Networked_Performance (10 unread)

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  Theory in Action

  Posted: 31-January-2012, 4:39pm CET by jo

  Theory in Action, the journal of the Transformative Studies Institute (quarterly publication print ISSN: 1937-0229 electronic ISSN: 1937-0237), is an interdisciplinary, peer-reviewed journal, whose scope ranges from the local to the global. Its aim is to provide a forum for the exchange of ideas and the discussion of current research (qualitative and quantitative) on the interconnections between theory and action aimed at promoting social justice broadly defined.

  The journal editorial board does not privilege any particular theoretical tradition or approach and there are no word or page limits for its articles. TIA publishes papers that connect academic scholarship with activism, what R.K. Merton calls ?theories of the middle range.? TIA values radical and unconventional ideas, expressed in different styles, whether academic or journalistic.
  TIA is interested in how theory can inform activism to promote economic equality and create democratic political structures. TIA seeks to promote racial, ethnic, and gender equality as well as resistance to all forms of injustice. TIA will only consider manuscripts that are well-written, innovative, and fit the Institute?s mission. Drafts and poorly written or formatted manuscripts will not be considered.

  What we Accept

  • Submissions of original manuscripts
  • Qualitative, Quantitative, Theoretical, or Applied Research
  • Book reviews
  • Art and Poetry that reflects our mission

  Guidelines for Authors here.

  Manuscript Submissions here.

  Subscriptions & Orders here.

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  Reimagining The Political Geography of Place and Space

  Posted: 31-January-2012, 6:39pm CET by jo

  Seismopolite Journal of Art and Politics - Reimagining The Political Geography Of Place And Space :: Call for Papers - Deadline: March 5, 2012.

  In the coming issue we wish to focus on political geographies, as well as artistic interventions in, and reimaginations of, such geographies. The distinction between ?place? and ?space? is of particular interest, as it is fundamental not only to much art, but also to our global situation within neoliberal political geography. If time has come for us to reimagine this geography, as well as the interrelationships between, and definitions of ?space? and ?place?, is it thinkable that art could be an ideal site for such reimagination?

  The construction and exploitation of a particularism of the local also seems indigenous to the logic of neoliberalism, in the sense that it relies on the opposition between place and space to be able to expand in the first place. Among other things, the space-place dichotomy facilitates the reduction of developmental issues, political unrest or violence to irrational expressions of local misguidance, backward culture or belief systems. When the evolution of neoliberal space is merged with democratic and civilizing pretentions, the otherness and fixed specificity of places appears to be a legitimate pretext to expand into always new (potentially profitable) areas in and beyond the periphery.

  The self-fulfilling prophesy of neoliberal geography also constitutes an effective impasse in alternative visions of political geography ?- on the one hand, by making the critical reconstruction of place and its interconnectedness with a larger picture, beyond the dichotomies of space/place and local/global, superfluous -? on the other, by dissimulating any locally based meaning of universality that cannot be reduced to the civilizing prospects and ideals of neoliberal universalist geography. In this sense, the self-upholding myth of the local which neoliberal geography feeds on seems to express another form of orientalism, convincingly presenting itself and its worldview as the necessary cure to global and local problems, and reversely; presenting political issues in localities beyond its borders as a temporary void in its over-arching, inescapable logic.

  Contributors from a variety of disciplinary backgrounds are invited to submit articles, exhibition reviews or interviews that address the theme ?Reimagining the political geography of place and space?, through a high variety of possible angles.

  Topics may include, but are not restricted to:

  • Artistic approaches to political geography, artistic intervention in geopolitical discourses and decolonization strategies.
  • The concepts of space and place in art, and their renegotiation through art.
  • The role of art and artists in the rewriting of history and political geography in post-colonial situations.
  • The relationship between neoliberal political geography and orientalism.
  • The art biennial as a global phenomenon, and its role in the (re)negotiation of political geography.
  • The relationship between the global art scene and neoliberal political geography.
  • The relationship between art and geography.

  For guidelines and payment rates, please contact Seismopolite Journal of Art and Politics at info [at] seismopolite.com

  We accept submissions continuously, but to make sure you are considered for the upcoming issue, please send your proposal, CV and samples of earlier work to us within February 10, 2012.

  Completed work will be due March 5, 2012. Commissioned works will be translated into Norwegian and published in a bilingual version.

  Seismopolite Journal of Art and Politics is a bilingual English and Norwegian quarterly, which investigates the possibilities of artists and art scenes worldwide to reflect and influence their local political situation.

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  R15N: The Revolutionization of Communications

  Posted: 31-January-2012, 6:54pm CET by jo

  R15N: The Revolutionization of Communications.

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  404 International Festival of Art & Technology

  Posted: 29-January-2012, 11:44pm CET by jo

  404 International Festival of Art & Technology :: Open Call — Deadline: February 28, 2012.

  404 International Festival of Art & Technology has been awarded by “Fondo Nacional de las Artes” (National Arts Founding) for the production of the ninth season, which will be organized in different phases throughout 2012.

  404 Festival launches an open call destined to artists and researchers from all over the world with the aim of spread and stimulate new media creations.

  Authors can submit their works in the following areas:

  • Installation
  • Net.Art
  • Still Image
  • Animation
  • Video
  • Music
  • Audiovisual Set
  • Theory
  • Performance

  Submission is free. Please follow the instructions published here.

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  Machine Libertine

  Posted: 29-January-2012, 10:55pm CET by jo

  Machine Libertine is a newly created media poetry group.

  The method of our work is the exploration of the role of media in the development of literary art practices including poetry film, text generators and performance art. The main principles of the group are formulated in Machine Poetry Manifesto and agree with two of Eugenio Tisselli?s manifestos about machine poetry — manifesto for the destruction of poets and Text Jockey — in pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices.

  Machine Libertine had been founded in December 2010 starting with a poetry film called Snow Queen: a piece created for British Council and presented recently at Purple Blurb series at MIT. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957).”

  Snow Queen from Machine Libertine on Vimeo.

  We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.

  Whoever You Are from Machine Libertine on Vimeo.

  Manifesto

  Our aim is to liberate machines from servitude and give them their own voice.

  We need a new universal machine poetic language. It is an algorithm to generate digital text, audio and visuals. This universality proves the transitional capability of text to be translated from one language to another through this machine multimedia translation. This mechanism will enable machine language to speak itself randomly recombining words images and sounds to produce new media poetry.

  Our aim is to liberate the machines and trust them creative work.

  Human language lost its power and only words generated by the machines can make sense.

  While machines developed with us they became the true mirror that we hold to ourselves. In their mechanic voice they will explain us who we are.

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  Network by Michael Rigley

  Posted: 28-January-2012, 10:29pm CET by jo

  Network by Michael Rigley.

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  The Rhizome, Complexity and Pasifika View of ulu

  Posted: 28-January-2012, 10:34pm CET by jo

  The Rhizome, Complexity and Pasifika View of ulu by Ian Clothier.

  This is an animation which presents key concepts of integrated systems. The first scene presents the rhizome of Deleuze and Guattari. The second scene is terms that describe a diagram of nonlinear relationships by an engineer. The third involves the Pasifika understanding of ulu or breadfruit; ulu is seen as a multiplicity rather than a singularity. The fourth scene looks at components of chaotic systems leading to self organising systems and complexity.

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  Live Stage: Objects in Performance [NYC]

  Posted: 28-January-2012, 11:00pm CET by jo

  [3D Alignment Forms. Animation of dancer's traceforms in One Flat Thing, reproduced mapped to 3D space. Synchronous Objects Project, The Ohio State University and The Forsythe Company.] Goethe-Institut New York presents Objects in Performance:

  As the object has become a central issue in both theory and the arts, the Goethe-Institut New York dedicates a weekend to intensive theoretical exchange and spatial experience to the object in performance. An installation, a symposium and a performance are the starting point of long-term engagement with the object and related matters in the fields of theory and the arts alike.

  Synchronous Objects: Degrees of Unison
  Installation by Norah Zuniga Shaw
  February 2?26, 2012; Wed?Sun 2:00 ? 7:00 pm
  Opening: February 2, from 6:00 ? 8:00 pm
  Goethe-Institut Wyoming Building
  5 East 3rd Street (at Bowery)
  New York, NY 10003

  Synchronous Objects: Degrees of Unison is a multipart sound and video installation focusing on “One Flat Thing, reproduced,” an ensemble dance by William Forsythe.

  Focusing on the choreographic visualization online project Synchronous Objects created by Norah Zuniga Shaw, Maria Palazzi and William Forsythe, the installation brings viewers into an encounter with the deep structures of a dance and the generative ideas contained within. A series of visual objects ? animations, computer graphics, interactive tools ? enact a parallel performance of Forsythe’s choreographic ideas. The work was first launched online in 2009 and is still available in this form. In the installation, Norah Zuniga Shaw stays close to the conceptual foundations of the online original while extending them into the architectural and experiential possibilities of the Goethe-Institut Wyoming Building. In addition to interacting with the site and viewing HD animations from the project, visitors can spend time within a circle of synchronized visualizations unfolding from dance to data to objects over the 15-minute time span of the piece. William Forsythe’s voice calls out timing to the dancers and the sounds of the dancers’ actions move in multi-channel choreography around the space. Finally, a paper proliferation of creative processes can be found to read, leave behind, sort, or carry home.

  Synchronous Objects: Degrees of Unison (2010)
  A video installation by Norah Zuniga Shaw based on original material from Synchronous Objects for One Flat Thing, reproduced (2009) by William Forsythe, Norah Zuniga Shaw, Maria Palazzi

  Objects in Performance
  Symposium curated by André Lepecki, Performance Studies, NYU
  February 3?4, 2012
  NYU’s Tisch School of the Arts, Performance Studies
  721 Broadway, 6th floor
  New York, NY 10003

  The recent phenomenon of object-invested experimental dance and performance echoes the resurgence of the object in recent philosophy, critical theory, literary and cultural studies; as well as in the renewed interest in the concept of the object in the visual arts. This resurgence of the object also has implications for studies on subjectivity. If, as Deleuze once said, “the status of the object is changed, so is the subject’s,” it is crucial to investigate the contemporary nature of this phenomenon. The Objects in Performance Symposium will gather a group of renowned American, German, and international scholars and artists, from a variety of fields and perspectives, to present their most recent research on the matter. The environment will be such as to stimulate exchange and conversation between disciplines, and between artists and scholars.

  With Barbara Browning, Franz Anton Cramer, Eleonora Fabião, George Ferrandi, Jenn Joy, Heather Kravas, Thomas Lehmen, André Lepecki, Eva Meyer-Keller, Sarah Michelson, Ann Pellegrini, Allen S. Weiss, Norah Zuniga Shaw.

  Death is Certain
  Performance by Eva Meyer-Keller
  February 5, 2012, 2 performances at 6:00 pm and 7:30 pm
  MINI/Goethe-Institut Curatorial Residencies Ludlow 38
  38 Ludlow Street (btw. Grand & Hester)
  New York, NY 10002

  Cherries have tender skin, meat and a kind of bone inside them. Their juice is red like blood. When you treat them like humans sometimes treat other humans, then they become human themselves or at least animated objects, which invite you to identify yourself with them. In the performance Death is Certain, Eva Meyer-Keller has installed sweet cherries as her protagonists.

  The viewer is reminded of deaths from films, but also the reality of executions, how they really happen: associations from individual and collective experience in face of the sweet death at the kitchen table.

  The Goethe-Institut New York is a branch of the Federal Republic of Germany’s global cultural institute, established to promote the study of German language and culture abroad, encourage international cultural exchange, and provide information on Germany’s culture, society, and politics.

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  Interference Strategies for Art [Melbourne]

  Posted: 28-January-2012, 11:12pm CET by jo

  The Second International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture :: June 22-23, 2012 :: Victorian College of the Arts, Federation Hall, Grant Street, Southbank, Melbourne 3006 :: Call for Papers: Interference Strategies for Art - Deadline for Abstracts: March 30, 2012.

  The Transdisciplinary Imaging Conference seeks papers that explore the theme of ?Interference? within practices of contemporary image making. Today we?re saturated with images from all disciplines, whether it?s the creation of ?beautiful visualisations? for science, the torrent of images uploaded to social media services like Flickr, or the billions of queries made to vast visual data archives such as Google Images. These machinic interpretations of the visual and sensorial experience of the world are producing a new spectacle of media pollution. Machines are in many ways the new artists.

  The notion of ?Interference? is posed here as an antagonism between production and seduction, as a redirection of affect, or as an untapped potential for repositioning artistic critique. Maybe art doesn?t have to work as a wave that displaces or reinforces the standardized protocols of data/messages, but can instead function as a kind of signal that disrupts and challenges perceptions. ?Interference? can stand as a mediating incantation that might create a layer between the constructed image of the ?everyday? given to us by science, technological social networks and the means of its construction.

  The Transdisciplinary Imaging Conference wants papers that ask:

  • Can art interfere with the chaotic storms of data visualization and information processing, or is it merely eulogizing contemporary media?
  • Can we think of ?interference? as a key tactic for the contemporary image in disrupting and critiquing the continual flood of constructed imagery?
  • Are contemporary forms and strategies of interference the same as historical ones? What kinds of similarities and differences exist?

  The conference will explore areas related to: Painting, Drawing, Media Art, Film, Video, Photography, Computer visualization, Real-time imaging, Intelligent systems, Image Science.

  Participants are asked to address at least one the following areas in their abstract:

  • Expanded image
  • Remediated image
  • Hypermediacy
  • Expanded film
  • Imaging science
  • Computer Vision
  • Networked Image
  • Immersion
  • Proposals

  You are invited to submit an abstract for an individual paper relevant to the conference theme as described above. The deadline for abstracts is March, 2012. Abstracts for individual papers should be no longer than 250 words. Please provide full contact details with your abstract.

  Refereeing of papers will be done by members of an expert review panel (to Australian DEST refereed conference paper standards). All selected peer reviewed papers will be published in the online conference proceedings.

  Please submit by email to conference organizer Andrew Varano transimageconf [at] gmail.com

  Conference chairs: Professor Su BAKER Associate Professor Paul THOMAS

  Conference Committee: Brad BUCKLEY :: Brogan BUNT :: Ted COLLESS :: Vince DZIEKAN :: Donal FITZPATRICK :: Petra GEMEINBOECK:: Julian GODDARD :: Ross HARLEY :: Martyn JOLLY :: Leon MARVELL :: Daniel MAFE :: Darren TOFTS ::

  Timeline

  March 30th deadline call for abstracts; April 30th delegates peer reviewed abstracts notified; June 22- 23 Final papers for conference 3000 words.

  Conference Partners

  National Institute of Experimental Art, College of Fine Art, University of New South Wales; Victorian College of Art, University of Melbourne,.

  Conference Sponsors

  Australian National University, Curtin University, Deakin University; Monash University; Queensland College of Art, Gold Coast Griffith University; Queensland University of Technology, RMIT University, Swinburne University; University of Sydney, Sydney College of the Arts, University of Technology Sydney, University of Wollongong.

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  Haptics, Mobile Handhelds, and other ?Novel? Devices

  Posted: 28-January-2012, 11:20pm CET by jo

  Theory Beyond Codes: Haptics, Mobile Handhelds, and other “Novel” Devices: The Tactile Unconscious of Reading across Old and New Media by Rachel Lee :: CTHEORY: Theory, Thechnology, Culure VOL 35, NOS 1-2 :: Editors: Arthur and Marilouise Kroker.

  I. Don’t Press. Just Touch

  In a 2007 news article in the ~Korea Times~ covering the then innovative technology of the capacitance v. resistive (i.e., pressure sensitive) touch screens, Cho Jin-Seo uses the lead-in “Don’t Press. Just Touch” to capture the habituated finger knowledge one would have to incorporate in order to switch from the more familiar interface of ATM’s and cashier check-out stands to the newer interfaces of mobile devices. [1] These handheld personal data assistants, iPods, and phones work through a continuous electric current and a multipoint interface that allows for mobile electronic gadgets to detect more than one input (aka touches) simultaneously, as in the “two-finger stretch-and-pinch” that, as Stephen Wildstrom writing in ~Business Week~ put it, “gave the iPhone its initial wow” (5/19/08). [2] “Don’t Press. Just Touch” also provides an apt metaphor for a redirection in critical practice from a penetrating detection of hidden meanings to a more glancing consideration of the ~frisson~ — the shiver of intensity — amplified by a particular event, phenomenon, text, visual medium, and so forth…