hannah arendt art science space


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more on surveillance



Petition by Writers Against Mass Surveillance

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 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

streaming museum art and technology

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. 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.

Link: http://urbanmediaaesthetics.org/#?cat=21_events?post=720_electric-signs-2013-directed-by-alice-arnold


596 Broadway #602 NY 
New York, New York Manhattan 10012 
United States of America

Submitted by: Streaming Museum | Fri Nov 29th, 2013 10:23 p.m.

communication conference

 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.
 Proposals for panels, individual papers and posters can be submitted to one of the 17 ECREA sections through the conference website at<http://ecrea2014.ulusofona.pt/>  from 1 December 2013 to 28 February 2014. For section overviews, please see
 <http://ecrea2014.ulusofona.pt/sections.html>. Alternatively, please access the ECREA site at<www.ecrea.eu>.
 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: ecrea2014@ulusofona.pt
 5th European Communication Conference
 Lisbon, 12-15 November 2014

cybernetics – theory

Feedforward, I. A. Richards, Cybernetics and Marshall McLuhan

Robert K. Logan


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.?

unplagged electronics



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.

capturing sound

Capturing Sound: How Technology Has Changed Music, Volume 1

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.

cyber surveillance – ubermorgen

u s e r u n f r i e n d l y

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.’[1]


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’[2].  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.



[1] Huffington Post
[2] UBERMORGEN.COM, Manifesto, 2009


The exhibition guide can be downloaded here.


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

Piksel13 || RIOT – 21-24 Nov. 2013, Bergen (NO)

Piksel13 || RIOT

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.



EXHIBITIONS @ Franz : Navle and Lydgalleriet

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


Afroditi Psarra, Constanza Pi?a, John Bowerss, Sten-Olof
Hellstr?m, Theremidi Orchestra, Servando Barreiro, Alex McLean, Ryan
Jordan, Raquel Meyers, Goto80, Great International Audio Streaming
Orchestra III, Malte Steiner, Darsha Hewitt, Anis Haron, Dr. Nexus,
V?ctor Maz?n Gardoqui, LaptopsRus, Casperelectronics


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

WORKSHOPS @ Trykk : Trykk and Piksel HQ

PSYCHOHELIOPHYSICISTS ? SUN TONGS, Sound happens in the group!, Noise
Make-up Language, Limen ? electromagnetic sniffing device, APODIO V9
WORKSHOP, Haptic City Workshop, Paper-Duino-Pi, LornaLab Projection
Workshop, OSC controlled realtime visuals with the gameengine Panda3D,
<3-bit shirt

more info and complete festival program:

Piksel11 is supported by The Norwegian Art Council, Bergen
Municipality, Hordaland County, PNEK, BEK, Grundtvig ? Lifelong
Learning Program and others.

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.

digital aesthetic caludia gianetti

Edith-Russ-Haus for Media Art


Generation i.2
The Aesthetics of the Digital in the 21st Century
November 15, 2013–February 16, 2014

Edith-Russ-Haus for Media Art


Christopher Baker, “Murmur Study,”
2009–2013. Weisman Art Museum, 2009.
© Rik Sferra.

Participating Artists:
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.

Curator: Dr. Claudia Giannetti

More information is available here.

For inquiries, please contact:
Dr. Ingmar Laehnemann
T +0049 441 235 3194 / ingmar.laehnemann@edith-russ-haus.de / presse@edith-russ-haus.de

cryptofest- cybersurveillance london

London CryptoFestival
Tools and analysis for a post-PRISM internet


Saturday, November 30th
Doors open 10.30 / Start 11am sharp

New Academic Building
Goldsmiths, New Cross
Location: http://www.gold.ac.uk/find-us/

Free, all welcome

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

Ross Anderson, University of Cambridge Computer Lab<
Ian Brown, Open Rights Group<https://www.openrightsgroup.org/>, Oxford
Internet Institute<http://www.oii.ox.ac.uk/people/?id=117>
George Danezis, UCL
Marianne Franklin, Goldsmiths<https://www.gold.ac.uk/media-communications/
staff/franklin/>, Internet Rights and Principles Coalition<http://
Jo Glanville, PEN
Wendy Grossman, Open Rights Group<https://www.openrightsgroup.org/>
Annie Machon ex-MI5 whistleblower
Sm?ri McCarthy (@smarimc<https://twitter.com/smarimc>), International
Modern Media Institute<https://immi.is/>
Nick Pickles, Big Brother Watch<https://www.bigbrotherwatch.org.uk/>

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.

IOCOSE ? present First Viewer Television
Orsolya Bajusz ? Swarming Talent Competition
Deckspace ? Community Access

Organised by
Digital Culture Unit, Centre for Cultural Studies, Goldsmiths, University
of London:

Department of Computing, Goldsmiths, University of London:

Book a place online: https://londoncryptofestival.eventbrite.co.uk/
Twitter: @cryptofestival

Please circulate

mediaecology – sound practices – iconoclastia

New podcast: FONS ÀUDIO #21. Eric Baudelaire

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’.

Link: http://rwm.macba.cat/en/specials/fons_eric_baudelaire/capsula
More info: http://rwm.macba.cat/uploads/20130827/Fons21_eng.pdf

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

You can find other features related to cinema and filmmaking here:http://rwm.macba.cat/en/cinema





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

More from A R:


snowden N surveillance

Message: 1
Date: 2 Nov 2013 12:23:52 +0100
From: “Jan Kempf” <Jan.Kempf@ruhr-uni-bochum.de>
To: nettime-l@kein.org
Subject: <nettime> Germany may invite Edward Snowden as witness in NSA
Message-ID: <mailman.8.1383476401.48252.nettime-l@mail.kein.org>
Content-Type: text/plain; charset=UTF-8;

I would like to share the the report of The Guardian with you.

You will also find the original report here:


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 

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.

Jan Kempf, S?dstra?e 8, 48153 M?nster, Germany




cybersalon surveillance

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 .

mit architecture space algorithms

Contagious Architecture

Computation, Aesthetics and Space

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.


The Age of Drones

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.


darpanetdialogues bassam el baroni


Furtherfield, London – online only

Session organised with Furtherfield  based on a part of one of the ARPANET dialogues from 1975 -1976

8pm London time 
find your local time :http://www.timeanddate.com/worldclock/converter.html

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/

This pre-Internet chatroom conversation between Jim Henson, Ayn Rand, Yoko Ono and Sidney Nolan is fake. But it’s amazing. Robert Gonzalez in io9. December 2012.

Ronald Reagan has joined the chatroom
Interview by Richard Fischer, CultureLab with Jeremy Beaudry, one of the artists behind the project. April 2011.



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.

Vol. I of the dialogues was presented as part of OVERSCORE, Alexandria Contemporary Arts Forum’s (ACAF) curatorial contribution to Manifesta 8, the European Biennial of Contemporary Art which took place in the region of Murcia, Spain in 2010.

Vol. II was presented as ACAF’s contribution to MARKER at Art Dubai 2011. The second edition features guest collaborator Khwezi Gule, a curator, artist, and writer based in Johannesburg, South Africa.

Vol. III is presented as a contribution to the project/publication The Archive as a Productive Space of Conflict.



“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.

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 sgardner@umbc.edu.

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
1000 Hilltop Circle
Fine Arts Building, 105
Baltimore, MD 21250
Hours: Tuesday–Saturday, 10am–5pm

T +1 410 455 3188


bypassing cartography

Bypassing Cartography- part 1

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.


More About the AntiAtlas of Borders 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/

Curatorial practices in new public and social (digital) spaces.

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
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)

Art, Internet, CommunitiesWelcome: Christoph Schenker
Moderation: Sepake Angiama & Dominique Lämmli

South Africa
camputer.org; pad.ma
Ashok Sukumaran
Bombay, India

Roberto Jacoby, Buenos Aires, Argentinia
Aaajiao (XU Wenkai) Shanghai, China


Introduction to the conference: Dorothee Richter is the head of the Postgraduate Programme in Curating www.curating.org, publisher ofwww.oncurating.org and PhD advisor at the University of Reading. Filmmakerwww.fluxuxnow.net and curator.
  Nataša Petrešin-Bachelez is publisher of the Manifesta Journalwww.manifestajournal.org and curator.
  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.
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.nethttp://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
(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.
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.



mutek Creativity and Innovation in the Public Space.

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.

XLR8R review

MUTEK MEXICO 2013 on Instragram

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!
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.

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

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.

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. !

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.!
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.

18:30 – 19:30!
Ejival – Torolab / Static Discos, Tijuana

small global extreme energy – d-fuse


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 EnglandSchool of Advance Study, Vivitek Projectors.

During the festival D-Fuse will be screening previous works including Pathways: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

https://vimeo.com/small global

Surveillance Self Defense

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.

In a fourth section, we’ll also provide some basic information about the U.S. government’s expanded legal authority when it comes to Foreign Intelligence and Terrorism Investigations .

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.



[NetBehaviour] A Conversation between Edward Snowden and UBERMORGEN

Do You Think That’s Funny?

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 

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.




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.

Challenging questions:
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?




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.


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.


Curatorial issues
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.

Technological issues

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.


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
September 2014
(with participation of the selected artists)


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.


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.


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.

Submission deadline

Please submit your proposal until 20 October 2013 via the application platform of Connecting Cites Network partner Amber Platform: http://submissions.amberplatform.org

Selection results

Planned to be published on 8 November 2013.

More information

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 tocontact@connectingcities.net


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.


Funded by the Culture Programme 2007-13 of the European Union

Streaming Partner: Streampark

Media Partner: Arte Creative

Urbane Künste Ruhr


realities:united, Sender (model). © Urbane Künste Ruhr.

Urban Lights Ruhr

October 18–19 and 25–26, 2013

Bergkamen Arcades 
(at the residential tower and on the parking deck)
Töddinghauser Straße 139
59192 Bergkamen


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
Fachhochschule Dortmund, department of design/ scenography


flossie 2013


Flossie 2013

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!

Download the Flossie 2013 programme and Get your tickets here!

Find out more about the CodeSprint and Internet of Things strands and contact us if you’d like to participate.

If you can’t make it to London find out about remote participation in the Codesprint and sign up for your remote ticket

Who is this event for?

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.

Flossie 2013 Themes:

Women and an ‘internet of things’

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

Open Collaborative Communities – CodeSprint

Open Collaborative Communities are rapidly evolving facilitated by open technologies and engaged in diverse creative endeavours and activities:

  • open on-line collaborative communities for coding (FLOSS projects) CodeSprint
  • open learning (MOOCs)
  • open knowledge creation and management (Wikipedians etc)
  • open music making (the SuperCollider community etc)
  • open financial systems (e.g. http://www.kuali.org/kfs , Positive Money etc)

Submissions now closed but you can still sign up to participate in the IoT participatory design project or the CodeSprint: contact us and tell us you’d like to participate so we can help you prepare.

Further Information

If you have any questions regarding this event, please contact us We’ve pulled together information about accommodation for a range of budgets, and directions to the venue.Please note our diversity and anti-harassment policy.

more surveillance internet network

Message: 1
Date: Sun, 13 Oct 2013 01:32:00 +0530
From: Prem Chandavarkar <prem.cnt@gmail.com>
To: nettime-l@kein.org
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 <nettime@kein.org>
To: nettime-l@kein.org
Subject: <nettime> Milton Mueller: Core Internet institutions abandon
    the US    Government

http://www.internetgovernance.org/2013/10/11/the-core-internet-institutions-abandon-the-us-government/ >

The core Internet institutions abandon the US Government

  [Milton Mueller]

  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.

  [15]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

  15. http://www.icann.org/en/news/announcements/announcement-07oct13-en.htm

  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 [16]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.

  16. http://www.news24.com/Technology/News/Brazil-to-host-internet-governance-summit-20131010

  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[17] 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.

  17. http://www.internetgovernance.org/2009/06/08/igp-calls-for-us-led-international-agreement-on-icann/

  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

media archeologies

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 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. 






SAIC Neiman Center 
37 S. Wabash Ave. 
Chicago, Illinois 60603 
United States of America

The Histories of Digital Art

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.

Send your abstract directly to Cliff Lauson, Hayward Gallery,
digitalarthistories@gmail.com by 11 November 2013.

This session is a part of: Association of Art Historians 2014 Annual
Conference & Bookfair Royal College of Art, London, UK, 10-12 April

Please see AAH website for session listings, proposal submission
guidelines, and conference fees.

Reference / Quellennachweis:
CFP: The Histories of Digital Art (AAH London, 10-12 Apr 14). In: 
H-ArtHist, Oct 8, 2013. <http://arthist.net/archive/6101>.


Humanities-Net Discussion List for Art History
E-Mail-Liste für Kunstgeschichte im H-Net

Editorial Board Contact Address / Fragen an die Redaktion:

Submit contributions to / Beiträge bitte an:

Homepage: http://arthist.net



surveillance users rights

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

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.


From: Burak Arikan <arikan@gmail.com>
To: nettime-l@kein.org
Subject: Re: <nettime> UserRights

Hi Olia, this is simple and awesome. It should be developed further to
include the almost invisible interfaces of social software.

In this regard, we’ve designed a framework for sustaining user labor across
the web. This can obviously be tied to user rights.


climate data art

Climate Art: New Ways Of Seeing Data

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.

Link: http://www.theimclab.com/


56 W 22nd St, 6th Fl
New York, New York 10010
United States of AmericaBasic CMYK

media art histories 2013

Our Partner and Host of the next MediaArtHistories Conf
RIXC published an updated program of the Renew conference.

More recent updates will be available on the
official MAH website: http://mediaarthistory.org 
shortly, too).

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.

Registration for RENEW conference is currently
open: http://renew.rixc.lv/registration.php


Tuesday, October 8 at 18.00, Stockholm School of
Economics in Riga, Strelnieku street 4a

Prof. Errki HUHTAMO / University of California, Los Angeles
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
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.

Rasa SMITE and Raitis SMITS

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Venue: Stockholm School of Economics, Strelnieku str. 4A

Keynote lecture by Erkki HUHTAMO. “…HEY YOU,


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Venue: Stockholm School of Economics, Strelnieku str. 4a, Riga

* 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

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
Media Art

11.15-13.00 (parallel session)
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

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)
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

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

* 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).

Performance by Shu Lea Cheang (FR) & Martin Howse (UK)
Venue: Maskavas str. 8, Spikeri Creative Quartier

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= = = = = = = = = = = THURSDAY, OCTOBER 10 – DAY 2
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Venue: Stockholm School of Economics, Strelnieku str. 4a, Riga

* 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

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)
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)
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
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
Using CIDOC CRM for Real-Time Audiovisual Art
SneÏana ·TABI. MAR· into new media?
Timothy HICKS. Rewinding Fast, Forward
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* TECHNO-ECOLOGIES: PLAYING FIELDS (Participatory & Discussion
Chair: Armin MEDOSCH

18.00-20.00 (Parallel)
(Participatory & Discussion Session)
Chair: Nina CZEGLEDY

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Venue: Stockholm School of Economics, Strelnieku str. 4a, Riga

* 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

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)
Chair: Andrew PATERSON
Speakers: Brian DEGGER. Fermentations and net.culture as resiliency
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

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
Ural Biennale
Laine KRISTBERGA. Feminist Aesthetics in the Baltic Video Art
Laura BELOFF. Crafting Techno-Ecological Human

13.45-15.15 (parallel panel)
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

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

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
Years On
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

17.00-18.00 (parallel)
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
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* Introduction of the Selected Host Re:2015 by
steering committee members and Christopher Salter
* Keynote lecture by Lev MANOVICH. LOOKING AT ONE

Venue: Latvian Academy of Arts, Kalpaka blv. 13
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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.

= = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = = =
SATURDAY, OCTOBER 12 (affiliated event)
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ART+COMMUNICATION 2013 Festival Closing Event:
Century (US), Theo Burt (UK), Luca Forcucci (CH),
Matthew Biederman &  Alain Thibault (CA), Irina
Spicaka, Krisjanis Rijnieks & Platons Buravickis

Venue: Spikeri Concert Hall, Maskavas str. 4/1.

N.K. project – berlin

URBE-BERLIN A Psychogeographic Investigation

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” 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.


urban sounds basel

20. September 2013 – 3. November 2013

Urban Sounds

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




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.

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
A project of «Triptic – Kulturaustausch am Oberrhein»/ Un projet dans le cadre de «Triptic – Echange culturel dans le Rhin Supérieur»

1. Weekend: Urbanise. City and Sound
September 20–22, 2013
20.9., 7 p.m. Opening, with a Concert by Maria Chavez (PE/US)
21.9., Exhibition opens at 1 p.m., events start at 3 p.m. (till midnight)
Lectures/Presentations/Statements/Round Tables: Trond Maag (CH/NO), katrinem (DE/AT), Thomas Köner (DE/FR), Maria Chavez (PE/US)
Concerts/DJ-Sets: Thomas Köner (DE/FR), Lord Soft (CH)
22.9., 1 p.m. Exhibition opens
12 noon-1 p.m. Aural stroll through Basel with Andres Bosshard (CH), please register
2-6 p.m. Workshop in public space with katrinem (DE): to pause and listenplease register
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 (ECAV Sierres, HEAR Mulhouse/Strasbourg, Elektronisches Studio Basel)
19.10., Exhibition opens at 1 p.m., events start at 3 p.m. (till midnight)
Lectures/Presentations/Statements/Round Tables: Tim Otto Roth (DE), Shintaro Miyazaki (CH), Nicoletta Torcelli (IT/DE), Erik Oña (AR/CH)
Concerts/Performances/DJ-Sets: Elektronisches Studio Basel (premieres by Keitaro Takahashi (JP), Cedric Spindler (CH), Anita Mieze (LV), followed by a Performance of a piece by Seth Ayyaz), Nicolas Maigret (FR), Ben Hereth (CH)
20.10., Exhibition opens at 1 p.m.
Family Day with Workshops 

 4. Weekend: Globalise. Culture and Politics
November 2–3, 2013
2.11., Exhibition opens at 1 p.m., events start at 3 p.m. (till midnight) 
Lectures/Presentations/Statements/Round Tables: Gilles Aubry (CH), Peter Cusack (UK), Mahmoud Refat (EG), Pawel Janicki (PL)
Concerts/Performances/DJ-Sets: Pawel Janicki (PL), Mahmoud Refat (EG), Zimoun (CH)
3.11., Exhibition opens at 1 p.m.
Workshop: Ping Melody with Pawel Janicki (PL), please register

History Of Sound Art Online ———– 3 College Credits!

Philips Pavilion, a special multimedia structure at the 1958 World’s Fair containing hundreds of speakers

A History of Sound Art” is an ONLINE course that is offered through the Art History Department at Massachusetts College of Art and Design (MassArt) STARTING SEPTEMBER 16TH. Enrollment is open to the general public — you do not need to be a student at MassArt in order to enroll. This is a 3 college credit course. This course will give you the background you need for understanding and appreciating the relatively new artistic category designated as “sound art,” as well as introducing you to a number of current artists in the field. The course starts September 16th, but early registration is advised. For more information about the course and a link to registration go to the course website:


Imagine sound pieces created with bells hung from clouds, a piano filled with nails/bolts/nuts/screws, a floor covered with old LPs, or only the echo of a space. This course examines works by 20th century artists who have created significant relationships between the aural domain and other areas of thought and perception.

Class 1 – Introduction to the course: What is sound art? Listening: Scriabin, Scott Wilson, Max Neuhaus. 

Class 2 – Acoustic concepts. Listening: Alvin Lucier (Chambers), various sound phenomena. 

Class 3 – A Brief History of Music in Western Europe: Gregorian Chant to the 20th Century. Listening (excerpts): von Bingen, Perotin, Palestrina, Strozzi, Bach, Mozart, Beethoven, Wagner, C. Schumann, drums of Benin, Tyagaraja, etc.

Class 4 – The Birth of Sound Recording; Early Electronic Music in France, Germany and the U.S. Listening: Tchaikovsky (Theremin), Schaeffer, Eimert, LeCaine, L.&B. Barron, Moog/Buchla.  Research paper topics assigned via email.

Class 5 – John Cage: Before and Beyond. Listening/viewing: Schoenberg, Webern, Cage, Lucier (I am sitting in a room). 

Class 6 – Sonic Meditation; Soundscapes; Acoustic Ecology (R. Murray Shafer). Listening: Oliveros, Westerkamp, etc. 

Class 7 – Nam June Paik: The Conceptual Merging of Music and Video (also including the work of Charlotte Moorman).  MIDTERM REVIEW (“open-book” test). Listening/viewing: Paik. 

Class 8 – Minimalism in Sound Art: Exploitation of Phase and Delay. Listening: Young, Reich, Lucier. 

Class 9 – Sampling, Mixing and Remixing. Listening: John Oswald, Negativland, P. Miller (DJ Spooky).

Class 10 – Sound Sculptures. Listening/viewing: Windchimes/Fountains, Tonkin/Liu, P. Matisse, Partch, Baschet brothers, Trimpin, Joe Jones, Marclay. 

Class 11 — Multispeaker installation; Speakers and space. Surround-sound. Listening/viewing: Varese, Leitner, Phillipsz, Kline. 

Class 12 – Two topics: A) The voice and the body. B) Interactive sound art on the internet. Listening/viewing: Ball, Schwitters, Artaud, Ono, M. Monk, B. Hutchinson, J. Cardiff, Gicheol Lee, Amit Pitaru. 

zero 1

For Immediate Release

ZERO1 Receives $200,000 Grant 
From The David and Lucile Packard Foundation

SAN FRANCISCO, September 3, 2013 — ZERO1: The Art and Technology Network is pleased to announce the The David and Lucile Packard Foundation has approved a two year $200,000 grant in support of general operations for our work at the intersection of art and technology. 

The Packard Foundation’s continued investment in ZERO1 and ongoing recognition of our pioneering efforts, driving cultural and economic vibrancy in Silicon Valley, enables ZERO1 to continue to anchor our presence in an increasingly dynamic area. Through their Local Grantmaking program, the Packard Foundation supports communities to help make them stronger and more vibrant places where families can thrive and reach their potential. The arts are one of the five fundamental issue areas that reflect their priorities and ZERO1 is pleased to be able to be a part of these efforts. 

For more information, images, or interviews contact:
Wendy Norris, Norris Communications
(415) 307-3853 or wendy@norriscommunications.biz
or press@zero1.org

About The David and Lucile Packard Foundation The David and Lucile Packard Foundation is a family foundation. We are guided by the enduring business philosophy and personal values of Lucile and David, who helped found one of the world’s leading technology companies. Today, their children and grandchildren continue to help guide the work of the Foundation. Their approach to business and community participation has guided our philanthropy for nearly 50 years: we invest in effective organizations and leaders, collaborate with them to identify strategic solutions, and support them over time to reach our common goals. We work on the issues our founders cared about most: improving the lives of children, enabling the creative pursuit of science, advancing reproductive health, and conserving and restoring the earth’s natural systems. 

About ZERO1: The Art & Technology Network 
ZERO1 is where art meets technology to shape the future. As a 21st century arts nonprofit, ZERO1 works with some of the world’s most fertile and creative minds from the fields of art, science, design, architecture, and technology. ZERO1 presents a year-round program of exhibitions, talks, and events at the ZERO1 Garage, their arts space in downtown San Jose’s downtown cultural district, and produces the ZERO1 Biennial, an international showcase of work at the nexus of art and technology. ZERO1 is also the force behind the ZERO1 Fellowship program, where principles of artistic creativity are applied to real world innovation challenges. Visitwww.zero1.org

paolo cirio hacking websites

Workshop: Scraping Political Big Open Data (Web Hacking Techniques).

The workshop will introduce the basic philosophy behind transparency activism and how to apply it practically through the use of smart hacks over web platforms. 
Ownership, privacy and the geopolitical use of big data will be examined through cases histories of ethical and legal issues. For instance the workshop can have a special focus on financial and corporate data in relation to the recent financial meltdown, as well as for environmental data to track pollution and climate change or many others interesting autonomous collection and reading of data. 

The workshop will seek to develop methodologies and mechanisms for exploring creative and unconventional uses of political data over the web. It will reveal smart ways to access data that is considered public but held hostage by its containers. 
The practical session of the workshop will introduce some simple software, coding, techniques and tricks to extract data from web servers through robots on clusters of machines with perpetual subroutines. 

Access and fair use of Big Open Data is becoming pivotal for accelerating the development of our society and resolving the present dysfunctionalities. 
Although many governmental and private institutions have recently started to provide their rich data to the public, there is still much to fight in order to reach the level of transparency necessary for a new form of enhanced radical democracy. For instance the unsolved legal case of WikiLeaks made a historical point about the political power of information when it was opened up and fairly distributed thanks to information technology. 

The workshop coordinator is well known for web-hacktivism through projects such as Face to Facebook, Google Will Eat Itself and Amazon Noir. He was part of the legendary Italian net-art collective Epidemic which has created visionary viruses and P2P software. At the age of twenty-two he was investigated by the Department of National Defense of Canada and the USA for his innovative DDOS attacks on NATO’s website though a Flash script. 

Software that will be explored during the workshop:
IMacro, FakeApp, Scraperwiki, Beautiful Soup, Scrapy, etc.

Code that will be explored:
PHP, Phynton, Sql, JavaScript, DHTML, etc.

 Examples of projects of web hacking
– Loophole for All
– Persecuting US
– Face to Facebook
– Amazon Noir
– Google Will Eat Itself 

Paolo Cirio is well known for web-hacktivism through projects such as Loophole for All, Face to Facebook, Google Will Eat Itself and Amazon Noir. He was part of the legendary Italian net-art collective Epidemic which created visionary viruses and P2P software. At the age of twenty-two he was investigated by the Department of National Defense of Canada for his innovative DDOS attacks to the NATO website though a Flash script. Recently the international press covered his hack at the Cayman Islands.

Monday, September 16, 6:30-10:30pm & Tuesday, September 17, 6:30-10:30pm

Cost: $100

**25% Discount for Students. Enter password “STUDENT” to receive special discount price of $75. MUST PRESENT STUDENT ID UPON ARRIVAL TO WORKSHOP.

Link: http://eyebeam.org/events/scraping-political-data-activism-web-hacking-techniques


540 W 21st St. 
New York, New York 10011 
United States of America

Submitted by: Zoë Salditch | Tue Sep 3rd, 2013 5:27 p.m.


Media Art of the Week: William Gowlands Here Be Dragons

Media Art of the Week: William Gowlands Here Be Dragons

A fantastic video art work that unveils the (artistic) malleability of the electronic infrastructure we’re dependant upon:

“The landscape can therefore be controlled by a device such as a GPS jammer. Allowing individuals to control this landscape at their leisure. Will, in our Department of Landscape Glitches has jammed the GPS networks and revealed an alternative virtual topography, a territorial architecture of spoofed cartography”

cyberspace and public space

We Are Pleased To Announce 
The Launch Of The Nordic Tour Of 
Nordic Outbreak Logo
Opens in Helsinki at
Museum of Contemporary Art Kiasma and
Media Facades Festival Helsinki

NORDIC OUTBREAK opened in New York City on March 1, 2013   


NORDIC OUTBREAK is an exhibition of over 30 moving image artworks by established and emerging contemporary Nordic artists curated for public space. Organized by curators Tanya Toft and Nina Colosi, the exhibition and public programs launched in New York City at Times Square and public spaces and cultural centers throughout NYC. NORDIC OUTBREAK is touring the Nordic region and internationally, viewed as large projections and on screens in public spaces, on its website, and at partnering arts, cultural and architectural centers. 

Information here    


NORDIC OUTBREAK will tour across the Nordic Region between August and December 2013, produced in collaboration with guest curators Daniela Arriado, Birta Gudjonsdottir, Kati Kivinen and Jacob Lillemose. First stop: Helsinki, with a screening and public program at the Museum of Contemporary Art Kiasma, August 21 – September 1, and a screen installation August 22-25 at Media Facades Festival Helsinki. 


Museum of Contemporary Art Kiasma and Media Facades Festival Helsinki
August 21 – September 1, 2013

Danish Architecture Center
October 10-17, 2013

Reykjavik Art Museum
October 25-27, 2013

Screen City Festival
October 26-27, 2013

Katuaq The Cultural Centre of Greenland
December 5-22, 2013

to be announced  



Video stills: Hannu Karjalainen,Towards an Architect (2010); Magnus Sigurdarson,1001 Dreams of Occupation (2012)



Video stills:  Jette Ellgaard,West Coast (2009); J Tobias Anderson, The Wind (2009) 



About the program in Helsinki   


Performing Antinarratives, the theme of the Helsinki program, explores how our lives are built around narratives, real and imagined. Narratives structure and prescribe the rules of the “scenes” that we act in our lives, implying logic of order and invisible cultural “instructions”. Through narratives, we know what to expect, which conventions to follow and how to act in the world. Antinarratives, on the contrary, break with these conventions and allow for different constellations of meaning in our digitally re-organized world.Performing Antinarratives presents a series of performative moving image artworks that invite reflection on our time and presence in questioning the validity of our narratives. Through irony, absurdity and play with audience perspectives and expectations, the artworks call attention to traditional conventions of both filmic and cultural narratives, exploring new modes of performance that reflect how we perform in our everyday lives.


Seminar, August 21: Moving Image – Performing in public space

Kiasma, Mannerheiminaukio 2, Helsinki, 5 pm to 7 pm

The seminar will include presentations and perspectives by Tanya Toft, curator of Nordic Outbreak; Minna Tarkka, director of Media Facades Festival Helsinki; Hanna Maria Anttila, director of AV-arkki and artists Hannu Karjalainen and Mar Canet & Varvara Guljajeva.


Screen Installation, Media Facades Festival Helsinki, August 22-24

Helsinginkatu 1, Sörnäinen metro station, Helsinki, daily 11 pm to 1 am (next day)


Screening Program, August 21-September 1 
Mediateekki, Kiasma, Mannerheiminaukio 2, Helsinki, during museum opening hours  

Full program here



Selections fro
m NORDIC OUTBREAK have toured public locations in Johannesburg, South Africa; Sydney and Melbourne, Australia; Sao Paulo, Brazil; Hong Kong; 21 BBC Big Screens throughout the UK; Bucharest, Romania; Antarctica; other locations to be announced.  



STREAMING MUSEUM, founded by Nina Colosi in 2008 in New York City, presents contemporary-themed exhibitions to a global audience via an expanding network of big screens on 7 continents, its website, and at partnering cultural centers.  
Tanya Toft, Associate Curator, Streaming Museum 


prism – eyebeam

Since lavabit shut down we have a new email address for submitting
proposals: prismbreakup@eyebeam.org.

If you know anyone else who might be into please pass the RFP on!
here’s the link:




*PRISM Break Up*
October 3-6, 2013

*Request for Proposals *

*On October 3-6, 2013, Eyebeam Art and Technology Center will host the
first event of its kind *PRISM Break Up*, a series of art and technology
events dedicated to exploring and providing forms of protection from
overreaching surveillance. The gathering will bring together a wide
spectrum of artists, hackers, academics, activists, security analysts and
journalists for a long weekend of meaningful conversation, hands-on
workshops and art installations.

*Why does it matter?
*In the contemporary digital era, privacy has become a luxury for the
initiated. Google and Facebook mine your personal data for a profit, the
government monitors your phone calls, even shopping malls track the mobile
phones connected to their wifi. In the wake of revelations about the NSA
PRISM program, many citizens are left wondering what they can do to protect
their privacy. We believe everyone has a right to define their own digital
privacy, understand how it is being compromised, and feel empowered to
protect it.

Initiatives like Prism Break
the Locker Project (http://lockerproject.org/) <http://lockerproject.org/>,
and Security in a Box
attempted to combat privacy violations, but the process continues to
be complex and inaccessible to the general population. We also recognize
that security and privacy, especially at the hardware level, is tricky, but
that’s not going to stop us from trying to determine how it can best be

*Thursday  Oct. 3 – Kickoff party and art opening.

Friday Oct. 4 – Evening lectures/discussions, screening party.

Saturday Oct. 5- Day of workshops.

Sunday Oct. 6- Lectures/discussions, wrap up, help cafe, cryptoparty.

There are three categories of participation: *talks, workshops* and *art*:

*Do you have an idea for a lecture, panel discussion or other type of talk
you would like to give about privacy, security, surveillance or PRISM
related issues? Submit your idea! Talks will take place Friday, *Oct. 4th*.

Topics can be from 15-20 minutes in length, variable if a panel discussion
is implied. From the submissions, we will select between 6-8 talks and a
maximum of 2 panels.

*The goal of these workshops is to share security techniques with the
general public. Want to teach people how to secure their communications? Is
it possible to get off Google? How do we avoid being tracked? If you know
how to do so in a fun and engaging way, propose a workshop! We are also
looking for people to assist during our Sunday help cafe.

Initial workshop ideas include implementing any of the PRISM-break
technologies (https://prism-break.org/) <https://prism-break.org/>, mobile
encryption, building affinity groups, evading hardware level surveillance,
steganographic tools, submitting FOIA requests, and generally getting over
Google. Workshops will be around 45 minutes in length and take place on
Saturday, *Oct. 5th*.

*Do you create works dealing with issues of privacy and surveillance?
Submit your work to the PRISM Break Up exhibition taking place *Oct.
3-6.*Installations and collaborations, non-traditional and
experimental work is

Is your work ephemeral, hard to transport or located far from New York? We
can?t cover transportation but we are having a screening party. Submit a
video work or documentation of your privacy themed art to our screening
taking place Friday *Oct. 4*.

*Submission Details*


*Please copy the template below into a blank email and answer in full. *

*Email your proposal to  prismbreakup@eyebeam.org with subject line
[workshop] [talk] [art] or  to specify what you are applying to
propose. You may submit multiple proposals.*


Email address:

Phone number:

Personal URL:

What is it? (pick all that apply)

– Talk

– Workshop

– Artwork (if video for screening please specify)



URL of the work/documentation of the work (if applicable):

Details of implementation (for workshops):

Who is your intended audience? (for workshops):

Technology/Space/Assistance/Budget required:

What will your proposed contribution add to this event?

What do you hope to get out of this experience?

*Have a question about the application? Want to help fund this exciting
endeavor? Or would you like to volunteer food/drinks/money/time? If you
want to help out but don?t have a specific idea, email us and we can figure
it out together. Email us at prismbreakup@eyebeam.org with subject line
[volunteer] to get involved!

*Hat Tip
*The name “PRISM Break Up” is inspired by the website PRISM Break (
https://prism-break.org/) <https://prism-break.org/> by @zcpeng (
https://twitter.com/zcpeng) <https://twitter.com/zcpeng> that lists
alternatives to widely used PRISM-friendly software.

*Allison Burtch, Aurelia Moser, Heather Dewey-Hagborg, Ramsey Nasse

Gunalan Nadarajan (2010) Images of Chernobyl

Images of Chernobyl
(Catalogue essa for Alice Micelli’s exhibition, Chernobyl Project, at the 29th Sao Paolo Biennial, 2010)
For Walter Benjamin,(t)he true picture of the past flits by” to be “seized only as an
image which flashes up at the moment of danger, instantaneously, when it can be recognized and never to be seen again.”
The coincidence of th past, danger and the image are the very elements that Alice Micelli’s Chernobyl Project witnesses. It is interesting that two of photograph’s early names,heliograph, a name Nicephore Niepce employed since 1826 and photogenic image/drawing used by William Talbot since 1837, seem to present the image as if it was(re)produced by the aid of nature. The idea of the heliograph suggests that the imageshave been written (Greek, graphein) by the sun (Greek, helios). Talbot’s photogenicdrawing, also purport to be a result of nature’s production (Greek, phos or  ight and genesis or produced / originated).
This predilection to impute to nature’s prowess what was/is technologically never free of human intervention seems to have been instrumental in retaining for
photography an element of mystical authori(iali)ty; almost authored by nature
with the photographer being a mere facilitator o the image coming into being.
Photography, the








Nam June Paik Art Center


  Still images of Nam June Paik’s various videos. Courtesy of Nam June Paik Art Center Video Archives, 
© Nam June Paik Estate.
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Transmitted Live: Nam June Paik Resounds 
Edinburgh International Festival 2013
9 August–19 October 2013 

Exhibition co-curated by Nam June Paik Art Center and Talbot Rice Gallery

Talbot Rice Gallery
University of Edinburgh
Old College, South Bridge
Edinburgh EH8 9YL



No other artist has had greater influence on the use of technology in art than Nam June Paik; he prophesied changes that would shape the ideas, ‘Participation TV,’ ‘Random Access Information,’ and ‘Video Commune.’ Transmitted Live: Nam June Paik Resounds celebrates the 50th anniversary of Paik’s first solo exhibition, Exposition of Music – Electronic Television (Wuppertal, 1963), when the artist brought television in the realm of art for the first time, presenting it as a tactile and multisensory medium. As part of the countercultural movements of the 1960s, Paik believed that artists should humanise technology, get their ‘fingers in and tear away the wall’ of the establishment. Paik, a trained musician, treated technology as a material part of his repertoire, which later expanded to include video, satellite transmissions, robots and lasers.

Invited by the Edinburgh International Festival 2013 with a grand theme of ‘art and technology,’ Nam June Paik Art Center will fill Talbot Rice Gallery, University of Edinburgh, where such notable historical figures as Charles Darwin and James Clerk Maxwell attended, with electromagnetic waves to reverberate with the diverse forms of Paik’s practice. Drawn primarily from the Nam June Paik Art Center’s collections including videos, sculptures, photographs and archival materials, the exhibition is intended to shed new light on the artist Paik, who was a rigorous but always humorous thinker and experimenter at the same time. As the first Paik exhibition in Scotland, the birthplace of electromagnetic theory and television technology, Transmitted Live will demonstrate how revolutionary the artist remains for contemporary audiences in encouraging creative engagement with technology.

In the opening week, a special programme of performances will take place as an integral part of the exhibition to broaden its amplitude. Four international contemporary artists selected for the performances, namely, Takehisa Kosugi (Japan), Byungjun Kwon (Korea), Okkyung Lee (Korea), and Haroon Mirza (UK) are those who have participated in the Nam June Paik Art Center’s projects before, reinvigorating Paik’s artistic spirit in terms of truly transcending the boundaries of music, visual art and performance art. The works of Paik embodying the innovative artistic exploration of technology will resound throughout the city of Edinburgh and beyond.

For press enquiries, contact press@njpartcenter.kr / T +82 31 201 8559 / F +82 31 201 8530

hackers london aarhus


In the light of recent revelations about digital surveillance and claims about “collecting” “nearly everything a user does on the internet” London-based artist group YoHa (Graham Harwood and Matsuko Yokokoji) discuss their work with issues of databases, governance, and Open Data. The public talk is part of their residency and forthcoming project for Kunsthal Aarhus is a partnership with Participatory IT Research Centre, Aarhus University.

Public talk 20 August at 4pm followed by drink reception.

Read more:


YoHa (English translation ‘aftermath’)


picture; Jamie Woodley, Yoha, Bristol City Council House

Graham Harwood and Matsuko Yokokoji have lived and worked together since 1994

YoHa’s graphic vision, technical tinkering, has powered several celebrated collaborations including. Harwood and Yokokoji’s co founding of the artists group Mongrel in (1996-2007) specialising in digital media and established the Mediashed a free-media lab in Southend-on-sea(2005-2008). In 2008 they joined long time collaborator, Richard Wright to produce Tantalum Memorial winning the Transmediale first prize for 2009. Tantalum Memorial also featured at (ZeroOne Biennial San Jose – USA, Manifesta07 Bolzano, Italy, Science Museum London, Ars Electronica, Plugin Switzerland, Laboral Spain)





Also here are some photos.



The Emergent City. From Complexity to The City of Bits. By Stanza 

Exhibition.  Watermans Gallery 40 High Street, Brentford. LondonUK. TW8 0DS

Wednesday 5 June – Friday 26 July 2013 . 12:00 – 21:00 

The Emergent City. From Complexity to The City of Bits captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. 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 and complex system.  The artwork explores new ways of thinking about life, emergence and interaction within public space and how this affects the socialization of 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 interactions of all this data are re-formed and re-contextualised in real time artwork.  


Stanza is an internationally recognised artist, who has been exhibiting worldwide since 1984. His artworks have won twenty international art prizes and art awards including:- Vidalife 6.0 First Prize. SeNef Grand Prix. Videobrasil First Prize. Stanzas art has also been rewarded with a prestigious Nesta Dreamtime Award, an Arts Humanities Creative Fellowship and aClarks bursary award.

His artworks have been exhibited with over fifty exhibitions globally. Participating venues have included :- Venice Biennale: Victoria Albert Museum: Tate Britain: Mundo Urbano Madrid: New Forest Pavilion Artsway: State Museum, Novorsibirsk. Biennale of Sydney, Museo Tamayo Arte Contemporáneo Mexico: Plymouth Arts Centre: ICA London: Sao Paulo Biennale:

Educated in fine art at Goldsmiths College in the early eighties he later went on to study atGreenwich University and Central Saint Martins Art College London. Stanza returned toGoldsmiths College as a AHRC arts research fellow. He is a pioneer of net art and was one of the first to use internet art as a medium. His websites and net specific artworks have been online since 1995 and these online projects have reached an audience of over four million visitors.

Stanza is an expert in arts technology, CCTV, online networks, touch screens, environmental sensors, and interactive artworks. Recurring themes throughout his career include the urban landscape, surveillance culture, privacy and alienation in the city. Stanza is interested in the patterns we leave behind as well real time networked events that can be re-imagined and sourced for information. 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.



AHRC Creative Fellow, Nesta Fellow, 
tel 0044 07803147433
stanza dna on facebook
interactive architectures, networked real time art, sensor based cities.


hacker samsung

[NetBehaviour] Free Software Robin Hood Liberates Leaked Samsung Code

marc garrett marc.garrett at furtherfield.org 
Fri Jul 26 15:24:32 BST 2013


Free Software Robin Hood Liberates Leaked Samsung Code

By Klint Finley and Robert McMIllan.

A student and programmer using the name “rxrz” has posted a large chunk
of a proprietary Microsoft file-system software to GitHub, claiming that
she’s liberating it for the open source world. She says that the
software was leaked from Samsung, and that it also contains some code
from the Linux kernel. That, she argues, makes it de facto open source
under the terms of the Gnu General Public License.

“All I’ve done is given the community of open source developers and
linux/android users a way to finally share data between all major OS’s
without any excessive impact on the performance,” she wrote on GitHub.

In an email interview, rxrz wouldn’t give her name, but said that she
was a nineteen year old female student from the European Union.

She posted the code last month, but only gained widespread notice on
Linux discussion forums this week.

The code is a driver for exFAT, a flash memory file system that has
become the standard for digital cameras and has also been adopted by
smartphone makers. BlackBerry, Sharp and Samsung all license the format
from Microsoft. It also happens to be compatible with Windows and OSX,
meaning users can seamlessly drag and drop files between exFAT format SD
cards and their desktops. But because the licensing costs are expensive
and the system is proprietary, there’s no official Linux support. That
means that in order to use it with Android, which uses the Linux kernel,
smartphone makers like Samsung and Sharp have had to license the
technology from Microsoft and then either write their own driver modules
and adapt Microsoft’s reference code.




Hi Spectre types,

I have been writing a paper called “Hack Value”. It relates to contemporary
forms of Art & Hacktivism without the use of technology. It also includes
various examples of ‘non art’ cultural hacks.

“Hack Value comprises of technological and physical forms of hacking. These
include agency, skill, craft, disruption, social change, activism,
aesthetics, recontextualizing, claiming or reclaiming territories,
independence, emancipation, relearning, rediscovering, play, criticalness,
challenging borders, breaking into and opening up closed systems, changing
a context or situation, highlighting an issue, finding ways around
problems, changing defaults, and restructuring things.”

If anyone on here knows of individuals or groups exploring these forms of
hacking and it does not involve technology, but in some way relates to art.
I would love to interview you or them?

I am especially interested in female artists & female theorists exploring
this kind of practice, because (of course) we need more wimmin represented
as usual. It does not matter whether you are part of an institution or not
or if you have been seen in big festivals (that’s not important! Dark
matter Lives!), so please contact me if you think your work fits into this
kind of research.

The other thing is, it does not necessarily have to be literally political
– it could be something that involves some form of social change or
emancipation (emancipation especially).

The paper is part of a larger study called ‘An Imaginative Dissent: In Art,
Technology & Social Change’.

Hack Value will be published – and I’m currently thinking about how it can
be a conference & where – but writing about it is the main focus right now.

If you want to view other interviews I have done – look here.
Selected interviews on art, technology & social change by Marc Garrett

Links to two other articles here…
Disrupting The Gaze: Art Intervention and the Tate Gallery.

Revisiting the Curious World of Art & Hacktivism.

Wishing you well & thanks for your time.

marc garrett.

SCREENGRAB | New Media Arts Prize

SCREENGRAB | New Media Arts Prize 
•Application Deadline 


SCREENGRAB is now entering its fifth year with an international call out for the AUS$5000 New Media Arts Prize and the companion exhibition in July/August 2013 for short listed applicants. We invite digital practitioners working in screen based media to submit works on the theme of AMBIENCE. 

All forms of screen based media are encouraged including multi-channel video, digital illustration, audio sculpture, photography, generative media, 2D & 3D animation. 

Existing works and those specifically designed for the award must address the theme of AMBIENCE to be eligible for the New Media Arts award.

Prize Money: AUS $5000 

Artefact deadline: July 1 

Exhibition Opening & Award announcement : July 26 

Application Form : http://screengrab.info 

This project is sponsored by James Cook University’s School of Creative Arts and the eMerge Gallery.





East Belfast Facade


(028) 90467925

An experienced and suitably qualified artist/s to produce public art for the back of buildings in East Belfast ‘who will incorporate the context and complement the built fabric of the area’.  The selection process is a two-stage open competition based on information supplied and establishing the competence of the artists to carry out this commission.  The inclusive budget is £40,770, email for brief.


national security agency



National Security Agency ❤ ❤ ❤ Internet Archive?

Posted on May 18, 2013 by brewster

nsa_logo_2An unclassified document from the National Security Agency from 2007 has some nice words to say about the Internet Archive, Brewster Kahle, and the Wayback Machine.

“The Wayback Machine is, very simply, one of the greatest deep web tools ever created.” -National Security Agency (2007)


A searchable version, and a searchable PDF version.

Main section on us:

The Internet Archive & the Wayback Machine

You have to give Brewster Kahle credit for thinking big. The founder of the Internet Archive has a clear, if not easy, mission: to make all human knowledge universally accessible. And, who knows, he might just succeed. What has made Kahle’s dream seem possible is extremely inexpensive storage technology. As of now, the Internet Archive houses “approximately 1 petabyte of data and is currently growing at a rate of 20 terabytes per month. This eclipses the amount of text contained in the world’s largest libraries, including the Library of Congress. If you tried to place the entire contents of the archive onto floppy disks (we don’t recommend this!) and laid them end to end, it would stretch from New York, past Los Angeles, and halfway to Hawaii.” 102 In December 2006 the Archive announced it had indexed over 85 billion “web objects” and that its database contained over 1.5 petabytes of information. 103

But that’s not all that Kahle and company have archived. The Archive also now contains about 2 million audio works; over 10,000 music concerts; thousands of “moving images,” including 300 feature films; its own and links to others’ digitized texts, including printable and downloadable books; and 3 million hours of television shows (enough to satisfy even the most sedulous couch potato!). Kahle’s long term dream includes scanning and digitizing the entire Library of Congress collection of about 28 million books (something that is technically within reach), but there are UNCLASSIFIED  some nasty impediments such as copyrights and, of course, money. None of this deters Kahle, whose commitment to the preservation of the digital artifacts of our time drives the Internet Archive. As Kahle puts it, “If you don’t have access to the past, you live in a very Orwellian world.”

arabia saudi facebook

EU Should Publicly Condemn Prison Terms for Peaceful Dissent
JUNE 30, 2013

    © 2011 Human Rights Watch
Sending people off to years in prison for peaceful Facebook posts sends a strong message that there’s no safe way to speak out in Saudi Arabia, even on online social networks. If the EU doesn’t raise these cases with Saudi officials this weekend, its silence will look like craven compliance with the rights abuses of an authoritarian state.
Joe Stork, deputy Middle East director

(Beirut) – Saudi Arabia sentenced seven government critics to prison on June 24, 2013, for allegedly inciting protests and harming public order, largely by using Facebook. The Specialized Criminal Court sentenced the men, all from the Kingdom’s Eastern Province, to prison terms ranging from five to 10 years and barred them from travelling abroad for additional periods.

The European Union’s High Representative Catherine Ashton and EU member states’ representatives, who are meeting with their Gulf region counterparts in Bahrain on June 30, should condemn the convictions, Human Rights Watch said.

“Sending people off to years in prison for peaceful Facebook posts sends a strong message that there’s no safe way to speak out in Saudi Arabia, even on online social networks,” said Joe Stork, deputy Middle East director at Human Rights Watch. “If the EU doesn’t raise these cases with Saudi officials this weekend, its silence will look like craven compliance with the rights abuses of an authoritarian state.”

Saudi authorities arrested the men between September 23 and 26, 2011, then detained them in the General Investigations Prison in Damman for a year and a half before charging them and putting them on trial on April 29. They were tried before the Specialized Criminal Court, set up in 2008 to deal with terrorism-related cases. Authorities did not accuse the seven of directly participating in protests, and the court failed to investigate their allegations that intelligence officers tortured them into signing confessions.

Human Rights Watch has called repeatedly for abolition of the court because of its lack of independence and unfair procedures.

In the court judgment, which Human Rights Watch obtained, the charges against the seven varied. But the court convicted them all of joining Facebook pages to “incite protests, illegal gathering, and breaking allegiance with the king” and of “assisting and encouraging these calls and corresponding with the [Facebook pages’] followers and concealing them.” All seven were also convicted of violating article 6 of the Anti-Cyber Crime Law, which prohibits producing, sending, or storing any material via an information network that “harms public order.”

The court imposed its harshest sentence – 10 years in prison – on Abd al-Hamid al-Amer. Prosecutors accused him of founding two Facebook groups, through which he allegedly “conscripted others to join the movements” and “gave them ideas and guidance on the important sites in which to protest and set the timing [of the protests].”

None of the charges accused the seven of using or advocating violence, as the presiding judge confirmed in the judgment, saying, “Breaking allegiance [with the king] comes by way of arms and it comes by way of protests, marches, and writing articles and publications … the behavior of the [second] course … is sometimes the more dangerous and more malicious method.”

The Facebook groups that prosecutors cited, including the “al-Ahsa March 4 Youth Movement” and “The Free Men of al-Ahsa,” arose in early 2011 after the authorities arrested Tawfiq al-Amer, a prominent Shia sheikh and religious leader in the al-Ahsa region of Eastern Province who had publicly called for a constitutional monarchy. His arrest provoked widespread protests and the authorities arrested dozens of his supporters in al-Ahsa in March 2011. The same court sentenced the sheikh to four years in prison in April 2013 and banned him from writing and public speaking.

The seven men all admitted to participating in the Facebook pages in support of al-Amer, but told the court they were unaware that it was a crime. They denied having any intention to break allegiance with the king or harm public order.

The prosecution, however, produced confessions that each of the seven had signed in pre-trial custody, which the court accepted as evidence of guilt although several of the defendants said intelligence officers had tortured them into signing the confessions. The presiding judge dismissed the torture allegations out of hand, describing the defendants’ claims as “not acceptable” due especially to “their inability to prove the allegations of coercion and torture.”

“The judge’s outright dismissal of the defendants’ torture allegations shows how little interest he had in finding the truth,” Stork said. “What these men did should never have been considered crimes in the first place, and the outcome was effectively determined from day one.”

A family member of one of the seven prisoners told Human Rights Watch that none of them had the money to hire a lawyer. Saudi Arabia’s Criminal Procedure Law does not entitle defendants to legal representation, and there is no provision for a public defender for those who cannot afford a lawyer. Family members told Human Rights Watch th
at the seven intend to appeal their convictions. If they do so unsuccessfully, the time they have already served in prison will be deducted from their sentences, the court judgment says.

Saudi Arabia has no written penal code and prosecutors and judges have discretion to criminalize acts based on their own interpretation of Islamic law. The lack of clear and predictable criminal law violates international human rights principles, such as those that prohibit arbitrary arrest and guarantee fair trials. Article 15 of the Arab Charter on Human Rights, which Saudi Arabia ratified in 2009, states: “No crime and no penalty can be established without a prior provision of the law. In all circumstances, the law most favorable to the defendant shall be applied.” International human rights standards also prohibit the criminalization of peaceful speech.

Article 32 of the Arab Charter guarantees the right to freedom of opinion and expression, and to impart news to others by any means.

The conviction of the seven comes amid a series of other convictions of peaceful dissidents and human rights activists in June. The same court sentenced a human rights activist, Mikhlif al-Shammari, to five years in prison on June 17 for “sowing discord” and a host of other charges stemming from his peaceful activism. Two days earlier, a Khobar court sentenced the women’s rights advocates Wajeha al-Huwaider and Fawzia al-Oyouni to 10 months in prison for allegedly “inciting a woman against her husband.” On June 24, a court in the central Najd town of Buraida sentenced human rights activist Abd al-Kareem al-Khodr to eight years in prison on charges that included “slandering the king” and “joining an unlicensed organization.”

“The EU should publicly press Saudi Arabia to stop jailing human rights activists and peaceful dissidents, and to respect its international human rights obligations,” Stork said.

Men Convicted for Inciting Protests through Facebook

  • Saleh bin Abd al-Muhsin bin Ali al-Shaya`: 5 years in prison and 5-year travel ban;
  • Hussein bin Salman bin Yasin al-Sulayman: 7 years and 7-year travel ban;
  • Mohammed bin Ahmed bin Abd a-Hadi al-Khalifa: 8 years and 8-year travel ban;
  • Mostafa bin Haji bin Hussein al-Mujahad: 6 years and 6-year travel ban;
  • Hussein bin Ali bin bin Mohammed al-Bathir: 5 years and 5-year travel ban;
  • Ali bin Hassan bin Ali al-Hadlaq: 7 years and 7-year travel ban; and
  • Abd al-Hamid bin Abd al-Muhsin bin Abdullah al-Amer: 10 years and 10-year travel ban.


JULY 2, 2013
  • The National Security Agency (NSA) logo is shown on a computer screen in Fort Meade, Maryland, on January 25, 2006.

    © 2006 Reuters
Published in: 

 The New York Review of Books

The government claims this enhanced capacity to monitor our metadata has helped to foil terrorist plots. But officials have been hard-pressed to identify cases in which broad, unfocused electronic surveillance has made a decisive difference.

As a federal prosecutor in the 1980s, I used to think nothing of scooping up the phone numbers that a suspect called. I viewed that surveillance as no big deal because the Supreme Court had ruled inSmith v. Maryland (1979) that we have no reasonable expectation of privacy in the phone numbers we dial, as opposed to the content of the calls. And in any event, I had limited time or practical ability to follow up on those numbers.

Today, by contrast, when I look at the government’s large-scale electronic surveillance of private communications, I see an urgent need to rethink the rationale—and legal limits—for such intrusion. The government now has the technology to collect, store, and analyze information about our communications cheaply and quickly. It can assemble a picture of everyone we call or email—essentially our entire personal and professional lives—with a few computer commands. In addition, given the pervasive presence of geo-locators on our smart phones, the government is able to electronically monitor and reconstruct virtually every place we visit—a capacity that will only increase with the growing practice of photographing our license plates and the rapid improvement of facial-recognition software in combination with proliferating video cameras.

The government claims this enhanced capacity to monitor our metadata has helped to foil terrorist plots. But officials have been hard-pressed to identify cases in which broad, unfocused electronic surveillance has made a decisive difference. Meanwhile, US law has not kept up with the dramatic new intrusions on our privacy made possible by current technology.

There has long been a two-tiered approach to electronic surveillance of American citizens and others lawfully on US soil. The contents of our communications, whether by phone or email, receive heightened legal protection. The government can generally monitor them only after showing a judge that there is probable cause to believe criminal activity is being discussed, and that alternative avenues of investigation are insufficient. However, our “metadata”—including the phone numbers and email addresses with which we communicate, the timing, frequency, and pattern of those communications, and the electronic signals about our locations emitted by our smart phones—are given little protection. The government can access this information with a simple declaration to a judge that it is relevant to a criminal investigation.

The rationale for the distinction between the contents of a communication and its participants originated in the view that we expect our phone conversations to be private but not the numbers we call, because we share those numbers with the phone company to direct our call. A similar logic distinguishes between the content and recipients of our emails.

(For foreigners outside the United States, the US government makes no such distinction: because US law benightedly protects the privacy rights of only US citizens and others lawfully in the United States, the governments takes the position that even the content of phone calls and emails among most foreigners can be readily monitored. American Internet companies, which aspire to serve the world, must worry about the commercial consequences of that official disregard for others’ privacy as it becomes widely known.)

Back when I was a prosecutor, the human capacities of investigators meant that even upon accessing metadata, there was still considerable practical protection for privacy. It took little effort to obtain a judge’s order for a “pen register”—a device that recorded the numbers a suspect called—and even less to subpoena records of these numbers from a phone company. But analyzing that information was a time-consuming, manual affair. Similar practical limits governed physical surveillance. Because physical movement around town is public, the courts assumed there was no privacy interest in one’s whereabouts, so investigators were free to monitor a suspect’s movements without a court order. But clandestine monitoring was so costly—typically requiring teams of agents working long hours—that the government’s capacity to do much of it had practical limits.

Today, those limits have largely disappeared. The government still typically needs to make a more rigorous showing to a judge to target the contents of our conversations, but it can now obtain information on virtually every other aspect of our lives for the asking. The lack of a legally recognized privacy interest in our metadata lies behind the recently disclosed court order allowing the National Security Agency to vacuum up that data wholesale.

The government’s new and intrusive capacities should prompt a rethinking of the law. The rationale that we have no privacy interest in our metadata because we share it with phone or Internet companies to route our communications was always a fiction. After all, this routing information is in the same stream of electrical data that includes the contents of our communications. Both are shared with phone and Internet companies by necessity, but for a purpose: to enable our communications in the modern era, not to share them with anyone but their intended recipients. These companies should not be understood as random third parties to whom in choosing to expose our electronic activity we can be said to forego legitimate expectations of privacy. Instead, they should be viewed as custodians of today’s dominant forms of communication with a duty to protect their confidentiality. Only if the government has been able to demonstrate extraordinary circumstances—generally, by obtaining a targeted court order reflecting probable cause to believe that the communications in question contain evidence of criminal activity to which access is needed—should this confidentiality be broken.

Even our movement about town deserves some privacy protection, as a majority of the Supreme Court recognized last year in restricting the police’s ability to attach a GPS monitoring device to a vehicle. In that case, Justice Sonia Sotomayor questioned whether sharing metadata with communications companies should be understood anymore to suggest the lack of a reasonable expectation of privacy.

The law recognizes other forms of privileged communication; our conversations with lawyers and doctors, for example, are protected because we understand that our legal and medical systems cannot work unless communications share
d within them retain presumptive confidentiality. We should reach the same conclusion about our phone and Internet systems. The enormous efficiencies of phone and Internet communication provide great benefits to society. We should not discourage their use with privacy protections that are so lax that they force users to effectively share large swaths of their lives with the government.

Limiting governmental access to our metadata would not mean that it was entirely private. Telephone and Internet companies still would have this information, and some even make a practice of profiting from it commercially. But given the range of such companies, we at least have some choice to do business with those that give greater respect to our privacy. However, governmental snooping on our metadata is done without our consent, and there seems to be no way to escape the government’s acquisition of our metadata short of abstaining from electronic communication altogether—hardly a practical alternative in the modern world.

Recognizing a privacy interest in our metadata would not undermine efforts to fight terrorism. In recent weeks, spokesmen for the NSA have claimed that the surveillance operations revealed by Edward Snowden have disrupted dozens of terrorist plots. Upon scrutiny, however, these plots appear in fact to have been uncovered not because of the mass collection of our metadata but through more traditional surveillance of particular phone numbers or email addresses—the kinds of targeted inquiries that easily would have justified a judicial order allowing review of records kept by communications companies or even monitoring the content of those communications.

Consider the NSA’s two most publicized cases, a plot to bomb the New York Stock Exchange and an effort to send money to the Somali Islamist group al-Shabaab. The NYSE case was said to have unraveled beginning with a foreign email captured from the monitoring of a foreign website; the al-Shabaab case was apparently discovered when someone in San Diego called a known terrorist number in East Africa. Neither seems to have depended on the mass vacuuming up of our metadata. In view of the weakness of these “best” cases, twenty-six senators have written to the National Intelligence Director asking him to “provide examples of [the NSA program’s] effectiveness in providing unique intelligence, if such examples exist.”

With the demonstrable advantages of mass surveillance so low, the law should recognize its costs and give meaning to our legitimate expectations of privacy in a wired world. It is time to treat this metadata no differently from the content of our communications.

Edith-Russ-Haus for Media Art

Edith-Russ-Haus for Media Art

Patrícia Reis, “Penetrating the Black Box,” 2013. © Patrícia Reis.
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June 26–September 15, 2013

Edith-Russ-Haus for Media Art
Katharinenstrasse 23
D-26121 Oldenburg


This exhibition presents a selection of international artistic stances from the seventies to the present that in principle work with the possibilities presented by photographic information, yet they unveil expanded dimensions that differ from conventional photographic depiction and thus set foot in the programming inside the “black box”—the camera.

Contemporary art is marked by an increasingly media-related hybridization of various artistic concepts and complex visual languages. This reciprocal influence incisively penetrates the traditional concept of photographic representation, which due to digital image technology has radically released itself from the constraint of depicting reality.

The artists selected for this exhibition at the Edith-Russ-Haus for Media Art present striking works that examine the progressively paradigm-setting role photography has assumed in the overall system of visual art since the development of digital media and technologies.

Curator: Dr. Claudia Giannetti

Participating artists:
Heiner Blum, Maisie Broadhead & Jack Cole, Carlos Fadon Vicente, Franz John, Edmund Kuppel, Andreas Müller-Pohle, Sergio Prego, Patrícia Reis & Vasco Bila, Christoph Wachter & Mathias Jud

More information is available at www.edith-russ-haus.de.

For inquiries, please contact:
Ingmar Laehnemann: T 0049 441 235 3194, ingmar.laehnemann@edith-russ-haus.de
Annette Boegl: T 0049 441 235 2905, presse@edith-russ-haus.de

default 13v – ramdon




Art, cities and regeneration
Asia and Europe

After the successful first edition in 2011, Ramdom is proud to present the second edition of the project DEFAULT.

It is a biennial project conceived to address following key questions:

How do we interact within the framework of broader governmental policies concerning urban regeneration? How can we tackle the increasingly politicised policies that underpin cultural endeavours in revitalising urban centres and neighbourhoods? Do artists, curators and art managers have to default to the increasingly unfeasible regeneration practices entrenched in cultural structures because there are no alternatives given?

The project was born at a time when art workers, policy makers and cultural managers are confronted with mass funding cuts in the public sector. As the art and cultural communities face the disappearance of cultural regeneration projects, DEFAULT 13 proposes to face the uncertain future of such projects.

Particularly, the new 2013 edition is a collaborative project between European and Asian cultural institutions, focusing on the promotion of knowledge exchange concerning curatorial and artistic practices between the two continents.

DEFAULT 13 is organised by Ramdom (Lecce, Italy) in collaboration with Arthub Asia (Shanghai, China) and with the support of the Asia-Europe Foundation (ASEF), Arts Network Asia (ANA) and Trans Europe Halles (TEH) as part of the programme Creative Encounters: Cultural Partnerships between Asia and Europe.

DEFAULT 13 is a multipart project, composed by :

1. the DEFAULT 13  Masterclass in residence. Asia _Europe (Lecce, Italy);

2. several international collateral events;

3. the production of artistic urban regeneration proposals;

4. a final publication.

Each action is described beow.


Several are the international guests involved and invited to participate to DEFAULT 13 and give their contribution to the debate. Among them: Lewis Biggs (UK), former director of the Biennale of Liverpool; Charles Esche (UK), director of Van Abbemuseum in Eindhoven (Netherlands); Andrea Lissoni (Italy), Xing and curator at Hangar Bicocca; Davide Quadrio (China), curator, producer director and founder of Arthub Asia; Paolo Mele (Italy), director of RAMDOM; Filipa Ramos (Portugal), writer and art critic; Adeline Ooi (Malaysia), curator at Rogue Art; Roberto Paci Dalò (Italy), artist, composer; Alessio Antoniolli (Italy), director of Gasworks in London; Francesca Girelli (Italy), curator at Arthub Asia; Bert de Muynck and  Mónica Carriço of Moving Cities (China); Heba Amin (Egypt), artist; Rori Knudtson (Norway), director School of Critical Engagement; Steen Andersen (Denmark), PB43; Oleg Koefoed (Denmark), co-director of Cultura21; Desire Machine Colle quellctive (India) Viviana Checchia (Italy) curator at Vessel, Anna Santomauro (Italy) curator at Vessel, , Rachel Marsden (UK), curator – Chinese Arts Centre of Manchester.


Other guests will be annonced soon.


The single actions:

1. DEFAUL 13 Masterclass in residence: Asia_Europe (17th -26th September 2013, Lecce, Italy)

DEFAULT 13’s core is a Masterclass residency in Lecce (Southern Italy) that focuses on the role and perspectives of public art and its implications for the social, urban context as a tool for socio-cultural transformation.

Eighteen creatives and artists (9 from Asia and 9 from Europe), selected through an international open call, will be given the opportunity to discuss and try to answer the question “What is next in art, cities and regeneration?”

For ten days, participants will develop their research approach in intensive workshops and seminar sessions, they will expand their networks and exchange know-how with the support of a residency curator, and they will meet international leading curators, artists, art managers and representatives of cultural and artistic organisations from both Europe and Asia.

In attempt to deepen Western and Eastern perspectives on artistic and cultural practices, DEFAULT 13 aims to build a bridge between Europe and Asia involving artists and professionals from diverse cultural backgrounds within debates about culture and artistic production.

The Masterclass will increase the possibilities in which people can create art by sharing ideas and experiences in order to develop and nurture new collaborations and networks.

The call for applications will be launched on 27th March 2013.


2. International collateral events

Six collateral events will be organised between April and October 2013 in six different cities across Europe and Asia. The events will address the state-of-the-art of the practices adopted in the contemporary art fields in Asia, and the their direct and indirect interplay within the European contemporary art practices.

The panels will be open to local audiences with the aim of increasing the awareness of the social role of art by sharing the experiences of skilled professionals and by developing and strengthening an international platform that fosters mobility and international collaborations.

Moreover, the specific case studies and examples presented by the invited lecturers will be shared through the implementation of an online platform that will allow further discussions and in-depth reflections.

The first public panel will take place in Shanghai on 16th April 2013. The panel, organised by Arthub Asia and hosted by K11, will welcome lecturers Davide Quadrio (founder of Arthub Asia), Paolo Mele (president of Ramdom) and Lewis Biggs (Curator, Folkestone Triennial 2014 and Curator, Aichi Triennale 2013), Bert de Muynch and  Mónica Carriço of Moving Cities (China).

More information on the other events will be available soon on Ramdom’s and Arthub’s websites,www.ramdom.net and www.arthubasia.org


3. Production of project proposals

Applicants to the Masterclass in residence are asked to submit a creative/artist proposal addressing the question “What’s next in art, cities and regeneration?”.

The selected artists and creatives are expected to improve, modify, and adapt their initial proposal according to the input they will receive during the Masterclass.

The Selecting Committee will carefully evaluate the presented projects according to following criteria: general presentation, creative vision, innovation, potential to engage the audience, relevance of the project to the Masterclass’s topics, and feasibility.

Some of the best revised project proposals will be produced by Ramdom and Manifatture Knos (Lecce, Italy) after the conclusion of the Masterclass.


4. Final publication.

A publication presenting DEFAULT 13 project and the Masterclass in residences’s content, the participating artists, and their works, statements and proposals will be edited and made available in the months following the Masterclass.


DEFAULT 13 is organized by RAMDOM association (Lecce, Italy) and curated by Arthub Asia (Shanghai, China).

It is presented in collaboration with Gasworks (UK), Rogue Art Asia (Malaysia), Made in Carcere (Italy), Manifatture Knos (Italy), Cultura21 (Denmark), the School of Critical Engagement (Denmark), PB43 (Denmark), Vessel (Italy), the Region of Apulia (Italy), the Municipality of Lecce (Italy).

This project is supported by the program Creative Encounters: Cultural Partnerships between Asia and Europe, promoted by the Asia-Europe Foundation (ASEF) and Arts Network Asia (ANA), in collaboration with Trans Europe Halles (TEH).

This project supports the candidature of “Lecce Capital of Culture 2019” .


For more information, please contact:

Ramdom association




ph. Piepaolo Luca; Post production Pierluigi De Rubertis

bjork times square




(July 1, 2013, NEW YORK)-  Midnight Moment, the largest coordinated effort in history by the sign operators in Times Square to display synchronized, cutting-edge creative content on electronic billboards and newspaper kiosks throughout Times Square every night, is going global. For the first time, digital screens in Europe, Antarctica, Australia, Africa, South America, and Asia will feature special content that was shown as a part of the Midnight Moment, a program of the Times Square Advertising Coalition and Times Square Arts. To make this possible, Times Square Arts, the public art program for the Times Square Alliance, has partnered withStreaming Museum.

The first video of this expanded program to be shown globally is a special version of internationally acclaimed singer-songwriter Björk’s Mutual Core, which originally appeared in Times Square during the March 2013 Midnight Moment to launch Streaming Museum’s globally touring Nordic Outbreak exhibition. Created in collaboration with director Andrew Thomas Huang, commissioned by MOCAtv for The Museum of Contemporary Art, Los Angeles, the video shows the forces of nature exploding across a futuristic landscape where volcanoes erupt from a desert floor, as a snowstorm transforms the environment, and anthropomorphic rocks come to life orbiting around a goddess of nature. Also on the tour is a film by David Bates, Jr. that captures the experience of seeing Björk in Mutual Core across the synchronized electronic billboards in Times Square’s Midnight Moment.

Streaming Museum’s contemporary-themed exhibitions of international multi-media arts, innovative ideas, and related programs reach a global audience via mobile devices, a network of big screens worldwide, and at cultural, corporate and public centers.


Gia Storms, Times Square Alliance 212.452.5205 | 917.626.6757 | gstorms@TimesSquareNY.org
Daniela Stigh, Rubenstein Communications 212.843.8269 | dstigh@rubenstein.com


part of the exhibition “faceless” ( http://goo.gl/ZlmFl )

Opening: 3.July, 2013 19:00h, MuseumsQuartier Vienna, AUSTRIA

Folder: http://goo.gl/Q42a1

Surveillance work can be challenging – according to the U.S. Department
of Labor it includes stress, danger, confrontations with angry or upset
individuals, physical discomfort, lethal hazards, fieldwork in high
crime areas, monotony, constant alertness to threatening situations,
irregular hours, and a heavy toll on private life, among other risks.
The surveillance worker has to possess “great self-discipline to control
unproductive ethical impulses to look away” since the “humanity of the
surveillance worker has always been a weakness of surveillance systems”
(Maxwell, 2005). Who are those people and employees observing us in all
possible situations of our lives? Surveillance workers are “in reality,
reflexive and knowledgeable social actors, involved in a variety of
sense and decision making activities” (Ball, 2005), though they are
people with diverse backgrounds and individual biographies that are
rarely recorded and often disregarded in history.

(1) Artistic Bokeh Showroom: Documenting Surveillance
Installation, opening with the Faceless exhibition on Wednesday 3rd July

The exhibition-booth of the initiative “artistic bokeh” features an
abandoned surveillance room showing displaying leftovers of an active
operation – even the technology is still in working condition. The work
environment, the tools and individual (personal) items of the surveyor
produce different narratives of what might have happened, while at the
same time showing small but significant flaws in the story. The
technology and the devices used might not fit together from their times
– what might look as flaws in the staging at first sight unfolds as an
act of distortion of history, which represents a meta-narration forcing
a critical observation of facts and fiction.

(2) >Asymmetric Love Nr. 2Asymmetric Love Nr. 2< by Addie Wagenknecht and Stefan
Hechenberger was created to mimic a familiar and comfortable iconic
baroque chandelier composed out of surveillance cameras.

(3) Performance "Anonymity" by Wagenknecht and Hechenberger
2013-07-03 19:00, MuseumsQuartier Vienna

By censoring the eyes, we censor a essential part of our expression,
becoming 'faceless' and anonymous in nature. Six hundred black glasses
will be distributed to the visitors opening night and documented by
ARISTIC BOKEH. Addie Wagenknecht and Stefan Hechenberger developed
?Anonymity? in New York in 2007, and adapted it for the opening of the
exhibition FACELESS part I and part II.

Artistic Bokeh is an initiative to qualitatively explore, map and extend
the electrosphere with parameters of artistic research and development.
The initiative is part of the project Artistic Technology Research at
the University of Applied Arts, Vienna.


Quantum Optics and Laser Science Group

Centre for Cold Matter, a part of the Quantum Optics and Laser Science Group (QOLS group), 

PhD in experimental physics

 experience in atomic, molecular and optical physics

 Experience in precision measurement, simulation and data analysis using Mathematica or similar languages is desirable, as is expertise in cold collision physics and cryogenic









prism marko pelijan

Heiko, great that you pointed out to this legal brief which is a 
fantastic, albeit a bit heavy legal read.
The Dr. Herzog, Dr. Hesse, Dr. Katzenstein, Dr. Niemeyer, Dr. Heu?ner, 
Niedermaier, Dr. Henschelbrief, Bamford’s early revelations in the form 
of books and of course Nicky Hager’s Secret Power are
the first steps of clarity on the long path of discovery that for now 
ends with Snowden. And hey, Bamford even exposed Prism (without naming 
it…) in his article in Wired last year, and the reaction
of the wider public and politicians everywhere was more or less crickets….
There were clear signs that this is happening, from Room 641a on Folsom 
street in San Francisco (whistleblower Mark Klein) to the
Pointdexter dissapeared TIA, which we now know what codenames it evolved 
into….  And we are talking only about the West here.
Russia and China have of course their own “methods” and “technologies” 
and sometimes buy equipment from the very same companies as the NSA…so 
does the rest of the world with enough
cash and spook cache….

From the mid 90’s on we have done extensive work on these topics, 
including analyzing and implementing the nicely written Australian 
Communications Interception Act of 1979
and its amendment of 1997,  which of course got a new world face in the 
recent developments that are completely consistent with the UKUSA 
(AUS/CAN/NZ) strategic alliance.
See: http://info.publicintelligence.net/AU-NatSecInquiry.pdf.
The problem here is that SIGINT and COMINT technology and methods have 
of course traveled their exponential trajectory,
that is being generated in the R&D labs of Narus (now Boeing…)  
(http://www.narus.com/), Verint (http://verint.com/) and similar 
companies and even university labs (of course)….
check out the lovely generic websites.
And yes, it is rather ironic that there is so much “surprise” after 
Spiegel published the facts that Campbell and even the European 
Parliament have already exposed to the European public
long time ago.
Network warfare is slowly showing its material contours and everybody is 
suddenly (again) surprised.

I always resort to bard Dylan in such times….

At midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row.

And turn on the receivers….

cybersurveillance other programs

Well recounted, Armin.

In 2000, the ex-head of the CIA, James Woolsey, crowed about
industrial espionage in response to Duncan Campbell’s EP
report “Interception Capabilities,” asserting “all countries do it:”


Campbell’s report:

http://cryptome.org/jya/ic2000.zip (981KB)

Campbell’s was the last of four for the EP entitled “Development
of Surveillance Technology and Risk of Abuse of Economic


These evolved from the groundbreaking 1998 report for the
EP by Steven Wright, “An Appraisal of the Technologies of
Political Control:”


prism programme surveillance usa

> Hi,
> it seems to me that the kind of outrage purportedly shown by German
> politicians and EU officials and parliamentarians about NSA leaks on
> spying is highly disingenuous, if not outright deceptive.
> It has long been in the public domain that the USA were spying on their
> allies, and that a primary motivation for that was to gain commercial
> advantage.

I beg to differ with Armin, supported by John. Indeed the ‘purported
outrage’ shown by politicians in Germany and EU in general is
‘somewhat’ desingenuous, but it is also inherent to the political
order that it could be voiced only now that, as the Dutch would say
“the likelyhood bordering on certainty” as morphed into proof, thanks
to Edward Snowden.

And it is there that the political impact hits at full force (well,
for the time being at least). It also there that the reception of
PRISM etc., both among the ‘educated’ public and the political class,
shifts from “Gimme a break, we knew all this for ages”, to “well it’s
still a bit surprising, isn’t it?” towards “holy shit! that’s totally

Exactly at the tricky juncture of final negotiations for a
comprehensive trade agreement between US and EU (remember – “it’s the
economy, stupid!”), the US government has probably more to explain
than it ever be able to. Sortof comeback of Churchill’s quip on the
Balkans, whose problem was that “they produce far more history than
they possibly can consume”…

Cheers from Oslo,

game.art in public space

 Taller Interfaces sólidas y juegos urbanos. Juegos digitales en el
    espacio público

Inscripción gratuita abierta hasta el 1 de julio.


Imagen del juego interactivo /Lummo Blocks /en la fachada digital de
Medialab-Prado en la Plaza de las Letras de Madrid.

Plazas disponibles para colaborar en el taller avanzado de desarrollo de
proyectos Interfaces sólidas y juegos urbanos: Juegos digitales en el
espacio público
<http://medialab-prado.es/article/convocatoria_interfaces_solidas>, que
se celebra del 1 al 7 de julio, 2013. Los colaboradores participarán en
la producción de los *proyectos seleccionados*
dirigidos a pensar el juego en el espacio público como una oportunidad
para generar otros usos de la ciudad y los vínculos que se establecen
entre los ciudadanos.

Proyectos que utilizan mobiliario urbano interactivo, sensores
ambientales, fachadas digitales, dinámicas de videojuegos multijugador,
composiciones sonoras o Gardening Guerrilla para proponer otras maneras
de vivir la ciudad y hacerla más sostenible.

Medialab-Prado ofrece alojamiento gratuito a colaboradores en un
albergue juvenil (plazas limitadas).

*Cierre de la convocatoria: 1 de julio. *

*Inscripción gratuita

*Más información:



Área de Las Artes, Ayuntamiento de Madrid
Plaza de las Letras
Alameda, 15 28014 Madrid
Tfno. +34 912 191 157

sudan image satellites

ICC Suspect Involved In Attacks Remains At-Large
JUNE 18, 2013
  • Protesters hold posters of Sudan’s President Omar Hassan al-Bashir and Janjaweed leader Ali Kosheib (right) outside the European Union Council in Brussels on July 14, 2008.

    © 2008 Reuters
Satellite images show the total destruction of villages during the April attacks in Central Darfur. How can the Sudanese authorities claim there’s nothing they can do when their own security forces were involved and the war crimes suspect Ali Kosheib is on the loose
Daniel Bekele, Africa director

(Nairobi) – Satellite images confirm the wholesale destruction of villages in Central Darfur in an attack in April 2013 by a militia leader sought by the International Criminal Court, Human Rights Watch said today.

The images show the town of Abu Jeradil and surrounding villages in Central Darfur state almost completely burned down, Human Rights Watch said. Villagers who fled the area told Human Rights Watch in May that Sudanese government forces, including the militia leader Ali Kosheib, hadattacked the area. More than 42 villagers are believed to have been killed and 2,800 buildings destroyed.

“Satellite images show the total destruction of villages during the April attacks in Central Darfur,” said Daniel Bekele, Africa director at Human Rights Watch. “How can the Sudanese authorities claim there’s nothing they can do when their own security forces were involved and the war crimes suspect Ali Kosheib is on the loose?”

Human Rights Watch analysis of satellite imagery found that more than 2,800 buildings were probably burned down in Abu Jeradil and four neighboring villages, which is 88 percent of all buildings in the area.

Abu Jeradil (Focus Area 1)
Move the slider to compare images from before and after the violence.

Before: Abu Jeradil (Focus Area 1)
After: Abu Jeradil (Focus Area 1)

Abu Jeradil (Focus Area 2)
Move the slider to compare images from before and after the violence.

Before: Abu Jeradil (Focus Area 2)
After: Abu Jeradil (Focus Area 2)

The deliberate destruction of civilian property as well as structures and goods indispensible to the survival of the civilian population are war crimes, Human Rights Watch said.

Community leaders from the Salamat Arab ethnic group who had fled to eastern Chad told Human Rights Watch that more than 42 civilians were killed and scores injured in Abu Jeradil, 30 kilometers south of Um Dukhun, on April 8. More than 100 civilians were killed in what appear to have been coordinated attacks on dozens of Salamat-populated towns and villages in the area that began on April 5 and lasted for several days.

Multiple witnesses said that large numbers of heavily armed men fired weapons indiscriminately, burned homes and shops, and stole livestock and other goods including food, clothes, beds, and water pumps. The villagers said the attackers included members of the government’s Central Reserve Police and Border Guards – auxiliary forces that absorbed former pro-government militia.

Salamat community leaders identified the attackers as ethnic Misseriya, Taisha, and Rizeigat Arabs, who arrived in dozens of government land cruisers. They said they fought back with rifles but were far outnumbered and outgunned. They said the attackers were armed with 106mm recoilless rifles, anti-aircraft weapons, heavy machine guns, rocket-propelled grenades, and other weapons. Human Rights Watch could not independently verify these descriptions.

The attacks and fighting between the groups has since spread to South Darfur state, Human Rights Watch said. The Sudanese government has dismissed the fighting and other recent inter-ethnic violence as beyond its control, despite the evidence that government authorities were involved in the attacks. Violence has driven some 300,000 people in Darfur from their homes so far in 2013, according to United Nations estimates, of which inter-ethnic fighting accounts for close to 200,000.
Human Rights Watch reiterated its call to the Sudanese government to ensure a full and impartial investigation of the attacks and prosecute those responsible for abuses, and to surrender Kosheib immediately to the International Criminal Court in The Hague. On June 4, authorities in Central Darfur told Sudan Radio Service they were conducting an investigation into the attacks and Kosheib’s role, but findings have yet to be announced.

Ali Kosheib, a nom de guerre for the militia leader Ali Mohammed Ali, was spotted at the scene of attacks on Abu Jeradil. Kosheib faces a 2007 arrest warrant by the International Criminal Court for crimes against humanity and war crimes in West Darfur in 2003 and 2004. Though briefly arrested in 2007 and 2008, he was released and currently holds a high-ranking position in the Central Reserve Police, an abusive force widely known as “Abu Tira.”

The April attacks caused widespread destruction of civilian property and the mass displacement of more than 30,000 people to Chad, where they are awaiting humanitarian assistance amid the onset of the rainy season. The border area remains under threat from armed men in the area, making any attempt by the villagers to return home very dangerous.

Sudan’s regular armed forces did not intervene to stop the fighting or protect civilians around Abu Jeradil, Human Rights Watch said. Sudanese authorities have on several occasions prevented the African Union-United Nations peacekeeping force in Darfur (UNAMID), which has a mandate to protect civilians, from accessing the area.

“Sudanese authorities should immediately rein in pro-government forces and hold those responsible for serious abuses to account,” Bekele said. “A crucial first step would be to surrender Ali Kosheib to the International Criminal Court”

susan hiller

Susan Hiller, “Channels,” 2013. Installation view, centre d’art contemporain – la synagogue de Delme, 2013. Photo: OHDancy. Courtesy Matt’s Gallery, London.
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Susan Hiller
June 12–September 29, 2013

Centre d’art contemporain – la synagogue de Delme
33, rue R. Poincaré
F-57590 Delme
Hours: Wednesday–Saturday 2–6pm, Sunday 11am–6pm

T +33(0)3 87 01 43 42


For the entire summer, the Centre d’art contemporain – la synagogue de Delme is pleased to present a solo exhibition of work by Susan Hiller. An American artist who has lived in London since 1969, Hiller has been one of the most influential artists on the British scene for forty years. Channels was originally produced by Matt’s Gallery in London, and is presented in Delme in a French version recorded for the occasion by the Contemporary Art Centre.

Channels is a vast wall of colour and sound constructed from over one hundred analogue televisions, in which blue and grey screens, disembodied voices and crackling white noise are formed into an orchestrated collage of collected testimony on near death experiences.

The work unfolds and reveals itself gently and by increments: Visitors sit and watch the blank screens expectantly as a ballet of subtle colour modulations and shifts occur; then, suddenly, a single voice speaks out, puncturing the white noise with bright clarity. That voice is joined by others, which, rising together form a babble of humanity. The visitor strives to hear individual strands or narratives emanating from the now pulsating screens; the voices ebb and flow, allowing the singular stories of near death, gathered over many years and from all corners of the globe, to address us clearly.

These multiple anonymous descriptions contain recurring motifs delivered in clear unemotional tones: brightening lights, sudden warmth, hovering over ones own body, the loss of feelings of pain or fear, and encounters with either strangers or long-dead family members who explain it’s not yet their time to die, just before they regain consciousness. Hiller is interested in the marginal and unexplained aspects of human life and experience—the things considered trivial or irrational which modernity often seeks to marginalize or ridicule such as unexplained phenomena, faith or even belief. Hiller offers no judgment as to the ‘truth’ behind NDEs but simply presents them as an aspect of human experience, as cultural artefacts, or ‘social facts.’ While the speakers recount their memories without emotion, the cumulative effect of the testimony and also of the powerful silences during the piece, has a profound emotional effect on the viewer/listener. Hiller has long been fascinated by the inherently uncanny nature of the disembodied voice, explaining, ‘I’m interested in the unacknowledged, uncanny ghostliness of recorded sound that makes no distinction between the voices of people long dead and those of the living.’ In Channels she explores the relationship between technology, the uncanny and the otherworldly to powerful effect.

Susan Hiller’s working life has been based mainly in London where her groundbreaking installations, multi-screen videos and audio works have achieved international recognition and are widely acknowledged to have had an important influence on younger British artists. In a distinguished career of more than 40 years, she has drawn upon sources as diverse as dreams, postcards, Punch & Judy shows, archives, horror movies and UFO sightings to make innovative and seductive works from ephemeral, sometimes seemingly unimportant items, works that involve the audience as witness to the lacunae and contradictions in our collective cultural life.

Channels is a Matt’s Gallery, London commission, generously supported by Arts Council England,The Henry Moore Foundation, CAF American Donor Fund, Timothy Taylor Gallery, Integral Memory and Envirocom.

The French recordings have been made possible with the help of Bouche à Oreille association in Metz, and the ESAL – the Ecole Supérieure d’Art de Lorraine – Metz campus.

Centre d’art contemporain – la synagogue de Delme is grateful for support from the French Ministry of Culture and Communication, the Lorraine contemporary art authority (DRAC), the regional and departmental governments of Lorraine and Moselle, and the municipality of Delme.

Centre d’art contemporain – la synagogue de Delme is a member of DCA–Association pour le Développement des Centres d’Art.

Marie Cozette

Press contact
Agathe Borgne: communication@cac-synagoguedelme.orgwww.cac-synagoguedelme.org/presse


Shawcross to invite leading female composers and performers to respond to the installation, with vinyl releases planned for later this year.

Situated in his London studio and Parisian art centre Palais De Tokyo, British artist Conrad Shawcross has transformed an industrial robot into a moving light sculpture that references and celebrates the work of Victorian mathematician Ada Lovelace.

Working alongside Charles Babbage, the inventor of the analytical engine widely recognised as the world’s first mechanical computer, Lovelace was particularly was fascinated by the creative as well as the scientific potential of such mechanisms, making reference to what would become computer-generated music in her notes.

Inspired in turn by her predictions, Shawcross’ ADA is an ambitious and interactive work that blurs the lines between technology, visual art and music. While the robotic light sculpture will be displayed as an installation, Shawcross has invited a series of female composers and performers to respond to the visual aesthetic of the piece to create a collection of truly unique recordings, to be made in situ in Shawcross’ studio.

The music will then be pressed to record by The Vinyl Factory and released later this year.

The exhibit will run from 21st June — 9th September at Palais De Tokyo, following a launch party for the whole event on June 20th set to feature French retrophiles Nouvelle Vague. For more info, visitwww.palaisdetokyo.com

#OPENmadrid. Arquitectura Abierta para la Ciudad

24.06.2013 – 26.06.2013

Lugar: Medialab-Prado


#OPENmadrid es un espacio de encuentro y reflexión sobre las nuevas prácticas de arquitectura en la ciudad bajo la óptica de la cultura libre y la innovación urbana. Incluye charlas, mesas de debate y sesiones en streaming.

Este evento quiere ser el lugar de referencia para todos aquellos que creen en la ciudad, que trabajan por ella, la sufren, la disfrutan y la sueñan.  

La asistencia al evento es gratuita. Tan sólo los talleres requieren una matrícula previa y tienen distintas tarifas: gratuita, matrícula por taller o pack completo. Si te inscribes antes del 15 de junio tendrás undescuento del 30% en el pack completo.



Acerca de #OPENmadrid

Madrid es una ciudad en permanente efervescencia, donde muchísimas personas, colectivos, grupos y profesionales trabajan de forma independiente para transformar la ciudad, aunque su labor es en ocasiones desconocida incluso para aquellos a quienes se dirige.

#OPENmadrid quiere ser el lugar de referencia para todos aquellos que creen en la ciudad, que trabajan por ella, la sufren, la disfrutan y la sueñan. 

Durante tres días tendremos ocasión de escuchar, debatir, reflexionar, practicar, aprender y – cómo no – pasarlo bien. Dado el carácter transdisciplinar del evento, estamos abiertos a arquitectos, urbanistas, sociólogos, programadores informáticos, estudiantes, artistas, profesores… en una palabra: “ciudadanos”.



lunes 24

10:00h: Acreditación
10:30h: Presentación
11:00h: Autobarrios: Estrategias para practicar más barrio Basurama
11:45h: Urban Beings | Zuloark
12:30h: Pausa
12:45h: Mesa Redonda > Zuloark – Basurama + Andrés Walliser
14:00h: Comida

16:15: Procomunes Urbanos | Vivero de Iniciativas Ciudadanas
17:00h: Talleres
18:00h: Think Cities > Mesa Redonda. Actitudes ejemplares en Arquitectura, Educación y Ciudadanía José María Echarte y Santi de Molina
21:00h: Happy Hour


martes 25

10:00h: miniconexiones
10:30h: Tornillería Open Source | Todo por la Praxis
11:30h: Maneras de (des)hacer nUNDO
12:30h: Pausa
13:00h: Macro. Meso. Micro. Modelo Sistémico de Territorio desde la Innovación Social
14:00h: Comida

16:15h: Procesos Abiertos de Codiseño en Arquitectura | Satt Ecoarquitectura | Iñaki Alonso
17:00h: Talleres
17:30h: Ar(te)quitectura: de la práctica al museo Think Arts
21:00h: Happy Hour


miércoles 26

10:00h: miniconexiones
10:30h: Alfonso Sánchez
11:30h: El derecho a la infraestructura | Adolfo Estalella y Alberto Corsín
12:30h: Pausa
13:00h: Mesa Redonda
14:00h: Comida

16:00h: Talleres
19:00h: Presentación del grupo Ciudad y Procomún | Think Commons  
20:00h: Resultado de los talleres.
21:00h: Happy Hour



lunes 24 | 17:00h – 21:00h
Arquicomics: ésta es mi calle | Jaime Eizaguirre [+info]
Gestión, difusión y producción de una exposición participativa en la calle | La Galería de Magdalena [+info]

martes 25 | 17:00h – 21:00h
Micro Meso Macro. Innovación Social + Territorio | Igor Calzada + Adolfo Chautón +Domenico Di Siena [+info]
Los Indicadores de la Sostenibilidad 2.0 en la Arquitectura | Ecómetro [+info]

miércoles 26 | 16:00h – 20:00h
Cultura libre, ¿para qué? | Alfonso Sánchez (@skotperez) & Jorge Toledo (@eldelacajita)[+info]
Protect me from what I want: Identidades audiovisuales en el s.XXI | lacasinegra [+info]


Invisible Cities has been updated to version 0.98b. It now includes support for New York, San Francisco and Bogota, Colombia, as well as performance improvements due to a new service architecture.

2011 was a good year for Invisible Cities. The project was presented at TEDActive and shown at various TEDx events. It was published in the Parsons Journal for Information Mapping among other publications.
We hope you download the new version and send us your feedback!

internet cyberspace archive

Main Content Inline Small

The House of Electronic Arts Basel is proud to announce the exhibition Collect the WWWorld. The Artist as Archivist in the Internet Age, curated by Domenico Quaranta. The show is an adapted, updated version of the one produced by the Link Center for the Arts of the Information Age.

The last decade has witnessed an incredible growth in the production and distribution of images. The availability of inexpensive production tools has seen an exponential rise in amateur creativity, while the Internet provides a new distribution platform for this kind of production, which previously remained private. Collect the WWWorld. The Artist as Archivist in the Internet Age investigates the impact of this process on art practices and the artist.

The exhibition sets out to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and postproduction: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of visual material produced by popular culture and advertising. Collect the WWWorldis an attempt to show how art responds to the information society.

Curated by Domenico Quaranta.
Co-produced by the LINK Center for the Arts of the Information Age and the House of Electronic Arts Basel.

18.30 Exhibition opening, aperitiv
19.30 Guided tour with Domenico Quaranta in English

Thursday, March 8, 2012, 18.30
House of Electronic Arts Basel, Oslostrasse 10/12
4142 Münchenstein/Basel (Dreispitz, Entrance Tor 13

Collect the WWWorld. The Artist as Archivist in the Internet Age‏





2’350 personnes ont pu assister à la performance de mapping architectural 3D de Bordos ArtWorks. Vous n’avez pas pu venir au Musée d’Art et d’Histoire le 19 mai 2012? Regardez ce que vous avez raté, avec ou sans lunettes!

Si la vidéo ne s’affiche pas cliquer ici : http://vimeo.com/46888761 


2,350 people attended the 3D architectural mapping performance of Bordos ArtWorks. You didn’t come at the Museum of Art and History May 19, 2012?

Check what you missed, with or without glasses!

trebor scholz new media art tech. aesthetics

(Hyperlinked version: http://tinyurl.com/dx5dwsb Images discussed:

New Literacies for a New Aesthetic?
by Trebor Scholz

As a ten year-old, passing by the Forbidden City of the East German
Head of State and his functionaries sparked my imagination. The walled
complex, tucked away in a forested area near Berlin, was guarded by an
armed division of the Stasi, named after the founder of the Soviet
secret service Felix Dzerzhinsky. Back then, you couldn’t Google for
images of this residential compound; Pinterest, Google Earth, and
civilian drones were not around. And even if they were available,
there was no grassroots way of mass-reproducing images or texts. After
the implosion of the German Socialist Republic in 1989, however,
reports about this forest settlement surfaced. My top pick of all
stories is that about one apparatchiks’ secret closet filled with
Salvador Dali paintings, financed by public funds.

Months later, early in 1990, those who celebrated their newly found
freedom of movement by grabbing a map of the German-German border
region to hike westward found themselves led astray in mysterious ways
as the border area was purposefully misrepresented on East German maps
to deceive those who wanted to escape.

Images invade our consciousness. They can bear witness when words are
used up. They can mobilize, gratify and inform. They can be put to
work as evidence, argument, accusation, and proof. Images can help us
to make sense of our surroundings. We surrender to the onslaught of
images; sometimes the anti-punctum: senseless, lackadaisically
composed, and extraneous. But images also fail us: the overabundance
of visual material desensitizes.

In 2006, Ethan Zuckerman investigated a 45 page PDF that circulated
among Bahrainis. It uses images from Google Earth to ask uncomfortable
questions about land allocation in Bahrain, you know, the small island
state east of Saudi Arabia. One image in particular shows the
extravagant palaces of the King, built on confiscated public land,
next to the packed living quarters of citizens. Protests ensued and
the Bahraini government temporarily blocked Google Earth.

Over the last five years something has changed when we consider
digitally-produced images. Many claims to pictorial novelty have been
made. And they concern more than a bunch of cool-looking stuff on
Pinterest, an online pinboard. I remember going through shoe boxes of
photos in my grandmother’s house, noticing that the black and white
photos of my grandfather had a tiny cut-out circle on his jacket,
dubiously just in the place where he may have worn his party pin.

Visuality in the early decades of the 21st century is not merely about
image manipulation software though, it is about entirely new attitudes
toward visuality.

In the early years of the 21st century, the collection of essays
Imagery in the 21st Century, edited by Oliver Grau with Thomas Veigl
sets out to understand what will constitute an image, and what are
novel ways to generate, project, and distribute pictures.

Imagery in the 21st Century resulted from a conference that Oliver
Grau convened. It traverses the disciplinary divides between art
history, anthropology, and cell biology, focusing on: the ecological
and ethical dimensions of screen technologies (Sean Cubitt), a course
on image practices in the university (James Elkins), machinima
aesthetics (Thomas Veigl), medical illustration (Dolores and David
Steinman), the obsession with source code (Wendy Hui Kyong Chun),
novel cultural interfaces (Christa Sommerer and Laurent Mignonneau),
the museum as Noah’s Arc (Peter Weibel), and the Warburg Image Atlas
for a digital age (Martin Warnke).

At first, I asked myself, what holds the twenty chapters in this book
together. What do all the puzzle pieces add up to? An analysis of
contemporary imagery felt like an uncomfortably all-embracing
ambition. John Berger, for example, focused on the way oil paintings
primarily reflected on the status of those who commissioned the
artwork. What are we talking about when we are thinking about
contemporary visuality? The advent of infographics, games, CCTV,
animated gifs, art generated by algorithms, histograms, 4D
visualizations, or Instagram? Constructively, the authors reflect on
imagery not merely through the lens of a specific device, genre,
social practice, or social function, and it becomes clear that image
literacy can no longer be the exclusive domain of art historians. But
are we really, as the book suggests, amidst an image revolution? “The
curse of the ‘perpetually new’ is perpetual,” Bruce Sterling writes.

What, then, is so subversive or new? A Tumblr image collection might
help to answer. Curated by James Bridle, the tumblr received quite a
bit of attention recently with articles in the Atlantic, Wired and a
panel at SXSW titled The New Aesthetic. Beyond the claims to newness,
it is self-evident that many of the eye-catching images in the
collection could not have been created in, say, 1993. In Bridle’s
collection, Ian Bogost discovered a screenshot of a “list of tweets
announcing the surprising discovery that the Titanic was a real
ocean-liner and not just a film.” But there are also maps: Planned
Parenthood gave out sixty thousand condoms with QR codes that lead you
to a website which asks you to check-in with information about how and
where the condom was used.

Many of the technologies that generated the images on Bridle’s tumblr
are still emergent. Unsurprisingly, they show that digital aesthetic
is seeping into architecture and fashion.

Over the weekend, my colleague McKenzie Wark fired off a series of
tweets about the “new new aesthetic of the tumblresque.” He tweets:
The #tumblresque is not John Berger’s Ways of Seeing but sprays of seeing.
The #tumblresque wants to see you naked.
The #tumblresque is a bedroom wall big enough for every teenager on
the internet.
The #tumblresque is one, two, a thousand Cindy Shermans.

Wark shows what is at play in this “#pinteresque” image collection.

Thinking about contemporary visuality, there is something lost in
comparison to the quirky online aesthetic of the 1990s. With the
emergence of centralized platforms like LiveJournal and Blogger, net
aesthetics became a big mush of networked sameness, facilitated by
template mania. No more experimental, handmade, and surprising
websites like AdaWeb that made you chase after javascript-powered
buttons to even enter the site. Today, creativity and experimentation
on the Internet are not dead but they have moved onto platforms like

Today, visual culture invades societies that are largely unprepared.
We surrender. Appropriately, one important axis of discussion in
Imagery in the 21st Century concerns the question of much-needed image
literacies. The editors aspire to extract a crosscutting literacy that
can catch the elusive phenomena of contemporary visuality. Grau calls
for an image competency for our culture that is still largely
dominated by writing. Do we speak the language of the image?
Illiteracy, Grau suitably suggests, has largely been overcome in most
countries but the inability to interpret images adequately, has not
been sufficiently considered.

For me, a cohesive program for image literacy would comprise seven key
competencies. It’d entail an understanding of 1) the material
foundation of digital images (and its ecological implications), 2) an
understanding of the
technical processes involved in their making, 3)
their historical references, and 4) the fundamental data literacy (the
ability to interpret scientific imagery). It’s time to look under the
shiny hood of images. And that includes the capability for a political
decoding of long tail images, which is my fifth point.

Image literacy needs to be more than fuzzy judgment. Can you give
nuanced interpretations of QR codes, 3D renderings, complex graphs,
visualizations, technical pictures like x-rays, face detection, MRIs,
mammograms or mathematical images? With the gaming industry
economically outperforming the film sector, it becomes harder to
ignore image practices like machinima (i.e., technology to produce
films in computer games).

Images become findable if properly tagged but which images can we
access, copy, or use? Image literacy is also about intellectual
property and fair use; that is my 6th bullet point.

Images and code, both have a tight grip on us. 7) Image literacy
should also be about a basic understanding of the principles of
programming. Douglas Rushoff makes an eloquent case for that in
Program or be Programmed. “If you don’t understand the software, you
are the software,” Rushkoff poses. Students don’t have to become
industry-strength programmers but they should all be able to converse
with programmers. On a foundational level, they should comprehend the
workings of information architectures.

With the proliferation of digitization, we are inundated with heaps of
information. In this Age of Big Data, the ever growing pile of data
becomes unknowable as David Weinberger and others have pointed out.
There are ever more data but fewer theories to make sense of them. The
world has become harder to know. Visualization, aggregation, curation
and the filtering of data become core competencies not only for
designers but also for journalists, scholars, artists, and scientists.
There is no such thing as information overload, there’s only filter
failure, as Clay Shirky declared. This is also true when it comes to
“abuses of the visual,” as James Elkins put it referring to
compulsively created, senseless images. Oliver Grau and Thomas Veigl
demand new forms of visualization to face this explosion of knowledge.

The artist Robert Smithson in the narration of his series of
photographs titled “Hotel Palenque,” most insightfully and poetically
demonstrates image literacy, for me. In his quick-witted and
perceptive talk to architecture students at the University of Utah’s
School of Art in 1972, Smithson discusses a peculiar hotel in
Palenque, Mexico that decayed on one side while still being renovated
on the other. In his talk he put forward the notion of “ruins in

For me, the visual should not merely connect us to the sciences, as
Elkins suggests, but also to the political power of images. Think of
the work of the British cultural critic Judith Williamson (e.g.,
Decoding Advertising), the artworks by Alfredo Jaar, Emily Jacir,
Trevor Paglen or Alan Sekula. Or, take the recently published book
Right To Look, in which Nicholas Mirzoeff argues that “visuality has
been central to the legitimization of Western hegemony.” Such
discussion of global image power as political force is indispensable.

In his chapter in Imagery in the 21st Century, “Visual Practices the
University: A Report,” James Elkins suggests that today, learning
mainly happens through images.

Already in 1924, the German art historian and cultural theorist Aby
Warburg used arrangements of images from distant times and places. In
his Mnemosyne-Atlas he combines images to create meaning. In fact,
Warburg’s writing is hard to understand without comprehending his

James Elkins quotes Henry Hutchens, one of the principal founders of
the University of Chicago who in The University of Utopia (1964)
argued that nothing should be taught in the university except
philosophy. I concur with Elkins here, the study of the visual is
erroneously sidelined, shelved in art history departments.

Do images really push themselves in front of words, as Elkins
claims? Have words hopelessly deteriorated? The editors argue along
those lines: “It would appear that images have won the contest with
words.” (p6) Indeed, long-form platforms like WordPress grow slower
than short-form writing and image sharing through micro-blogging
services. The image sharing board Pinterest grows at an explosive
rate. An Instagram photos make sharing even faster than tweets. But
thinking of the media representation of the Rwandan genocide in 1994
or the Kosovo War in 1999- images failed to make these atrocities
vivid enough; they did not do very much. Susan Sontag concludes that
narrative and contextual framing establish more meaning than images.

But luckily learning in colleges and universities is still largely
based on texts. Part of my responsibility as a professor is to bring
students into the intimate, delicious sphere of reading. The visuality
of Khan Academy’s hand-written lectures on videos is an interesting
hybrid. But still, we largely discover the universe through words. The
long sentence is worth defending against the click-click moments of
the networked cacophony.

There are many accounts that professors assign shorter readings than
they used to five years ago. This does not indicate, however, that
today’s students are simply sub-standard but it does signify that
there is more going on in students’ lives. Reading habits change when
students have to work longer hours to keep their student loans at bay.

Sean Cubitt’s in his chapter “Current Screens” instructs us to
consider specifically the ethical-ecological layer of discussions
about screen technologies. Her emphasizes that our culture is highly
material, especially when you consider the ecological footprint of the
raw materials. LCD screens, for example, are poorly biodegradable and
potentially significant water contaminants. Sean Cubitt demands that
next steps cannot be achieved without respect for the poor and for the

Sean Cubitt suggests that in the haste to populate our lives, the
screens we have opted for are good enough instead of the best
possible. Which trajectories of technological development become
abandoned and what kind of social and political capacities and
performances would they have suggested? Cubitt’s essay also reminded
me of the fact that an avatar in the virtual world Second Life
consumes as much electricity as a real life person in Brazil. The
“immaterial” can’t escape the burden, the solace, and social costs of
the material world.

In this discussion of visual culture, media art has a role to play.
How can we rescue digital artworks from oblivion? Oliver Grau’s warns
of the total loss of our cultural memory of digital art of the past
ten years. Most definitely, hardware and operating systems change and
without explicit, thoughtful, and well-funded efforts, most works will
indeed be lost. There is no one-fits-all preservation solution. Oliver
Grau, who is also the author of Virtual Art: From Illusion to
Immersion, provides impressive examples of indispensable media
artworks like Jeffrey Shaw’s T-Visionarium. Already in 1999, questions
about preservation of media art were at the center of Jon Ippolito’s
important exhibition Variable Media at the Guggenheim Museum.


In preparation for the coming end of the world, ALKU are releasing
their first publication:

Goodiepal “El Camino del Hardcore” (ALKU 83)
192 page book, full colour.

Link: http://bit.ly/ALKU83

In 2009 we started working with Kristian Vester (aka Gæoudjiparl) on a publication featuring some of his graphic notation work. Almost three years in the making, this epic work has become a 192 page long book which includes tons of challenging theory, brutally detailed illustration, mind-bending scores, obscure links, a long conversation between the Goodiepal and Roc Jiménez de Cisneros, and loads of Scandinavian fun to further expand the Goodiepal’s never-ending descent into the abyss of Radical Computer Music. Theory, illustration, conversation, scores within scores come in one hand in the most ambitious and crazy item ever in the ALKU catalogue. As the the Aarhus Warrior says, “Hardcore!”


—————————————————–ALPHA-VILLE 6 OCTOBER 2012———————————————-
Alpha-ville presents a full day celebrating the richness of the digital culture in Hackney on Saturday 6th October 2012. Head over to Hackney Central/London Fields area to discover the day, use the journey planner to get travel information. If you make it early enough we recommend that you visit the lovely local market Broadway Market. The events take place in 2 venues: Hackney Picturehouse and Hackney Empire. As you can see from the picture below, both venues are across the road, both in Mare Street, just by the Hackney Town Hall.

At 12pm we open the events at Hackney Picturehouse with an interactive installation: Blabla, that will be open all day for free at the Picturehouse lobby. At 2pm, the programme will kick off with Alpha-ville SCREENING at the Hackney Picturehouse, Screen 3 with:

FUTURE OF MOVING IMAGE PROGRAMME & AWARD Start 14:00h Duration: 90 min. Check out the programme here.
UNFINITY PROGRAMME Start 16:15h Duration: 90 min. Read the full programme here.

For tickets head over to the Hackney Picturehouse website. You can buy a double bill ticket for £12 if you give them a call on 0871 902 5734. Please note there are no trailers in these programmes so make sure you arrive on time.

From 6pm to  7pm there is a break. To have some food we recommend the tasty Hackney Picturehouse Bar food, there are also really good Turkish and Vietnamese restaurants down the road in Mare Street.
At 7pm doors open for Alpha-ville LIVE at Hackney Empire.

Alpha-ville LIVE is a carefully crafted event dedicated to exploring the relationship between electronic music, digital art and visual practices. This event is kindly supported by the Arts Council of England and XL Video. It will be a special evening featuring the London premiere of the collaboration between Murcof & AntiVJ, alongside an intimate live solo by The Field, a full audiovisual experience by Raster-Noton’s label co-owner Byetone.
Plus special guest Ulrich Schnauss playing a DJ set from 7pm to 8pm.

We recommend to buy tickets in advance  here for this event, bring along the printed ticket and a form of ID. There will be limited number of tickets on the doors. If you have made a group booking remember that all people within a group booking will have to enter with the card holder of the booking. Doors open at 19h. End of show 23:15h. Tickets: £17.5, £20, £25, £30. Wheelchair spaces available

And after the concerts join the the artists and the team at Visions Video Bar in Dalston (588 Kingsland Road) for a party with out special guest K.atou from Athens and guest DJs. From 23H until late.
Download K.atou’s podcast for Alpha-ville from this link to get in the mood.  If you are going to any of the ticketed events you get a 50% discount on the door for the party.

We’re very excited about the upcoming events and look forward to seeing you on Saturday!

The Alpha-ville Team

La cultura como bosque // Conversación abierta con Pedro Soler

La cultura como bosque // Conversación abierta con Pedro Soler
escrito por Intermediae 23/10/2012 17:24:12

Viernes 26 de octubre de 2012 a las 19h.


La cultura como bosque. Infinitas variaciones, sin control central, cuerpos en relación, emergente. Mientras que se ha centrado la metafísica y la educación en el hombre y, especialmente en su cabeza, proponemos un pensamiento vegetal para la cultura – enraizado en un lugar, conectado por raíces (local) y aire (remoto), distribuido por el cuerpo entero, nutrido por el sol del deseo – y con un método, la permacultura. La cultura y la naturaleza dejan de ser ámbitos separados, los hackers cuidan de jardines, el feminismo es tan natural como respirar y el aprendizaje surge de la complejidad de las interrelaciones.” Pedro Soler

Conversación abierta del programa de resiliencias de 404, este ciclo de conversaciones tiene como objetivo incorporar algunas reflexiones comunes en el marco de la creación cultural. Con el fin de problematizar de un modo operativo los procesos institucionales de producción de conocimiento, nos acercamos a un grupo heterogéneo de agentes culturales para pensar colectivamente qué implicaciones (políticas, sociales, económicas y estéticas) tienen los espacios de aprendizaje no-formal. 

Pedro Soler, formado en Artes Digitales por el Instituto Audiovisual de la Universidad Pompeu Fabra 1997-1998, ha desarrollado una intensa trayectoria profesional como creador y agitador cultural. Articulador de numerosas iniciativas relacionadas a la multimedia, el arte y el teatro, tanto individualmente como colaborando con diversos colectivos internacionales, tales como Fiftyfifty (distribuidor independiente de contenido multimedia), Dadata (creación audiovisual), Didascalie.net (plataforma para teatro y multimedia), GISS.tv (servicios de streaming con software libre). Fue comisario en el Festival Sonar en Barcelona desde 1999 a 2006, artista/programador desarrollando vídeo interactivo para teatro en París desde 2003 a 2006 y desde 2006 a 2009 trabajó como Director de Hangar.org, Centro de Producción de Artes Visuales, en Barcelona. En 2010 fue comisario de las exposiciones “L’Espai de l’Intent” (Centro Cultural Can Felipa), “Lo uno y lo Múltiple” (La Capella – Instituto de Cultura), ambas en Barcelona, y “The One and the Multiple” (Artellewa  – Noshokaty Foundation) en El Cairo. En 2011 desarrolla Plataforma Cero, un centro de producción y investigación artística dentro del centro de arte LABoral en Gijón. 

Más información: http://root.ps

(Imagen: Paula Pin, 2012)

ARS BIOARCTICA by Finnish Bioart Society

Call: Field_Notes – Deep Time

Posted on May 6th, 2013 eb No comments

Call for professional collaborators

       Field_Notes – Deep Time 

Field_Notes – Deep Time is a week long art&science field laboratory organized by the Finnish Society of Bioart at the Kilpisjärvi Biological Station in Lapland/Finland. Five working groups, hosted by Oron Catts, Antero Kare, Leena Valkeapaa, Tere Vaden, Elisabeth Ellsworth and Jamie Kruse, together with a team of five, will develop, test and evaluate specific interdisciplinary approaches in relation to the Deep Timetheme.

Field_Notes – Deep Time is in search of artistic and scientific responses to the dichotomy between human time-perception and comprehension, and the time of biological, environmental, and geological processes in which we are embedded. The local sub-Arctic nature, ecology, and geology, as well as the scientific environment and infrastructure of the Kilpisjärvi Biological Station will act as a catalyst for the work carried out.

      Dates and places:

15th – 22nd September 2013 field laboratory at the Kilpisjärvi Biological Station

23rd, 24th of September 2013 conference in Helsinki




      Application process

We are looking for 25 artists, scientists and practitioners, which are interested to develop, collaborate and work in one of the groups.

Please send your application including CV, group preference and a max A4 letter of motivation and/or direction of possible Field_Notes research/contribution to erich [dot] berger [at] bioartsociety [dot] fi

Application deadline 31st of May 2013

We warmly welcome artists, scientists and practitioners from different fields to apply.

We will pay for the journey from Helsinki to Kilpisjärvi and back, as  well as for full board and accommodation at the Kilpisjärvi Biological Station for the whole working week.

Participants from outside of Finland have to take care about travel to Helsinki and possible necessary accommodation in Helsinki themselves.


      Groups, hosts and fields:

During one week the five groups will approach the Deep Time theme from different angles. They will organize themselves in work groups, think tanks, and workshops. They will carry out their work in their related field environment, as well as have common activities of lectures, presentations and feedback sessions. Expected results include abstracts, collaborations, data, documentation, future workshops, hard an software, ideas, knowledge, photos, presentations, prototypes, skills, sounds, projects, videos and more. The languages used are Finnish and English.

The five groups are:

Journey to the Post-Anthropogenic

– hosted by Oron Catts, takes place in the sub-Arctic nature, in the lab, and in the study

Deep Futures in the Making

– hosted by Elizabeth Ellsworth and Jamie Kruse, takes place in the sub-Arctic nature and in the study

Deep Time of Life and Art

– hosted by Antero Kare, takes place within the sub-Arctic geology of bedrock, sediments and caves, the lab and the study

Time and Landscape

– hosted by Leena Valkeapää, takes place in the sub-Arctic landscape, amongst reindeer and the Sami culture

Second Order

– hosted by Tere Vaden, takes place amongst the working groups and in the study


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Pixelache Helsinki 2013 Festival

Pixelache festival 2013 is entitled ‘Facing North – Facing South’ and is organized as a dual-city event, both in Helsinki and Tallinn during 16-19 May 2013. If every North has its South and every South its North, this is an invitation to alternately face North and South from multiple points of views.

With this theme, Pixelache expands it’s on-going Signals from the South programme, that has focused on presenting media, art and technology projects from Africa, South America and Asia since 2009. It explores further the relationships between South and North, looking at these notions from various perspectives, including geo-political, cultural, economical, both on global, regional and local levels.

From a regional point of view, organizing part of the festival in Tallinn poses the question of what it means to bring these cultural actions across the water. Indeed, not only geographically, but also economically, Tallinn is still in the South of Helsinki. The term Talsinkihas in the past often been used by Estonians ‘to imply that the commercial centre of Tallinn has become the ‘Helsinkians’ living room’. On the other hand the biggest group of immigrants to Finland is Estonians, especially construction workers. There is an economical benefit from relocating South. Shall we and how, deal with this dissimmetry as a festival? Can we build something meaningful between both capitals, that would contribute realizing theTalsinki/Hellina twin city ambition as envisioned by the think tankDemos and the two cities themselves?

From a global point of view, relations between commonly understood North and South are even more complex. Various non-western initiatives have been encountered through the Pixelache Network during the past years and Pixelache has contributed to disseminate an approach strongly relying on the potential of open source, DIWO and peer-learning practices. At the time when many countries in Europe today are also starting to face the same water, energy and food dependency crisis than in the South, more than ever we should explore the ideas and initiatives emerging in the South and imagine new ways to tackle together these common issues.

We are now looking for organisations, groups or individuals who would like to organise a seminar and an exhibition for the Facing North – Facing South programme of Pixelache in Helsinki in 2013. For details about the open call, see below!




15.11. Talking Trash(lab) lecture by Cindy Kohtala (Aalto ARTS Design) from 17.30-19.00 at Aalto Media Factory

20.11Hybrid Sensor Network workshopapplication deadline

25.11.-1.12. ‘Light is History’Community Art Space at Hakaniementori

30.11.-3.12. Hybrid Sensor Network workshop led by Arctic Perspective Initiative


5.12. Open call deadline forPixelache Helsinki Festival 2013 Programme Planner

AV Research Process initiated by Irina Spicaka 

Irina Špičaka has joined Pixelache Helsinki this Autumn until May 2013 from Riga, to focus, within the context of the Pixelversity programme, as an electronic audio-visual performance culture researcher and developer.

As her first step, Irina initiated an online survey for live AV/VJ practitioners in the Nordic-Baltic and NE European context to help map out active participants in these regions, and see potential for future collaboration. Welcome to fill out or share the survey here(we will release the survey data in December). She is currently in dialogue with the artistic directors of AAVE Festival, to develop an educational partnership next Spring. Please return to theongoing research page to keep up with the process & contacts.

More info here >>

Call for Programme Planner Pixelache 2013

Pixelache Helsinki Festival 2013 is entitled ‘Facing North – Facing South’ and is organized as a dual-city event, both in Helsinki and Tallinn during16.-19. May 2013.

We are looking for organisations, groups or individuals who would like to organise a seminar and an exhibition for the Facing North – Facing South programme of Pixelache in Helsinki in 2013. We are hoping the Facing North – Facing South programme will bring interesting insights and points of views to the question of North-South relationships.

The deadline for applications is5th of December.

More information and the application form here >>

Talking Trash(lab)

The upcoming Talking Trash(lab) lecture in November is by Cindy Kohtala (Aalto ARTS Design) on Thursday 15.11. from 17.30-19.00 at Aalto Media Factory.

Titled ‘Sustainable Maker Culture: Angels and Demons’, Kohtala introduces her talk as following: “The Helsinki maker scene is small and fragmented but extremely active. Like everywhere, Finnish actors have different conceptions of what the Maker Movement actually is, and everyone brings in their own practices, motivations, and devils”.

She will present the conversations makers are having about fabricating, consuming, producing, living and throwing stuff away. This discussion will include summaries of previous Talking Trashlab lectures & other discussion events. Kohtala will also bring in perspectives on fab labs and digital fabrication from research on environmental issues.

More info here >>

Call for participants: Hybrid Sensor Network workshop 30.11.-3.12

This hands-on workshop led by Marko Peljhan & Matthew Biederman fromArctic Perspective Initiative(API), is organised by theFinnish Society of Bioart from Friday 30.11.- Monday 3.12. at Aalto Media Factory/FABLAB. There is a free, public presentation about API in Media Factory auditorium on Monday 3.12. at 11.00.

The workshop is the final component of ‘The Art of Gathering Environmental Data’ event-series within this year’s Pixelversity programme. The workshop will focus on the details of building a hybrid sensor network for harsh environments.

To find out more, click here!

Light is History

Light is History is a community-based energy art space. It is an initiative to engage citizens with issues of community well being and energy consumption in daily living through art and research. The project designed and implemented by Karthikeya Acharya &Samir Bhowmik aims for creating a community art installation using domestic electrical artifacts from the participants’ homes to be housed within custom made bright light therapy lamps. This project is planned during the autumnal month of November 2012, providing collective well being in the public space in the Kallio neighbourhood in Helsinki, Finland.

Acharya & Bhowmik have the permission to put up the installation during the last week of this month (25th Nov-1st Dec) at Hakaniementori (Hakaniemi Market Square). The daily engagement that will take place in the public space with the installation will be treated as daily dialogues. The actual lights come on between 17.00-19.00 every evening when coffee or glögi will be served. Welcome to visit and learn more from the webpages or following the Facebook group.

laboral – interfaces y paisajes


Pierre_u.jpg15 de marzo – 8 de septiembre de 2013


[Pierre-Yves Boisramé, Sans titre, 2012. Foto: Le Fresnoy – Studio national]

Realidad elástica se inaugura casi dos décadas después de los inicios de Internet y transcurridos unos 15 años desde la irrupción, a nivel masivo, de la telefonía móvil, dos innovaciones tecnológicas que han alterado profundamente nuestra forma de percibir el mundo que habitamos. En efecto, hoy vivimos constantemente conectados y en un tiempo/espacio sometido a permanente redefinición, una suerte de ucronía en la que esa percepción de conexión evoluciona con el flujo acelerado y cada vez mayor de información que nos llega de todas partes y cuyos autores —conocidos o no— pueden ser profesionales y expertos, y también el vecino de al lado o un hacker instalado frente a su pantalla. Todos tomamos parte en la creación de un dominio colectivo que es hoy global y fragmentado.

Ese entorno cada vez más complejo funde lo virtual y lo real, el flujo de datos con el paisaje. Y aunque se han acuñado nuevos términos para describir ese estado de cosas, ninguno expresa con justicia la esfera de múltiples capas que habitamos. De ahí el concepto de realidad elástica que inspiran las obras mostradas en esta exposición. Los artistas participantes no se limitan a jugar con esas distorsiones de lo “real”: promueven al mismo tiempo modos innovadores de interacción con sus piezas. La exploración formal de nuevas interfaces desempeña un papel tan relevante en sus preocupaciones como el propio contenido de la obra y su comentario sobre el estado actual de la realidad que nos contiene.

Realidad elástica forma parte del proyecto Más allá de la exposición: nuevas interfaces para el arte contemporáneo en Europa, que incluye, además de esta exposición, una residencia de producción, dos ciclos de proyecciones y un seminario. En su conjunto, explora el establecimiento de nuevos hábitos culturales surgidos a partir de la revolución digital y cómo éstos modifican el acceso a las obras de arte. Como ejemplo de ello, la pantalla, el medio dominante, se ha convertido para las nuevas generaciones de “nativos digitales” en la herramienta favorita para su relación con la cultura. Del mismo modo, se analiza la evolución de las formas artísticas, normalmente asociadas al concepto de interactividad, prácticas que suelen ser formalmente inestables y de naturaleza efímera.

Artistas/Obras: Théodora Barat, Dead End; Véronique Béland, This is Major Tom to Ground Control; Pierre-Yves Boisramé,Sans titre; Vincent Ciciliato, Tempo scaduto; Ryoichi Kurokawa, Mol; Joachim Olender, Tarnac; Zahra Poonawala, Tutti; David Rokeby, Hand-held; y Dorothée Smith, Cellulairement
Obra producida: Event Horizon. #Camouflage, de Maya Da-Rin
Comisario: Benjamin Weil, Director de Actividades de LABoral
Coproducción: LABoral Centro de Arte y Creación Industrial, Le Fresnoy Studio National des Arts Contemporains (Francia), Contemporary Art Center, CAC (Lituania)




Con el apoyo de: Programa Cultura de la Unión Europea




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.

Los Prados 121 – 33394 
Gijón (Asturias)
T +34 985 185 577 / F +34 985 337 355 / info@laboralcentrodearte.org



arte y tecnologia – nuvem brasil

:::convocatoria iberoamericana: residencias de invierno 2013 :::

estación rural 
de arte y tecnología

Se encuentra abierta la convocatoria iberoamericana para las residencias de invierno de 2013 en Nuvem. El tema de la convocatoria de este año es Infraestruturas Poéticas. Entendemos las infraestructuras como todo aquello que da soporte a la vida humana en la tierra, sean físicas o sociales. ¿Podemos imaginar una utopía en la cual lxs ciudadanxs sean autoras de estas infraestructuras? Si la sociedad se responsabiliza por el diseño de las máquinas, sistemas de tratamiento de agua, energía, etc, las mismas adquieren una subjetividad propia, en vez de ser construídas masiva y repetitivamente.



La residencia se realizará a lo largo de 3 semanas, entre los días 20 de julio y 10 de agosto de 2013. Lxs participantes seleccionadxs recibirán ayuda de transporte, alojamiento, alimentación  y una beca de R$ 1.200,00 para el desarrollo de su proyecto.
inscripción abierta hasta el 18/06/2013 

consulte las bases


ficha de inscripción




Sonic Disobedience workshop‏

Sonic Disobedience
one day workshop

Friday 14th – Saturday 15th June
10am – 6pm, £45
For more information please see
Call & Response

To book please email: hello@callandresponse.org.uk

Workshop takes places at:
First Floor
316-318 Bethnal Green Road
London E2 OAG UK

Titled ‘Sonic Disobedience’ this hands on, skills building workshop will explore making radio transmitters, signal jammers, and noise machines for public address, and other speculative devices.

Participants will learn to make their own sounds using low cost DIY materials and techniques especially suitable for public places, meetings, protests and other artistic and social interventions.

The workshop will take place both at no.w.here and in the surrounding streets and will culminate in a performance collectively created by the workshop participants.

No previous experience of soldering or electronics is necessary. The workshop will be led by Ryan Jordan fromNoise=Noise.

Ryan Jordan is an electronic artist conducting experiments in derelict electronics, possession trance, retro-death-telegraphy and hylozoistic neural computation. His work focuses on self built hardware, signal aesthetics, and the physical/material nature of experience.

The workshop is presented by Call & Response, an independent sonic arts collective, serving as a focus for sound arts practice in London reflecting the emerging interest in the use of the auditory in contemporary art.

FACT (Foundation for Art and Creative Technology)

FACT (Foundation for Art and Creative Technology)  
HeHe, Fracking Futures, 2013. Installation. Image courtesy of the artists.

Turning FACT Inside Out

13 June–15 September, 2013

88 Wood Street
Liverpool, L1 4DQ



This summer at FACT Liverpool, a selection of provocative international artists tackle some of the most pressing, controversial and literally ground-breaking political issues of today, as Turning FACT Inside Outopens on Thursday 13 June. 

Exploring aspects of environment, architecture, capitalism and augmented reality, Turning FACT Inside Out is an exhibition that will take over the entire building and beyond, including recreating an indoor fracking site complete with earth tremors and flames. 

As FACT celebrates the first decade of its building as one of the UK’s primary centres for new media art, it has commissioned an artists’ take over, featuring bold, new or never before seen in the UK works from emerging and established artists, including HeHeNina EdgeKatarzyna KrakowiakSteve Lambert,Manifest.AR, and Uncoded Collective

Offering an opportunity to explore and debate the role and possibilities for the cultural institution and arts venue in a post-digital age, Turning FACT Inside Out is set to continue FACT’s tradition of staging risky and exciting immersive installations such as Kurt Hentschläger’s ZEE (2011) and Nick Crowe and Ian Rawlinson’s indoor fireworks (At 25 Metres, 2007).

HeHe (pronounced ‘hay hay’) are turning FACT’s main gallery into an industrial landscape in their new pieceFracking Futures, a playful and provocative commentary on crises of global economy, threats of environmental catastrophe and struggles of public institutions in times of austerity.

The Prix Ars Electronica award-winners warn the drilling could result in unquantifiable subterranean noise as tectonic plates shift, minor ground tremors are a possibility, and diluted chemicals used during the fracking process will be sprayed into the air…

Meanwhile, American art collective Manifest.AR are producing a series of playful augmented reality games to change the landscape of the FACT building and city. Examining the borders of the physical and the virtual, they will use AR to enable visitors to write in the sky, see personal forests growing among the concrete and even delete cars and buildings from the landscape.

Acclaimed Polish artist Katarzyna Krakowiak is turning the building into a listening device, eavesdropping on itself and revealing the inner life of the gallery. Following her recent success at the Venice Biennale of Architecture, Krakowiak will also exhibit at the Istanbul Biennale this May. 

American artist Steve Lambert—known for his NY Times Special Edition made with Andy Bichlbaum of The Yes Men, a spoof newspaper that fooled many when it was distributed around New York in 2009—will bring his work Capitalism Works for Me! True/ False to the UK for the first time. The interactive, carnival-style signage will be installed outside FACT on Ropewalks Square and the public will be encouraged to vote ‘true’ or ‘false’ in response to the question. 

Liverpool-based artist and activist Nina Edge is creating a project using the voice recognition system Siri, based around disrupted communication. Best known for her activist work in Liverpool, which has repeatedly made national news, Edge will install a nomadic tent within the gallery as part of her ongoing exploration of housing issues.

The project TranseuropeSlow by Uncoded Collective creates an alternative tourist map of Liverpool, bringing to life hidden corners of the city. Working with the local community to develop an authentic perception of Liverpool that moves beyond its international tourism credentials, the installation will invite audiences to sit on a traditional park bench with bicycle pedals attached and explore visions of the city in a first person video game experience.

Mike Stubbs, director of FACT and co-curator of Turning FACT Inside Out, said: “This exhibition is a continuation of our celebrations to mark the tenth anniversary of the FACT building. It will be provocative and it will ask some big questions, once again showcasing our commitment to making FACT a safe place for risky conversations.”

Turning FACT Inside Out will run until 15 September. 


cont.arch. spatial practices

 Museum of Applied 
Arts / Contemporary Art

  Sou Fujimoto, “House NA,” Tokyo, Japan. © Iwan Baan.
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Contemporary Architecture and Spatial Practices in East Asia
5 June–6 October 2013

MAK – Austrian Museum of Applied Arts / Contemporary Art
Stubenring 5, 1010 Wien Vienna, Austria
Hours:  Wednesday–Sunday 10am–6pm, 
Tuesday 10am–10pm, free admission 6–10pm

T +43 1 711 36 0



The promise of a pioneering architecture, which is especially associated with East Asian countries, is the focus of the exhibition EASTERN PROMISES. China, Japan, Taiwan, and South Korea are currently seeing architectural and urban projects that amalgamate social awareness, ecological strategies and artistic practices in new ways. The reflection on local traditions and conditions as well as a critical awareness of global media technologies lead to an architectural approach that is less interested in iconic objects and spectacular forms than in a structural realignment of society in its spatial dimensions. This development heralds the emergence of a social aesthetic of architecture in the East Asian cultural sphere, whose strategies and tactics could prove decisive for the way we deal with dwindling resources on a global scale.

The exhibition features a great variety of architectural projects, including those by leading proponents of the contemporary Japanese scene and by independent Chinese offices, which surfaced only since the late 1990s, but will also present a new generation of young, emerging architects whose work will be shown for the first time to the general public.

A graphic and photographic map additionally illuminates the relationship between architecture and everyday spatial practice and points to specific symptoms and phenomena within the region—from mass housing in South Korea’s major cities to illegal parasitic architectures in Taiwan, the influence of state architectural firms in China to forms of protest against social displacement processes in South Korea, China’s enclave-like urban villages to Japanese and Taiwanese convenience stores, the mass appeal of China’s new, creative districts to micro-urbanism and nomadic ways of life in Japan, along with new lifestyles in the devastated Tōhoku region.

A program of selected short films rounds off the exhibition with moments of experimental city viewing and everyday appropriation of (public) space.

Curated and designed by Andreas Fogarasi and Christian Teckert

Architectural projects by:
Amateur Architecture Studio/Wang Shu, Lu Wenyu / atelier deshaus / KUU architects / Jiakun Architects / Li Xiaodong Atelier / Li Xiaodong Atelier / Liu Jiakun Architects / NODE / Rem Koolhaas / Alain Fouraux / Ou Ning / Rural Urban Framework (RUF) / Scenic Architecture Office / standardarchitecture / TAO (Trace Architecture Office) / URBANUS Architecture & Design / Vitamin Creative Space / Zheng Guogu / Architects Atelier Ryo Abe / Atelier Bow-Wow ComnmandN / Masato Nakamura / CitySwitch Japan / dessence / CASE-REAL / Torafu Architects / Go Hasegawa & Associates / Jun Igarashi Architects / junya.ishigami+associates / Kazunari Sakamoto / Kazuyo Sejima & Associates / Kumiko Inui / Ohno Laboratory / ONdesign / Riken Yamamoto & Field Shop / Office of Ryūe Nishizawa / Ryuji Fujimura Architects / Schemata Architects / Jo Nagasaka / Sou Fujimoto Architects / Terunobu Fujimori / Tezuka Architects / UID architects / lokaldesign / Mass Studies / Moongyu Choi + Ga.A Architects / studio_K_works / Casagrande Laboratory / FieldOffice Architects & Planners / Hsieh Ying-Chun Architects / Atelier3 / MINIWIZ S.E.D.

Research, images, maps, and artistic contributions by:
Alke Thamsen / Atelier Bow-Wow / Evan Chakroff / Haewon Shin / Iwan Baan / Jun Jiang / Jürgen Krusche / Li Mo + CAStudio / Listen to the City / MAP Office (Gutierrez + Portefaix) / Roan Ching-yueh / Rural Urban Framework (RUF) / Studio Gruber / Susanne Klien / Wa Wa Project / Xin Gu / Michele Tabet

Film program curated by Andréa Picard

The exhibition  is accompanied by the publication EASTERN PROMISES. Contemporary Architecture and Spatial Practices in East Asia, edited by Christoph Thun-Hohenstein, Andreas Fogarasi, and Christian Teckert, with essays, project descriptions as well as research material on the regional contexts by Andreas Fogarasi, Christian Teckert, Roan Ching-yueh, Harry den Hartog, Jun Jiang, Kim Sung Hong, Bert de Muynck / Mónica Carriço, Christina Nägele, Alke Thamsen, Christoph Thun-Hohenstein, Julian Worrall et al., German/English, 304 pages, MAK Vienna / Hatje Cantz, Ostfildern 2013. Available at the MAK Design Shop.

Related events
For detailed information on the symposium on Tuesday, 24 September 2013 at the MAK Columned Main Hall and the following MAK NITE Lab as well as the complete educational programs please seewww.MAK.at.patial practices

Learn more about the PRISM (surveillance program).

Message: 1
Date: Wed, 12 Jun 2013 14:01:47 +0100
From: marc garrett <marc.garrett@furtherfield.org>
Subject: [NetBehaviour] The PRISM (surveillance program), on Wikipedia
To: netbehaviour@netbehaviour.org
Message-ID: <51B8713B.6050608@furtherfield.org>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed

PRISM is a clandestine national security electronic surveillance program 
operated by the United States National Security Agency (NSA) since 2007. 
PRISM is a government codename for a data collection effort known 
officially as US-984XN.

Documents leaked by Edward Snowden in June 2013 describe the PRISM 
program as enabling in-depth surveillance on live communications and 
stored information. It provides for the targeting of any customers of 
participating corporations who live outside the United States, or 
American citizens whose communications include web content of people 
outside the United States. Data which the NSA is able to obtain with the 
PRISM program includes email, video and voice chat, videos, photos, 
voice over IP conversations, file transfers, login notifications and 
social networking details.

Much more info here on Wikipedia

NSA Whistleblowers: “All U.S. Citizens” Targeted by Surveillance Program,

NSA Whistleblowers: “All U.S. Citizens” Targeted by Surveillance Program, Not Just Verizon Customers



A leaked court order has revealed the Obama administration is conducting a massive domestic surveillance program by collecting telephone records of millions of Verizon customers. The Guardian newspaper published a classified order issued by the Foreign Intelligence Surveillance Court directing Verizon’s Business Network Services to give the National Security Agency electronic data, including all calling records on an “ongoing, daily basis.” The order covers each phone number dialed by all customers, along with location and routing data, and with the duration and frequency of the calls, but not the contents of the communications.

We discuss the news with three guests: Shayana Kadidal, senior managing attorney at the Center for Constitutional Rights, and two former National Security Agency employees turned whistleblowers: Thomas Drake and William Binney. In 2010, the Obama administration charged Drake with violating the Espionage Act after he was accused of leaking classified information to the press about waste and mismanagement at the agency. The charges were later dropped. “Where has the mainstream media been? These are routine orders, nothing new,” Drake says. “What’s new is we’re seeing an actual order. And people are somehow surprised by it. The fact remains that this program has been in place for quite some time. It was actually started shortly after 9/11. The PATRIOT Act was the enabling mechanism that allowed the United States government in secret to acquire subscriber records from any company.”

Binney, who worked at nearly 40 years at the NSA and resigned shortly after the 9/11 attacks, says: “NSA has been doing all this stuff all along, and it’s been all the companies, not just one. And I basically looked at that and said: If Verizon got one, so did everybody else. Which means that they’re just continuing the collection of this kind of information of all U.S. citizens.”


This is a rush transcript. Copy may not be in its final form.

JUAN GONZÁLEZ: A leaked top-secret order has revealed the Obama administration is conducting a massive domestic surveillance program by collecting telephone records of millions of Verizon Business customers. Last night The Guardian newspaper published a classified order issued by the Foreign Intelligence Surveillance Court directing Verizon’s Business Network Services to give the National Security Agency electronic data, including all calling records on a, quote, “ongoing, daily basis.” The order covers each phone number dialed by all customers along with location and routing data, and with the duration and frequency of the calls, but not the content of the communications. The order expressly compels Verizon to turn over records for both international and domestic records. It also forbids Verizon from disclosing the existence of the court order. It is unclear if other phone companies were ordered to hand over similar information.

AMY GOODMAN: According to legal analysts, the Obama administration relied on a controversial provision in the USAPATRIOT Act, Section 215, that authorizes the government to seek secret court orders for the production of, quote, “any tangible thing relevant to a foreign intelligence or terrorism investigation.” The disclosure comes just weeks after news broke that the Obama administration had been spying on journalists from the Associated Press and James Rosen, a reporter from Fox News.

We’re now joined by two former employees of the National Security Agency, Thomas Drake and William Binney. In 2010, the Obama administration charged Drake with violating the Espionage Act after he was accused of leaking classified information to the press about waste and mismanagement at the agency. The charges were later dropped. William Binney worked for almost 40 years at the NSA. He resigned shortly after the September 11th attacks over his concern over the increasing surveillance of Americans. We’re also joined in studio here by Shayana Kadidal, senior managing attorney at the Center for Constitutional Rights.

First, for your legal opinion, Shayana, can you talk about the significance of what has just been revealed?

SHAYANA KADIDAL: Sure. So I think, you know, we have had stories, including one in USA Today in May 2006, that have said that the government is collecting basically all the phone records from a number of large telephone companies. What’s significant about yesterday’s disclosure is that it’s the first time that we’ve seen the order, to really appreciate the sort of staggeringly broad scope of what one of the judges on this Foreign Intelligence Surveillance Court approved of, and the first time that we can now confirm that this was under Section 215 of the PATRIOT Act, which, you know, has been dubbed the libraries provision, because people were mostly worried about the idea that the government would use it to get library records. Now we know that they’re using it to get phone records. And just to see the immense scope of this warrant order, you know, when most warrants are very narrow, is really shocking as a lawyer.

remote vision

Remote viewing

From Wikipedia, the free encyclopedia
[show]Part of a series of articles on theparanormal
Remote viewing
Claims Believers say anyone can useparanormal ability to see hidden, distant locations using extra-sensory perception.[citation needed]
Related scientific disciplines PhysicsBiologyPsychology
Year proposed 1970
Original proponents Russell Targ and Harold Puthoff
Subsequent proponents Ingo SwannRussell Targ,Joseph McMoneaglePaul H. SmithEd DamesDavid MorehouseCourtney Brown, and Daz Smith
Pseudoscientific concepts

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”.

Typically a remote viewer is expected to give information about an object, event, person or location that is hidden from physical view and separated at some distance.[1][2] The term was coined in the 1970s by physicists Russell Targ and Harold Puthoffparapsychologyresearchers at Stanford Research Institute, to distinguish it from clairvoyance.[3] [4]

Remote viewing was popularized in the 1990s following the declassification of documents related to the Stargate Project, a $20 million research program sponsored by the US government starting from 1975 in order to try to determine any potential military application of psychic phenomena. The program was terminated in 1995 after it failed to produce any useful intelligence information.[5][6]



History [edit]

Early background [edit]

The study of psychic phenomena by major scientists started in the mid-nineteenth century. Early researchers included Michael FaradayAlfred Russel WallaceRufus Osgood Mason, and William Crookes. Their work predominantly involved carrying out focused experimental tests on specific individuals who were thought to be psychically gifted. Reports of apparently successful tests were met with much skepticism from the scientific community.

In the 1930s J. B. Rhine expanded the study of paranormal performance into larger populations, by using standard experimental protocols with unselected human subjects. But, as with the earlier studies, Rhine was reluctant to publicize this work too early because of the fear of criticism from mainstream scientists.[7]

This continuing skepticism, with its consequences for peer review and research funding, ensured that paranormal studies remained a fringe area of scientific exploration. However, by the 1960s, the prevailing counterculture attitudes muted some of the prior hostility. The emergence of New Age thinking and the popularity of the Human Potential Movement provoked a mini-renaissance that renewed public interest in consciousness studies and psychic phenomena and helped to make financial support more available for research into such topics.[8]

In the early 1970s Harold E. Puthoff and Russell Targ joined the Electronics and Bioengineering Laboratory at Stanford Research Institute (SRI).[9] In addition to their mainstream scientific research work on quantum mechanics and laser physics, they initiated several studies of the paranormal. These were initially supported with funding from the Parapsychology Foundation, and the newly-formed Institute of Noetic Sciences.

One of the early experiments, lauded by proponents as having improved the methodology of remote viewing testing and as raising future experimental standards, was criticized as leaking information to the participants by inadvertently leaving clues.[10] Some later experiments had negative results when these clues were eliminated.[11]

US government-funded research [edit]

From World War II until the 1970s the US government occasionally funded ESP research. When the US intelligence community learned that the USSR and China were conducting ESP research, it became receptive to the idea of having its own competing psi research program. (Schnabel 1997)

In 1972 Puthoff tested remote viewer Ingo Swann at SRI, and the experiment led to a visit from two employees of the CIA’s Directorate of Science and Technology. The result was a $50,000 CIA-sponsored project. (Schnabel 1997, Puthoff 1996[12], Smith 2005) As research continued, the SRI team published papers in Nature,[13] in Proceedings of the IEEE (Puthoff & Targ, 1976),[14] and in the proceedings of a symposium on consciousness for the American Association for the Advancement of Science (Puthoff, et al., 1981[15]).

The initial CIA-funded project was later renewed and expanded. A number of CIA officials, including John N. McMahon (then the head of the Office of Technical Service and later the Agency’s deputy director) became strong supporters of the program.

In the mid 1970s sponsorship by the CIA was terminated and picked up by the Air Force. In 1979 the Army’s Intelligence and Security Command, which had been providing some taskings to the SRI investigators was ordered to develop its own program by the Army’s chief intelligence officer General Ed Thompson. CIA operations officers, working from McMahon’s office and other offices also continued to provide taskings to SRI’s subjects. (Schnabel 1997, Smith 2005, Atwater 2001)

In 1984 remote viewer Joseph McMoneagle was awarded a legion of merit for determining “150 essential elements of information…producing crucial and vital intelligence unavailable from any other source”.[16]

Unfortunately, the viewers’ advice in the “Stargate project” was always so unclear and non-detailed that it has never been used in any intelligence operation.[3][5][6] Despite this, SRI scientists and remote viewers have claimed that a number of “natural” psychics were crucial in a number of intelligence operations. The most famous claimed results from these years were the description of “a big crane” at a Soviet nuclear research facility by Joseph McMoneagle,[17] a description of a new class of Soviet strategic submarine by a team of three viewers which included McMoneagle,(Smith 2005, McMoneagle 2002) and Rosemary Smith’s location of a downed Soviet bomber in Africa.[18] By the early 1980s numerous offices throughout the intelligence community were providing taskings to SRI’s psychics, (Schnabel 1997, Smith 2005) but the collaboration never resulted in useful intelligence information.[3][5][6][4]

Decline and termination [edit]

In the early 1990s the Military Intelligence Board, chaired by DIA chief Soyster appointed Army Colonel William Johnson to manage the remote viewing unit and evaluate its objective usefulness. Funding dissipated in late 1994 and the program went into decline. The project was transferred out of DIA to the CIA in 1995.

In 1995 the CIA hired the American Institutes for Research (AIR) to perform a retrospective evaluation of the results generated by the Stargate Project. Reviewers included Ray Hyman and Jessica Utts. Utts maintained that there had been a statistically significantpositive effect,[19] with some subjects scoring 5%-15% above chance.[5] Hyman argued that Utts’ conclusion that ESP had been proven to exist, “is premature, to say the least.”[20] Hyman said the findings had yet to be replicated independently, and that more investigation would be necessary to “legitimately claim the existence of paranormal functioning.”[20] Based upon both of their studies, which recommended a higher level of critical research and tighter controls, the CIA terminated the 20 million dollar project in 1995.[6]Time magazine stated in 1995 that three full-time psychics were still working on a $500,000-a-year budget out of Fort Meade, Maryland, which would soon be shut down.[6]

The AIR report concluded that no usable intelligence data was produced in the program.[5] David Goslin, of the American Institute for Research said, “There’s no documented evidence it had any value to the intelligence community.”[6]

UK government research [edit]

In 2001–2002 the UK Government performed a study on 18 untrained subjects. The experimenters recorded the E field and H fieldaround each viewer to see if the cerebral activity of successful viewings caused higher-than-usual fields to be emitted from the brain. However, the experimenters did not find any evidence that the viewers had accessed the targets in the data collection phase, the project was abandoned, and the data was never analyzed since no RV activity had happened. Some “narrow-band” E-fields were detected during the viewings, but they were attributed to external causes. The experiment was disclosed in 2007 after a UK Freedom of Information request.[21]

PEAR’s Remote Perception program [edit]

Following Utts’ emphasis on replication and Hyman’s challenge on interlaboratory consistency in the AIR report, the Princeton Engineering Anomalies Research Lab conducted several hundred trials to see if they could replicate the SAIC and SRI experiments. They created an analytical judgment methodology to replace the human judging process that was criticized in past experiments, and they released a report in 1996. They felt the results of the experiments were consistent with the SRI experiments.[22]

In 2007 the Princeton Engineering Anomalies Research Lab laboratory was closed, in part due to lack of funding.[23]

Scientific studies and claims [edit]

Scientific studies have been conducted; some earlier, less sophisticated experiments produced positive results but they had invalidating flaws,[24] and none of the newer experiments had positive results when under properly controlled conditions.[3][5][6][21][11] The scientific community rejects remote viewing due to the absence of an evidence base, the lack of a theory which would explain remote viewing, and the lack of experimental techniques which can provide reliably positive results.[25] It is also considered a pseudoscience.[26]

According to psychologist David Marks in experiments conducted in the 1970s at the Stanford Research Institute, the notes given to the judges contained clues as to which order they were carried out, such as referring to yesterday’s two targets, or they had the date of the session written at the top of the page. Dr. Marks concluded that these clues were the reason for the experiment’s high hit rates.[24][27]

Marks has also suggested that the participants of remote viewing experiments are influenced by subjective validation, a process through which correspondences are perceived between stimuli that are in fact associated purely randomly.[28] Details and transcripts of the SRI remote viewing experiments themselves were found to be edited and even unattainable.[29][30]

The information from the Stargate Project remote viewing sessions was vague and included a lot of irrelevant and erroneous data, it was never useful in any intelligence operation, and project managers changed the reports so they would fit background cues.[5]

According to James Randi, controlled tests by several other researchers, eliminating several sources of cuing and extraneous evidence present in the original tests, produced negative results. Students were also able to solve Puthoff and Targ’s locations from the clues that had inadvertently been included in the transcripts.[11]

Professor Richard Wiseman, a psychologist at the University of Hertfordshire, and a fellow of the Committee for Skeptical Inquiry (CSI) has said that he agrees remote viewing has been proven using the normal standards of science, but that the bar of evidence needs to be much higher for outlandish claims that will revolutionize the world, and thus he remains unconvinced:[31]

I agree that by the standards of any other area of science that remote viewing is proven, but begs the question: do we need higher standards of evidence when we study the paranormal? I think we do. (…) if I said that a UFO had just landed, you’d probably want a lot more evidence. Because remote viewing is such an outlandish claim that will revolutionize [sic] the world, we need overwhelming evidence before we draw any conclusions. Right now we don’t have that evidence.
—Richard Wiseman Daily Mail, January 28, 2008, pp 28–29 [31]

Wiseman also pointed at several problems with one of the early experiments at SAIC, like information leakage. However, he indicated the importance of its process-oriented approach and of its refining of remote viewing methodology, which meant that researchers replicating their work could avoid these problems.[25] Wiseman later insisted there were multiple opportunities for participants on that experiment to be influenced by inadvertent cues and that these cues can influence the results when they appear.[10]

Psychologist Ray Hyman says that, even if the results were reproduced under specified conditions, they would still not be a conclusive demonstration of the existence of psychic functioning. He blames this on the reliance on a negative outcome—the claims on ESP are based on the results of experiments not being explained by normal means. He says that the experiments lack a positive theory that guides as to what to control on them and what to ignore, and that “Parapsychologists have not come close to (having a positive theory) as yet”.[32] Ray Hyman also says that the amount and quality of the experiments on RV are way too low to convince the scientific community to “abandon its fundamental ideas about causality, time, and other principles”, due to its findings still not having been replicated successfully under careful scrutiny.[33]

Science writer Martin Gardner and others describe the topic of remote viewing as pseudoscience.[26][34] Gardner says that founding researcher Harold Puthoff was an active Scientologist prior to his work at Stanford University, and that this influenced his research at SRI. In 1970, the Church of Scientology published a notarized letter that had been written by Puthoff while he was conducting research on remote viewing at Stanford. The letter read, in part: “Although critics viewing the system Scientology from the outside may form the impression that Scientology is just another of many quasi-educational quasi-religious ‘schemes,’ it is in fact a highly sophistical and highly technological system more characteristic of modern corporate planning and applied technology.”[26] Among some of the ideas that Puthoff supported regarding remote viewing was the claim in the book Occult Chemistry that two followers of Madame Blavatsky, founder of theosophy, were able to remote-view the inner structure of atoms.[26]

Various skeptic organizations have conducted experiments for remote viewing and other alleged paranormal abilities, with no positive results under properly controlled conditions.[citation needed]

Recent research [edit]

In 2002, Michael Persinger, cognitive neuroscientist and professor at Laurentian University, published a study into remote viewing which suggests positive results.[35][36] 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[35] during stimulation with complex magnetic fields using a circumcerebral (around the head) eight-channel system. In 2010, Persinger (et al.) published a report of his work with the psychic Sean Harribance, reporting that blind-rated accuracies in his psychic insights correlated with specific Quantitative Electroencephalography profiles; specifically, congruence between activity over the left temporal lobe of those being ‘read’ by Mr. Harribance and his right temporal lobe.[36] “The results indicate even exceptional skills previously attributed to aberrant sources are variations of normal cerebral dynamics associated with intuition and may involve small but discrete changes in proximal energy.”

Selected RV study participants [edit]

  • Ingo Swann, one of the prominent research participants of remote viewing. He wrote a book about his experience:
  • Kiss the Earth Good-bye: Adventures and Discoveries in the Nonmaterial, Recounted by the Man who has Astounded Physicists and Parapsychologists Throughout the World by Ingo Swann, Hawthorne Books, 1975
  • Pat Price, one of the early remote viewers
  • Russell Targ, cofounder of the investigation at Stanford Research Institute[9] into psychic abilities in the 1970s and 1980s
  • Joseph McMoneagle, one of the early remote viewers.[37] See: Stargate Project
  • Courtney Brown, founder of the Farsight Institute
  • David Marks, the critic of remote viewing, after finding sensory cues and editing in the original transcripts generated by Russell Targ and Hal Puthoff at Stanford Research Institute in the 1970s

References [edit]

  1. ^ Leonard Zusne, Warren H. Jones (1989). Anomalistic psychology: a study of magical thinking. Lawrence Erlbaum Associates. p. 167. ISBN 0-8058-0508-7.
  2. ^ Search for the Soul by Milbourne Christopher, Thomas Y. Crowell, 1979
  3. a b c d Joe Nickell (March 2001), “Remotely Viewed? The Charlie Jordan Case”Skeptical Inquirer
  4. a b The Arlington Institute Presents Harold E. Puthoff
  5. a b c d e f g “An Evaluation of Remote Viewing: Research and Applications” by Mumford, Rose and Goslin “remote viewings have never provided an adequate basis for ‘actionable’ intelligence operations-that is, information sufficiently valuable or compelling so that action was taken as a result (…) a large amount of irrelevant, erroneous information is provided and little agreement is observed among viewers’ reports. (…) remote viewers and project managers reported that remote viewing reports were changed to make them consistent with know background cues (…) Also, it raises some doubts about some well-publicized cases of dramatic hits, which, if taken at face value, could not easily be attributed to background cues. In at least some of these cases, there is reason to suspect, based on both subsequent investigations and the viewers’ statement that reports had been “changed” by previous program managers, that substantially more background information was available than one might at first assume.
  6. a b c d e f g Time magazine, 11 December 1995, p.45, The Vision Thing by Douglas Waller, Washington
  7. ^ Hyman R, “Parapsychological Research: A Tutorial Review and Critical Appraisal”, Proceedings of the IEEE, Vol 74 No 6, pp 823–849, June 1986.
  8. ^ Wade N, “Psychical Research: the Incredible in Search of Credibility”, Science, 181, July 13, 1973, pp 138–143.
  9. a b SRI International is now an independent research institute, unconnected with Stanford University.
  10. a b Wiseman, R. & Milton, J. (1999). “Experiment one of the SAIC remote viewing program: A critical re-evaluation. A reply to May.” (PDF). Journal of Parapsychology 63 (1): 3–14. Retrieved 2008-06-26.
    * Obtained from listing of research papers on Wiseman’s website
  11. a b c Randi & Clarke, An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural “Remote viewing” definition “The data of Puthoff and Targ were reexamined by the other researchers, and it was found that their students were able to solve the locations without use of any psychic powers, using only the clues that had inadvertently been included in the Puthoff and Targ transcripts.”
  12. ^ Puthoff, 1996. Journal of Scientific Exploration, Vol. 10, No. 1, pp. 63-76
  13. ^ Nature 251, 602-607 (18 October 1974)
  14. ^ Puthoff & Targ, 1976. A perceptual channel for information transfer over kilometer distances: Historical perspective and recent research, Proceedings of the IEEE, March 1976, Volume: 64 Issue:3, page(s): 329 – 354 [1]
  15. ^ H. E. Puthoff, R. Targ and E. C. May, “Experimental Psi Research: Implications for Physics,” in The Role of Consciousness in the Physical World, edited by R. G. Jahn, AAAS Selected Symposium 57, Westview Press, Boulder, 1981
  16. ^ Edwin C. May, “The American Institutes for Research Review of the Department of Defense’s STAR GATE Program“, Journal of Parapsychology. 60. 3-23. March 1996. Also in published as [2] Journal of Scientific Exploration, Vol. 10, No. 1, pp. 89-107, 1996
  17. ^ Sergei Nechiporuk (2004-12-06). “CIA’s remote viewers initiated quest for WMD in Iraq. Extrasensory agents helped the CIA arrest KGB spies and detect secret objects in the USSR”.Pravda.
  18. ^ Reading the Enemy’s Mind: Inside Star Gate, America’s Psychic Espionage Program by Paul H. Smith, Tom Doherty, 2005, p.100
  19. ^ An assessment of the evidence for psychic functioning Julia Utts
  20. a b Hyman, Ray. “Evaluation of a Program on Anomalous Mental Phenomena”Journal of Society for Scientific Exploration Volume 10: Number 1: Article 2. Society for Scientific Exploration. Archived from the original on June 3, 2008. Retrieved 2008-06-24.
  21. a b “Remote Viewing”. UK’s Ministry of Defence. June 2002, disclosed in 2007-02-23. p. 94 (page 50 in second pdf).
  22. ^ “Precognitive Remote Perception: Replication of Remote Viewing” (PDF). Journal of Scientific Exploration (Society for Scientific Exploration10 (1): 109–110. 1996. Archived from the original on 2008-04-07. Retrieved 2008-06-02.
  23. ^ Carey, Benedict (2007-02-06). “A Princeton Lab on ESP Plans to Close Its Doors”. New York Times. Retrieved 2007-08-03.
  24. a b Marks, D.F. & Kammann, R. (1978). “Information transmission in remote viewing experiments”, Nature, 274:680–81.
  25. a b Wiseman, R. & Milton, J. (1999). “Experiment One of the SAIC Remote Viewing Program: A critical reevaluation”(PDF). Journal of Parapsychology 62 (4): 297–308. Retrieved 2008-06-26.
    * Obtained from listing of research papers on Wiseman’s website
  26. a b c d Gardner, Martin (2000). Did Adam and Eve have navels? : debunking pseudoscience. New York: W.W. Norton.ISBN 978-0-393-32238-5.
  27. ^ “A comprehensive review of major empirical studies in parapsychology involving random event generators or remote viewing” by Alcock, J.
  28. ^ Marks, D.F. (2000). The Psychology of the Psychic. Amherst, New York:Prometheus Books.
  29. ^ “The Psychology of the Psychic” by David Marks and Richard Kamman, Prometheus Books. Amherst, New York, 2000, 2nd edition.
    * note: 1st edition, 1980, does not contain all of this information
    * Book review of 2nd edition: James Alcock (January–February, 2002). “Even better the second time ’round. . – book review” (–Scholar search). Skeptical Inquirer. Archived from the originalon May 15, 2006. Retrieved 2008-06-26.[dead link]
  30. ^ Flim Flam by James Randi, Prometheus books, New York, 1987, 9th printing
  31. a b Penman, Danny (January 28, 2008). “Could there be proof to the theory that we’re ALL psychic?”Daily Mail UK. pp. 28–29. Retrieved 2008-01-29.
  32. ^ “Because even if Utts and her colleagues are correct and we were to find that we could reproduce the findings under specified conditions, this would still be a far cry from concluding that psychic functioning has been demonstrated. This is because the current claim is based entirely upon a negative outcome – the sole basis for arguing for ESP is that extra-chance results can be obtained that apparently cannot be explained by normal means. But an infinite variety of normal possibilities exist and it is not clear than one can control for all of them in a single experiment. You need a positive theory to guide you as to what needs to be controlled, and what can be ignored. Parapsychologists have not come close to this as yet.” – Ray Hyman, The Evidence for Psychic Functioning: Claims vs. Reality Skeptical Inquirer, March/April 1996 [3]
  33. ^ “What seems clear is that the scientific community is not going to abandon its fundamental ideas about causality, time, and other principles on the basis of a handful of experiments whose findings have yet to be shown to be replicable and lawful.” – Ray Hyman, The Evidence for Psychic Functioning: Claims vs. Reality Skeptical Inquirer, March/April 1996
  34. ^ Bennett, Gary L. (NASA, Washington, DC) (1994). “Heretical science – Beyond the boundaries of pathological science”(PDF). IN:Intersociety Energy Conversion Engineering Conference, 29th, Monterey, CA, Aug 7–11, 1994, Technical Papers. Pt. 3 (A94-31838 10–44) (Washington, DC: American Institute of Aeronautics and Astronautics). pp. 1207–1212.ISBN AIAA-1994-4003 Check |isbn= value (help).
  35. a b Persinger, MA; Roll, WG; Tiller, SG; Koren, SA; Cook ., CM (2002). “Remote viewing with the artist Ingo Swann: neuropsychological profile, electroencephalographic correlates, magnetic resonance imaging (MRI), and possible mechanisms.”. Perceptual and Motor Skills. 94 (3 Pt1): 927–949. PMID 12081299.
  36. a b Hunter, Matthew; Mulligan, Bryce P; Dotta, Blake; Saroka, Kevin; Lavallee, Christina; Koren, Stanley; Persinger, Michael (2010). “Cerebral Dynamics and Discrete Energy Changes in the Personal Physical Environment During Intuitive-Like States and Perceptions”. Journal of Consciousness Exploration & Research 1 (9): 1179–1197.
  37. ^ Mind Trek: Exploring Consciousness, Time, and Space Through Remote Viewing by Joseph McMoneagle, Hampton Roads, Publishing Co., Inc., 1997
  • Edward A. Dames, Tell Me What You See: Remote Viewing Cases from the World’s Premier Psychic Spy. Wiley, 2010. ISBN 09780470581773
  • David Marks, Ph.D., “The Psychology of the Psychic (2nd edn.)” Prometheus Books, 2000. ISBN 1-57392-798-8
  • Courtney Brown, Ph.D., Remote Viewing : The Science and Theory of Nonphysical Perception. Farsight Press, 2005. ISBN 0-9766762-1-4
  • David Morehouse, Psychic Warrior, St. Martin’s, 1996, ISBN 0-312-96413-7
  • 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, JonThe Men who Stare at Goats, Picador, 2004, ISBN 0-330-37547-4, written to accompany the TV series The Crazy Rulers of the World [4] 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. MilitaryISBN 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 shieldingNature 251, 602-607 (18 October 1974) doi:10.1038/251602a0 Letter0

External links [edit]

Remote Viewing, Stargate Project And CIA Mind Control, MK Ultra And LSD

Remote Viewing refers to the attempt to gather information about a distant or unseen target using paranormal means or extra-sensory perception. The CIA, MI6, MI5, NSA, Mossad and many other intelligence agencies have taught agents to learn remote viewing for years.

Remote viewing was popularized in the 1990s, following the declassification of documents related to the Stargate Project, a 20 million dollar research program sponsored by the U.S. Federal Government to determine any potential military application of psychic phenomena. They also experimented with a project known as MK Ultra using LSD on unsuspecting participants.

Remote viewing, like other forms of extra-sensory perception, is generally considered as pseudoscience due to the need to overcome fundamental ideas about causality, time, and other principles currently held by the scientific co

mmunity, and the lack of a positive theory that explains the outcomes.



  • Licencia de YouTube estándar


por Juan García

de VisionRemota Website

¿Que es la Visión Remota?

Visión Remota es una técnica altamente estandarizada y estructurada que nos permite obtener información precisa, de forma eficaz, mediante la aplicación de una serie de protocolos.

Se trata de una habilidad desarrollada para obtener conocimiento directo sobre objetos, personas y hechos, pudiendo el objetivo existir en cualquier espacio/tiempo. Las sesiones de Visión Remota se realizan de forma que el visualizador no conocerá cual es el objetivo de la sesión hasta que la termine, este es el método ciego y sirve pare que los prejuicios y la imaginación del visualizador no intervengan en la sesión aportando información errónea. Se trata de una habilidad para obtener datos.

Como cualquier otra habilidad, requiere practica para obtener resultados satisfactorios. Las técnicas de Visión Remota consisten en la transferencia de información desde la parte inconsciente de la mente del Visualizador hacia la parte consciente, antes de que el intelecto, que es la parte creativa y analítica de la mente, distorsione la información. La información en este punto se convierte a palabras y dibujos usando únicamente un bolígrafo y folios en blanco. Durante este proceso, el Visualizador permanece directamente conectado al Colectivo Inconsciente, también llamado Matrix.

El proceso funciona tanto si el objetivo está situado en la habitación contigua como si está en el otro extremo del mundo. Este objetivo puede existir en cualquier punto del espacio/ tiempo, de la misma forma que la mente existe fuera de los límites del espacio/tiempo.


¿Como se desarrollo esta técnica?

Todos los seres humanos tienen el potencial natural para recibir información detallada sobre un objetivo, usando solamente su mente.

A través de la historia, solamente un número reducido de excepcionales psíquicos naturales desarrollaron su capacidad hasta el punto de poderla utilizar eficazmente, con precisión y exactitud.

A finales siglo XX, la agencia de inteligencia (CIA) de los Estados Unidos invirtió alrededor de 20 millones de dólares en investigación sobre el funcionamiento psíquico y entonces fue cuando descubrieron esta tecnología y su potencial sin límites… En un intento de utilizar psíquicos para obtener información para laCIA, la agencia de inteligencia para la defensa encargo al instituto de investigación Stanford que desarrollara una técnica eficaz que se pudiera utilizar para obtener información precisa sobre objetivos remotos.

El resultado de esta investigación fue en un sistema de protocolos y un programa de entrenamiento que permitió que virtualmente cualquier persona fuera entrenada para percibir psíquicamente cualquier información, cuando comenzaron a utilizar esta tecnología observaron que la exactitud de los entrenados con esta técnica sobrepasaba en exactitud a los más reconocidos psíquicos naturales. Por primera vez un psíquico podía aprender como separar de forma eficaz imaginación e información real sin perder conexión con la señal del objetivo.

Al contrario que en la investigación anterior que implicaba experiencias extracorporales, el visualizador trabajaba completamente consciente, en un estado de la alta atención.

Los protocolos fueron diseñados para que lentamente el visualizador, mientras avanzaba en la sesión, aumentara el contacto con el objetivo, yendo de lo general a lo específico, recogiendo fragmentos de datos específicos y de forma estructurada, todos los visualizadores seguían rigurosamente un protocolo de seis etapas.


La Visión Remota como herramienta de trabajo de la CIA

El refinamiento y el desarrollo del proceso no terminaron en el laboratorio.

En la unidad de la agencia de inteligencia para la defensa, estos protocolos de visión remota fueron probados con objetivos remotos clasificados como top-secret, muchas veces referentes a situaciones de vida o muerte – un factor de motivación que no existe en el ambiente de investigación de un laboratorio.

El trabajo de estos visualizadores tenía que ser exacto y muy concreto puesto que la información obtenida era utilizada para salvar vidas, para encontrar a rehenes y para solucionar problemas complejos de seguridad de los Estados Unidos. Esto dio lugar a mejoras en las técnicas y en el entrenamiento así como grandes avances en el perfeccionamiento de la exactitud de esta habilidad.

Ahora era es una herramienta altamente desarrollada para solucionar problemas de inteligencia militar, aplicada por los oficiales altamente disciplinados.


Fundamento Teórico

Visión remota es un método sistematizado para obtener información usando nuestras habilidades psíquicas. No se trata de un don, o un superpoder, sino de una habilidad. La capacidad de percibir psíquicamente información referente a cualquier objetivo, es algo que todos los seres humanos podemos realizar, ya que todos los seres humanos nacemos con una mente, al fin y al cabo, es la que nos capacita para acceder de forma psíquica a cualquier información.

Ejemplo: Cuando deseamos obtener información sobre cualquier tema, acudimos a una biblioteca, allí, nos dirigimos rápidamente, a la sección correspondiente al tema que buscamos, una vez en la sección, buscamos un libro cuyo título se corresponda de una forma más concreta, con el libro la mano, rápidamente nos dirigimos al índice, y encontramos el capítulo donde se encuentran las respuestas que buscamos.

De una forma similar, es como actuamos en visión remota, es decir, yendo de lo general a lo específico.

También podemos comparar la visión remota, con un buscador de Internet; en un buscador de Internet, introducimos el texto que queremos buscar, y éste, el buscador, nos devuelve todas las páginas web que guardan relación con las palabras que le hemos indicado.

Para que entendamos mejor el funcionamiento de la visión remota, es necesario conocer de forma básica las teorías de Carl Jung.


Carl Jung y el modelo de la mente

Carl Jung afirmó que existía algo llamado espíritu a finales de 1800, y a principios de 1900 la gente seguía sin creerle, no estaban de acuerdo, era el primer profesional de la psicología que afirmaba tal cosa.

También fue el primer profesional que declaró que existía el Inconsciente Colectivo. Todos nacemos con una mente que posee cuatro funciones principales, estas funciones son:

  • Intelecto
  • Físico
  • Emocional
  • Instinto e intuición

Carl Jung 20 años después del descubrimiento del modelo de la mente que él propone, supo que un amigo suyo ya conocía dicho modelo. De hecho, este amigo, viajó a China justamente para estudiarlo.

Los chinos conocían esto desde hace miles de años, ellos, tienen símbolos que representan cada una de las funciones de la mente, así, tenemos que:

  • La función física la representan con un círculo que simboliza la tierra.
  • La función emocional la representan con unas líneas onduladas que simbolizan el océano. Ya que el océano interactúa con fuerzas exteriores, tiene corrientes submarinas, etc…
  • El intelecto lo representan con un cuchillo, un cuchillo sirve para cortar, dividir, separar, y eso es justamente lo que hace la función intelectual de nuestra mente, separar, dividir y organizar la información.
  • La intuición y el instinto los representan con un árbol y unos caminos que van hacia el, ya que los chinos saben, que existe la intuición y el instinto, pero no saben de dónde vienen. ¿Quien no ha experimentado alguna vez que antes de que sonara el teléfono sabía que iba sonar?¿o que cuando suena el teléfono y antes de descolgar sabía quién estaba llamando?. Es decir, existe la intuición, ahora bien, ¿de dónde procede?

Definición de las cuatro funciones principales de la mente.

  • Física. Son los sentidos físicos, olfato, gusto, tacto, oído y vista.
  • Intelecto. Se trata de la parte analítica de nuestra mente.
    Ejemplo. Si encerramos a un niño en una habitación durante varias horas, el niño comenzará a patalear, llorar y gritar, todo esto, en un intento de llamar la atención para que le saquen de la habitación. Si no lo sacamos, después de un tiempo puede que se quede dormido, cuando despierte, vera que en el otro extremo de la habitación, entra la luz por una ventana, inmediatamente mirará a su alrededor y descubrirá una silla que utilizara para salir por la ventana. Esto es lo que hace el intelecto.
  • Emocional, se trata de las emociones, los sentimientos.
  • Intuición e instinto.
    Ejemplo: si encerramos a una persona en una habitación durante tres días, y al cuarto día le abrimos la puerta, seguramente, esa persona saldrá corriendo hacia la despensa de la cocina, aunque no sepa donde está, sin pensarlo, su cuerpo actúa por instinto. Por lo tanto, podemos deducir que el instinto va fuertemente ligado a la función física.

Bien, esta es la herramienta de los visualizadores, es una herramienta de recopilación de información.

Carl Jung afirma que desde que nacemos estamos recopilando información constantemente, esto creo que es una teoría bastante aceptada hoy en día. Toda esta información pasará a formar parte de nuestra librería personal (inconsciente personal) ¿Cómo funciona entonces nuestra mente?

Cada vez que inspiramos, nuestra mente pone el foco de atención en el interior, la zona en el gráfico etiquetada como entorno interior, así, cuando expulsamos el aire, nuestro foco de atención se centra en el exterior. Lo que Carl Jung nos está sugiriendo, va más allá del simple sistema de respiración que a menudo utilizamos. Carl Jung nos está diciendo que al inspirar y expirar el aire, nuestra mente se comunica con el entorno exterior intercambiando información. Al mismo tiempo, cuando inspiramos las distintas funciones de nuestra mente, están compartiendo e intercambiando información entre ellas.

También podemos deducir, que el acto de respirar hace que nuestra mente este perfectamente sincronizada. Nuestra mente, con cada una de sus funciones principales, está dividida en dos partes: consciente e inconsciente. Existen otras partes intermedias pero en principio nos vamos a centrar en estas dos.


El Matrix o Inconsciente Colectivo

Según Carl Jung, nuestra mente está constantemente conectada al Inconsciente Colectivo por medio de la parte inconsciente de la función intuición-instinto.

El Inconsciente Colectivo, también llamado en visión remota Matrix, es como una gran biblioteca, como una inmensa red dónde está fluyendo la información constantemente. Lo que tiene que hacer el visualizador remoto, es desarrollar la habilidad de trasmitir la información existente en la parte inconsciente de nuestra mente hasta la parte consciente, puesto que el enlace con el Inconsciente Colectivo es permanente aunque no siempre consciente.

Debemos entonces deducir que toda la información vinculada a cualquier persona, objeto o situación, se encuentra almacenada de forma colectiva. Siendo la parte inconsciente de nuestra mente como una librería personal


Los Gestalts

Elemento enigmático y a la vez esencial. En visión remota trabajamos siempre yendo de lo general a lo específico.

Esta frase resume muy brevemente el modo en el que un visualizador recoge la información obtenida durante la sesión. Necesitamos unos protocolos yestructuras para recoger la información de una forma ordenada, y no sólo eso, sino que lo hacemos de la forma más cómoda y útil para nuestra mente.

Podríamos comparar la visión remota con el aterrizaje de un avión. Cuando nos acercamos a nuestro destino y el avión comienza a descender para posicionarse en la pista de aterrizaje, a medida que vamos descendiendo, vamos siendo capaces de percibir las formas básicas de la zona de la pista de aterrizaje.

Podemos ver como al fondo de la imagen que percibimos existen montañas o llanuras, también veremos estructuras pudiendo ser estas edificaciones y otro tipo de objetos fabricados por el hombre, lagos, mares, etc … No somos capaces de percibir esta información con detalle, pero si vemos las formas básicas pudiendo identificar si es una zona costera, por la presencia del mar, o montañosa por la presencia de montañas, etc …

La visión remota funciona del mismo modo. Cuando comenzamos una sesión, lo primero que percibimos son las formas básicas del target, también llamadasgestalts. Tal y como vamos avanzando en la sesión vamos obteniendo información más concreta, siendo capaces de percibir colores, texturas, olores, sabores, temperaturas, dimensiones, ideas asociadas al target, formas, etc… pudiendo percibir esta información desde distintos puntos de vista y distancias. Es por ello que decimos que en visión remota trabajamos de lo general, gestalts, a lo especifico, información muy concreta, es la forma optima de trabajo para nuestra mente.

Gestalt es la palabra alemana para referirse a una forma. Y es un término utilizado en psicología definido como “Percepción de un todo o unidad global que es mayor que la suma de sus partes“. El termino tiene sus orígenes en la Psicología Gestalt la cual se inicio como la corriente de psicología del siglo XX siendo el fundamento para los actuales estudios teóricos sobre la percepción. La psicología gestalt apareció a finales del siglo XIX como reacción a las escuelas científicas de estudios psicológicos.

En 1912 un hombre llamado Max Werthehimer publicó un documento en el cual se citaba un estudio que el y sus colegas llevaron a cabo, basado en un experimento al cual llamaron phi-phenomenon. Este experimento consistía en mostrar muchas imágenes estáticas que cuando se mostraban en una rápida progresión creaban al espectador la ilusión de movimiento. El mejor ejemplo que tenemos sobre esto es la forma en que funcionan las películas.

Era evidente que la mente no registraba todo lo que percibía de forma fragmentaria, sino que tomaba todos los fragmentos de un campo como un todo o unidad global. Este experimento se convirtió en lo que hoy conocemos como la Ley de Pragmanz.

La historia contenida en el párrafo anterior debería entenderse dentro de su contexto psicológico, el uso en visión remota es similar en teoría. En visión remota el gestalt se entiende como el rasgo que define los ideogramas.

En el inicio de una sesión de Visión Remota el visualizador enfoca con su mente al objetivo del cual pretende obtener información por medio de los Números de Referencia del Objetivo (NRO). Instantáneamente el Inconsciente Colectivo envía la información directamente al Sistema Nervioso Central y el visualizador produce un ideograma, en este instante hemos recibido el paquete de información asociado al target.

Los protocolos y estructuras propios de Visión Remota nos permitirán a partir de este momento percibir los datos e información y transcribirla en papel con palabras y dibujos. Los ideogramas representan los gestalts del target en su forma más básica, a partir de estos ideogramas, el visualizador podrá decodificar y descomprimir información muy específica y exacta.

Los ideogramas son la reacción de nuestro sistema nervioso, en forma de impulso, al entrar en contacto psíquicamente con el target, plasmándose como un “garabato” en el papel.


¿De donde salen los ideogramas? ¿Son universales?

Si nos basamos en la teoría de Carl Jung sobre el Inconsciente Colectivo, existen gestalts y arquetipos (modelos originales a partir de los cuales existen otros que han heredado características de estos modelos originales) los cuales existen en dicho colectivo inconsciente y a los cuales recurrimos a diario en nuestra forma de comprensión fundamental Carl Jung escribió en “El concepto del Inconsciente colectivo“:

Existen tantos arquetipos como situaciones típicas existen en la vida. Una repetición sin fin de estas experiencias se graba en nuestra psique, no bajo la forma de imágenes con contenido sino como formas sin contenido, representando simplemente ciertos tipos de percepciones y acciones.

Cuando practicamos visión remota estamos accediendo a dicho Inconsciente Colectivo donde los gestalts allí existentes son universales.

En los muchos años de investigación sobre Visión Remota en el SRI y en la unidad de visión remota de la CIA, se descubrieron más gestalts universales, se descubrió que los mismos gestalts básicos se reproducían constantemente cuando se iniciaba una sesión de visión remota. Más tarde tras la mejora y refinamiento de los protocolos de Visión Remota más gestalts básicos fueron descubiertos.

Algunos de los gestalts básicos son: un circulo para representar una forma de vida, una línea horizontal para representar la tierra, una línea ondulada para el agua, una V invertida para las montañas, etc …



Visión remota es una técnica relativamente nueva, con la expansión que se esta produciendo sobre todo en norte América y debido a que cada vez es más popular, se ha tenido que trabajar en buscar palabras y conceptos que puedan explicar como funciona esta técnica y porque. La bilocación es una de estas palabras.

Según el diccionario de la Real Academia Española, el termino bilocación significa estar en 2 lugares distintos al mismo tiempo. Entre los practicantes de visión remota este es un término muy utilizado aunque cuando se habla de bilocación se hace con un concepto un poco distinto a lo que se entiende por bilocaciónen otras áreas.

En visión remota no se produce una bilocación física, ni tampoco se trata de un viaje astral. Cuando el visualizador utiliza esta palabra, se esta refiriendo a que el foco de atención consciente e inconsciente del visualizador está dividido, la mitad intentando seguir la estructura del protocolo y la otra mitad en el lugar del objetivo en el Matrix.

Se dice que la bilocación es el estado mental más adecuado para que una sesión nos ofrezca resultados satisfactorios. La bilocación en visión remota induce al visualizador a un incremento de la sensitividad de la conciencia a lo cual se suele referirse como “estado de alta atención”.

Algunos de los síntomas físicos de la bilocación son:

1. Confusión momentánea.
2. Olvidar el siguiente paso en el protocolo
3. Golpear rítmicamente con el bolígrafo, con la mano o el pié.
4. Faltan letras en las palabras o están las letras cambiadas de orden. (Ejemplo: Agardable, Cofusión)
5. No percibir lo que sucede alrededor.
6. Olvidar palabras que se usan normalmente (rugoso, exterior, …)
7. La mirada perdida.
8. Detrimento de la movilidad del cuerpo

Sólo la mitad de la atención está en la habitación contigo (en tu cuerpo) siguiendo los protocolos y estructuras de Visión Remota, la otra mitad está explorando el objetivo en el Matrix (Inconsciente colectivo).

Por lo que cuando terminamos una sesión suele suceder que te encuentras un poco aturdido o mareado, esto es un efecto secundario producido por la bilocación. Esto suele ser más pronunciado al principio, cuando se adquiere suficiente destreza y experiencia en visión remota estos efectos secundarios desaparecerán. Es recomendable que cuando se termine una sesión, el visualizador, se levante, camine un poco, beba agua, etc … y que no intente analizar la sesión hasta que transcurran unos 15 minutos como mínimo.

Seguramente te preguntarás ¿Cómo se consigue seguir la estructura de los protocolos y explorar al mismo tiempo el Matrix?

Para conseguir el estado de bilocación, el visualizador debe avanzar en la sesión de una forma rítmica con cadencia y velocidad, al resolver cada fase en el tiempo prefijado por el protocolo mientras se intenta separar la imaginación y los sentimientos del visualizador del resto de información, de la forma que se indica el protocolo, el visualizador es inducido a este estado llamado bilocación.

La gente que utiliza estados alterados de conciencia o practica las experiencias extracorporales no escribe sus percepciones en papel, pero por el contrario tienen experiencias muy profundas e impactantes. Esto es debido a que su atención se encuentra totalmente en el lugar remoto y cuando termine el “viaje astral” tendrá que recurrir a la memoria para recopilar la información, esto no quiere decir que sea mejor ni peor, simplemente indica que la finalidad es distinta, y por lo tanto los usos son también distintos.

Las experiencias extracorporales fueron también utilizadas para obtener información con fines militares en la CIA, pero los resultados fueron mínimamente satisfactorios debido a que la persona que practicaba la experiencia extracorporal no podía recuperar eficazmente y con precisión la información que había percibido durante el “viaje”.

Se siguieron investigando las experiencias extracorporales y se comenzó a monitorizar las sesiones con un supervisor con el fin de que fuera recogiendo la información que se fuera obteniendo, pero la experiencia seguía siendo demasiado profunda para el practicante como para que este comunicara sus percepciones al monitor o supervisor.

Esto es debido a que la función mental que extrae la información, la ordena y la organiza en categorías no está accesible para la persona que practica el “viaje astral” y por lo tanto, el practicante no posee ninguna herramienta para recopilar la información.


Técnicas de Visión Remota – Introducción

Durante el tiempo en el que distintas agencias de inteligencia de todo el mundo han estado interesados en utilizar las facultades paranormales para obtener información de interés militar y de defensa, se ha estado investigando mayoritariamente 2 metodologías basadas cada una de ellas en un fenómeno paranormal distinto.

Los dos fenómenos paranormales son:

  • las EEC   (Experiencias Extracorporales)
  • la   PES   (Percepción Extrasensorial).

Las agencias de inteligencia de los EE.UU. estuvieron trabajando en las 2 fenomenologías, pero su interés se centró mayoritariamente en la PES.

Descubrieron que todos tenemos la habilidad de percibir información de forma extrasensorial en mayor o menor grado, dependiendo de una serie de factores en los que no vamos a entrar en este artículo.

Encargaron al SRI (Stanford Research Institute) que desarrollaran una técnica y unos protocolos que permitieran entrenar a cualquier sujeto con el fin de obtener información de gran importancia. Tras algún tiempo de investigaciones e infinidad de pruebas en distintos laboratorios de los EE.UU., finalmente se dio con una estructura de procedimiento y un protocolo que con un mínimo de entrenamiento garantizaba que cualquier persona pudiera aprender a utilizar la PES de forma optima.

Este fue el motivo por el cual, al dar con dicha técnica, se centraron más en la utilización de la PES. Dicha técnica es CRV (Coordinate Remote Viewing) que con el tiempo paso a llamarse Controled Remote Viewing.

Por otro lado también estuvieron investigando sobre las Experiencias Extracorporales y su utilización, así surgió la ERV (Extended Remote Viewing), que essimilar en esencia a una experiencia extracorporal, según dicen algunos, las investigaciones sobre las EEC’s no tuvieron un resultado satisfactorio, lo cual no significa que el fenómeno no exista o que no sirva para otros propósitos, por otro lado y aunque siendo menos popular, la ERV sigue teniendo sus partidarios hoy en día. En el resto del mundo, la URSS, Francia, Israel, Inglaterra, etc … se centraron más en las EEC’s y la ERV.

Por otra parte, la información existente sobre la preferencia de ERV o CRV por parte del gobierno de EE.UU. permanece todavía clasificada, por lo que todos los datos conocidos sobre este menester provienen de los testimonios de los ex-militares que participaron en dichos proyectos y como suele suceder cada cual barre para su casa.

Intentaré ser lo más objetivo posible, presentando los pros y contras según la información que poseo.


Técnica Básica de ERV – Introducción

De igual forma que un niño puede leer muchos libros sobre como conducir un coche y jamás lo aprenderá hasta que lo experimente de forma repetida, aprenderERV es lo mismo, todo lo que pueda decir en este artículo sobre como practicar ERV‘s no es más que teórico y hasta que no lo pruebes no sabrás exactamente lo que es.

Cada persona lo experimentará de una forma distinta y puede que coincida con las directrices que en este texto daré o puede que no, por lo que sería muy interesante que aquellos que queráis experimentar con ERV dejéis vuestros comentarios y experiencias en el foro de ERV, así como cualquier pregunta o duda.

¿Como reconocer el estado Theta?
Esto es lo primero que debemos aprender, reconocer el momento en el que nuestro cerebro esta en estado Theta, en este estado es cuando podemos experimentar ERV.

La característica más clara que te indicará que estas en estado Theta es cuando sientes que el cuerpo está dormido pero la mente sigue despierta. Es como si perdieras el envoltorio que es el cuerpo físico y tan sólo fueras “mente”. Tu cerebro esta ralentizando la emisión de ondas eléctricas y empieza a ignorar las señales eléctricas que provienen del cuerpo, pasado un breve periodo de tiempo ya no pensaras en ti como “existencia dentro de un cuerpo”.

Otra indicador de que estas en estado Theta es la rápida sucesión de imágenes que aparecen en tu pantalla mental. Será como si tu imaginación y tus procesos mentales están fuera de control, esto es debido a que el cuerpo y los procesos mentales están dormidos y tu mente ya no tiene que atender a sus peticiones, ahora es libre para explorar este otro modo de percepción.

Algunas personas experimentan como si estuvieran soñando pero tienen control total de lo que sucede en el sueño, la experiencia es muy vivida, real en lugar de virtual. Este es otro indicador. Resumiendo, reconocemos Theta por el adormecimiento del cuerpo y la numerosa existencia de imágenes pasando a gran velocidad.

¿Una vez en estado Theta que hago?

1. Pedir la información concreta
La mejor forma de pedir información es por medio de la emoción o la intención, por lo que es imprescindible que antes de comenzar la sesión dediques un tiempo a pensar en la información que quieres obtener, de esta forma, cuando llegues al estado theta no necesitarás pensar … ¿que información quería obtener? Es como cuando intentas decir algo tan sólo con la mirada, esta es la forma, usar la intención. En el momento en que manifiestas tu intención, inmediatamente obtienes la respuesta.

2. La información está llegando…
Cuando comience a llegar la información (inmediatamente después de la pregunta), no pienses en nada, no intentes analizar lo que ves, oyes, sientes, etc… se un observador pasivo, si ves una forma triangular no intentes descifrar lo que es (montaña, pirámide, un juguete, …) este es el tipo de interferencia más común, en visión remota lo llamamos AOL (Analytical Overlay), evítalo a toda costa. Tan sólo intenta recordar que has visto una forma triangular y continua.

A continuación haz preguntas referentes a información sensorial, ¿cuales son los colores más importantes?, ¿cual es la temperatura?, ¿es grande o pequeño el objetivo?, etc… la respuesta deberá llegar inmediatamente, debes mantener tu mente ocupada en recopilar información para evitar que la mente comience a pensar en lo que está viendo, así evitas salir de theta, esto debes hacerlo sobre todo si lo que ves no es reconocible a primera vista.

Nuestra mente tiende a completar la información que no reconoce a primera vista, y casi siempre lo completa de forma errónea, evita esto haciendo preguntas sobre, colores, texturas, olores, sabores, temperaturas, sonidos, dimensiones, etc…

Como dije al principio, con la práctica sabrás exactamente lo que he intentado decir.

Paso a Paso …

  • 0. Decide cual será tu objetivo antes de empezar y dedícale unos minutos a las cosas que quieres saber sobre el. Se muy concreto.
  • 1. Escucha la música:  Estado Theta

Tu cerebro intenta sincronizar la frecuencia de las ondas cerebrales a la frecuencia de los sonidos que percibe por medio de la percepción auditiva, al principio es conveniente usar este mp3 para ayudarte a entrar en estado theta más fácilmente, con la práctica te será muy fácil entrar en estado Theta sin ayuda externa de sonidos.

  • 2. Utiliza unos cascos estereofónicos para escuchar el mp3, pon un volumen que sea audible, pero moderado, si pones demasiado volumen terminarás con dolor de cabeza.
  • 3. Lo ideal es realizar el experimento tumbado en la cama, o sentado cómodamente. Relájate, no pienses en nada, déjate llevar.
  • 4. Pasados unos minutos sabrás que estas en estado Theta por los indicadores que antes describí (cuerpo dormido, rápida sucesión de imágenes).
  • 5. Cuando estés en theta procede a preguntar lo que desees sobre el objetivo.
  • 6. El mp3 completo dura 10 minutos, si consigues entrar en estado Theta puede que la sesión se alargue más de esos 10 minutos, cuando desees terminar la sesión, tan sólo tienes que despertarte (no por intención sino por pensamiento “ahora quiero despertarme”).

Si conseguís entrar en Theta pero no conseguís obtener la información que pedisteis puede ser por varios motivos, no dudéis en preguntar en el foro.

Si esto sucede no te desanimes, el cerebro esta siendo entrenado en entrar en modo Theta bajo demanda y con un poco de práctica lo conseguirás, cada persona tiene su ritmo de aprendizaje.


Diferencias entre CRV y ERV

El principal problema al que nos enfrentamos cuando utilizamos cualquier tipo de Visión Remota, consiste en saber reconocer y separar los datos reales de los que provienen de nuestro pensamiento o imaginación.

Con motivo de resolver este problema, surgen los partidarios de la CRV que afirman que dicha técnica dispone de los mejores mecanismos y herramientas para resolver el problema; por otro lado, los partidarios de la ERV, afirma que es la ERV la que resuelve mejor este handicap.

En mi modesta opinión creo que las dos son buenas opciones, no obstante veamos a continuación la tabla de frecuencias y desde este punto analizaremos lospros y contras de ambas técnicas.

Delta De 0,1 a 3 Hz Sueño profundo, sueños lúcidos, incremento de las funciones de inmunidad, hipnosis.
Theta De 3 a 8 Hz Relajación profunda, meditación, incremento de memoria, concentración, creatividad, sueños lucidos, …
Alpha De 8 a 12 Hz Relajación suave, “super learning”, pensamiento positivo, …
De 12 a 15 Hz Atención relajada
Beta De 16 a 18 Hz Aumenta la habilidad mental, atención, estado de alerta , Inteligencia, etc …
Más de 18 Hz Completamente despierto, estado normal de alerta, estrés y ansiedad
Gamma 40 Hz Asociada a las funciones de alto nivel de procesamiento de la información

En CRV se trabaja en el rango de Alpha-Beta, este es el estado en el que te encuentras cuando por ejemplo estás pasando por la calle. Es el estado de conciencia normal cuando estas despierto, obviamente los patrones de pensamiento en este estado son existentes.

Cuando se utiliza ERV se está en estado Theta. Donde no existen patrones de pensamiento. Por lo que si estas en un estado alpha-beta (cuando realizas sesiones de CRV), existe un mayor riesgo de que la información percibida esté infectada por los pensamientos e imaginación, ya que en este estado la actividad de la función lógica de la mente es mayor.

En cambio cuando prácticas ERV, donde la función intelectual no tiene actividad, no existen interferencia con la imaginación o el pensamiento, entonces surge un nuevo problema, mantenerte en estado Theta, porque en cuanto existe actividad de los procesos intelectuales, automáticamente, cambias a estado Alpha, donde si existe el pensamiento, la imaginación, y todo tipo de procesos lógicos.

Para realizar con éxito una sesión de visión remota mediante CRV o cualquiera de sus variantes, tienes que aprender, memorizar y practicar las estructuras con el fin de instalar en el inconsciente dichas estructuras, así ya no tienes que pensar cual es el siguiente paso, en esta fase como se rellena la información, que tipo de información va en cada columna, etc.… es como si estuvieras realizando la sesión en una especie de piloto automático, al mismo tiempo los procesos inconscientes están ocupados en seguir la estructura, de esta forma se reduce el uso de la función intelectual, y así la contaminación de la información.

En ERV si eres capaz de mantenerte en estado Theta y realizar tareas mentales sin pensar en ellas serás capaz de obtener información sin peligro a que contenga interferencias. Ese es el problema para la mayoría de gente, reconocer que estas en estado Theta y mantenerte en el.

Normalmente el estado Theta se experimenta muy brevemente justo antes de quedar dormido.

En cualquier caso, para que entiendas esta dificultad imagina lo siguiente:

Estás intentando hacer una sesión de ERV, te tumbas en la cama con los ojos cerrados y en un momento determinado, si crees estar en estado Theta y piensas “creo que ya estoy en estado theta”, ya puedes imaginar lo que sucede, que acabas de salir de Theta.

El truco para aprender ERV, entonces esta en aprender una serie de indicadores y pistas que te informan que estas en estado Theta y entonces por medio de algunas técnicas obtener la información deseada, todo esto sin analizar dicha información, puesto que si comienza el análisis, se pierde el estado Theta.

Las técnicas para obtener información cuando estas en estado Theta a las que me refiero en el párrafo anterior, se basan en como hacer “Notas Mentales” de forma que puedas recuperar dichas Notas Mentales cuando despiertes de la sesión.


Taller Tecnomagxs @ Laboratorio Arte Alameda, DF

Lunes, miercoles y viernes del 18 de febrero al 01 de marzo 2013.
Presentación abierta al público : 28.02.13 19H00
Inscripciones : TALLER COMPLETO

Programa :

6 sesiones de 3 horas / del 18 de febrero al 01 de marzo /
1. 18.02.13 Introducción. Presentaciones de participantes. Paralelos entre tecnología y magia. Presentación de Tania Candiani.
2. 20.02.13 Background : Textos, historia. Chamans, cientificos, magos y artistas. Presentación deQuimera Rosa – Akelarre Ciborg.
3. 22.02.13 Introducción a experimentos con tecnología y magia – Society of Psychical Research, Investigaciones sovieticas, Parapsicologia, el Black Box. Presentación de Arcangel Constantini.
4. 25.02.13 Diseño colectivo de experimentos y relatos. Maquinas mágicas, ciencia ficción, labs y akelarres. Presentación de Fabi Borges
5. 27.02.13 Construcción y utilisación de las maquinas, despliegue de relatos. Redes cuánticas. La emoción es la onda portadora del pensamiento !
ABIERTO AL PÚBLICO : 28.02.13 Presentación del taller y presentación de Sylvie Marchand
6. 01.03.13 Documentación. Experimentación colectiva. Acto final.
Se puede encontrar algo de bibliografia en http://root.ps/download/tecnomagxs
La colección de textos se ira ampliando, propuestas bienvenidas.
Para el curso se recomienda especialemente leer “Tecnomagxs” de Pedro Soler, escrito especificamente para el taller y el catalogo de la exposición.


Ambas técnicas son excelentes para obtener información, con CRV tienes que aprender las estructuras de forma que no tengas que pensar en ello y con ERVtienes que practicar muchísimo para no salirte del estado Theta.

Hybrid Cities: interviewing Roger Malina, Mariateresa Sartori and Bryan Connell

By Lawrence Bird – 15/05/2013

Roger Malina is a physicist and astronomer, Executive Editor of Leonardo Publications (The M.I.T. Press), and Distinguished Chair of Arts and Technology at the University of Texas at Dallas. Dr. Malina helped found IMéRA (Institut méditerranéen de recherches avancées), a Marseille-based institution nurturing collaboration between the arts and sciences.

Mariateresa Sartori and Bryan Connell are two artists recently based at IMéRA. Their work connects with human movement through the city, and addresses the intersection between technology and perception. Recent work by Venice-based Mariateresa Sartori has encompassed drawing and video. Bryan Connell, Exhibit/Project Developer at San Francisco’s Exploratorium, works especially with landscape observation devices and mapping.

Lawrence Bird interviewed Roger Malina, Mariateresa Sartori, and Bryan Connell about the intersection of their work with the city. Images above courtesy: Roger Malina, Rita Gambardella, Bryan Connell.

Lawrence Bird: Roger Malina, in your recent writing you make the case that science is no longer just a field of positive knowledge. Scientists are increasingly open to engagement with the arts — for example artists’ residencies at CERN. You’ve even argued that we’re in a crisis of representation as profound as that of the Renaissance or the 19th century, and this is “driving a new theatricalisation of science.”

Urban life has often been understood as performative – display, performance of social roles, presentation of oneself before others are all part of the public life in cities. How would you say that crisis of representation plays out with regards to this performative dimension of urban life? How is science implicated alongside art in the city, in these conditions?

Roger Malina: One of my arguments for the ‘crisis of representation’ really looks at Renaissance systems of representation — first driven by what the eye could see, and then the eye extended by microscopes and telescopes. These systems of representation were developed that led to a deep contextualising of the viewer in the world.


Johann Hevelius’ 46m telescope (1673)

Today we are in a new situation because so much of our perception of the world comes not through extended senses but, in a real way, through new senses. This has been happening over a number of decades; the first wave of this was at the end of the 19th century when there was a cultural shock with the introduction of x-ray images, infra-red and later radio — which didn’t extend existing senses but augmented them.The most recent series of triggers maybe comes from the nano-sciences and synthetic biology — we now perceive phenomena of which we have no daily experience of (eg quantum phenomena). Field emission microsopy or MRI or some of the other new forms of imaging really don’t build on our existing experience — there are discontinuities and dislocations. Another element is of course the hand held device that leads to techniques for ‘augmented reality’ — I have a phone app that I can point at an aeroplane overhead and it tells me what the plane is, where it came from, and where it is going.

Coming to your question about the city — there is clearly a shift in map construction and reading — from the Cartesian map that we have been acculturated to. The ability to toggle between the bird’s eye view and the “street view”, and the ability to view maps that have multiple layers simultaneously are driving artists and others to develop new forms of representation.


Augmented reality app for iPhone 3GS, with Milan Cathedral; courtesy Grey Small Horse

Someone whose work is interesting in this regard is Bryan Connell in San Francisco,  he just finished an art science residency at IMéRA in Marseille. He was working on a large urban trail project called GR13 — 300 miles through industrial, urban, sub urban, and wild landscapes (the city had a hell of a time getting right of way through these areas). Bryan is currently working on a web site for the Marseille European City of Culture events, where he’s working on some of these questions of representation. The project involves a collective of ‘artist-walkers’ that I think fits right into this question of performativity.


Bryan Connell: GR13 urban trail project.

LB: There’s currently a great deal of interest in the connections between representation, digital technology, and politics, for example the current Hybrid City II conference in Athens. As you’ve pointed out, these often underline the connections between what digital media mean for artists and what they can contribute to citizens — what’s emancipatory about them. What can art offer civil life in this context? Are there any conflicts or contradictions in that relationship?

RM: One pertinent example is the work of Bruno Giorgini, a physicist, and Mariateresa Sartori (visual artist) who work on the “physics of the city.” They were recently in residence in the IMéRA Mediterranean Institute of Advanced Study which hosts artists and scientists in residence who want to work with each other. We now have access to incredible amounts of data on human mobility (pedestrian and various forms of transportation) so it is now possible to study human behaviour quantitatively. Sartori discovered that she could tell many things about a person just through the morphology or topology of their movements through the city. Girogini discovered that people’s movements could be predicted at the 80% level, but 20% of the time he had to introduce what he called ‘social temperature’; in discussions he also referred to this as a ‘free will’ parameter. Barabasi has found similar results analysing cell phone GPS data of individuals. So its interesting to think of the development of cities as 80% predictable and 20% serendipitous. This of course then highlights the role of the arts and culture in making cities part of the cultural imaginary that drives people to make choices. Recently Max Schich here at the University of Texas has analysed very large data bases looking at where prominent people are born and where they die over the last 500 years. Immediately you can see how suddenly certain cities become cultural ‘attractors,’ say the way Berlin or Hong Kong are now. And of course cities are now trying to ‘design’ this into the development of cities. Here in Dallas there has been a huge investment in the ‘arts district’ and in institutions of higher learning in the belief that healthy cities require such investments. See for instance the US National Endowment for the Arts Program; there are many similar programs in Europe.


Mariateresa Sartori: Place Jules Guesde, Marseille, movement map.

This doesn’t yet address your ’emancipation’ question. One of the things that is happening is that we are becoming a data taking culture (see the recent literature on ‘big data”). The cell phone has transformed every citizen (that has one) into a data taker. Of course much of this data is used by companies for marketing objectives. But many citizen groups are now able to take data for their social objectives. Some of this is captured by the ‘citizen science’ movement ( one example is here). There have been good examples of citizen’s taking data (on pollution, on illegal activities etc.) and then being in a position to challenge ‘authorities’ of various kinds whether scientific, political or economic (see for instance the way citizen groups have mobilised to collect data after man-made disasters such as oil spills, or illegal logging in forests).

A few years ago I wrote an open data manifesto which argued that I would like to advance a new human right and a human obligation:

1. Each of us has the right to the data that has been collected about ourselves and our own environment.

2. Each of must contribute to the knowledge construction by collecting and interpreting data about our own world.

Most scientific data collection is funded by public tax payer funding. The public has a fundamental right to all data collected and funded by public tax money.

LB: How do you imagine an artist’s training will change as these conditions evolve? And a scientist’s — could we foresee any kind of convergence?

RM: One interesting development is a cohort of hybrids, who have one degree in science or engineering and one in art and design ( for example J.F. Lapointe, a researcher at the National Research Council of Canada with degrees in molecular biology and dance) or degrees in Science or engineering and employment in art or design (like myself or Paul Fishwick, a key figure in the field of aesthetic computing). There’s been an emergence of art/science Ph. D. programs that take students from art or design or science or engineering. I suspect this cohort will grow over the coming years.

LB: Mariateresa Sartori, your IMéRA research project with Bruno Giorgini focused on mobility in the city. Can you tell us a little bit about how your work and Dr. Giorgini’s work complemented each other? What kind of evidence did you bring to the table as an artist?

MS: The project I worked on with Bruno Giorgini developed an exploration that began with earlier work in Venice. There I created a series of drawings using a rudimentary, even crude procedure: I traced out the movements of each pedestrian in the Piazza San Marco, drawing their paths with a felt-tipped pen on a transparent sheet placed over the computer monitor. I then faithfully transferred the results onto ordinary large sheets of white paper. The lines thus drawn in different directions created a space, drawing a St. Mark’s Square that is actually not there.  As well as the actual physical space, it is also a drawing of our individual and collective manner of relating to space. Each single path determines the route of others, in a continuous and reciprocal game of influences that makes our collective progress.

At IMERA we developed this method for a new environment, a city more ethnically and culturally plural than Venice. Together we set up procedures and tools for collecting data about mobility networks there: nodes, links, chronotopi. These drew on the work of Bruno Giogini’s Laboratorio di Fisica della Città of the University of Bologna. We shot videos focusing on specific behavioural patterns where strategies of shifting, approaching and distancing play a decisive role; and we were also attracted by the places and situations of pedestrian congestion. Using the same technique as in Venice, I translated these into drawings of movement. These again created a space that marks out squares and places which are actually not there, each synthesizing space, time and humanity in a single image.


Mariateresa Sartori: Place Jules Guesde, Marseille, people coming from above; from above and from right; from above, from right, and from left; data from 4.53.00 to 5.10.03 pm, 19 Sept. 2011.

LB: Is there an emancipatory or governance-related dimension to this work? Degrees of mobility have human rights implications. How does your work as an artist connect with these rights, especially the notion of the right to the city?

MS: The first goal when I work as an artist observing reality is observation, i.e. a way of observing that implies a new attention. The result is always instructive because I do not have particular expectations. After lines have been traced following my process, something always emerges and what emerges can be a useful and indicative element for the emancipatory dimension of the urban condition. I would say that Bruno Giorgini is more involved in that dimension than me, especially in the notion of the right to the city.

LB: There’s a current preoccupation among researchers in a number of fields with the relationship between representation, often engaged with/through technology, and urban life. How has your latest work connected with this relationship?

MS: My way of working with technological instruments such as computers is very  particular and limited. I use the computer as a technical tool strongly mediated by the senses, i.e. by human perception. I am very interested in modalities of perception: they are so imperfect, yet sufficiently perfect to make our existence possible.


Mariateresa Sartori, still from “la misura dello espacio”, video at http://vimeo.com/63571834

LB: You described the way you work with technological instruments as “particular and limited.” Another way to look at this is that you make the technological system slow down by inserting yourself into the process… and the result is your drawings, which still movement. Might this be one role for art — to insert the human into the machine? Much net art focuses on flows of information, virtual movement, and representing that. While not quite glitch art, do your representations of movement in some sense intentionally put a brake on the machinery?

MS: I find your words enlightening, you describe my way of working better than me….. Actually I insert myself into the technological process…..but this is not a statement of a position against technology.

I can say that what interests me the most (and art’s relation to science is just one instance of this) is the thread of connection between specific cases and general theory, between subjective and objective. Between, on the one hand, the singularity of events and, on the other, general theory. The individual’s experience is singular, unique; but there is always a thread, even if fine, that leads each individual case to a wider generalisation. What interests me is this incessant – indispensable as much as concealed – mental activity that every day leads us to search for generalisations and regulating principles. What interests me is the human tendency to comprehend phenomena, even the most complex, via schematic representation, via a generalisation that leads to the identification of organising principles.  I mean “Comprehension” in very wide sense, where emotions and feelings participate too in embracing reality, including reality. Maybe in this sense I put the human in the machine…

There is a discrepancy between how we perceive reality, mediated by our senses, and the truth decreed by science. On a rational level we recognize the truth, but we cannot internalize in a deep way this knowledge; this is beyond our human capabilities. I think that in my artistic research I find myself in this deep discrepancy.


Bryan Connell: GR13 urban trail project.

LB: Bryan Connell, your work in Marseille addresses, among other concerns, technology and its relationship to nature. Do you see the urban environment as playing any particular role in that relationship — of having a particular status in our negotiation of it?

Bryan Connell: One of the things that intrigued me about the metropolitan hiking trail in Marseille is the way it plays with our sense of meaning and value in the exploration of contemporary landscapes. Most long distance hiking trails are designed to lead out of urban environments, not into them. We don’t usually think of carrying a field guide that illustrates the taxonomy of fire hydrants, electrical pylons, or urban weeds on an extended city or suburban walk. That kind of engaged, systematic attention is usually reserved for wild natural terrains. From a traditional environmental perspective, the less altered a place is by human technology, the more scientifically interesting, ecologically exemplary, and aesthetically rich it’s going to be. Without undermining the validity of ever-present environmental concerns, the trail functions as an invitation into a more challenging and complex relationship to the emerging para-wilds and novel ecosystems that are arising at the intersection of the natural world and the technological infrastructure of the built environment.

Similarly, the Marseille trail doesn’t really focus on the kinds of urban sites that are traditionally thought of as having significant historic, architectural, or cultural interest. Instead, the trail route incites visitors into an exploration of the everyday environments and working landscapes of the contemporary urban transect – a world of parking lots, freeway overpasses, suburban developments, abandoned railways, and semi-rural wildlands.


Bryan Connell: GR13 urban trail project.

Landscape ecologist Earl Ellis argues that to better navigate our way through the current geohistorical epoch, the Anthropocence, we must expand the traditional ecological concept of regional biomes into the parallel notion of “anthromes” – biomes that are complex interconnected melds of human technology and natural systems. In a sense, the GR 2013 Marseille trail is a sketch or system of exploratory paths into what a publically accessible, anthrome based urban ecology observatory might look like.

LB: A similar question is in relation to the image, especially sequential images. What does it mean for our negotiation of the relationship between nature and technology? Between science and art?

BC: We increasingly live in a networked digital metropolis with an image and information density that both mirrors and exceeds the high population densities of the physical metropolis. One topic of particular interest to me is the role these images play in transfiguring the quality of our desire. To what extent do scientific or aesthetic images that increase our ability to find meaning and satisfaction in observing and understanding urban landscape phenomena mitigate our need to physically alter the landscape to conform to an idealized image of what it should or shouldn’t be?

For example, the Marseille metropolitan trail didn’t require much physical alteration of the terrain – it’s a conceptually designated network of pre-existing roads, paths, streets and highways. The trail’s function is not to alter place, but alter the cognitive landscape of trail users so they have a richer sense of place. If you are fascinated by the diversity of ways a para-wild plant population has adapted to a technologically modified environment, do you need to engage in an energy and material intensive re-landscaping of that environment with a palette of conventional horticultural plantings to make it more “beautiful”? In this sense, constructing interpretive images of landscape is more than a way of augmenting a recreational hiking experience, it’s a way of shifting and re-configuring what we think we have to consume and alter to find meaning and vitality in contemporary landscapes.

More about Hybrid City II.


Hybrid City is an international biennial event dedicated to exploring the emergent character of the city and the potential transformative shift of the urban condition, as a result of ongoing developments in information and communication technologies (ICTs) and of their integration in the urban physical context. After the successful homonymous symposium in 2011, the second edition of Hybrid City has grown into a peer reviewed conference, aiming to promote dialogue and knowledge exchange among experts drawn from academia, as well as artists, designers, researchers, advocates, stakeholders and decision makers, actively involved in addressing questions on the nature of the technologically mediated urban activity and experience.

The Hybrid City 2013 events also include an online exhibition and workshops, relevant to the theme

Hybrid City Conference 2013: Subtle rEvolutions will take place on 23-25 of May 2013.

The Hybrid City II events will take place at the central building of the National and Kapodistrian University of Athens.


1. Solid Interfaces & Urban Games: Digital Games in the Public Space (Medialab-Prado Comunicaci?n)

1. Solid Interfaces & Urban Games: Digital Games in	the Public
Space (Medialab-Prado Comunicaci?n)

recollect farocki california studios militar policies

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*Solid Interfaces & Urban Games: Digital Games in the Public Space. Call 
for Projects*

Open Call for project proposals to be developed during a production 
workshop for the creation of video games related to public space and the 
city as an interface (July 1-7, 2013) in Medialab-Prado (Madrid, Spain).

During seven days of intensive work, ideas will be tested and prototypes 
developed by working with partners and technical assistants.

Deadline: May 31, 2013.

More information and submissions: 


In recent years, the video game experience has outgrown TV screens, game 
consoles and laptops, becoming increasingly ubiquitous. The availability 
of mobile devices, tablets, sensors, geolocation services, augmented 
realities and media facades has allowed the development of new game 
ideas experimentally and as a prototype. At the forefront of these game 
forms, which take place in some cases without the screen as an 
interface, is the interaction with other users and with the environment.

Moreover, commercial controllers like Wiimote or Kinect have popularized 
the idea of the game away from the traditional game controller, 
transforming the game into a complete physical experience.

This workshop proposes to think about games in the public space as an 
opportunity to generate other uses of the city and connections among its 

_Lines of Work_

The selection will consider ideas and projects that are already taking 
place and address one of the following elements:

? The use of urban furniture as an interface for the game
? Media Fa?ade
? Non-random Games
? Interaction with the space
? Place specific
? Networked City


A maximum of 4 projects will be selected and developed collaboratively 
in this intensive workshop with the support of tutors, technical 
assistants and partners.

Once projects are selected, there will be an open call for 
collaborators, who will be fairly selected by the organization and the 
project promoters.

Open Call for collaborators. June 6 - 30, 2013

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furtherfield movable borders

Saturday 11 May 2013, 2-5pm


Furtherfield Gallery & Social Space
McKenzie Pavilion, Finsbury Park
London N4 2NQ

Exhibition & Events

Opening Event
Saturday 11 May 2013, 2-5pm
with glitch performance by Antonio Roberts at 3pm

Exhibition Opening times
Sunday 12 – Sunday 26 May 2013
Open Friday to Sunday 11-5pm

Free Workshop Saturday 18 May 2013, 1-5pm
More info

About Movable Borders: Here Come the Drones!

Featuring: Bureau of Inverse Technology, Lawrence Byrd, Patrick Lichty, Dave Miller & Gavin Stewart, The Force of Freedom and Dave Young

The devices that once populated the creepy dystopian futures of science fiction have broken through into our daily reality.

Drones of dozens of different types are becoming a part of everyday life. They scout our public (and private) spaces, carrying out surveillance or reconnaissance in the service of nation states and as unmanned robotic tools, armed with missiles and bombs, acting in defence of “national security”.

According to a European commission document drones will be commonplace in the skies within a decade. There are already many companies building these airborne, robotic spies for military and police use and this has “prompted concerns from civil liberties groups, who fear that the unmanned aircraft will result in more forms of surveillance.” [1]

During the two weeks of Movable Borders: Here Come the Drones! people are invited to visit the gallery, view artworks and join a workshop by artists who are contemplating how drones are changing the way we see and relate to each other and the world around us.

More info


Tube: Manor House, Finsbury Park
Buses: 141, 341, 153, 253, 254, 259, 29, 4, N253, N279, N29
Train: Finsbury Park, Harringay, Harringay Green Lanes stations

About Furtherfield

Furtherfield provides platforms for art, technology and social change. Funded from Arts Council England since 2005, Furtherfield is now one of Arts Council England’s National Portfolio Organisations. Furtherfield Gallery has established an international reputation as London’s first dedicated gallery for networked and media art, hosting regular exhibitions and public events since 2004. With the support of Haringey Council the gallery is now based at McKenzie Pavilion in the heart of Finsbury Park.

+ For more information contact info@furtherfield.org

Furtherfield is supported by Haringey Council and Arts Council England through the National Portfolio funding programme.

plasm speaker



POPULAR ELECTRONICS, May 1968, Pages 47-53

WE LIVE IN an era jaded by science’s seemingly routine discovery of basic phenomena-coherent light and the laser; superconductivity and the super-cold realm of zero resistance; weightlessness and its impact upon space electronics. And now, flame amplification.

“Flame which behaves physically and electrically like a high-fidelity loudspeaker … and has inherent amplification besides,” explains Dr. A. G. Cattaneo, manager of United Technology Center’s Sunnyvale, Calif., Physical Sciences Laboratory, and one of flame amplification’s three co-discoverers.

So saying, Dr. Cattaneo strikes a match to an acetylene-oxygen fueled welding torch poised on a test stand in one of UTC’s highly classified and restricted laboratories. Carefully, he adjusts the torch’s flame until, blue-hot (about 4200°F), it burns with livid intensity.

“Notice the electrodes,” Dr. Cattaneo continues, pointing to two small tungsten electrodes which, immersed in the flame, are set one above the other and separated by a few inches of fire.

Next, he indicates the high-fidelity sound system’s handful of basic components: (1) a tape recorder which feeds a (2) power amplifier which, in turn, energizes the (3) primary windings of a transformer; and (4) a d.c. power supply whose negative and positive terminals are connected, through the transformer’s secondary, to the two flame-immersed electrodes.

“Please observe that we have here all the necessary components of a high-fidelity sound system-everything, that is, except a loudspeaker,” says Dr. Cattaneo as, deftly, he switches on the d.c. supply, then the power amplifier, and, finally, the recorder whose tape is transcribed with Beethoven’s Fifth Symphony.

Suddenly, music inundates the lab.

“The flame,” gestures Dr. Cattaneo, “is the sound system’s loudspeaker. More correctly-although we’re not yet certain precisely how or why it works-it is probable that ions in the two fuels, oxygen and acetylene, actually perform the power conversion. That is, ions in the burning gas stream convert the amplitude-modulated input signal to audio.

“Generally,” he continues, “the hotter the flame, the greater the ionization of the fuels . . . and the louder and more faithful the sound reproduction.”

To demonstrate, Dr. Cattaneo turns down the flame (reducing the oxygen acetylene supply). Beethoven’s Fifth is still audible, although muted in volume and far less faithfully reproduced than when the flame burned with blue-hot and ionizing intensity. He turns up the flame -and Beethoven comes on in volume and fidelity again.

Pluses of the Flame Speaker. Dr. Cattaneo might have added some other pertinent facts about flame amplification and the remarkable “ion speaker.” For example, it is likely the world’s first truly omni directional loudspeaker. The sound emitted from the flame is broadcast with equal force in all directions . . . spherically through a full 360 degrees.

Frequency range and fidelity are other sizable pluses of the flame speaker. Its frequency response range is three to four times that of any known mechanical speaker-and future tests, far beyond the audio spectrum, may well show even higher response. Where, for, example, even the best and costliest of diaphragm type speakers can reproduce, at their highest range, only about 30,000 Hz (at best, about 12,000 Hz above what even the most acute human ear can hear), the flame speaker has shown it can reproduce at least 100,000 Hz.

Moreover, where response of mechanical speakers begins to fall off toward the high audio side (beginning at about 10,000 Hz), the flame speaker shows no evidence of this defect at all. It reproduces with equal fidelity the lowest lows (down to 16-20 Hz) and highest highs thus far measured.

“Seeding” The Flame. Dr. Cattaneo had, thus far, demonstrated for POPULAR ELECTRONICS only part of the phenomenon of flame-its use as a high-fidelity sound reproducer. Now, to conclude an already profound visual and audio experience, he thrust a short length of sodium silicate glass tubing into the hot flame.

The reaction was immediate. The flame changed color, turning from blue to blaze orange. At the same instant the flamespeaker’s volume seemed almost to double, until the lab fairly reverberated with sound.

“Amplification-in the order of 32 times,” Dr. Cattaneo said. “By ‘seeding’ the flame with some easily ionized alkali metal-the sodium in this sodium glass tube, for instance, or even a pinch of sodium chloride, common table salt many more ions are introduced into the flame-stream. Super-ionization not only permits the flame to carry more current, but quite significantly reduces the resistance between the electrodes-from a high of about 1 meg ohm when the gas stream is unignited to a low of 2500 ohms when the flame is super-ionized by ‘seeding.’

“So more current flows through the modulating circuit and between the electrodes. And you have what you hear-real and basic amplification. The gain, insofar as we’ve been able to measure, is 15 decibels … amplification, as I say, in the order of 32 times.”

Exciting, Yet Simple. Certainly one of the most exciting and significant physical science breakthroughs of the decade, flame amplification is also one with far-reaching application in electronics, physics and rocket research. For example, UTC plans to use a rocket’s own fiery exhaust as a sound detector of internal rocket engine ailments. Such trouble -a potential rocket-destroying resonance, to name but one-likely modulates the rocket engine’s flame-stream and can be readout and diagnosed by a “sound doctor” familiar with rocket ills.

The phenomenon is so basically simple and easy to duplicate that any electronics experimenter can concoct a flame speaker at home-using nothing more than a Bunsen burner, or perhaps one of those disposable fuel-cartridge welding tools. Even your kitchen stove’s pilot flame will reproduce some sound, though the flame temperature is too low (being methane-natural gas-fueled, rather than fueled with hotter burning oxygen acetylene) to give really good or faithful sound.

The members of United Technology Center’s flame amplification team headed by Dr. Cattaneo, with much of the theory put to lab practice by Wayne Babcock, a brilliant innovator, and K. L. Baker-were not the first or only experimenters through the years to recognize flame’s audio response. Indeed, UTC’s flame amplification team claims (and has patented) only one sizable advance in the state of the art: they were first to achieve electrical modulation of flame. Previous experimenters had merely physically modulated flame using various pressure-wave generating devices-a speaker diaphragm, for example. Such basic systems left much to be desired in acoustic output.

When It All Started. Back as far as 1858, British scientist John Leconte noticed, while at a concert, that the theater’s gas lights responded to certain beats of the music. What Leconte observed was the gas light’s response to the bottom end of the audio spectrum, on the order of a few hertz. For the unaided human eye cannot detect frequency response much above 16 or 17 Hz. It is noteworthy that very low frequency response can likewise be observed in the flame-speaker’s flame. At any rate, Leconte reported his observations to the Royal Academy, declaring, “we must look upon all jets as musically inclined.”

“Oscillatory Combustion” was the subject of a special session of the fourth symposium of the Combustion Institute, in 1952-where combustion experts discussed flame’s response to external modulating pressures. Involved was some pretty basic physics, for it has long been axiomatic that combustion temperature increases as pressure increases. (Sound pressure in the flame loudspeaker, the UTC researchers report, gets the same and expected-result : as sound pressure rises, so does flame temperature. And as temperature rises, ionization increases. This may be one factor in the flamespeaker’s fidelity and amplification over so impressive a frequency spectrum.)

More recently, Stanford Research Institute came up with what its scientists dubbed a “dragon horn”: a diaphragm type speaker horn (the kind used in public address systems) screened at the end and through which, when additional volume was required, methane and air were introduced and ignited. The screened horn-end, converted to a burner, belched flame (thus, “dragon horn”), and, SRI found, effectively boosted audio output by some 15 dB. Significantly, this is precisely the gain of UTC’s flame amplifier speaker.

The UTC’s researchers probed deepest, however, and stumbled, quite by accident, upon the full significance of the phenomenon while trying to duplicate in the lab the jet-flame exhaust of rocket motors.

Experimental “Put-Together.” Says Wayne Babcock, who did much of the experimental put-together, “One day, about two years ago, some of our people came in and asked if we could simulate a rocket’s exhaust flame. The idea was to feed sound into the propulsive exhaust system at one place and take it out at another-for a better understanding of the relationship between rocket combustion and noise. For one thing, we hoped to discover what various noises told about a rocket’s internal behavior. And especially if certain undesirable internal resonances could be detected by analyzing noise from a rocket’s fiery exhaust.”

Babcock’s first “put-together” was purely mechanical (Fig. 1). Adjacent to and level with the visible part of the natural gas flame of a Bunsen burner, he set a “modulation unit”-nothing more than a loudspeaker voice coil attached to an air chamber, one of whose flexible sides could be vibrated by the voice coil. When hooked to an audio frequency source, the diaphragm responded, and “modulated” a stream of low-pressure air jetted at the flame through the chamber and out a copper tube nozzle.

“If you put your ear to the flame, you could hear sound . . . quite good and faithful sound, considering so simple and loss-prone a flame-modulating device,” remembers Babcock.

Babcock and Baker experimented with other mechanical modulators. In one, Fig. 2, they rigged a diaphragm to modulate the natural gas and oxygen supply to a welding torch. This hotter fuel mix (about 3200°F) produced louder sound and good fidelity over the diaphragm’s limited frequency range. The hotter the flame, found the researchers, the more efficient the flame amplifier, and the louder the flame’s audio output.

How, And Possibly Why. Combustion, by its very nature, produces ions. Ions are the stuff of electricity. The hotter the combustion, the relatively greater the number of ions that will be naturally produced. Moreover, this ionization of the combustion zone can be artificially increased by “seeding,” as previously mentioned.

Given a highly ionized flame, the conditions would seem right for current to flow, ion-supported, between two electrodes immersed in the ionized combustion zone, thus completing an electrical circuit. Were this current externally modulated with a frequency within the audible range, it might naturally follow that the flame would reproduce the sound.

Why modulated ionized current might “couple” with adjacent air molecules in a power conversion of electrical energy to audible sound energy had already been suggested by some researchers who had explored the behavior of highly ionized gases. One researcher, as far back as 1951, came up with the following provocative theory.

Although the molecules in a gas do not normally “hang together” as in a liquid, highly ionized gas molecules do. And thus, in such special cases of high ionization, the ions in gas exhibit cohesion much as in a liquid. Being cohesive, the ions have substance enough to exhibit “surface tension”-again, just as do ions and molecules in a liquid. As such, gaseous ions form a kind of invisible diaphragm which might logically be expected to couple with and to exert force upon adjacent air molecules. If such were, in fact, the case, a modulated highly ionized electrical current in a combustion zone might “beat” against adjacent air molecules, converting its electrical energy to audio energy, much like the physical behavior of a loudspeaker’s solid diaphragm on the air around it.

The Present UTC Setup. Figure 3 shows the basic components and their hookup. The output of a Sony 365 tape recorder is fed to the input of a McIntosh 75-watt amplifier and the amplifier’s output to the 8-ohm secondary winding of a reverse-connected power output transformer. A Hewlett-Packard Model 712-B (500 volts d.c. at 200 mA) power supply is connected through the transformer’s primary winding to the two tungsten (or carbon) electrodes which, immersed in the flame, are spaced 2 to 4 inches apart. Neither the spacing of the electrodes nor their positioning within the flame zone is particularly critical.

The welding torch, fueled by acetylene and oxygen and fitted with a  #0 tip whose small opening produces an almost hissless flame, is the kind any welder might use. How the easily ionized alkali metal is introduced to the combustion zone is relatively non-critical too, except that for best results super-ionization should take place below the lowest electrode. That is, the lower, hotter part of the flame should be ionized so that the ions “float” upward, past both electrodes. (Lacking a sodium glass rod, an asbestos wick drawing from a salt solution quite readily achieves super-ionization.)

Operationally, the procedure works like this:

The torch is lighted and adjusted slightly on the “rich” fuel-mix side (more oxygen than acetylene). This makes for a hotter flame. The flame itself is adjusted for minimum hiss. What you get is a quiet, brilliant blue flame.

Now the power supply is turned on. With one eye on a milliammeter connected in series with the electrodes, the flame-speaker’s operator begins to “seed” (if he’s “seeding” with a sodium glass rod, he gently intrudes its end into the base of the flame). As the flame turns brilliant orange, indicating super-ionization, he adjusts the power supply, flame controls, and the sodium rod for maximum current-which may go as high as 200 to 300 mA.

Finally, the tape recorder is turned on. And from the flame booms amplified sound.

Getting All the Frequencies Out. One critical factor is the physical height of the flame. Sound from UTC’s 6-inch high torch flame, while good, obviously is missing some in the low frequencies.

“But,” grins Babcock, “we know that the tape’s every frequency is actually being reproduced in the flame. The flame’s height is simply too short to make them all audible.”

So saying, he turns to a 6-stage photomultiplier which, set on a tripod nearby, is focused like a telescope on the flame. With its photocell masked by a yellow Sodium-D line filter (5890 angstrom units), the multiplier “sees” only the light from the sodium ions. The multiplier is plugged into a Dynakit amplifier driving a hi-fi speaker. Now Babcock powers the hookup-and from the speaker comes a flame-rendition which contains all the lows missing in the flame reproduction itself!

“One way to explain our loss below about 2000 Hz,” explains Babcock, “is this : physically, our 6-inch-long ionized flame-front-really, just 2 to 4 inches of modulated ions, depending on the distance between electrodes-simply isn’t long enough and therefore hasn’t either ions or energy enough to vibrate to audibility the far more numerous air molecules you’d need to excite in order to produce these longer wavelength, lower frequencies.”

Continues Babcock, “There’s just not flame length enough for a satisfactory flame-to-air molecule coupling when the wavelength you’re trying to excite is measured in inches and feet, and is far longer than the flame itself.

“We think there’s an analogy here,” he concludes, “between the kind of reproductive performance you get from a large-diameter diaphragm loudspeaker and from a small one. If we used a really long flame-perhaps one of those oil field gas flames which are sometimes 20 to 30 feet long, we would probably get out every frequency we put in.”

Actually, of course, Babcock’s team does get all the frequencies out-by using the photomultiplier to pluck unheard low frequencies from the flame itself.

Talking Flames. Flame amplification’s most immediate uses are highly classified, involving missile and rocket engine research. But momentarily you can expect “talking flames” to make their appearances as crowd-pleasing oddities at fairs and trade shows.

Far deeper, however, will be the impact of flame amplification on the future of electronics. For flame has become an electronic component.

Popular Electronics Issues
Michael Holley’s SWTPC Collection Home Page

This page was last edited October 06, 2005

bubbleverse visons of universe

MU/SPR Event: Wednesday 8th May, 5pm (RHB 137) at Goldsmiths

Artist Talk: Ludwig

Ludwig is a French artist working with light, sound and immersive environments. He has exhibited in Europe and Asia and is now embarking into one of the first joint art and astronautics research at ISAE (Institut Superieur de l’Aeronautique et de l’Espace) and University of Toulouse, with the project to embed art processes to human long-range space flight.

“Distance, exoticism (the planet as an exotic event), micro and macro-scale quantum behaviours, neutrinos’ ubiquity, photonic waves, hail, dew or stars formation, unpredictability, black holes, solar winds, dark energy, horizons where events fall, space-time foam, cosmic inflation and floating branes theories, megaverse models and limits of contemporary cosmology are such phenomena, materials and concepts feeding the production of works: immersive installations, images, videos, texts, sound pieces and conferences.”

Hearing cosmos through membranes: living in a bubbleverse
Considering nature as being animated by a permanent flux, Anaximander perceived the birth of worlds as a consequence of this motion of energy – worlds being produced by separation (apokrisis) or ejection (ekkrisis) from the undetermined, infinite and primordial apeiron. According to superstring theory, contemporary cosmology projects our universe as a 3+1-dimensional space being part of a far more complex multidimensional membrane – or such called ‘brane’. Additionally, eternal inflation and other multiverse theories redefine our position and expanding history into a bubbling supersaturated stream – both approaches aiming at apprehending what could happen beyond our cosmological horizon. From our own body membrane to the atmosphere, from a galactic cell to the mega-multiverse, we live within expanding and exploding bubbles – those bubbles being bombed by unpredictable particles of any sort, from neutrinos to meteors.
Each enlargement of our imago mundi twists a bit more the concept of immanence in all directions, becoming more and more flexible and making it harder to imagine how the laws of flux, energy outflow and infusion could induce metamorphosis. I propose for this lecture a journey within bubbles, a navigation through different layers of reality, exploring polysensorial and multidimensional art practice as a way to catalyze our relation to ‘Biosphere I’, the body-sphere and the cosmic-sphere. I will develop as well some of my newest researches about how and why embed art on long range human space flights, and about the impact of it on our grounded space experience.


Emmanuel L. Spinelli

visual space hipocampo vision interior brain glandula pineal


Descartes y la percepción visual del espacio
Mónica Uribe Flores
En el presente trabajo expongo algunos aspectos de la teoría cartesiana de la
visión y su relación con la percepción de situación, distancia, tamaño y figura, las cuatro
cualidades espaciales consideradas por Descartes. El motivo por el que he elegido
particularmente la percepción visual del espacio radica en que mi investigación doctoral
está dedicada al estudio de la representación espacial en la pintura holandesa de
interiores domésticos. En este tipo de pintura se muestra una importante exploración del
espacio cerrado, exploración que me parece del todo compatible con el espacio tangible
que Descartes tiene en mente al tratar la percepción espacial.
En una carta de 1638, dirigida a Marin Mersenne, Descartes reconoce en Kepler a
su primer maestro de óptica.1
A principios del siglo XVII, Kepler se ocupó de estudiar la luz
como fenómeno físico, con lo cual sentó las bases de la óptica moderna. Kepler incorporó
a sus investigaciones sobre la luz importantes consideraciones sobre la visión humana,
entendida como mecanismo propio de un instrumento óptico natural: el ojo. Descartes,
como antes Kepler, entendió la visión en términos de cierta correspondencia entre cada
punto del objeto visto y cada punto de la imagen formada en la retina. Esta concepción de
la visión había sido propuesta en el siglo XI por el óptico y matemático árabe Ibn alHaytam, también conocido como Alhazen. La Edad Media europea recibió las ideas de
Alhazen y las heredó a la Modernidad, principalmente a través de los ópticos conocidos
como perspectivistas, entre los cuales estaban Witelo, Roger Bacon y John Peckham.2
Frente a la tradición aritotélica que propone que el ojo recibe imágenes que vienen de lo

objetos -las especies intencionales-, la teoría de la imagen retiniana sostiene que el ojo es
el que forma las imágenes. En los discursos cuarto y quinto de La Dióptrica, Descartes
rechaza la idea de que el alma necesite percibir ciertas imágenes semejantes a los
objetos por los que son transmitidas. Los filósofos que asumen la existencia de tales
imágenes, afirma Descartes, no explican cómo es que éstas son formadas por los objetos,
recibidas por el ojo y transmitidas al cerebro, sino que se limitan a considerar que las
imágenes son semejantes a los objetos que las transmiten.
La imagen retiniana consiste en la organización de rayos de luz que han pasado
por un orificio (la pupila), provenientes de múltiples direcciones. Al ofrecer en La Dióptrica
1 La carta a Mersenne es de marzo de 1638 y es aludida por Daniel Dauvois. Dauvois: 1999, p. 167.
2 Lindberg: 1976, 1987. 201
una explicación sobre el fenómeno

de la refracción, Descartes está en condiciones de
afinar la teoría de la imagen retiniana, en función de una explicación geométrica de la
desviación de los rayos que entran por la pupila y atraviesan medios traslúcidos que
componen el ojo. Advirtamos que la teoría cartesiana de la visión se sitúa en el marco de
la dualidad mente-cuerpo. El alma es la que siente, no el cuerpo. Sin embargo, Descartes
toma el ejemplo de Kepler y aísla el ojo para analizar cómo se comporta en él la luz; el
análisis de la refracción ayuda a entender el mecanismo de la visión.
Una aproximación audaz a la separación del ojo como instrumento óptico se
encuentra en el quinto discurso de la Dióptrica, en el que Descartes sugiere la elaboración
de una cámara oscura, utilizando como lente el ojo de un hombre recientemente muerto o
bien de un animal grande, por ejemplo, un buey. Esta cámara oscura reconstruye el
funcionamiento del ojo como aparato en el que entra la luz por un orificio, se refracta en
un juego de lentes y termina formando una imagen que representa en perspectiva natural
los objetos que están fuera de la cámara. Descartes admite que los objetos que vemos en
efecto imprimen imágenes perfectas en el fondo del ojo, y que la comparación entre el ojo
y la cámara oscura ayuda a ilustrar este hecho. El que la imagen retiniana sea perfecta
depende principalmente de tres condiciones:
• El tamaño de la pupila permite la entrada a un gran número de rayos
luminosos reflejados por el objeto visto.
• Los rayos que entran a través de la pupila se refractan de tal manera, que
los que provienen de diversos puntos convergen en casi tantos otros
puntos en el fondo del ojo.
• La única luz dentro del ojo es la que entra por la pupila, de tal suerte que no
hay radiación que interfiera con los rayos provienentes del exterior.
Pero Descartes no encuentra razón alguna para admitir que las imágenes que
formamos son completamente semejantes a los objetos que vemos. El conocimiento
sensible es, en este sentido, representacional, y la semejanza no es el criterio cartesiano
para la representación. La perfección de las imágenes, a la que Descartes se refiere, no
es garante de conocimiento cierto. El que la imagen proyectada en la pantalla blanca de la
cámara oscura y la imagen formada en el fondo del ojo se parezcan entre sí, no quiere
decir que estas imágenes se parezcan a su vez a los objetos vistos. Más adelante
retomaré este punto. En la segunda condición para que la imagen sea perfecta, Descartes
afirma que los rayos que entran al ojo, después de refractarse, convergen en casi tantos
puntos diversos en el fondo del ojo como puntos diversos haya en el objeto del cual 202
provienen. De este modo, el principal defecto de la imagen retiniana consiste en que
“cualesquiera que sean las formas que tienen las partes del ojo, es imposible que causen
que los rayos provenientes de diferentes puntos converjan en tantos otros puntos
Sólamente los rayos que provienen de un punto situado justo frente al ojo
llegan al punto correspondiente, que se encuentra en el centro de la retina. De los rayos
que entran de manera oblicua con respecto al centro de la pupila no todos llegan al fondo
del ojo. La imagen retiniana es, por lo tanto, más definida en el centro que en las orillas.
Kepler y los ópticos medievales conocían esta limitación de la visión, que también fue
reconocida por algunos tratadistas italianos del arte en el Renacimiento. Por citar un
ejemplo, Leon Battista Alberti, autor del primer tratado renacentista de pintura, resaltó la
relevancia del rayo único que, según pensaba Alberti, proviene del centro del ojo y que es
el más potente de todos los rayos visuales; a este rayo central le llamó “el príncipe de los
rayos” y lo hizo coincidir en su teoría de la pintura con el punto de fuga del cuadro.
Volvamos a Descartes y los defectos de la imagen retiniana. Además de su desigual
definición, la imagen es defectuosa porque está invertida y porque los objetos aparecen
disminuídos y acortados en diversos grados –dependiendo de las distancias y posiciones-
“de manera muy parecida a una pintura hecha en perspectiva”.4
No deja de resultar
extraño que Descartes hable de la perfección de la imagen, a la luz de sus defectos.
Recordemos ahora que para Descartes la capacidad de sentir no pertenece al
cuerpo sino al alma.5
En cada ojo se forma una imagen que es transmitida por el nervio
óptico a la glándula pineal, localizada en el cerebro. Una vez que las dos imágenes
retinianas en la visión binocular han pasado a la glándula pineal, constituyendo una sola
imagen, el alma pu
ede sentir el objeto que ha sido visto. Cuando la mente tiene una idea
acerca de los objetos externos, los estímulos de luz que el ojo ha recibido están ya
transformados en lo que Descartes llama una representación.
Hacia el final del Discurso IV, dedicado a los sentidos en general, Descartes recurre
a una elocuente analogía entre la percepción de los objetos y lo que vemos en un
grabado. Así como un poco de tinta bien dispuesta sobre el papel puede hacernos ver
complejas imágenes de bosques o de batallas que no están sino representados sobre la
superficie plana, los sentidos nos brindan imágenes que también son representaciones de
los objetos materiales; como ya habíamos advertido, no tenemos razones para suponer
3 Descartes: 1996, p. 121 [“(…) quelques figures qui puissent avoir les parties del’oeil, il est impossible qu’elles facent que les rayons qui
vienent de divers points, s’assemblent tous en autant d’autres divers points”].
4 Descartes, op. cit., pp. 123-124 [“quasi en mesme façon que dans un tableau de perspective.” ].
5 Ibid., p. 109 [“On sait deja assés que c’est l’ame qui sent, et non le cors (…).”]. 203
que tales representaciones se basan en una semejanza real con los objetos
representados. Para reforzar esta afirmación, Descartes se vale de una nueva
comparación; ahora se trata de relacionar las imágenes visuales con las palabras que
identificamos a partir de secuencias específicas de sonido. Al oír una palabra, sabemos
generalmente qué significa, pero esto no se debe a que la palabra se parezca a aquello
que designa.6
Lo mismo pasa, según Descartes, con las imágenes visuales. Con el
ejemplo del grabado, reconoce que, a lo mucho, lo que llega a guardar cierta semejanza
entre la representación y lo representado es la figura;7
es importante recordar que la figura
es una de las cuatro cualidades espaciales reconocidas por Descartes. La semejanza de
la figura también le parece imperfecta, debido a que, en tanto que imagen, corresponde a
una representación bidimensional, siendo que la extensión del mundo material es
Descartes dedica el sexto discurso de La Dióptrica a la visión; en él asienta que la
visión puede aprehender básicamente seis cualidades; éstas son la luz, el color, la
situación, la distancia, el tamaño y la figura de los objetos. Aquí Descartes hace una
distinción importante entre las dos primeras y las cuatro últimas cualidades; luz y color
pertenecen sólo al ámbito de la visión, mientras que situación, distancia, tamaño y figura
pertenecen -por lo menos- al ámbito de la visión y del tacto. Luz y color son lo que
Aristóteles llamó ‘sensibles propios’, mientras que las cuatro cualidades espaciales son
‘sensibles comunes’; los primeros se perciben con un solo sentido, los segundo requieren
de más de un sentido para ser percibidos. Tanto en La Dióptrica como en el Tratado del
Hombre Descartes refiere la participación que tiene el mecanismo de la visión en la
percepción del espacio. En el Tratado del Hombre propone un modelo hipotético de
hombre y describe la forma en que funciona su cuerpo. Asimismo, expone en esta obra
cómo el alma de tal hombre siente cualidades como “la situación, la figura, la distancia y
la dimensión y otras cualidades parecidas, que no se relacionan sólo con un sentido”, sino
que “son comunes al tacto y a la vista, así como, de algún modo, a los otros sentidos.”8
El mecanismo de la visión requiere de la luz para empezar a operar. Si los objetos
no son luminosos o no están iluminados, el ojo no puede verlos pues los rayos de luz que
penetran a través de la pupila son los rayos que refleyan los objetos. La percepción visual
del espacio está sujeta a la radiación luminosa. Esta afirmación, aparentemente trivial,
6 Descartes retoma el caso de las palabras y su falta de semejanza con las cosas a las que se refieren en El Mundo.
7 En las versiones consultadas, las palabra que corresponden a figura son figure (francés) y shape (inglés). Descartes: 1965, 1996.
8 Descartes: 1990, p. 65. 204
cobra un sentido importante cuando se extiende al análisis de la representación pictórica
del espacio. La luz es uno de los principales recursos plásticos para crear relaciones
espaciales en una pintura. En sus consideraciones sobre la percepción visual del espacio,
Descartes expone cómo el alma, a través del mecanismo de la visión, tiene ideas acerca
de dónde se ubica un objeto, cuál es su dirección con respecto al observador, qué tamaño
y qué figura tiene. Aunque estas ideas sean dudosas por provenir del sentido de la vista y,
aún más, por resultar de algún modo incompletas sin la intervención del tacto, son el tipo
de ideas gracias a las cuales nos conducimos en el mundo, tal como Descartes lo señala
en el primer discurso de La Dióptrica.
Al incio de este trabajo mencioné que Descartes trata la percepción del espacio
como si éste fuera tangible. A lo que me refiero con esto es a la primacía que Descartes
otorga al tacto con respecto a la visión, cuando se trata de la percepción espacial. Un
ciego puede sentir mediante el tacto cualquiera de las cuatro cualidades espaciales. De
hecho, para explicar cómo percibimos el espacio, Descartes recurre a la analogía del
ciego que puede guiarse e identificar la ubicación de los objetos con la ayuda de un
bastón, así como puede reconocer con sus manos las figuras y tamaños de las cosas. En
lo que respecta a la situación y distancia de los objetos, sin duda la visión tiene un mayor
alcance que el tacto, pero no por ello debemos creer que sea más atinada.
Una imagen gráfica, como un grabado o una pintura, serán para Descartes
representaciones que conllevan los artificios propios de la ilusión. Sin duda el rango
intelectual otorgado a la pintura por teóricos como Alberti, Da Vinci o Durero –en los siglos
XV y XVI- dista del que Descartes pudo haberle asignado; sin embargo, el rango
epistémico que Descartes identifica en la pintura como representación no dista, en el
fondo, del rango otorgado a la visión como representación. En ninguno de estos casos
podemos hablar de un conocimiento cierto del objeto; lo que más nos acerca a una
relativa correspondencia entre la representación y el objeto representado es el orden
geométrico propio tanto del mundo material (extenso), como de la geometría natural de la
que estamos dotados en tanto que seres racionales. Considero que la verdadera
diferencia entre la percepción visual y la representación pictórica no radica, en Descartes,
en la imposibilidad de la semejanza perfecta sino en que, en la experiencia que tenemos
del mundo material, la percepción visual está acompañada de la percepción táctil,
mientras que la representación pictórica se restringe a la visión. En toda representación
visual, lo único que se acerca a cierta semejanza con lo representado pertenece a un
orden que la visión no puede por sí misma abarcar. Para representar la tridimensionalidad 205
espacial, la pintura se vale del artificio, cosa que para Descartes constituye más un
engaño que un acierto. Sin embargo, las cuatro cualidades espaciales reconocibles en la
percepción del mundo material son también reconocibles en la representación pictórica.
Aún más, estas cualidades consideradas por Descartes –situación, figura, distancia y
tamaño- ayudan a comprender y apreciar la noción de espacio que se muestra en la
pintura holandesa de género. El espacio de los interiores domésticos, propio de la pintura
de género, al igual que el de la teoría cartesia
na de la visión, es un espacio restringido. El
tamaño, la figura de cada objeto que aparece en el cuadro holandés de interiores
domésticos, su disposición con respecto a los demás objetos, marca una relación
visualmente coherente entre ellos y crea un espacio unitario en el que las cualidades
espaciales están perfectamente articuladas por medio de recursos plásticos. La ausencia
de profundidad material de la pintura, misma que para Descartes es una de las
limitaciones de toda imagen, es resuelta en términos pictóricos mediante la ilusión de
tridimensionalidad creada, principalmente, con el uso de la iluminación al interior del
cuadro y de sus efectos sobre la percepción visual del espacio.
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Alquié, Ferdinad, 2005, Leçons sur Descartes. Science et métaphysique chez Descartes,
La Table Ronde, Paris.
Ariew, Roger, Dennis des Chene, et. al., 2003, Historical Dictionary of Descartes and
Cartesian Philosophy, The Scarecrow Press, Lanham, Maryland, and Oxford.
Bennet, Jonathan, 2001, Learning from six Philosophers. Descartes, Spinoza, Leibniz,
Locke, Berkeley, Hume, Oxford University Press, Oxford, vol. 1.
Benítez, Laura, José Antonio Robles, 2000, El Espacio y el Infinito en la Modernidad,
Publicaciones Cruz O.S.A, México.
Buzon, Fréderic de, Denis Kambouchner, 2002, Le vocabulaire de Descartes, Ellipses,
Clark, Desmod, 1991, “Physics and Metaphysics in Descarte’s Principles”, en Georges
Moyal (ed), René Descartes. Critical Assessments, Routledge, London, v. IV [The
Sciences; From Physics to Ethics], pp. 43-66.
Crombie, Alistair C., 1996, “Expectation, Modelling and Assent in the History of Optics—II.
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Septentrion, Villeneuve d’Ascq Cédex. 206
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introducción Paul J. Olscamp], The Bobbs-Merrill Company Inc, Indianapolis, N.Y.,
Kansas City.
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Turró], Anthropos, Barcelona.
________, 1990, El Tratado del Hombre [ed. e introducción, Guillermo Quintás], Alianza
Universidad, Madrid.
________, 1996, “La Dioptrique”, en Oeuvres de Descartes, vol. VI [ed. Charles Adam y
Paul Tannery], Librairie Philosophique J. Vrin, Paris.
Garber, Daniel, 2001, Descartes Embodied. Reading Cartesian Philosophy trough
Cartesian Science, Cambridge University Press, Cambridge.
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University Press, Cambridge.
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Hagen, Margaret, 1986, “Natural perspective: a history of structure in the light”, en
Varieties of Realism. Geometries of Representational Art, Cambridge University
Press, Cambridge, Apéndice D, pp. 299-323.
Judovits, Dalia, 1993, “Vision, Representation, and Technology in Descartes”, en David
Michael Levin (ed.), Modernity and the Hegemony of Vision, University of California
Press, Berkeley-Los Angeles-Londres, pp. 63-86.
Kepler, Johannes, 2000, Optics, [trad. e introducción William Donahue], Green Lion Press,
Santa Fe, Nuevo México.
Lindberg, David, C., 1976, Theories of vision from Al-Kindi to Kepler, The University of
Chicago Press, Chicago.
__________, 1987, “Optics, Western European”, en Joseph Strayer (ed.), Dictionary of the
Middle Ages, Scribner’s Sons, NY, vol. 9, pp. 247-253.
Pastore, Nicholas, 1971, Selective History of Theories of Visual Perception: 1650-1950,
Oxford University Press, London.
Sabra, A. I., 1987, “Optics, Islamic”, en Joseph Strayer (ed.), Dictionary of the Middle
Ages, Scribner’s Sons, NY, vol. 9, pp. 240-247.
Wade, Nicholas J., 1999, A Natural History of Vision, The MIT Press, Cambridge, Mass.
Watson, Richard, A., 1995, Representational Ideas. From Plato to Patricia Churchland,
Kluwer Academic Publishers, Drordrecht-Boston-London.
Wolf-Devine, Celia, 1993, Descartes on Seeing. Epistemology and Visual Perception,
Southern Illinois University Press. Carbondale.
Yolton, John, 1984, Perceptual Acquaintance from Descartes to Reid, University of
Minnesota Press, Minneapolis. 207
Comentario a la tesis de la Mtra. Mónica Uribe Flores:
Descartes y la percepción visual del espacio
Andrea M. Motta Arciniega
La Mtra. Mónica Uribe Flores estudiante del doctorado en Filosofía nos presenta un
avance de su tesis, consagrada al estudio de la representación espacial en la pintura de
Género holandesa. Para lo cual, toma como base teórica para la exposición de su trabajo
de investigación el pensamiento científico cartesiano que retoma de Kepler el tratado
sobre el fenómeno físico de la luz. Descartes en 1628 se traslado a vivir a Holanda
buscando que esta tierra protestante, liberal y que aceptaba las ideas de Copérnico, le
permitiera alejarse de la circulación ideológica de la vieja Francia católica que con la toma
de la Rochelle dio fin a la tolerancia ejercida sobre la religión protestante mayoritaria en
varias ciudades francesas.
En 1637 el filósofo francés quién un año antes se traslado a Leyden (Holanda)
para supervisar la publicación del Discurso del método, anexó a este último tres ensayos:
La dióptrica, Los meteoros y La geometría. Los tres ensayos son una aplicación de los
principios metodológicos del Discurso y en el proceso intelectual de elaboración de su
pensamiento le preceden.
El método cartesiano que plantea como fin conducir correctamente nuestra
capacidad de razonar y buscar así la verdad en las ciencias empleó, con una perspectiva
interdisciplinaria, ciertos aspectos de la lógica, la geometría y el álgebra. Respecto a la
geometría afirmó que está tan constreñida a considerar las figuras, que no puede ejercitar
el entendimiento sin cansar grandemente la imaginación. Así, en este período y, aún con
antelación, se evidencia que el tema de la óptica fue de gran interés para Descartes. La
dióptrica es un tratado de física y matemáticas sobre la teoría de la luz y la describe como
un cierto movimiento o una acción recibida en una materia muy sutil y que llena los poros
de otros cuerpos. Así, la acción de esta materia sutil es impedida en mayor grado por las
partículas del aire que son como blandas y están un poco separadas, permanecen sin
producir mucha resistencia si no es por la intervención de las partículas del agua.
Recordemos que uno de los descubrimientos científicos más importantes de este período
fue la Ley de la Refracción entendida como la propiedad que tienen ciertos elementos
para duplicar las imágenes de los objetos.
Entonces, en La dióptrica analiza el desvío que sufre un rayo de luz que pasa del
aire al agua incidiendo en un punto C de la superficie plana de separación de los dos 208
medios. Lo que en su momento constataba este experimento era que el ángulo de
incidencia era más grande que el de refracción. Por lo tanto, la teoría de la refracción
describe y calcula cómo cambia de dirección el rayo de luz que pasa oblicuamente de un
medio a otro de diferente densidad.
En su investigación Mónica Uribe revisa las implicaciones físicas y plásticas de la
teoría de la imagen retiniana de Descartes. Atiende también la teoría cartesiana de la
visión y la relaci
ón que ésta entabla con la percepción de situación, distancia, tamaño y
figura. Uribe especifica el enfrentamiento de la tradición aristotélica que consideraba que
el ojo recibe imágenes que provienen originalmente de los objetos, contrastándola con la
propuesta cartesiana en la cual el ojo es el que da forma a las imágenes. Además,
advierte que la teoría cartesiana de la visión se desarrolla según el principio de dualidad
mente-cuerpo que sostiene la expresión: “el alma es la que siente, no el cuerpo”.
Uribe explica también la mecánica cartesiana de la visión y precisa las tres
condiciones para que la imagen retiniana sea perfecta, según las cuales: a) la pupila
permite la entrada de un gran número de rayos luminosos, b) los rayos se refractan y
convergen en “casi” tantos otros puntos en el fondo del ojo y, c) la única luz dentro del ojo
es la que entra por la pupila. La primera cuestión es saber si para Descartes estas tres
condiciones se cumplen o no. Con este aspecto se precisan dos consecuencias que
permiten considerar la problemática en torno a la relación de la teoría de la visión
cartesiana en la representación del espacio en la pintura holandesa: la primera
consecuencia implica que el conocimiento sensible es representacional. La segunda, la
perfecta semejanza no es el criterio cartesiano para la representación.
Consecuentemente, Uribe deduce que en el problema de la representación el núcleo
central de la reflexión no consiste en asumir simplemente la semejanza o la diferencia con
el objeto referido sino que resulta igual de importante revalorar la experiencia de la
percepción visual y táctil teniendo como modelo la representación pictórica.
La visión y el tacto aprehenden los fenómenos del mundo a través de las seis
cualidades sensibles, luz, color, situación, distancia, tamaño y figura; se trata de las
mismas cualidades que el pintor conjuga en el lienzo. Por otra parte, son elementos
estudiados, tratados y expresados por las diferentes escuelas y técnicas de la creación
plástica en general. Concretamente, Uribe toma el caso de la pintura de Género
holandesa para relacionar la realidad sensorial de lo visual y de lo táctil en la percepción
de los objetos con el esquema que la pintura da a dicho fenómeno. Así nuestra
investigadora destaca la concepción cartesiana de artificio, es decir, se detiene a analizar

como en esta técnica pictórica la condición tridimensional del mundo se expresa bajo
La idea de artificio es antigua en el discurso teórico sobre el arte y filosóficamente
puede relacionarse con el principio epistémico que considera el principio de Verdad (que
implica a su vez el de falsedad) como fin regulador en la valoración de los procesos
cognitivos. Preguntar si ¿el arte es fuente o no de conocimiento? Nos sitúa en el antiguo y
actual debate entre mente-cuerpo, razón-sensación, análogo por naturaleza al discurso
filosófico que tiende a priorizar el desarrollo y la influencia de la ciencia en el conocimiento
sobre las perspectivas y las prácticas que ofrece la creación artística en general. Por lo
tanto, la pintura de Género holandesa es un modelo ideal de estudio para aplicar los
postulados básicos de la geometría-física cartesiana y de su doctrina racionalistas acerca
de la figura y su representación, en particular, porque la pintura de Género renuncia en su
expresión plástica al discurso de orden intelectual. Por el contrario, tal desarrollo plástico
ofrece a los sentidos una perspectiva compleja de lo simple ya que los cuadros repiten
escenas en las cuales se aprecian espacios habitados por personajes que expresan con
mesura y contento sus tareas cotidianas.
El tratamiento del espacio en la pintura de Género holandesa es íntimo,
desprovisto del recurso decorativo, no alude al mito ni a la leyenda, incluso no retrata
figuras históricas o literarias. Esta tendencia pictórica nace y florece en el ambiente de un
país de costumbres burguesas en el cual el arte ha dejado de lado la protección del
Estado y de la Iglesia, por esta razón los historiadores del arte afirman que este género no
postula ninguna ideología que se coloque por encima del objeto representado, de tal
forma, que en sus cuadros el hombre tiene el estatus de un simple habitante de la tierra.
La apreciación de esta tendencia plástica tiene como consecuencia consideraciones que
pueden seguirse a través del discurso cartesiano, por ejemplo, la importancia y la función
de la figura como elemento semejante entre la representación y el objeto que apela: « la
figure humaine et son entourage matériel acquièrent à cette époque égalité de rang dans
la représentation. Dans ce milieu consistant d´objets, l´homme devient fortement objetivé.
» 1
Aunque las pinturas de Vermeer son consideradas los más bellos ensayos de la
época en cuanto al manejo de la luz, prácticamente, cualquiera de los cuadros
clasificados dentro de este género podría ilustrar el comportamiento de los elementos que
constituyen la teoría de la imagen retiniana en cuanto a la concepción visual de la luz y
Miklós Mojzer, Tableaux de Genre Hollandais, Corvina Budapest, Budapest, 1967, p. 7. 210
del espacio cartesiano. Así por ejemplo, el cuadro de Hendrick Terbrugghen (1588-1629),
Garçon allumant sa pipe, representa a un joven aprendiz de soldado iluminando su pipa
con la luz proveniente de una vela. El tema de la pintura es tan simple que bien podría
pasar por fragmento de una obra mayor. El sentido de la pintura comienza, termina y
permanece en el instante del momento pictórico capturado en el personaje y en el clarooscuro que a su vez delimita el contorno espacial de los objetos.
Finalmente, aunque para Descartes dichas apreciaciones nos sitúan en el ámbito
del artificio y de la ilusión; la investigación Descartes y la percepción visual del espacio
es un trabajo importante ya que posibilita nuevas formas de mirar la relación entre la
filosofía y el juicio epistémico que puede dársele a la pintura. Este trabajo parte de la
consideración de que Descartes discute el rango epistémico de la imagen plástica como
representación a partir de la analogía de la visión proyectada también en la
representación. Lo que nos recuerda, según la interpretación que hemos realizado de esta
tesis, la meditación cartesiana en la cual compara la inspiración de Dios sobre la creación
humana con el ejercicio de perfección y error en la experiencia cognitiva de los hombres.
Ambos aspectos los desarrolla según las ideas de artífice y de artificio y pueden repercutir
al valorar la representación visual y táctil de los objetos como una copia imperfecta de la
realidad tridimensional. En la “Meditación cuarta. De lo verdadero y de lo falso” de
Meditaciones Metafísicas, Descartes desarrolla la noción de artífice al explicar que el error
del que se es capaz al discernir de lo verdadero y de lo falso, no es infinita. Se afirma que
el error no es simple carencia de perfección, sino la privación del conocimiento. Pero en la
medida en que según la naturaleza de Dios éste deposita en los hombres facultades
perfectas, se compara la acción divina con la idea de la creación perfectible del artista que
en principio debe sobrepasar la condición de semejanza imperfecta en la representación
visual de los objetos.


“The Metamorphoses of the Virtual -100 Years of

“The Metamorphoses of the Virtual -100 Years of Art and Freedom”, Officina delle Zattere, Venice, Italy.
May 27th – October 31st 2013.

Pia MYrvoLD
Anne SENSTAD and
Piksel Remote HackLab

Opening Week Program with
Perfromances, Art Talks, Curator Visits,
Artist Presentation.
Program to be announces 3 May.

Curated by Roberta Semeraro

Opening Week 27 -30 May.
Exhibition from 27 May – 31 October 2013


A feast of technology, innovation and new media in Venice,
27 May – 31 October 2013.

Pia MYrvoLD, Miguel Chevalier, ORLAN, Anne Senstad and Piksel Remote HackLab offer a mix of cutting edge art strategies, groundbreaking works in digital animation, generative and  interactive interfaces and perhaps an ironic insight to the darker aspects of a technology crazed world.

“Metamorphoses of the Virtual – 100 Years of Art and Freedom” is an independent pavillion in the newly opened art space – Officina delle Zattere.

Curated by Roberta Semeraro, the theme elaborates on the new virtuality that is possible through digital media and the flow-image, as well as the situation for  innovative artists today, 100 years after the beginnings of the Modern Movement and gender equality  in countries like Norway.

Norwegian artist; Pia MYrvoLD creates in her Paris studio digital works and multiple screen installations, introducing new parameters in sculpture and painting; “The Metamorphoses of the Virtual”.

The French artist; ORLAN, premieres an elaborate 3D  video; “Skinned Model of Liberty” while Miguel Chevalier’s installation “The Origin of the World” engages with interactive technology and generative image software.

Norwegian artist; Anne Senstad brings from her New York base the immersive architectual video installation “Universals”.

Piksel Remote HackLab, an international group of network artists with an open source philosophy, will create mystical art objects from technological waste in a performative workshop.

The Opening Week Program starts with The Exhibition Book-Launch and Pre-View Cocktail on the 27th May.

Featuring 112 pages of the artists individual work history  aswell as articles by David Rosenberg, Christine Buci-Glucksman, Phillipe Piquet, Kjetil Røed, Celina Jeffrey, Jonathan Kemp and curatorRoberta Semeraro, the book designed by Regis Glaas gives  a  comprehensive insight on the ideas and motivations of a new generation of artists and intellectuals working and redefining aspects of visual art and culture in the new millennium. 

Press Release pdf:   English – French – Italian – Norwegian

On the occasion of the
55th International Art Exhibition La Biennale di Venezia
The Metamorphoses of the Virtual –
100 years of art and freedom
27 May – 31 October 2013
Pia MYrvoLD (NO, FR)
Miguel Chevalier (FR, MX)
Anne Senstad (NO, US)
Project workshop with: Piksel Remote HackLab Venice( NO)(UK)
Curated by Roberta Semeraro
In 1955, the Italian-American artist Marino Auriti called The Encyclopedic Palace his imaginary museum,
which would have had to contain the whole of human knowledge.
Starting from the matter of fact that Art is a privileged gateway of access to the deeper awareness of
the human being and its unlimited expressions, the exhibition The Metamorphoses of the Virtual – 100
years of art and freedom inserts itself in the context of 55th Art Biennale of Venice, revealing by means
of the work a selection of internationally renowned artists, who each in their own way, work within
the possible forms of knowledge of art in the new millennium.
Restarting from Hegel’s idealism, the premise for any knowledge, then for art too, is freedom.
In fact this exhibition, which wants to remind us of a fundamental event for human rights, the woman
suffrage granted in 1913 in Norway, finds its cultural graft on that revolution which the artistic avantgardes took on the art of the first twenty years of the last century, relieving it indefinitely of the
traditional models.
The Modern Movement, identified officially in 1913, before and between the two wars, in Europe and
particularly in Paris, began to consider the technological potentialities of new materials and machines,
and communication.
Around the ‘50s Canadian sociologist Marshall McLuhan on his essay Understanding Media, examining
the new communication media, proclaimed that the medium is the message.
French artist ORLAN, known all over the world for having invented Carnal Art, where she asserts that
flesh is a verb, seems to approach McLuhan’s way of thinking, as are the artists Pia MYrvoLD, Miguel
Chevalier, Anne Senstad and PIXEL Remote HackLab when they demonstrate how technology is a
medium, understood as extension of and strengthening the human faculties.
Norwegian Pia MYrvoLD has been among the first women artists in Europe to examine New Media
Art, and has since 2000, worked to establish new compositional and productive parameters for
painting and sculpture using 3D tools. Believing in the freedom of expression and in the political/social
commitment, she involves the community in this awareness by means of art; to discover, to know and
by experimenting with new and emergent realities.
The artists that Pia MYrvoLD has chosen to collaborate with at this exhibition are scientists,
philosophers, poets, inventors, who, with their personal and original technological languages and their futuristic creations, give advance notice to a new existence of an immersive environment, where the
imagination coincide with the image, the subjective with the objective and the conscious with the
The curator Roberta Semeraro dedicates herself to the study of new media and digital art and, she
elaborates on the theories of the Sixth Art starting from Walter Benjamin’s thought as she tries to
trace a new ideal of aesthetic in contemporary art.
Spazio espositivo e laboratorio culturale
Fondamenta Nani,
Dorsoduro 94730123 –
Venezia, Italy
+39 041 5234 348
The Metamorphoses of the Virtual –
100 years of art and freedom
27 May – 31 October 2013
Press and preview opening:
27 – 30 May 2013
Link for press images :
info@annesenstad.comPresentation Artist:
Pia MYrvoLD
The Metamorphoses of the Virtual
Paris based artist Pia MYrvoLD continues in this installation her research
with sculpture and painting within 3D animation tools and immersive
The installation “The Metamorphoses of the Virtual”, takes its title form
the essay written by Christine Buci-Glucksmann for her resent
exhibition in her native Norway at The Stenersen Museum, where
MYrvoLD adds focus to the idea of sculpture as a possible animated
form, viewed through HD video projections.
Skinned Liberty
ORLAN’s body of work started with street actions, entitled Action ORLAN-CORPS, in
which she affirmed that the body is a sculpture and a material which permits all others.
Currently, ORLAN has created a skinned self-portrait of her body in 3D which replays the
movements of her performances. This character appeared for the first time in her
MesuRAGE expositions at the Andy Warhol Museum in Pittsburg and at MHKA in Anvers.
Henceforth, this skinned self-portrait has become emblematic of her work, which questions
the body and shows that what is most deep is not the skin. For the exhibition
Metamorphosis of the Virtual: 100 Years of Art and Liberty, ORLAN has created a video
projection installation titled Skinned Liberty., and has since become emblematic of her
The Origin of the World 2013
Generative and interactive virtual-reality artwork
Software: Cyrille Henry / Antoine Villeret
The Origin of the World 2013 is inspired by the world of biology and
microorganisms. Cells multiply in abundance, divide, and merge in
sometimes slow, sometimes rapid rhythm. Each cell functions
autonomously, yet in coordination with the others, like cellular
When the viewer moves, the trajectory of the cells is disrupted. We
find ourselves facing an intriguing world of life that perpetually
replenishes itself. A black-and-white world gradually gives way to vivid,
saturated colors. The sinuous curves rippling across the walls of the
gallery hark back to the 1970s while creating unprecedented visual
experiences that verge on being artificial paradises.
Norwegian artist Anne Senstad’s installation entitled UNIVERSALS,
redefines space using Plexiglas, fabric, mesh and video projections,
bordering the definitions of architecture, site specificity, video and
sculpture. She is concerned with the transformative, the elements of
nature, phenomenology of light, the perceptive, and spatial relations. The
exhibition The Metamorphoses of the Virtual – 100 Years of Art and
Freedom, will premiere her new sculptural works and the video piece
Colour Synesthesia, Version four, she has created for the exhibition consists
of a new and longer version in the body of video works entitled Colour
Synesthesia and Colour Kinesthesia.
https://vimeo.com/user3150146/videosPiksel Remote HackLab Venice
Gisle Frøysland (NO)
Ryan Jordan (UK)
John Bowers (UK)
Jonathan Kemp (UK)
Project: Piksel Remote HackLab
Piksel Remote HackLab is a performative workshop and unstable environment
developed during the opening week of The Metamorphoses of the Virtual –
100 Years of Art and Freedom. Piksel has invited Ryan Jordan (UK), John
Bowers (UK) and Jonathan Kemp (UK) to show their Experimental
Communication project building devices from repurposed consumer
electronics used for opening up channels into the spirit world. In addition
Piksel director Gisle Frøysland (NO) will show an interactive installation
based on his latest work using LED facade displays.
Piksel is a network and annual festival focusing on electronic art and free technologies. It’s
organised in Bergen, Norway and recently celebrated the 10th anniversary with the
Piksel[X] – Kernel Panic! festival gathering artists and developers from all over the world
exchanging ideas, coding, presenting art and software projects, doing workshops,
performances and discussions on the aesthetics and politics of free and open source culture.

surveillance – drones.surveillance –

Collaborative evaLuation Of border Surveillance Technologies in maritime Environment bY pre-operational validation of innovativE solutions


CLOSEYE comes to life with the aim of providing the EU with an operational and technical framework that increases situational awareness and improves the reaction capability of authorities surveying the external borders of the EU.

As the first Pre-Operational Validation project in FP7 security theme, CLOSEYE will pursue the validation of innovative services applicable to the surveillance of the EU Maritime Borders in real operational environment following the Common Application of Surveillance Tools concept, established by EUROSUR.

But the validation of innovative solutions in real operational environments demands a notable effort at all levels, including the technical, organizational, operational and financial perspectives. For this reason, the CLOSEYE consortium has brought together the most representative public authorities in charge of the surveillance of the southern EU maritime border, ensuring not only a remarkable expertise at technical and operational level, but also a privileged positioning with respect to the main hot spots for maritime irregular cross-border activities and ensuring access to the existing surveillance systems and assets to support the validation process. Closeye

Even if this POV project represents a change in the research and development model, being now the Users who will steer and lead the innovation process, the security industry will still be a strong pillar on which the project will be built. Under the frame of the CLOSEYE project, the Industry will be called to demonstrate the efficiency and effectiveness of specific solutions in order to fulfill real user demands. The assessment of the performance levels of the solutions proposed by the industry will be conducted through a series of exercises, both technical and operational, in at least two different scenarios. By promoting this competitive testing and assessment of the potential solutions, CLOSEYE will pave the way towards the definition of future integrated surveillance solutions from a fact-checked perspective, fully validated from those who, eventually, will face the upcoming security threats and risks.







General description

The EUSC is an Agency of the European External Action Service. It is one of the key institutions for European Union’s Security and Defence policy, and the only one in the field of space. The mission of the Centre is to support the CFSP and in particular the ESDP, by providing geospatial added-value products and services, resulting from the analysis of satellite imagery and collateral data. As the only existing CFSP/ESDP operational agency using space assets, the EU SATCEN is perceived as a key European-level stakeholder for GMES Security domain that could contribute substantively contribute to meeting GMES’ operational deadlines. The EUSC is also doing transfer of its knowledge and experience in the FP7 project to other partners (e.g. Industry) that will possibly respond to service procurement when GMES will be operational.

Role in the Project


La Guardia Civil contará con aviones no tripulados para vigilar las costas

El proyecto, denominado Closeye y presentado por el director general de la Guardia Civil, Arsenio Fernández de Mesa, supone un cambio en el desarrollo de nuevas herramientas de vigilancia marítima.

Sociedad – 18/04/2013EFELa Guardia Civil lidera un proyecto de innovación de la UE que permitirá incorporar a los sistemas de vigilancia marítima en unos años nuevos dispositivos como aviones no tripulados, satélites o aerostatos.

El proyecto, denominado Closeye y presentado por el director general de la Guardia Civil, Arsenio Fernández de Mesa, supone un cambio en el desarrollo de nuevas herramientas de vigilancia marítima, ya que, por primera vez, está conducido y liderado por el Instituto Armado.

Así, será un cuerpo de seguridad el que lleve la iniciativa para permitir que los futuros dispositivos se adecúen a las necesidades de control de las fronteras y que sean los mismos para toda la UE.

“Nos va a permitir tener una alerta anticipada sobre la llegada de inmigrantes irregulares a las costas o de la actividad del crimen organizado”, ha explicado el teniente coronel de la Jefatura Fiscal y de Fronteras José Manual Santiago, que coordina el proyecto, que podría estar concluido y ya operativo en 2017.

Según ha destacado Fernández de Mesa, la iniciativa Closeye supondrá “una gran oportunidad” para la Guardia Civil, para España, para la protección de las fronteras y para las empresas del sector en un momento en el que “el uso de las nuevas tecnologías es fundamental para garantizar la seguridad”.

“Es impensable en estos tiempos luchar contra esta amenaza solo con medios humanos pues las mafias y el crimen organizado emplean las más modernas tecnologías para lograr sus detestables fines”, ha añadido el director de la Guardia Civil.

El proyecto está financiado por el VII Programa Marco de Investigación y Desarrollo de la Comisión Europea. Tiene un presupuesto cercano a los 12.250.000 euros, siendo la financiación de la UE superior a los 9.200.000 euros.

Además de la Guardia Civil, el consorcio está constituido por la Guardia Nacional Republicana Portuguesa y la Marina Militar Italiana, y contará con el apoyo de otros organismos como la Agencia Espacial Italiana, el Centro Europeo de Satélites y la empresa consultora ISDEFE.

La iniciativa se desarrollará en tres fases a lo largo de 38 meses de duración. La primera definirá el nuevo servicio de vigilancia marítima basado en los actuales sistemas y de otros nuevos, como pueden ser aquellos basados en observación por satélite o sobre plataformas aéreas no tripuladas (UAVs).

Una vez definido dicho servicio, en la segunda fase, el consorcio liderado por la Guardia Civil, a través de la correspondiente licitación pública encargará a la industria suministradora el desarrollo e integración de un prototipo.

En esta fase se validará sobre el terreno las soluciones inicialmente diseñadas en operaciones conjuntas dirigidas por Frontex, tras la cual se pasará a la tercera y última fase de evaluación de los resultados.

Después se establecerá la homologación de servicios y sistemas de similares características para su suministro al resto de Fuerzas y Cuerpos de Seguridad europeos.

A la reunión de lanzamiento del proyecto Closeye han asistido las autoridades españolas relacionadas con las funciones de guardacostas y vigilancia marítima, de los ministerios de Defensa, de Fomento, de Hacienda, de Asuntos Exteriores, de Agricultura y de la Secretaría de Estado de Seguridad.

También han participado representantes de los organismos europeos con competencias en esta materia, como la Comisión Europea y Frontex, consejeros de Interior acreditados en España, agencias españolas de investigación y desarrollo, así como delegados de Italia y Portugal como países socios en el proyecto. 

http://diydrones.com/This is the home for everything about amateur Unmanned


This is the home for everything about amateur Unmanned Aerial Vehicles (UAVs). Use the tabs and drop-down menus above to navigate the site. (About us/Site rules)

This community created the Arduino-based ArduPilot, the world’s first universal autopilot (planes, multicopters of all sorts and ground rovers). The APM 2.5 autopilot hardware runs a variety of powerful free UAV software systems, including:

  • ArduPlane, a pro-level UAV system for planes of all types.
  • ArduCopter, a fully-autonomous multicopter and heli UAV system.





GuerrillaDrone is an aerial computer drone for audiovisual interventions in the public air using mixed reality.




I’m starting a drone peregrination in the deserts of Egypt as a part of my research about Unmanned Aerial Vehicles.

I will be around fourty days in the desert to found the basics of the new religion of Dronism. Discovering their belief system, and the spirituality about this machines, listening histories of people living under them, giving meaning to this machines, imagining rituals and sacred symbols to the hypothetic -but real- religion of Dronism.

ladybird web 1024x582 40 days in the desert with a drone

I travel with a little ladybird, to give the opportunity to local people to have in their hands a tiny drone -mini quadcopter- for help them to understand the capabilities of this sacred technology.

Another part of the project is putting banners around egyptian territory to inform how the people can protect themselves from Hebrón drones of Israel.



SATURDAY 11 MAY 2013, 2-5PM


Furtherfield Gallery & Social Space
McKenzie Pavilion, Finsbury Park
London N4 2NQ

Exhibition & Events

Opening Event
Saturday 11 May 2013, 2-5pm
with glitch performance by Antonio Roberts at 3pm

Exhibition Opening times
Sunday 12 – Sunday 26 May 2013
Open Friday to Sunday 11-5pm

Free Workshop Saturday 18 May 2013, 1-5pm
More info

About Movable Borders: Here Come the Drones!

Featuring: Bureau of Inverse Technology, Lawrence Byrd, Patrick Lichty, Dave Miller & Gavin Stewart, The Force of Freedom and Dave Young

The devices that once populated the creepy dystopian futures of science fiction have broken through into our daily reality. 

Drones of dozens of different types are becoming a part of everyday life. They scout our public (and private) spaces, carrying out surveillance or reconnaissance in the service of nation states and as unmanned robotic tools, armed with missiles and bombs, acting in defence of “national security”.

According to a European commission document drones will be commonplace in the skies within a decade. There are already many companies building these airborne, robotic spies for military and police use and this has “prompted concerns from civil liberties groups, who fear that the unmanned aircraft will result in more forms of surveillance.” [1]

During the two weeks of Movable Borders: Here Come the Drones! people are invited to visit the gallery, view artworks and join a workshop by artists who are contemplating how drones are changing the way we see and relate to each other and the world around us.

More info


Tube: Manor House, Finsbury Park
Buses: 141, 341, 153, 253, 254, 259, 29, 4, N253, N279, N29
Train: Finsbury Park, Harringay, Harringay Green Lanes stations

About Furtherfield

Furtherfield provides platforms for art, technology and social change. Funded from Arts Council England since 2005, Furtherfield is now one of Arts Council England’s National Portfolio Organisations. Furtherfield Gallery has established an international reputation as London’s first dedicated gallery for networked and media art, hosting regular exhibitions and public events since 2004. With the support of Haringey Council the gallery is now based at McKenzie Pavilion in the heart of Finsbury Park.

+ For more information contact info@furtherfield.org

Furtherfield is supported by Haringey Council and Arts Council England through the National Portfolio funding programme.





Bit Plane by Bureau of Inverse Technology, Natalie Jeremijenko (US) and Kate Rich (AU), is an early artistic manifestation of reflection on the relation between technology and surveillance, as such it can seen as a precursor to the emerging DIY surveillance video enabled by the new availability of drones. The bit plane is a radio-controlled model airplane, designed by the Bureau and equipped with a micro-video camera and transmitter. In 1997 it was launched on a series of sorties over the Silicon Valley to capture an aerial rendering. Guided by the live control-view video feed from the plane, the pilot on the ground was able to to steer the unit deep into the glittering heartlands of the Information Age.


Parallel by Lawrence Bird uses a virtual drone to review the parallel political and imaging technology worlds with a digital projection that uses Google Earth to track the 49th parallel (in western Canada, the US/Canada border).

The Private Life of a Drone by Patrick Lichty is a video travelogue of the area surrounding Virginia Center for the Creative Arts.


TELEWAR is a book and video collaboration between Dave Young and The Force Of Freedom collective. The project is a combination of developments through the analysis of news reports, military drone culture, dronespeak and network theory.


MOVABLE BORDERS: THE REPOSITION MATRIX by Dave Young provides the central installation and information resource of the exhibition. The Saturday workshop will take place in this space.


Workshop Saturday 18 May 2013, 1-5pm


David Young will be holding a workshop on the subject of drones on Saturday 18 May, 1-5 pm. In a post-national age, where “territorial and political boundaries are increasingly permeable”[2], what has become of the borderline? How is it defined, and what technologies are used to control it?

Movable Borders is an ongoing research project that begins to explore possible answers to these questions through facilitating discussions around the ‘reterritorialisation’ of the borderline in the information age. The first series of Movable Borders events is a workshop series titled The Reposition Matrix. Participants are invited to investigate the use of cybernetic military systems such as remotely piloted aircraft (drones) and the Disposition Matrix, a dynamic database of intelligence that produces protocological kill-lists for the US Department of Defense.

The workshop aims to reterritorialise the drone as a physical, industrially-produced technology of war through the creation of an open-access database: a ‘reposition matrix’ that geopolitically situates the organisations, locations, and trading networks that play a role in the production of military drone technologies. Dave Young is an artist, musician and researcher currently studying the Networked Media course at the Piet Zwart Institute in Rotterdam, NL. His research deals with the Cold War history of networked culture, exploring the emergence of cybernetic theory as an ideology of the information age and the influence of military technologies on popular culture.


[1] Jamie Doward. Rise of drones in UK airspace prompts civil liberties warning. Sunday 7 Oct 2012    

[2] Habermas, in The Postnational Constellation and the Future of Democracy.





> looking for artist and Hackers to present performances/installations,
> workshops and more in the street and in awkward places like parking
> lots, abandonned houses, fields and other public spaces in and around
> Nantes!!
> Festival date : 19th to 23rd of August in NANTES/FR
> super low budget – don’t send anything if you are looking for a fee.
> Crisis they said!
> Feel free to FORWARD!!
> Electropixel Festival : is part of an international network of
> electronic arts festivals (Pixelache). The
> festival opens a singular space to cross programmers, hackers,
> inventors, artists, theorists etc… More and
> more these rare spaces for crosspractices and exchange become
> important for new forms of writing, art and research. Electropixel is
> an opportunity to discover unknown domains, unpredictable art and
> innovative designs attached to our modern utopias.
> —
> APO33
> space of research and experimentation


Net Politics Cybersalon: 24 April 2013 from 7pm.

From The Californian Ideology to UK student protests, the rise of 
Italy’s Five Star Movement and Bitcoin this month’s Cybersalon is 
looking at how new media have inspired new forms of activism over the 
past two decades. We will explore the transformative possibilities of 
the next wave of technological innovation.

Read More – http://bit.ly/XOEhNz

In his 1996 ‘Declaration of Independence of Cyberspace’, John Perry 
Barlow announced the coming of a hi-tech utopia where rugged 
individualists would escape from the stifling controls and onerous taxes 
of national governments into a borderless and deregulated virtual world.

Over the past two decades, this seductive mix of hippie and 
entrepreneurial libertarianism codified in the Californian Ideology has 
dominated our understanding of the political impact of the Net. Left or 
Right, mainstream and alternative, mass connectivity is still celebrated 
as the technological antidote to the multiple failings of Westminster 
politics from voter apathy to out-of-touch MPs.

While deep scepticism is required about the predictions of dotcom 
boosters, no one can deny that the rapid diffusion of social media has 
enabled much more participatory forms of campaigning, organising and 

From the Arab Spring to the Five Star Movement in Italy, citizens have 
bypassed the old party structures to create their own autonomous groups. 
As in Athens, Madrid or New York, London’s anti-austerity protesters are 
tech-savvy and always on-line.

In Bitcoin, hackers now believe that they have discovered a way of 
liberating money from the clutches of the power elite. The Net is still 
only a toddler, but it has already established itself as the people’s 
forum for political debate and decision-making.

With the status-quo seemingly no longer viable, the collaborative 
experience of social media should now inspire an emancipatory vision of 
what it means to be a citizen in 21st century Europe. What are the 
lessons of Then and Now that we can apply confidently when we’re 
anticipating the future of Net Politics?


Richard Barbrook – University of Westminster politics lecturer, 
co-author of The Californian Ideology and author of Imaginary Futures – 
will trace the evolution of dotcom neo-liberalism from the 
techno-utopian early-1990s to today’s more austere times. 

Amir Taaki – open source programmer, co-founder of the Bitcoin 
Consultancy project development and principal of Intersango, a Bitcoin 
exchange – will explain how Bitcoin challenges the monetary hegemony of 
both big banks and big government. https://intersango.com/

Jamie Bartlett – the Head of Centre for the Analysis of Social Media at 
the Demos think-tank – will describe how the electoral success of the 
Five Star movement in Italy was achieved through the intelligent use of 
on-line campaigning, the subject of his recent study. 

Claire Solomon – the ex-president of ULU during the 2010 student 
protests, editor of the book Springtime: The New Student Rebellions and 
now runs the radical Firebox cafe in King’s Cross  – will describe how 
the participatory structure of the Net is inspiring new methods and 
ideas of political campaigning. http://fireboxlondon.net


Paolo Gerbaudo teaches at Kings College, University of London and is 
author of Tweets and the Streets: social media and contemporary 
activism. http://www.tweetsandthestreets.org

See you there!

Audio recordings, tweet timeline and transcript of the discussion will 
be available after each event.

Entrance is free but please book on http://cybersalon.eventbrite.co.uk/

6.30pm: doors open and drinks
Discussion: 7.00 – 9.00 pm.
Followed by drinks in the pub: The Slaughtered Lamb.

The Arts Catalyst,
50-54 Clerkenwell Road,
London EC1M 5PS

Tubes: Old St/ Barbican
Barclays Bikes: Right outside the venue
Arts Catalyst is next to Foxtons on Clerkenwell Road.

Twitter: @Cybrsalon
Using: #Cybersalon

School of Media & Performing Arts, Middlesex University:
Easynet Global Services: http://www.easynet.com/

We hope you can make it!



Walking And Mapping | Artists as Cartographers | By Karen O’Rourke MIT press

Walking And Mapping | Artists as Cartographers | By Karen O’Rourke


Contemporary artists beginning with Guy Debord and Richard Long have 
returned again and again to the walking motif. Debord and his friends 
tracked the urban flows of Paris; Long trampled a path in the grass and 
snapped a picture of the result (A Line Made by Walking). Mapping is a 
way for us to locate ourselves in the world physically, culturally, or 
psychologically; Debord produced maps like collages that traced the 
?psychogeography? of Paris. Today, the convergence of global networks, 
online databases, and new tools for location-based mapping coincides 
with a resurgence of interest in walking as an art form. In Walking and 
Mapping, Karen O?Rourke explores a series of walking/mapping projects by 
contemporary artists. Some chart ?emotional GPS?; some use GPS for 
creating ?datascapes? while others use their legs to do ?speculative 
mapping.? Many work with scientists, designers, and engineers.

O?Rourke offers close readings of these works?many of which she was able 
to experience firsthand?and situates them in relation to landmark works 
from the past half-century. She shows that the infinitesimal details of 
each of these projects take on more significance in conjunction with 
others. Together, they form a new entity, a dynamic whole greater than 
the sum of its parts. By alternating close study of selected projects 
with a broader view of their place in a bigger picture, Walking and 
Mapping itself maps a complex phenomena.

media cities

Mediacities 2013: Speakers, Workshops And Artists Announced

International Conference, Workshops and Exhibition
University at Buffalo
Buffalo, New York, May 3-5, 2013

The fourth MediaCity reflects on pluralities and globalities, on MEDIACITIES everywhere

What new lines of inquiry and emergent relations between urbanity and digital media are found in non-Western cities, in post-Capitalist cities, in cities hosting civic turbulence or crossing international boundaries? What urban-medial relations are taking shape differently in urban milieux that may have been heretofore overlooked? These cities are deserving of more attention than ever before, as sites of population growth, of new cultural and social formations, of new entanglements between urban life and contemporary media, communications and information technologies, and more. MEDIACITIES promises to expand our understanding of both media and the city today, and to articulate new sites of practice and working methods for an expanding field.

In addition to a conference program of panels selected from an international call for papers, MEDIACITIES will feature keynote speakers, including Benjamin H. Bratton, Associate Professor of Visual Arts and Director of D:GP, The Center for Design and Geopolitics at the University of California, San Diego; Mike Crang, Reader in Cultural Geography at Durham University in the UK; and Stephen Kovats, cultural and media researcher, formerly artistic director of transmediale, Berlin’s festival for art and digital culture, and international program curator at V2_Institute for the Unstable Media, Rotterdam.

MEDIACITIES will feature an exhibition of commissioned works that confront different aspects of the contemporary entanglements of digital media and urban life in cities around the world today – spaces of appearance, of exchange, and of identity. Artists in the exhibition include Paolo Cirio, Julian Oliver, Stephanie Rothenberg, and Antoine Schmidt.

MEDIACITIES workshops introduce skills and themes relevant to this year’s conference focus on multiplicities. Workshops include Interactive Planning Istanbul, examining the emergent ecologies of interaction between socio-economical relationships and the structure of a city using computational design tools; NeuroVision, exploring the urban aesthetics of spaces in Buffalo with artist Ursula Damm via a web-based sandbox for Generative Video Processing; Neo-provincialism, a knowledge-share workshop addressing the concept of neo-provincialism through connecting cybernetics and urban agriculture to their adjacent spatial and xeno-spatial implications; and Digital Media in Urban Spaces, mapping and visualizing urban digital media based on a methodology for empirical research using GPS and geo-tagging techniques.

Jordan Geiger, Omar Khan, Mark Shepard

Link: http://mediacities.net/

radar images NASA airplane

UAVSAR slideshow - slide 10

NASA Flies Radar South on Wide-Ranging Scientific Expedition

04/03/2013 12:00 AM EDT

A versatile NASA airborne imaging radar system is showcasing its broad scientific prowess for studying our home planet during a month-long expedition over the Americas.

UAVSAR slideshow - slide 13

UAVSAR slideshow - slide 14

UAVSAR uninhabitated aerial vehicle synthetic aperture radar 

image science –  radar images  – interferogram  – online tool – radar pod with electronics – 3 polarization color – radio waves radar – airborne radar – radar hardware – produce images – capture polarimetric phases –  captures changes on earth with time – show changes into the earth on time – interferometric and polimetric –  with an l-band radar antenna – radio waves – wavelenght – airplana autopilot – geoscience and remote sensing – 

ludwig sounds satellites universe noise

Hearing cosmos through membranes: living in a bubbleverse
08.05.2013 (evening)
Lecture / talk – Unit for Sound Practice Research, Goldsmiths, University of London (UK)
Immersive installation – Ludwig + Emmanuel Spinelli
Lecture et présentation d’un work in progress développé en collaboration avec Emmanuel Spinelli, soundscape artist et compositeur.
Lecture & presentation of a work in progress developed in collaboration with Emmanuel Spinelli, soundscape artist and composer.

Codebreaker – Alan Turing’s life and legacy

odebreaker is an exhibition developed by the Science Museum to celebrate the centenary of the birth of this pioneering British figure.

Alan Turing is most widely known for his critical involvement in the codebreaking at Bletchley Park during the Second World War. But Alan Turing was not just a codebreaker.

This British mathematician was also a philosopher and computing pioneer who grappled with the fundamental problems of life itself. His ideas have helped shape the modern world, including early computer programming and even the seeds of artificial intelligence. This exhibition tells the story of Turing and his most important ideas.

At the heart of the exhibition is the Pilot ACE computer, built to Turing’s ground-breaking design. It is the most significant surviving Turing artefact in existence.

Alongside this remarkable machine is a sequence of exhibits showcasing Turing’s breadth of talent. Together with interactive exhibits, personal recollections and a wealth of historic imagery, the exhibition offers an absorbing retrospective view of one of Britain’s greatest twentieth-century thinkers.




At Bletchley Park, Buckinghamshire, thousands
of men and women laboured night and day to
crack these coded radio messages which held
Germany’s most secret plans. One of these
codebreakers was Alan Turing.
But Turing was not just a codebreaker. Born
100 years ago, this British mathematician was
also a philosopher and computing pioneer
who grappled with some of the fundamental
problems of life itself. Yet his own life was cut
tragically short. In 1954 he was found dead,
poisoned by cyanide. He was 41.

Computing before computers
2. Alan Turing’s war
3. ACE – the Automatic Computing Engine
4. Can machines think?
5. A matter of life and death
6. Programming computers today

computers. The first were built in the 1940s.calculations. aiming aircraft bombs or solving certain mathematical equations.

Calculating machine used at the Scientific Computing Service, c. 1939

Aircraft bomb-aiming mechanical computer, c. 1942 used to aim the bombs, taking factors such as aircraft height and speed and weather conditions. mechanical computers. 

Meccano differential analyser  by Douglas Hartree, rebuilt c. 1947 complex mathematical equations . electromechanical computers. movement of  gears as the physical analogue of the mathematical relationships. 

Enigma machine, 1937. war. Bletchley Park itself, tended by the Women’s Royal Naval Service. decryption processes . used in submarine U-boats

Punched-card machine by British Tabulating Machines, c. 1930 .  1930s commercial data-processing was the preserve of punched-card machines. ‘Hollerith’ . 

Pilot ACE. computer 1950. first electronic ‘universal’  computers. Automatic Computing Engine or ACE . binary digits 

the ‘electronic brain’, 1950 . simulate thought processes in machines . thinking machines.

‘The Nature of Spirit’, by Alan Turing, 1932 essay . machine intelligence. 

‘I think that spirit is really eternally
connected with matter, but certainly not always
by the same kind of body … when the body dies
the “mechanism” of the body, holding the spirit
is gone and the spirit finds a new body sooner or
later perhaps immediately.’

Electrical logic machine testing logical propositions 

Mechanical logic machine performed logical  operations mechanically.


Cybernetic tortoise neurologist  investigate brain function cybernetics researchers 

he was found dead in his bed in 1954. The official verdict was suicide.

turing fields of research : cybernetics , morphogenesis , pattern formation and growth in nature, mathematics, chemistry and life, new electronic computer, 

nowadays usefor computers: lightings, robots, 



Electrical logic machine by Dietrich Prinz and Wolfe Mays

This machine was made at Manchester University by physicist Dietrich Prinz, one of Alan Turing’s protégés, and Wolfe Mays, a 36-year-old philosophy lecturer.

It is an electrical device for testing logical propositions, built mostly from RAF spare parts left over from the Second World War, and was unique in Britain at the time.

The Pilot ACE computer

his was one of the first electronic ‘universal’ computers. Its fundamental design was by Alan Turing, who wrote the specification in 1945 while working at the government’s National Physical Laboratory. It was completed in 1950.

Turing’s idea was to build a large computer, to be known as the Automatic Computing Engine or ACE. But slow progress, coupled with changes in project direction imposed on Turing, left him deeply frustrated, and he quit in 1948. This small-scale trial version, called Pilot ACE, was completed in his ab



ednesday 27 March at Cybersalon: New Media Art

The Arts Catalyst,
50-54 Clerkenwell Road,
London EC1M 5PS
Tubes: Old St/ Barbican

This month’s Cybersalon is celebrating the past two decades of digital creativity in London and will look forward to the city’s next burst of artistic innovation.

New Media Art in the 1990s was not about a particular art form, but rather about exploring the emerging medium itself. Some have called it techno-deterministic, others saw it as a rise of new digital aesthetics. What is now clear is that the best artworks from this pioneering decade explored how the decentralised and open structure the Net encouraged the development of virtual and real-life communities. It was this artistic avant-garde that would find its home in the rave scene, cybercafes and autonomist collectives. In 2013, learning from this formative experience, both veterans and newcomers are producing many weird and wonderful media artworks for our own times. Come to Cybersalon to discuss the past, present and future of new media art in this vibrant city. London’s greatest contributions to digital aesthetics are yet to come!

Artist William Latham will show and speak about his early experimental work on digital sculptures, developing Mutator and its influence on the aesthetics of the London club scene of the 1990s.
Ivan Pope, the founder of ArtNet BBS and co-director of Webmedia, will show the thinking, creation and impact of his first Web artwork – The Last Words of Dutch Schultz – and it’s implication for today’s Net innovators.
Sean Cubitt from Goldsmiths, University of London, will talk about how the interaction between electronic artists and their technologies creates a distinctive digital aesthe