The alt.econ.cult Seminar of Pixelache’s morning KEYNOTE session chaired by Perpetuum Mobilε:
Alternative Economy Cultures part 1 from pixelACHE festival on Vimeo.
Alternative Economy Cultures PART 2 from pixelACHE festival on Vimeo.
Alternative Economy Cultures PART 3 from pixelACHE festival on Vimeo.
Showing posts with label fest. Show all posts
Showing posts with label fest. Show all posts
Thursday, April 23, 2009
Saturday, November 29, 2008
Tuesday, October 14, 2008
amber '08
http://08.a-m-b-e-r.net/
special performance section: http://08.a-m-b-e-r.net/index.php?m=works&sm=1&id=3
and New Media in performance: http://08.a-m-b-e-r.net/index.php?m=works&sm=4&id=39
special performance section: http://08.a-m-b-e-r.net/index.php?m=works&sm=1&id=3
and New Media in performance: http://08.a-m-b-e-r.net/index.php?m=works&sm=4&id=39
Sunday, September 14, 2008
Tuesday, May 6, 2008
ANTIDATAMINING
DATA MEANINGS EXHIBITION @ Rencontres Internationales Paris/Berlin/MadridMadrid, 5th to 14th of may 2008
http://antidatamining.net/
http://art-action.org/en_index.htm
http://antidatamining.net/
http://art-action.org/en_index.htm
Thursday, May 1, 2008
RIXC, Centre for New Media Culture
Recently founded Centre for new media culture in Riga - the RIXC is the joint effort of a number of independent local cultural groups working in the fields of new media, art, film, music, youth culture and the social projects. The founders of RIXC are E-LAB - Electronic Arts and Media Centre (http://re-lab.net), LOCOMOTIVE- film studio (http://www.karosta.org) and BALTIC CENTER - NGO for education and social development; members and partners include: SVAIGS99% (http://svaigs99.lv), Bio.codes, Djs AG & Raitis, VARKA CREW, F5, OPEN, CLAUSTHOME, ORBITA (http://www.orbita.lv), K@2 (http://www.karosta.org), and others.
The aim of the centre is to bridge the traditional gap between 'high' and popular culture and the divisions between various youth, sub- and minority cultures. The RIXC intends to become a meeting place for different types of culture on local and international scale.
The main fields of activities include:- organising of public events (festivals, workshops, performances, club events, etc.)- Media lab - production space, where different artistic disciplines can meet and collaborate (video, film, audio, cd-rom and web design, electronic music,…) - Training programmes - specially geared towards specific target groups (artists, young people, minorities and local ethnical groups, administrators and managers of the media centres, etc.)- Educational and social programmes- Research into the fields of new media and culture, particularly in streaming media (developing of Acoustic space research programme).
RIXC is the member of NICE network (Nordic-Baltic-North-East European network for small scale innovative initiatives in the field of new media culture (http://nice.x-i.net), and takes part in other international and cross disciplinary networks, co-projects and mailing-lists in the field of new media culture in Europe, Canada and other parts of the world.
http://rixc.lv
Monday, April 28, 2008
Oska Bright Film Festival
The Oska Bright Film Festival is run by people with a learning disability. Oska Bright screens short films made by people with learning disabilities.
http://carousel.org.uk/index.php?option=com_content&task=view&id=32&Itemid=148
High Spin Dance Company
High Spin is a Dance Theatre Company of six learning disabled dancers. We perform with other learning disabled performers, too.
http://carousel.org.uk/index.php?option=com_content&task=view&id=79&Itemid=180
Carousel inspires people with learning disabilities to achieve their artistic ambitions.
http://carousel.org.uk/
http://carousel.org.uk/index.php?option=com_content&task=view&id=32&Itemid=148
High Spin Dance Company
High Spin is a Dance Theatre Company of six learning disabled dancers. We perform with other learning disabled performers, too.
http://carousel.org.uk/index.php?option=com_content&task=view&id=79&Itemid=180
Carousel inspires people with learning disabilities to achieve their artistic ambitions.
http://carousel.org.uk/
Tuesday, April 22, 2008
3 Documentaries and 2 Art Films at the Tribeca Film Festival
Standard Operating Procedure
Can a photograph change the world? Can an exposé also be a coverup? In Standard Operating Procedure, Academy Award®-winning director Errol Morris turns the camera on the American soldiers who took the infamous Abu Ghraib photographs.
Followed by a conversation with Errol Morris. » View Film Details
2001: A Space Odyssey
Sponsored by the Alfred P. Sloan Foundation Kubrick’s 2001 caught the imagination of a generation with its near-hallucinatory depiction of space, artificial intelligence, and the human condition. The 40th anniversary of this film finds us once again confronting profound questions about the effects these things have had on our culture and our future.Followed by a conversation with scientists about the realities of Kubrick’s futuristic masterpiece and of artificial intelligence. » View Film Details
Celebrating Berlin
Hosted by the School of Visual ArtsLou Reed’s critically acclaimed 1973 album Berlin was yet another musical step forward in the career of the man who brought the darkest themes of literature to rock and roll. For years, Berlin was considered one of the more eclectic works in Reed’s extraordinary catalog, but one that clearly cried out for a theatrical presentation. In 2006, backed by a full orchestra, Reed performed the mini-opera in its entirety over five nights at St. Ann’s Warehouse in Brooklyn. And, under the direction of painter/director Julian Schnabel, this historic event was captured on film.
Followed by Lou Reed in a conversation with Vanity Fair's Lisa Robinson. » View Film Details
Empire II
Although inspired by a monument of cinematic stasis, Andy Warhol's eight-hour Empire (1964), this new three-hour experiment is an astonishingly beautiful and unexpectedly lively tone poem paying unforgettable tribute to the sights and sounds of the mythical, magical place called Manhattan. » View Film Details
Everywhere at Once
Renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher, with actress Jeanne Moreau, weave a tapestry of images shaping one woman's deepest sense of selfhood. Music by Lois V Vierk. » Read More http://www.peterlindbergh.com/everywhereatonce/
Can a photograph change the world? Can an exposé also be a coverup? In Standard Operating Procedure, Academy Award®-winning director Errol Morris turns the camera on the American soldiers who took the infamous Abu Ghraib photographs.
Followed by a conversation with Errol Morris. » View Film Details
2001: A Space Odyssey
Sponsored by the Alfred P. Sloan Foundation Kubrick’s 2001 caught the imagination of a generation with its near-hallucinatory depiction of space, artificial intelligence, and the human condition. The 40th anniversary of this film finds us once again confronting profound questions about the effects these things have had on our culture and our future.Followed by a conversation with scientists about the realities of Kubrick’s futuristic masterpiece and of artificial intelligence. » View Film Details
Celebrating Berlin
Hosted by the School of Visual ArtsLou Reed’s critically acclaimed 1973 album Berlin was yet another musical step forward in the career of the man who brought the darkest themes of literature to rock and roll. For years, Berlin was considered one of the more eclectic works in Reed’s extraordinary catalog, but one that clearly cried out for a theatrical presentation. In 2006, backed by a full orchestra, Reed performed the mini-opera in its entirety over five nights at St. Ann’s Warehouse in Brooklyn. And, under the direction of painter/director Julian Schnabel, this historic event was captured on film.
Followed by Lou Reed in a conversation with Vanity Fair's Lisa Robinson. » View Film Details
Empire II
Although inspired by a monument of cinematic stasis, Andy Warhol's eight-hour Empire (1964), this new three-hour experiment is an astonishingly beautiful and unexpectedly lively tone poem paying unforgettable tribute to the sights and sounds of the mythical, magical place called Manhattan. » View Film Details
Everywhere at Once
Renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher, with actress Jeanne Moreau, weave a tapestry of images shaping one woman's deepest sense of selfhood. Music by Lois V Vierk. » Read More http://www.peterlindbergh.com/everywhereatonce/
Sunday, February 17, 2008
THE INFLUENCERS Festival of media action and radical entertainment
http://www.theinfluencers.org/
The Influencers explores controversial forms of art and communication guerrilla, presenting independent projects that play with global popular culture, infiltrate the mass media, and transform fashions, consumption and technological fetishism.
The Influencers is a project by Eva and Franco Mattes and Bani, started in 2004 with the collaboration of the Center of Contemporary Culture of Barcelona.
Eva and Franco Mattes - internationally known as 0100101110101101.org - is a couple of restless European con-artists who use non conventional communication tecniques to obtain the largest visibility with the minimal effort.
The Influencers explores controversial forms of art and communication guerrilla, presenting independent projects that play with global popular culture, infiltrate the mass media, and transform fashions, consumption and technological fetishism.
The Influencers is a project by Eva and Franco Mattes and Bani, started in 2004 with the collaboration of the Center of Contemporary Culture of Barcelona.
Eva and Franco Mattes - internationally known as 0100101110101101.org - is a couple of restless European con-artists who use non conventional communication tecniques to obtain the largest visibility with the minimal effort.
Wednesday, February 13, 2008
Friday, February 1, 2008
Our Literal Speed
Rather than a series of academic lectures, OUR LITERAL SPEED is imagined as a kind of “media pop opera” or a “pedagogical concept album,” implying fluid and/or jagged transitions among scholarly presentations, panel discussions, artist’s talks, performances, and an art exhibition within an academic conference. These emerging, hybrid forms demand a synthesis of collective activity ("OUR"), a self-reflexive examination of art history and its constitutive technologies ("LITERAL"), and an intense concern for the pace and texture of our movement through institutional mediation ("SPEED"). The project offers a temporary discursive laboratory in which artists and curators, art historians and media theorists can investigate non-formulaic, experientially vibrant and theoretically precise responses to the modes of distribution, consumption and circulation that drive contemporary art.
Tania Bruguera & The Weather Underground
Transmediale.08 re-included the project 'Signature, Event, Context' to the exhibition
As reported today on the Transmediale.08 website, the project Signature, Event, Context by Janez Jansa, Janez Jansa and Janez Jansa has been officially re-included to the exhibition CONSPIRE.
This decision came along with the following mutual statement of the festival direction, the guest curator and the artists:
Disclaimer
The performative installation 'Signature, Event, Context' as proposed to the transmediale.08 exhibition by Janez Jansa,Janez Jansa and Janez Jansa had been accepted for inclusion to the exhibition. In the run-up to the festival due to thecuratorial and ethical convictions of Natasa Petresin Bachelez, the guest curator of the transmediale.08 exhibition, adecision was taken with the festival direction to not include the project. However, after the exhibition opening, andfollowing a discussion with the artists, the festival direction has agreed with the curator to re-include the project, whilethe curator would like to distance herself from the project. A documentation of the project is on display at the foyer ofthe House of World Cultures.
The documentation of the performance is available here:
Contacts:
Thursday, January 31, 2008
Signature Event Context by Janez Janša, Janez Janša and Janez Janša
WATCH THE PERFORMANCE
In summer 2007, three Slovenian artists officially changed their names to Janez Janša. Their work focuses on the question of signature, and – more particularly – on the role of signature in public space. In their various approaches, they explore Derrida’s famous statement on signature and its paradoxical relationship towards originality and repetition.“By definition, a written signature implies the actual or empirical nonpresence of the signer. But, it will be said, it also marks and retains his having-been present in a past now, which will remain a future now, and therefore in a now, in general, in the transcendental form of nowness (maintenance). This general maintenance is somehow inscribed, stapled to the present punctuality, always evident and always singular, in the form of the signature. This is the enigmatic originality of every paraph. For the attachment to the source to occur, the absolute singularity of an event of the signature and of a form of the signature must be retained: the pure reproducibility of a pure event.”
(Jacques Derrida, “Signature Event Context” in Margins of Philosophy, tr. Alan Bass, pp. 307-330)
On January 27th, 2008, Janez Janša, Janez Janša, and Janez Janša performed Signature Event Context at the Holocaust Memorial in Berlin, a walking action in the corridors of the Memorial. Each one of them, equipped with a GPS device, covered a different path within the Memorial’s structure this way, together assembling a common signature visible only in a virtual space (the internet) . During the performance artists continuously repeated “Jaz sem Janez Janša, Jaz sem Janez Janša, Jaz sem Janez Janša…” (“My name is Janez Janša”).
Signature Event Context at the Holocaust Memorial puts together 3 concepts (signature, event and context) from Derrida’s essay in complex relation; signature itself is an event which re-contextualizes the site of signature. In his book At Memory's Edge: After-images of the Holocaust in Contemporary Art and Architecture (Yale University Press, 2000) the American scholar James E. Young writes that there is no intrinsic meaning in memorials. Instead, they derive their meaning from visitors' interactions: each visitor makes their own experience of memory at a memorial. The structure of the Holocaust Memorial in Berlin, which invites a visitor for an individual experience – as has been stated by its architect Peter Eisenman –, points to the intention of the Signature Event Context project. Eisenman concludes his statement with the following explanation of the experience in the Memorial:
"In this monument there is no goal, no end, no working one's way in or out. The duration of an individual's experience of it grants no further understanding, since understanding is impossible. The time of the monument, its duration from top surface to ground, is disjoined from the time of experience. In this context, there is no nostalgia, no memory of the past, only the living memory of the individual experience. Here, we can only know the past through its manifestation in the present." (Eisenman Architects, Memorial to the Murdered Jews of Europe, Berlin. Project text by Peter Eisenman)
In Derrida's words, walking and talking signatures by Janša, Janša and Janša are the physical manifestations of nowness via individual experience. The traces of the walking and talking signature are left only in virtual space. Memory is always already a performance of virtuality.
REASON FOR BANNING S.E.C. FROM TRANSMEDIALE.08
According to the new director of Transmediale Stephen Kovats and to the Guest Curator of the exhibition CONSPIRE… Nataša Petrešin-Bachelez, the great cause for banning this project from the festival 4 days before its opening has to be find in “judicial and legislative reasons” (Kovats) and “personal - curatorial and ethical convictions« (Petrešin-Bachelez).
Janez Janša, Janez Janša, Janez Janša understand the banning act as an ACT OF POWER perpetrated by the artistic director of the festival and its guest-curator to the detriment of the artists and as an ACT OF VIOLENCE towards freedom of artistic expression.
Artists hereby formally invite the director of Transmediale Stephen Kovats, the guest-curator of the exhibition CONSPIRE… Nataša Petrešin-Bachelez and all the subscribers of this mailing list to an open confrontation on issues disclosed by Signature Event Context.
"Signature Event Context" - images of the performance www.aksioma.org/sec/press.html
Credits
Janez Janša, Janez Janša, Janez Janša
Signature Event Context
Performance, SI, 2008
Production: Aksioma http://www.aksioma.org/
Co-production: Maska http://www.maska.si/,
Arscenic http://www.arscenic.info/
(Jacques Derrida, “Signature Event Context” in Margins of Philosophy, tr. Alan Bass, pp. 307-330)
On January 27th, 2008, Janez Janša, Janez Janša, and Janez Janša performed Signature Event Context at the Holocaust Memorial in Berlin, a walking action in the corridors of the Memorial. Each one of them, equipped with a GPS device, covered a different path within the Memorial’s structure this way, together assembling a common signature visible only in a virtual space (the internet) . During the performance artists continuously repeated “Jaz sem Janez Janša, Jaz sem Janez Janša, Jaz sem Janez Janša…” (“My name is Janez Janša”).
Signature Event Context at the Holocaust Memorial puts together 3 concepts (signature, event and context) from Derrida’s essay in complex relation; signature itself is an event which re-contextualizes the site of signature. In his book At Memory's Edge: After-images of the Holocaust in Contemporary Art and Architecture (Yale University Press, 2000) the American scholar James E. Young writes that there is no intrinsic meaning in memorials. Instead, they derive their meaning from visitors' interactions: each visitor makes their own experience of memory at a memorial. The structure of the Holocaust Memorial in Berlin, which invites a visitor for an individual experience – as has been stated by its architect Peter Eisenman –, points to the intention of the Signature Event Context project. Eisenman concludes his statement with the following explanation of the experience in the Memorial:
"In this monument there is no goal, no end, no working one's way in or out. The duration of an individual's experience of it grants no further understanding, since understanding is impossible. The time of the monument, its duration from top surface to ground, is disjoined from the time of experience. In this context, there is no nostalgia, no memory of the past, only the living memory of the individual experience. Here, we can only know the past through its manifestation in the present." (Eisenman Architects, Memorial to the Murdered Jews of Europe, Berlin. Project text by Peter Eisenman)
In Derrida's words, walking and talking signatures by Janša, Janša and Janša are the physical manifestations of nowness via individual experience. The traces of the walking and talking signature are left only in virtual space. Memory is always already a performance of virtuality.
REASON FOR BANNING S.E.C. FROM TRANSMEDIALE.08
According to the new director of Transmediale Stephen Kovats and to the Guest Curator of the exhibition CONSPIRE… Nataša Petrešin-Bachelez, the great cause for banning this project from the festival 4 days before its opening has to be find in “judicial and legislative reasons” (Kovats) and “personal - curatorial and ethical convictions« (Petrešin-Bachelez).
Janez Janša, Janez Janša, Janez Janša understand the banning act as an ACT OF POWER perpetrated by the artistic director of the festival and its guest-curator to the detriment of the artists and as an ACT OF VIOLENCE towards freedom of artistic expression.
Artists hereby formally invite the director of Transmediale Stephen Kovats, the guest-curator of the exhibition CONSPIRE… Nataša Petrešin-Bachelez and all the subscribers of this mailing list to an open confrontation on issues disclosed by Signature Event Context.
"Signature Event Context" - images of the performance www.aksioma.org/sec/press.html
Credits
Janez Janša, Janez Janša, Janez Janša
Signature Event Context
Performance, SI, 2008
Production: Aksioma http://www.aksioma.org/
Co-production: Maska http://www.maska.si/,
Arscenic http://www.arscenic.info/
Sonic Acts XII - The Cinematic Experience
Long before celluloid was introduced at the end of the nineteenth century, other media were used to create cinematic experiences: magic lanterns, colour organs, zoëtropes, phenakistoscopes and many other, often optical machines. But even after the introduction of celluloid and the rise of cinema as a spatial concept, there were many attempts to redefine the concept of cinema. This was driven by avant-garde filmmakers during the interbellum, such as Walter Ruttmann and Oskar Fischinger; Jordan Belson and Henry (Ken) Jacobs in the 50s with their Vortex concerts and Le Corbusier’s Philips Pavilion at the World Expo in 1958 by Xenakis and Varèse; and in the 60s by experiments such as computer and film pioneer Stan Vanderbeek’s Movie Drome project. In the 80s and 90s an increasing number of artists, filmmakers, musicians and composers created all kinds of immersive environments in which they experimented with new forms of cinema.
Friday, January 11, 2008
"FROM HERE TO AWESOME"
NEW DISCOVERY AND DISTRIBUTION FESTIVAL
For more information visit http://www.fromheretoawesome.com
For more information visit http://www.fromheretoawesome.com
Monday, December 17, 2007
PRIX ARS ELECTRONICA - International Competition of Cyber Arts
HYBRID ART
The “Hybrid Art” category is dedicated specifically to today’s hybrid and transdisciplinary projects and approaches to media art. Primary emphasis is on the process of fusing different media and genres into new forms of artistic expression as well as the act of transcending the boundaries between art and research, art and social/political activism, art and pop culture. Jurors will be looking very closely at how dynamically the submitted work defies classification in a single one of the Prix categories of long standing.
The “Hybrid Art” category is dedicated specifically to today’s hybrid and transdisciplinary projects and approaches to media art. Primary emphasis is on the process of fusing different media and genres into new forms of artistic expression as well as the act of transcending the boundaries between art and research, art and social/political activism, art and pop culture. Jurors will be looking very closely at how dynamically the submitted work defies classification in a single one of the Prix categories of long standing.
This category is open to all types of current works in any form:
Autonomic Installations and Artworks
Autonomous Sculptures
Performance and Stageprojects
Media architectures
Media based Interventions in public spaces
Mechatronics / Kinetics / Robotics
Location based and geospatial storytelling
Multi user environments
Annotation software tools
Artificial Life
Transgenic Art
Software Art, Generative Art
Autonomic Installations and Artworks
Autonomous Sculptures
Performance and Stageprojects
Media architectures
Media based Interventions in public spaces
Mechatronics / Kinetics / Robotics
Location based and geospatial storytelling
Multi user environments
Annotation software tools
Artificial Life
Transgenic Art
Software Art, Generative Art
Monday, December 3, 2007
FLAG METAMORPHOSIS
http://www.flag-metamorphoses.net/
http://www.thyes.com/political-symbols.html
at Novi Sad, 11th international video festival videomedeja, The Museum of Vojvodina,
http://www.videomedeja.org/screening
http://www.thyes.com/political-symbols.html
at Novi Sad, 11th international video festival videomedeja, The Museum of Vojvodina,
http://www.videomedeja.org/screening
NEW NEW! 2007
http://fiume.cz/
New New! 2007 International Festival of Unusal Music amd Film
http://2007.newnew.cz/?id=12&lang=1
Watch This!
http://fiume.cz/nn07jingle.html
New New! 2007 International Festival of Unusal Music amd Film
http://2007.newnew.cz/?id=12&lang=1
Watch This!
http://fiume.cz/nn07jingle.html
TRANS + FUSION = Tr@nsfusion
The Project Tr@nsfusion 2007 will try to deal with the questions of the contemporary postmodernistic culture and artistic practices, which emerged on cognitive and geographical between the East and West Europe in the 80’s and 90’s and are still in a developing phase. By the contemporary & critical research methods in order to bring together the art & aesthetics, philosphy & art, politics & art with new media and critical social theories, we will try to consider rethink the following topic: State of the (Contemporary) East/West Art after Transition.
The purpose of Tr@nsfusion is to reconsider and reflect on the mentioned topic, mainly in view of the constitution of a contemporary trans-national subject’s identity within the context of globalisation, as well as considering the trans-national or trans-cultural practice and relations in the field of art & social/critical theory, resulting from the logics of capital, European integration, policies and technolgies applied in view of the new forms of time & space distribution. In this context Tr@nsfusion will try to answer the question of the role of West European conditions of subject constitution in the East European art, culture, theory and politics as well as in the subject practice itself. By Tr@nsfusion 2007, with participation of artists, media activists, theorists we want to create the art-aesthetical, multi-media, critical theoretical free research space, which would enable the discussion about national & trans-national media politics, technology and science which are themajor problems in the contemporary Europe.
The purpose of Tr@nsfusion is to reconsider and reflect on the mentioned topic, mainly in view of the constitution of a contemporary trans-national subject’s identity within the context of globalisation, as well as considering the trans-national or trans-cultural practice and relations in the field of art & social/critical theory, resulting from the logics of capital, European integration, policies and technolgies applied in view of the new forms of time & space distribution. In this context Tr@nsfusion will try to answer the question of the role of West European conditions of subject constitution in the East European art, culture, theory and politics as well as in the subject practice itself. By Tr@nsfusion 2007, with participation of artists, media activists, theorists we want to create the art-aesthetical, multi-media, critical theoretical free research space, which would enable the discussion about national & trans-national media politics, technology and science which are themajor problems in the contemporary Europe.
The basis of the project’s idea is contained in its title Tr@nsfusion 2007 - words TRANS and FUSION can be understood as two heterogenic determinants with a significant impact on semantic of (as well) both contemporary social, culture, art practices (as) and live circumstances. The prefix defines international and trans-national characteristics of the project focusing on the practical, theoretical and multimedia connections between the themes of the Western and Eastern Europe. The word FUSION describes heterogenic/diversity of art practices presented in the project and our tendency to express the complex problem of Contemporary East/West Art after Transition. The concept of Tr@nfusion 2007 is focused on art, media and social critical projects, which share the efforts in critical outlook on contemporary social relationships. The project wants to consider the European policy of trans-nationality in practice and to take part in the social and cultural fusion. In this way the project wants to establish an artistic discourse in order to reconsider the practice of social integration, constitution of national and trans-national identities within the urbane environment (nexus). In this way the founders of Tr@nsfusion 2007, all participants and the (general) public would like to contribute to the creation of a new history.
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