Interviewed in Flavorwire.
A post in Bitch Magazine.
Her official site
Showing posts with label article. Show all posts
Showing posts with label article. Show all posts
Monday, May 11, 2009
Thursday, April 2, 2009
The Zeitgeist Movement: Orientation Presentation
The Zeitgeist Movement is the activist arm of The Venus Project, which constitutes the life long work of industrial designer and social engineer, Jacque Fresco.
The book of the movement: THE ZEITGEIST MOVEMENT - OBSERVATIONS AND RESPONSES - Activist Orientation Guide
Mr. Fresco’s background includes industrial design and social engineering, as well as being a forerunner in the field of Human Factors.
A documentary, titled Future By Design, on the life, designs and philosophy of Jacque Fresco is now available.
The film Zeitgeist Addendum featuring Jacque Fresco and The Venus Project produced by Peter Joseph was recently released. It can be viewed at www.ZeitgeistMovie.com
http://www.zeitgeistmovie.com/dloads.htm
Is this a nightmare or a joke?
Is this a new-retro recovery of the ever-evolutionary/progressive positive-thinking of monternism or is this a blooming branch of the emerging hypermodernism?
The 4th Radiator festival. Going Underground - Surveillance and Sousveillance.
A very interesting exhibition regarding the city serveillance systems and its counterpart 'sousveillance' (Sousveillance - the counterpart to surveillance, where the ‘observed’ turns around, to face and watch the ‘observer’, recording the observers actions and movements.) of the 4th Radiator festival.
Read a review on Furtherfield
Read a review on Furtherfield
Sunday, March 22, 2009
Art after Crisis
Art After Crisis is a website by traveling writer Chris Keulemans. Ever since his first visit to wartime Sarajevo, he has been fascinated by the way artists reinvent their work, their city and their life after a period of war or dictatorship.
The next year, Keulemans will continue his trips through these cities. Sarajevo, Sofia, Algiers, Beirut, Prishtina, Tirana, Jakarta, Kabul, Buenos Aires, New York, Baghdad...
Along the way, all the material he collects will be on the site. Travel stories, audio interviews, video shots, the photographs of his girlfriend and co-traveler Riette Mellink. And of course, the new art of all these cities itself.
Each city tells its own story through the artists who live there. But it seems that art also follows universal patterns when reinventing the place it comes from: from the original euphoria through the emotional backlash to the emergence of truly new places and ideas. Check out the Beirut Metro Map, the Tirana pyramid, the erotic imagination of Jakarta, the Anne Frank of Sarajevo and all the others...
The next year, Keulemans will continue his trips through these cities. Sarajevo, Sofia, Algiers, Beirut, Prishtina, Tirana, Jakarta, Kabul, Buenos Aires, New York, Baghdad...
Along the way, all the material he collects will be on the site. Travel stories, audio interviews, video shots, the photographs of his girlfriend and co-traveler Riette Mellink. And of course, the new art of all these cities itself.
Each city tells its own story through the artists who live there. But it seems that art also follows universal patterns when reinventing the place it comes from: from the original euphoria through the emotional backlash to the emergence of truly new places and ideas. Check out the Beirut Metro Map, the Tirana pyramid, the erotic imagination of Jakarta, the Anne Frank of Sarajevo and all the others...
Wednesday, March 11, 2009
"Collision: Interarts Practice and Research" _ Book
Contents from "Collision: Interarts Practice and Research" book
Part V: Performative Collisions and Collisions in Performance
Chapter Eighteen ...................... 261
Feminist Performance, Community, and Violence: Conversations
between Elizabeth Chitty, Margaret Dragu and Julie Lassonde
Julie Lassonde
Chapter Nineteen ...................... 277
Interarts Performativities: Writing-Drawing-Architecture
Leoni Schmidt
Chapter Twenty ........................ 299
The Aesthetics of Disappointment
Andreas Kahre and Heidi Taylor
Chapter Twenty-One ................ 315
Ruptured Flesh, Gaps in Time: Between Performance and Pain
Christine Stoddard
http://www.c-s-p.org/Flyers/Collision--Interarts-Practice-and-Research1-4438-0031-7.htm
.pdf sample http://www.c-s-p.org/Flyers/978-1-4438-0031-0-sample.pdf
Part V: Performative Collisions and Collisions in Performance
Chapter Eighteen ...................... 261
Feminist Performance, Community, and Violence: Conversations
between Elizabeth Chitty, Margaret Dragu and Julie Lassonde
Julie Lassonde
Chapter Nineteen ...................... 277
Interarts Performativities: Writing-Drawing-Architecture
Leoni Schmidt
Chapter Twenty ........................ 299
The Aesthetics of Disappointment
Andreas Kahre and Heidi Taylor
Chapter Twenty-One ................ 315
Ruptured Flesh, Gaps in Time: Between Performance and Pain
Christine Stoddard
http://www.c-s-p.org/Flyers/Collision--Interarts-Practice-and-Research1-4438-0031-7.htm
.pdf sample http://www.c-s-p.org/Flyers/978-1-4438-0031-0-sample.pdf
Tuesday, March 10, 2009
Friday, February 20, 2009
"The Puppet" by Ibrahim Al-Koni,
Ibrahim Al-Koni, scion of a Libyan Tuareg family, is regarded as the great writer of the Sahara. In his new novel "The Puppet" Al-Koni perceptively depicts the way in which the modern world intrudes into the Tuaregs' traditional society.A fundamental examination of the phenomenon of emergent capitalism: Al-Koni's Die Puppe ("The Puppet", not yet available in English translation)
A presentation of the novel by Kersten Knipp
Sunday, February 15, 2009
Technologically Expanded Dance
http://tercius.wordpress.com/
A new book accompanied by DVD "TeDance - Perspectives on Technologically Expanded Dance" has been published by Daniel Tércio.
"When preparing this paper, I have started attempting to identify a Portuguese accent. In order to do so, I have chronologically listed dance pieces exhibited in Portugal by Portuguese, or Portugal-based, choreographers, where intersections with new technologies were portrayed. Soon I was to face a curious dilemma: how would one distinguish ‘new technologies’? And above all, how would one identify those artworks where the authors take up technology not only as devices or resources but as dramaturgically purposeful?"
“Dance and Technology with Portuguese accent at the crossroads” excerpt, by Daniel Tércio.
In Tedance. Perspectives on Technologically Expanded Dance. Lisbon, FMH, 2009. 249 pp. Paper plus a DVD. ISBN: 987-972-735-160-2
Sunday, January 11, 2009
The OpenEnded Group
http://www.openendedgroup.com/
The OpenEnded Group is three digital artists — Marc Downie, Shelley Eshkar, and Paul Kaiser — who create works for stage, screen, gallery, page, and public space.
Kaiser and Eshkar have collaborated on numerous projects since the mid-1990s. Interested from the start in creating a new kind of 3D space that did not aspire to photorealism, we thought instead about drawing. Soon we formulated the notions of drawing as performance and hand-drawn space, which we then applied to motion-captured performance in a series of collaborations with choreographers. Of these, perhaps the best known are BIPED, with Merce Cunningham, and Ghostcatching, with Bill T. Jones.
Watch videos like 'Verge (Complete)' (Verge uses volumetric light to explore the idea of “blind 3D” in which black zones of the image may be read as voids or as dark solids) and clips 'Movement Principles' of Robert Wilson's instructions on how to move your body on stage
The OpenEnded Group is three digital artists — Marc Downie, Shelley Eshkar, and Paul Kaiser — who create works for stage, screen, gallery, page, and public space.
Kaiser and Eshkar have collaborated on numerous projects since the mid-1990s. Interested from the start in creating a new kind of 3D space that did not aspire to photorealism, we thought instead about drawing. Soon we formulated the notions of drawing as performance and hand-drawn space, which we then applied to motion-captured performance in a series of collaborations with choreographers. Of these, perhaps the best known are BIPED, with Merce Cunningham, and Ghostcatching, with Bill T. Jones.
Watch videos like 'Verge (Complete)' (Verge uses volumetric light to explore the idea of “blind 3D” in which black zones of the image may be read as voids or as dark solids) and clips 'Movement Principles' of Robert Wilson's instructions on how to move your body on stage
Saturday, January 3, 2009
eva and franco mattes have a new show in Mumbai, India, opening Saturday the 3rd, it's called "Traveling by telephone".
http://www.galeriems.com
http://www.timeoutmumbai.net/art/arts_preview_details.asp?code=74
Eva and Franco Mattes are known as the Bonnie and Clyde of contemporary art.
http://www.timeoutmumbai.net/art/arts_preview_details.asp?code=74
Eva and Franco Mattes are known as the Bonnie and Clyde of contemporary art.
Interviewing artists Eva and Franco Mattes is confusing because Eva and Franco are not really real. “Once we were watching a Fassbinder movie and a journalist called,” the artist who uses the name Franco recalled in an email interview with Time Out Mumbai from Italy. “He wanted a name to write on the paper. We said we didn’t want any names, he insisted so Eva looked at the TV screen and there was the actress Eva Mattes, so she promptly said ‘OK, you won, my name is Eva Mattes’.” The name Franco was picked because it means honest in Italian. There are, however, some things about them that have been confirmed. They are the website 0100101110101101.org. They have watched and loved Sholay (“Sholay was like Sergio Leone on drugs!” they said). This fortnight, they will make their Indian debut at Galerie Mirchandani+ Steinruecke.
Eva and Franco Mattes are recognised as pioneers in the field of net art, which involves scrambling or copying internet codes. For Life Sharing (2000), they submitted themselves to a year of satellite surveillance during which their every move was monitored. In 2003, they courted media attention with an elaborate prank titled Nikeground. Nikeground circulated the rumour that Nike was going to buy and rename the town square Karlsplatz in Vienna which would be renamed Nikeplatz. The point was to trick an entire city and to a large extent, they succeeded. However, the protests they had expected against the privatisation of public spaces didn’t materialise. In 2006, the duo decided to make art out of and in Second Life, a virtual world where members, known as Residents, interact with each other using online personae, known as avatars. Second Life avatars are three-dimensional and animated, hovering between realistic, robotic and cartoonish. “We have always experimented with drugs, especially LSD,” said Franco. “We like being totally spaced out and see the world from a different perspective. Second Life reminded me a bit of that feeling, like being in Blade Runner or in Neuromancer.”
In 2006, Ars Virtua, a gallery in Second Life, hosted an exhibition by Franco and Eva Mattes at which they showed portraits of characters in Second Life. The same show, with the avatars were printed on canvas, was also taken to more conventional gallery spaces across Europe and in New York. The age-old European tradition of portraiture met the pop-art sensibility of Andy Warhol, held up a mirror to ideas of beauty and explored how identity is constructed in contemporary society. In Second Life, “masks are not there to hide your real identity”, explained Franco. “On the contrary they are there to show who you really are, since you can ignore social restrictions. Since we’ve been living fake identities all of our lives, it’s obvious that we are attracted by a world of avatars.”
The tension between the real and the virtual also inspired the Synthetic Performances series in which Franco and Eva recreated a number of famous performance art projects in Second Life. They picked “the most weird performances; maybe for all the sex and pain involved, which is completely absent, or, well, ‘abstract’ in a [video] game”, said Franco, who hates performance art as a genre and can’t see the point of it. In Mumbai, they will show the re-enactments of Chris Burden’s “Shoot”, Marina Abramovic’s “Seven Easy Pieces” and Gilbert & George’s “The Singing Sculpture” on large screens. The synthetic world of Second Life robs performance art of its central characteristic: spontaneity. Everything is mediated through avatars and feels oddly abstracted. The jerky, movements of the avatars further underscore the artificiality of the performances.
A number of Eva and Franco’s projects have been about art. Between 1998 and 2000, the duo created the fictional artist Darko Maver, by setting up a website and posting pictures of his art works, which recreated scenes of murder and violence using mannequins (in reality, they were pictures of real crime scenes that were freely available online). They convinced many of the existence of this Serbian artist, only to eventually kill him. In 2001, they scrambled the code of the website of Korean Web Art festival so that the works of artists were exchanged. “I’m afraid I have a love-hate relation with art,” said Franco. “I love it so much that I’m afraid to find out it may well be all bullshit, like a religious guy who after a whole life lived piously finds out before dying that god does not exist.”
The duo’s newest works, some of which will be shown in Mumbai, are photos “shot inside” a game called Half-Life. It’s been one of their tougher challenges. “Every shot was taken while killing aliens, struggling with radioactive traps or while escaping helicopters,” said Franco. “Sometimes I had to go through the whole scheme over and over for hours, because every time I was trying to stand still and make the photo, some goddamn alien was trying to eat my brain.”
Monday, December 1, 2008
ROUGH GUIDE TO AMSTERDAM | BORDER INQUIRIES
http://roughguideamsterdam.wordpress.com/
Border Inquiries is a live-connected public discussion between Belgrade and Amsterdam about the new and ever-changing borders on the Balkans, as part of the "Rough Guide to Amsterdam" festival, at Dom Omladine in Belgrade, November 28 - 30, 2008.
The discussion will take place simultaneously in the spaces of De Balie and Dom Omladine, connected live via internet. The event brings together researchers, activists and engaged citizens in both cities around issues of border control, border management and migration, to discuss how these issues reflect the precarious relationship of the Balkan region to the European Union.
Borders act as filters, not simply as inclusion and exclusion mechanisms. What the border filters out or lets through is dependent on who operates the border.
A peculiarity of the Balkan condition however, is that there are so many overlapping spheres of interest and power that is deeply unclear who actually operates the border? What are the mechanisms deployed in the region to maintain and manage the borders (technological, policing, regulatory, legal, etc.)?
The aim of this gathering in two cities is to create an open forum where a first attempt is made to map the complex transnational presence of the multitude of agencies (OSCE, NATO, UNMIK, KFOR, SFOR, and various missions from the EU, USA and Russian Federation) involved in consolidating the volatile Balkan borders. The discussion could lead to a larger visualisation and mapping project.
With: writer and new media developer Florian Schneider (Kein.org), filmmaker Želimir Žilnik (tbc), artist and author of "Schengen without effort" Vahida Ramujkić, artist and researcher Zoran Pantelić (new media center Kuda.org), art and media explorer Kristian Lukić (new media center Kuda.org), Milenko Srećković (FreedomFight - Zrenjanin), artist Željko Blaće (Mi2 / Jan van Eijk Academy) (tbc), artist Darko Fritz (tbc) and researcher Paul Keller (Kein.org / Knowledgeland).
De Balie produces a programme with video diaries, debates, music, films, photography, theatre, video art and graphic design in co- operation with several partners. Through art and discussion, De Balie wants to attack the existing clichés. Not the differences, but the similarities between Serbia and the Netherlands are the main focus. Both countries show cracks in their national self-image and in both countries, ‘national identity’ is currently a hotly discussed topic, as is the question of how to relate to one’s country’s past.
Border Inquiries is a live-connected public discussion between Belgrade and Amsterdam about the new and ever-changing borders on the Balkans, as part of the "Rough Guide to Amsterdam" festival, at Dom Omladine in Belgrade, November 28 - 30, 2008.
The discussion will take place simultaneously in the spaces of De Balie and Dom Omladine, connected live via internet. The event brings together researchers, activists and engaged citizens in both cities around issues of border control, border management and migration, to discuss how these issues reflect the precarious relationship of the Balkan region to the European Union.
Borders act as filters, not simply as inclusion and exclusion mechanisms. What the border filters out or lets through is dependent on who operates the border.
A peculiarity of the Balkan condition however, is that there are so many overlapping spheres of interest and power that is deeply unclear who actually operates the border? What are the mechanisms deployed in the region to maintain and manage the borders (technological, policing, regulatory, legal, etc.)?
The aim of this gathering in two cities is to create an open forum where a first attempt is made to map the complex transnational presence of the multitude of agencies (OSCE, NATO, UNMIK, KFOR, SFOR, and various missions from the EU, USA and Russian Federation) involved in consolidating the volatile Balkan borders. The discussion could lead to a larger visualisation and mapping project.
With: writer and new media developer Florian Schneider (Kein.org), filmmaker Želimir Žilnik (tbc), artist and author of "Schengen without effort" Vahida Ramujkić, artist and researcher Zoran Pantelić (new media center Kuda.org), art and media explorer Kristian Lukić (new media center Kuda.org), Milenko Srećković (FreedomFight - Zrenjanin), artist Željko Blaće (Mi2 / Jan van Eijk Academy) (tbc), artist Darko Fritz (tbc) and researcher Paul Keller (Kein.org / Knowledgeland).
De Balie produces a programme with video diaries, debates, music, films, photography, theatre, video art and graphic design in co- operation with several partners. Through art and discussion, De Balie wants to attack the existing clichés. Not the differences, but the similarities between Serbia and the Netherlands are the main focus. Both countries show cracks in their national self-image and in both countries, ‘national identity’ is currently a hotly discussed topic, as is the question of how to relate to one’s country’s past.
Tuesday, November 25, 2008
Monday, November 24, 2008
The Birth of Primary Cinema from the Spirit of Sound - Feature Article by Frank Rothkamm
on Furthernoise http://www.furthernoise.org/index.php?url=page.php&ID=273&iss=71
It is about eleven o'clock in the morning in my studio in Los Angeles. I look out the window and stare at the Hollywood sign in the distance. The phone almost never rings. If it does, I pick up and nobody is on the line. After a while my mind drifts and a single thought forms in my head like a mantra:
As the rate of information is increasing, so is its comprehensibility decreasing.
I realize that this is especially true for motion pictures, arguably the first digital art form because they're made of single images floating by at the rate of twenty four frames per second. At this rate however, the perception is one of continuous motion. Because of the high rate of images per second, or, of information given per second, the brain (or let me use a Kantian term: the understanding) can no longer understand or process the single image. The development of the modern cinema in Hollywood has only increased the misunderstanding of the single image by constantly increasing the rate of events per second. When I turn on the TV, a SpongeBob SquarePants cartoon is interrupted by a commercial. The longer the show continues, the more often the commercials are shown. The scenes in these commercials are cut so fast and there are so many images per second that I have no idea of what I'm actually watching and thus, no idea what it is that I'm supposed to buy. I do not try to understand anything anymore, I just sit here and let the events pass by.
My eyes drift back to the Hollywood sign: Motion pictures are based on an illusion.
It is about eleven o'clock in the morning in my studio in Los Angeles. I look out the window and stare at the Hollywood sign in the distance. The phone almost never rings. If it does, I pick up and nobody is on the line. After a while my mind drifts and a single thought forms in my head like a mantra:
As the rate of information is increasing, so is its comprehensibility decreasing.
I realize that this is especially true for motion pictures, arguably the first digital art form because they're made of single images floating by at the rate of twenty four frames per second. At this rate however, the perception is one of continuous motion. Because of the high rate of images per second, or, of information given per second, the brain (or let me use a Kantian term: the understanding) can no longer understand or process the single image. The development of the modern cinema in Hollywood has only increased the misunderstanding of the single image by constantly increasing the rate of events per second. When I turn on the TV, a SpongeBob SquarePants cartoon is interrupted by a commercial. The longer the show continues, the more often the commercials are shown. The scenes in these commercials are cut so fast and there are so many images per second that I have no idea of what I'm actually watching and thus, no idea what it is that I'm supposed to buy. I do not try to understand anything anymore, I just sit here and let the events pass by.
My eyes drift back to the Hollywood sign: Motion pictures are based on an illusion.
Sunday, November 23, 2008
Automatic Projector Calibration
This callibration solution is a collaboration between people from Carnegie-Mellon, Mitsubishi Electric Research Lab and Stanford. Watch the video demonstration.
You can find more here (pdf) and here
You can find more here (pdf) and here
Wednesday, November 19, 2008
Media-Space Journal Inaugural Issue
http://media-space.org.au/journal/issue1.html
In this inaugural issue of Media-Space Journal, is included ten papers from the 7th International Digital Arts and Culture Conference (perthDAC 2007). Digital Arts and Culture (DAC) is the leading cross-disciplinary research conference series for the analysis of developments in the broad field of digital and new media. In September 2007, DAC was hosted as the key international conference in the public program of the Biennale of Electronic Arts Perth (BEAP) in Perth, Australia. BEAP showcases and critiques artworks that engage with new and novel technologies. The theme of perthDAC 2007 was The Future of Digital Media Culture.
In this inaugural issue of Media-Space Journal, is included ten papers from the 7th International Digital Arts and Culture Conference (perthDAC 2007). Digital Arts and Culture (DAC) is the leading cross-disciplinary research conference series for the analysis of developments in the broad field of digital and new media. In September 2007, DAC was hosted as the key international conference in the public program of the Biennale of Electronic Arts Perth (BEAP) in Perth, Australia. BEAP showcases and critiques artworks that engage with new and novel technologies. The theme of perthDAC 2007 was The Future of Digital Media Culture.
Tuesday, November 4, 2008
Immersive Sight Within the Third Space: Augmentation and Spatial Interface in exhibition space
by Jeremy Hight
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.
http://neme.org/main/645/immersive-sight
http://neme.org/main/880/immersive-event-time
http://www.xcp.bfn.org/hight.html
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.
http://neme.org/main/645/immersive-sight
http://neme.org/main/880/immersive-event-time
http://www.xcp.bfn.org/hight.html
Monday, November 3, 2008
Disability and Poetics
Read this wonderfull conversation on "Disability and Poetics" in Amber DiPietra 's Blog
http://www.nonsitecollective.org/node/397
http://www.nonsitecollective.org/blog/78
http://www.nonsitecollective.org/node/397
http://www.nonsitecollective.org/blog/78
Media & Disability Bibliography Project
http://pages.towson.edu/bhalle/m&d-biblio.html
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
http://www.journalofliterarydisability.com/issues/vol01no01/0101index.html
and "Topics in Disability Studies" (Real Audio recordings)http://www.umich.edu/~uminds/Rackham%20580/Semesters/rackham580W05.html
Journal of Literary Disability
http://www.journalofliterarydisability.com/issues/vol01no01/0101index.html
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