Networked_Performance (10 unread)

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  Remix and the Rouelles of Media Production

  Posted: 2-September-2010, 2:51pm UTC by jo

  Read | Write Remix and the Rouelles of Media Production by Mette Birk, Mark Cantwell, Owen Gallagher, Eli Horwatt, Martin Leduc, Eduardo Navas, Tara Zepel — in Networked: a (networked_book) about (networked_art):

  ABSTRACT: Remix and the Rouelles of Media Production explores concepts of remixing not only in content and form, but also in process. The aim of the collaboration is to evaluate how the creative process functions as a type of remix itself in a period when production keeps moving toward a collective approach in all facets of culture. The emphasis on video remixing is the result of a collaborative rewriting activity among the contributors, who each wrote independent paragraphs that went through constant revisions once combined as a single text. Video was selected as the subject of analysis because members have a common interest in time-based media, and also because video remixing is at the forefront of media production. One of the group goals is that the text becomes a statement of what video could be as a reflective form of the networked culture that is developing at the beginning of the twenty-first century. The text is in constant revision and readers are encouraged to join in its writing.

  Remix and the Rouelles of Media Production is the result of an ongoing collaboration that started in January 2010, when Owen Gallagher invited Mette Birk, Mark Cantwell, Martin Leduc, and Eduardo Navas to join a Remix Theory and Praxis online seminar. In April, Navas invited Tara Zepell to join the group.

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  Live Stage: Natalie Jeremijenko [Purchase, NY]

  Posted: 27-August-2010, 1:17am UTC by jo

  Natalie Jeremijenko: Connected Environments :: until October 24, 2010 :: Opening: September 10; 6:30 - 8:00 pm :: Neuberger Museum of Art, 735 Anderson Hill Rd., Purchase, NY.

  Natalie Jeremijenko, artist-engineer, philosopher-activist, ?thingker,? invites participation in re-imagining and redesigning our collective relationship to natural and technical systems. Projects include grassroots mapping of the BP Oil Spill, information-space from the Bureau of Inverse Technology, robotic geese, a bat translator, networked greenlights, Cross[x]Species Adventure Club, X Clinic Prescriptive products, auxiliary wings and an edible gallery guide.

  Jeremijenko has participated in exhibitions at the Whitney Museum of American Art, The Solomon R. Guggenheim Museum, the Massachusetts Museum of Contemporary Art, Documenta in Kassel, Germany, and has been a Rockefeller Fellow. She is currently a Professor of Visual Art at New York University and a Visiting Professor at the Royal College of Art in London.

  Museum requires rsvp: Reservations required by September 1: 914 251 6125, Directions and Information: 914.251.6100.

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  Live Stage: Meredith Hoy [Cambridge, MA]

  Posted: 25-August-2010, 11:44pm UTC by jo

  [Image: Daniel Rozin "Circles Mirror" 2005] Upgrade! Boston: Spectral Analogies: Casey Reas and the Art of Programming. A talk by Meredith Hoy :: September 28, 2010; 7:00 - 9:00 pm :: MIT Media Lab, Lecture Hall (6th Floor, Room ), 75 Amherst Street, Cambridge, Massachusetts.

  Abstract: Incorporating the work of Daniel Rozin, Casey Reas, and Sol LeWitt, Spectral Analogies places the notion of the digital in an expanded field, framing it as a mechanism, a process, and a constructive method that operates well beyond the boundaries of computational technology. Taking as its starting point the hypothesis that ?the digital? is a term that most often refers to a technological milieu rather than an aesthetic category, this talk addresses some of the features that identify the sensorially apprehensible, aesthetic characteristics of digitality. It argues that the digital as an aesthetic category can be disaggregated from computational technology, such that digital features are observable in artworks and artifacts that pre-exist the invention of computers by decades or even centuries. Whereas some computationally generated or aided pictures, such as the photographs of Jeff Wall, obscure their digital configuration, this talk will focus on examples of contemporary computational artworks that foreground the aesthetic category of the digital as I have defined it. An artifact whose digital structure is visible on its surface speaks, in a visual language with its own distinct syntax, about the relationship between surface and infrastructure, representation and technology. This talk seeks to open the notion of the digital to renegotiation and renewed interrogation, and to create the possibility of a new conversation between contemporary media arts and art of both the recent and deep past.

  
  [Image: Casey Reas "Process 14" 2006]

  Meredith Hoy is Assistant Professor of Contemporary Art in the Department of Art and Art History at the University of Massachusetts, Boston. She received her Ph.D. from the University of California at Berkeley in 2010. Her dissertation, entitled From Point to Pixel: A Genealogy of Digital Aesthetics, traces links between contemporary digital art and modern painting. Drawing on theories of visuality, space and spatial practice, cybernetics and systems theory, phenomenology, and post-structuralism and semiotics, her research focuses on the impact of technology on art and visual culture. She has written on modern and contemporary art and architecture, generative art, information visualization, and the phenomenology of networked space.

  Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org. It is one of 34 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo at turbulence dot org.

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  Live Stage: Space Invaders [Amsterdam]

  Posted: 26-August-2010, 12:02am UTC by jo

  Space Invaders - Art in the Computer Game Environment — Exploring the increasingly blurred boundaries between video-game space and real space with Jeremy Bailey, Aram Bartholl, Mark Essen, Cao Fei, Anita Fontaine, Riley Harmon, JODI, Michael Johansson, Ben Jones, Yuichiro Katsumoto, Walter Langelaar, Ludic Society, Julian Oliver, Ubermorgen.com :: August 28 ? November 6, 2010 :: Opening: August 27; 5:00 pm (with DNK DJ UNIT (Masterfader & The Snail) and Live Visuals by Riley Harmon) :: Netherlands Media Art Institute, Keizersgracht 264, 1016 EV Amsterdam, The Netherlands.

  In Space Invaders: Art in the Computer Game Environment the Netherlands Media Art Institute brings art and games culture together. In an artistic, playful yet serious manner, ‘Space Invaders’ reveals the influence of games on art and society. This group exhibition with Dutch and international media artists examines the increasing blurring of the boundaries between game worlds and reality. In ‘Space Invaders’ media art works illuminate the migration of the physical world into gaming systems. Conversely, gaming elements are more and more finding their way into physical space. By infiltrating both game environments and real spaces, the artworks clarify the nature and influence of the computer game environments, and provide greater insight into the role that computer games play in contemporary culture.

  On the one hand the exhibition looks at the most fundamental environment of the computer game: inside the computer. What sort of connections do the games and artworks make between physical and virtual space in the computer world? For instance, while in early text games an imaginary space was evoked by means of text (Colossal Cave Adventure), there are now the detailed cities of ‘Grand Theft Auto’, and recently the development of ‘augmented reality’ games has come into vogue, games that mix computer images with reality in a plausible manner (LevelHead ? Julian Oliver, and new work by Anita Fontaine and Mike Pelletier).

  On the other hand the exhibition presents the introduction of game elements into the physical world: from the performance of video games in ‘real life’ (COSplayer ? Cao Fei), and the reduction of the urban game ‘Parcours’ to a virtual and digital level (Ready Played ? Ludic Society), to works that remove the game data from the screen (What Is It Without the Hand that Wields It ? Riley Harmon, First Person Shooter ? Aram Bartholl).

  Walter Langelaar presents a new installation which was made especially for the exhibition. In it he mixes the physical exhibition space and virtual gaming space by means of a gaming engine over which the visitor can exert influence. The visitor has to relate physically to the dizzying mixture of physical and virtual space. Finally, the duo JODI present their performance-installation sk8Monkey, in which unreadable texts are uploaded to a twitter account by means of ’skating’ on an keyboard, and a connection is made with the skateboard games by Tony Hawk.

  In short, ‘Space Invaders’ shows the increasing blurring of the boundaries between the real world and the game world. In this exhibition gaming is more than sitting in front of a screen and playing a game; the relation with the real world is never far away.

  Produced and curated in partnership with FACT, Liverpool
  Powered by BeamSystems
  With thanks to the VSBfonds
  The educational program is supported by the Amsterdam Fund for the Arts

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  Live Stage: Longing For ? [Venice]

  Posted: 26-August-2010, 12:39am UTC by jo

  LONGING FOR ? #Score 1: Experiences You Can Share, Bodies, Movement, Spaces — Curator: Charlotte Pöchhacker :: Premiere: August 26, 2010; 6:00 pm :: LONGING FOR … HETEROTOPIA OF SENSES :: August 28, 2010; 6:00 pm :: Arsenale Novissimo, Tesa 92, Venice, Italy.

  There are 2 distinct kinds of movement: there is the traversed space, and the act by which the space is traversed. In one case a spatial order is established and in the other case, qualities within a temporal sequence are distinguished. ? Henri Bergson

  Longing For ? is a hybrid performance-installation focusing on translatory movements of choreography and architecture. With respect to the investigative movement as a specific form of experience and construction of space, the experiment of translating and representing actual characteristics of architecture, i.e. spatial quality in conjunction with actions, and so in conjunction with time is carried out by the intercreative team Richard Siegal, choreographer/ dancer, Peter Welz, artist, Alexander Kada, designer, Julie Guibert, Camille Revol, Paula Sanchez and Alessio Silvestrin, dancers, Hubert Machnik, composer, Christine Peters, dramaturg and Jean-Philippe Lambert, interactivity programming.

  The first score of Longing For? is analysing the mp09 building by GSarchitects researching possibilities to represent space-time structures, i.e. movement notations in architecture and bringing forward the question how choreography does approach this challenge.

  Focusing on choreography as description and design of space Longing For? aims to bring representational conventions into dialogue with one another in order to make clear the complexity of interconnectedness and to demonstrate the tension within this media constellation. The form of choreographic notation serves to remind us that architecture is also about moving bodies in space and gives rise to the question how to integrate movement notations in architectural drawings and thus to expand its perception.

  Longing For ? further analyses the impact of dance on architecture considering dance as the art of space and as the model of an architecture searching against static concepts for new forms and structures that reflect the contemporary person’s attitude to life and questions dance as an expression of a spatial dynamic tension of forces and of a new feeling for movement.

  According to the various requirements of performance and further developments in the Longing For ? project, a special stage/exhibition setting will develop. Comparable to all of the points of movement that are components of a dancer’s body, the setting will feature an infinite number of movements and positions through series of “foldings and unfoldings”.

  COOPERATION:
  La Biennale di Venezia, Steiermark: International, Steirische Gesellschaft für Kulturpolitik und Steirische Kultur Initiative, The Bakery

  The Project is supported by:
  Land Steiermark Kultur, Stadt Graz Kultur, Ministerium für Unterricht, Kunst und Kultur, Austrian Cultural Forum Milano
  STO, Vitra, Granit, LA ROCHE, XAL

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  ?Open House? by Stenner + LeMieux

  Posted: 26-August-2010, 12:50am UTC by jo

  Open House is a new computer application and installation by Jack Stenner and Patrick LeMieux which allows virtual guests from around the world to remotely control physical aspects of a “distressed” house in Gainesville, FL. The house at 1617 NW 12 Rd. is currently abandoned and in financial limbo due to the US housing collapse. Virtual markets transformed this otherwise livable property into a ghost house. Now Open House allows individuals to repopulate this disenfranchised space and assume the role of virtual squatters — opening the doors, flickering the lights, rattling the shutters, and remotely occupying the abandoned property. Live video feedback integrates real-time physical effects with one’s virtual actions and multiplayer functionality allows for many people to live in the house at once. Simply download and run the application, so, you too can manipulate that sacred icon, the American home.

  Jack Stenner is an artist who has worked with interactivity, video, and installation since the mid 1990s. He is currently an Assistant Professor of Digital Media Art at the University of Florida. His work revolves around issues related to our socio-culturally constructed “reality” and the ways we create meaning from our environment. He is interested in form, space, place and the ways meaning is embedded, manipulated and transcoded during the process of communication. Combining techniques from information retrieval and visualization, content analysis, motion tracking, video gaming, computer aided design and experimental video, he seeks to create experiences that encourage us to reconsider our relationships with the world around us.

  Patrick LeMieux is an artist and media scholar who received his MFA from the University of Florida in 2010 and is currently a PhD student in the Department of Art, Art History, and Visual Studies at Duke University. His artwork, scholarship, teaching, and curatorial activity are centered around networked and programmable media, gallery analytics, and videogames. He has recently exhibited artwork in the Tampa Museum of Art, FSU Museum of Fine Arts, and the Samuel P. Harn Museum of Art.

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  Skinput: Appropriating the Body as an Input Surface

  Posted: 26-August-2010, 12:56am UTC by jo

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  Live Stage: Plausible Artworlds: Pad.ma [PA + online]

  Posted: 17-August-2010, 2:52pm UTC by jo

  Plausible Artworlds: Pad.ma — Potluck and Skype Conversation :: August 17, 2010; 6:00 - 8:00 pm :: skype “basekamp” and/ or 723 Chestnut St, 2nd floor, Philadelphia, PA.

  The Pad.ma project is a result of the efforts of oil21.org from Berlin, the Alternative Law Forum from Bangalore, and three organizations from Mumbai: Majlis, Point of View and Chitrakarkhana/CAMP.

  Pad.ma, short for Public Access Digital Media Archive, is an interpretative web-based video archive, which works primarily with footage rather than ?finished? films. Pad.ma provides access to material that is easily lost in the editing process as well as in the filmmaking economy, and in changes of scale brought about by digital technology. Unlike YouTube and similar video sites, the focus here is on annotation, cross-linking, downloading and the reuse of video material for research, pedagogy and reference. The entire collection is searchable and viewable online, and is free to download for non- commercial use.

  For the past two years, Pad.ma has been operating as an online archive of digital video, in essence creating a folksonomy of ?tagged? footage. During this period, the focus has been on gathering materials, annotating densely, and growing the archive. At present, Pad.ma has over 400 hours of footage, in over 600 ?events?. Almost all of this material is fully transcribed and is often mapped to physical locations.

  What are some ways to begin thinking about retrieving and utilizing material from Pad.ma? From the onset, pad.ma has had an API (documented at [wiki.pad.ma] ), a programming interface that allows a user to access videos, perform searches, seek to exact time-codes, fetch transcripts, and obtain map data, all of which can be shared by any given online user. As such, Pad.ma?s General Public License (PGPL, [pad.ma] ) is designed specifically for the reuse of the material on Pad.ma. Through the experience of running the archive, there have been various imaginations of multiple and layered forms of time-based annotation over video, including: pedagogical tools for learning and discussion; presentation tools that combine text and video in new ways, along with essays and other writing formats enabled by rich and context-specific media.

  To join this week?s Potluck Chat:

  Download from skype.com if you don?t already have it.
  In Skype ?Add a contact?: basekamp.
  Send a message when you want to join the chat, by selecting us from your list and clicking ?Start chat?.
  We?ll add you to the text chat, and when everyone is ready we?ll start the conference call.
  Follow Plausible Artworlds:
  [twitter.com]
  [basekamp.com]

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  Live Stage: Wikipedia Art Remix [NYC]

  Posted: 17-August-2010, 12:14am UTC by jo

  Sean Fletcher and Isabel Reichert?s Wikipedia Art Remix + performances & screenings by Ryan V. Brennan, Genevieve White, Adam & Ron :: August 19, 2010′ 6:00 pm (Beginning 6:00 PM (come a little early for a Wikipedia Art Remix treat!) :: Benrimon Contemporary, 514 West 24th Street, 2nd floor, New York.

  For Sean Fletcher and Isabel Reichert?s Wikipedia Art Remix, two actors perform a scene appropriated from Edward Albee?s play Who?s Afraid of Virginia Woolf. The dialogue between the iconic characters George and Martha incorporates highlights from the Articles for Deletion page of Wikipedia Art, an intervention by Scott Kildall and Nathaniel Stern on Wikipedia, so the couple?s argument becomes one about whether or not art can exist on Wikipedia.

  See a video art version of this upcoming performance piece.

  Sean Fletcher and Isabel Reichert have collaborated together on conceptually based performance works, interventions, writings, installations, videos, photography, and prints since meeting each other in 1994. Their work is about power and vulnerability; how it relates to relationship dynamics, society, and politics. Fletcher and Reichert use collaboration as a tool to integrate the negotiation for power into works of art.

  Scott Kildall is an independent artist, who intervenes with objects and actions into various concepts of space.

  Nathaniel Stern is an artist, teacher, writer and provocateur, who works with interactive, participatory, networked and traditional forms.

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  Ada Symposium: Energetics and Informatics [Whanganui]

  Posted: 17-August-2010, 12:40am UTC by jo

  We are thrilled to announce that this year’s ADA Symposium will take place in the unique surrounds of Whanganui (December 10-12, 2010). The programme will engage with the local environment and community through exhibitions, projections, and waka voyages on the Whanganui river, and as always there will be in-depth discussions on current work and interests in media art. This will be a major ADA event.

  The topic of the symposium is Energetics and Informatics.

  We have conceived the following broad thematics.

  • Media and Energy
  • exploring the material of media, information and energy in digital arts.
  • Energy Networks
  • new forms of energy production, distribution and storage infrastructural critique.
  • Social Energy
  • participatory practice, DIY media, floss approaches, social networks as a medium for art.
  • Sustainable Media
  • re-localised media, slow media, sustainable response to globalised arts practices.

  We will be working with One River and have waka available for 50. So we are looking for some project ideas that explore the river. We’re also on the lookout for forms of alternative transport to, from and around the city, bikes, trains, electric vehicles etc.

  We have also booked out the Pioneer Room in the Memorial Hall which is a fantastic modernist slab in Queens Park right in the centre of town. We are collaborating with the Sarjeant Gallery who are offering gallery space as well as the outside of the building for projections. We have exhibition and workshop space at Quay School of the Arts and Whanganui School of Design as well as The Green Bench project room and kitchen. There are other possible performance and screening venues all within walking distance.

  We’ll be making an official announcement and call for proposals by mid September, but for now if you have any ideas, plans, suggestions or questions please drop us a mail:

  Email: symposium2010 at aotearoadigitalarts.org.nz

  cheers,

  ada trustees - douglas, honor, julian, stella, su, zita