cultural, social, economical, and political society, and the stage of (revolutionary) transitions. The sound of European, African or Asian cities is marked by the complex matrix of their social practices. Cities have their characteristic yet hardly prehensible acoustic pattern. Since the beginning of the 20th century they have fascinated artists who initially captured the reality of the city via film or sound recordings, or like the futurists who celebrated the noise of the industrialised city as the symbol for a new society. Today’s sound artists’ interest has differentiated itself outbound from the concretely recorded sound, the focus is always on new aspects of urbanity: on meanings and memories or abstracted structures, or the work is created from the contact with the city and in interactions of the people living there. During the artistic appropriation artists distance themselves from the urban reality or intensify it. Strategies of transmission, of sonic journalism, of emblematism, the layers of mediatisation form the artistic canon of this contact with reality, which is systematised and emphasised through the terms of urbanisation, combination, mechanisation, and globalisation. The starting point of URBAN SOUNDS is the trinational space. Artists and institutions from the region enter into a dialogue with their tri- and international colleagues. URBAN SOUNDS presents concerts and talks along the named axis historically, and contemporary and newly initiated works from the trinational and global space in one exhibition.
Guest curator: Julia Gerlach / Director Music, Berlin artist’s programme of DAAD
Exhibition September 21 – November 3, 2013 (Opening: FRI 20.9., 7 p.m.) Opening hours: Wed-Fri 5-8 p.m. and Sat/Sun: 1-8 p.m. Guided tours with the curator: Saturday 21.9, 5.10, 19.10, 2.11, 3 p.m. Regular guided tours: on Sundays at 3 p.m. Guided tours with After Work Drinks: on Thursdays at 6 p.m.
Event-Weekends September 20–22: Urbanise. City and Sound October 5–6: Combine. Material and Memory October 18–20: Mechanise. Space and Time November 2–3: Globalise. Culture and Politics
2. Weekend: Combine. Material and Memory October 5–6, 2013 5.10., Exhibition opens at 1 p.m., events start at 3 p.m. (till midnight) Lectures/Presentations/Statements/Round Tables: Marion Saxer (DE), Amadis Brugnoni (CH), Johannes Kreidler (DE), Florian Meyer (DE) & Daniel van den Eijkel (CH/DE) / Institut für Feinmotorik Concerts/DJ-Sets: IRMAT-Concert (premieres by Wanja Aloe (CH), Isabel Klaus (ES/CH), Johannes Kreidler (DE)), Florian Meyer (DE), Daniel van den Eijkel (CH/DE) / Institut für Feinmotorik, DON’T DJ (DE) 6.10., Exhibition opens at 1 p.m. Workshop: 1-2 p.m.: IRMAT-Workshop I (Amadis Brugnoni), 3-4 p.m.: IRMAT-Workshop II (Amadis Brugnoni), please register
3. Weekend: Mechanise. Space and Time October 18-20, 2013 18.10., Exhibition opens at 5 p.m., concerts start at 7 p.m. URBAN SOUNDS in progress: Concert contributions by students