Networked_Performance (7 unread)

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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…

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  [nettime] Vincent Gallo versus Jillian Macdonald

  Posted: 28-January-2012, 11:27pm CET by jo

  Posted by Andres Manniste on nettime: Vincent Gallo versus Jillian Macdonald:

  Artist Jillian Mcdonald has run into trouble with Vincent Gallo, who is represented at the Whitney Biennial this year. It is about her 2004 work, “To Vincent, With Love.”

  Incidentally, the Whitney actually has a version of this work in their Artport. I find this all very confusing.

  She writes, “I just received a cease and desist letter from Vincent Gallo’s attorney suggesting I added no creative material in making my video (which took me 8 months to make in 2004), To Vincent with Love. Also this letter claims I am causing him personal injury. It also demands I keep the letter confidential, and that we reach a settlement to be paid to Mr Gallo.”

  I think that we should collectively work to keep this confidential for Mr. Gallo, don’t you think?

  Andres

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  Programmed Visions: Software and Memory

  Posted: 28-January-2012, 11:35pm CET by jo

  Programmed Visions: Software and Memory by Wendy Hui Kyong Chun, MIT Press:

  New media thrives on cycles of obsolescence and renewal: from celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things - mobile mobs, Web 3.0, cloud computing. In Programmed Visions, Wendy Hui Kyong Chun argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability. New media proliferates “programmed visions,” which seek to shape and predict - even embody - a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, for a general logic of substitutability.

  Chun approaches the concept of programmability through the surprising materialization of software as a “thing” in its own right, tracing the hardening of programming into software and of memory into storage. She argues that the clarity offered by software as metaphor should make us pause, because software also engenders a profound sense of ignorance: who knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? The less we know, the more we are shown. This paradox, Chun argues, does not diminish new media?s power, but rather grounds computing?s appeal. Its combination of what can be seen and not seen, known (knowable) and not known - its separation of interface from algorithm and software from hardware - makes it a powerful metaphor for everything we believe is invisible yet generates visible, logical effects, from genetics to the invisible hand of the market, from ideology to culture.

  About the Author

  Wendy Hui Kyong Chun is Professor of Modern Culture and Media at Brown University. She has studied both Systems Design Engineering and English Literature.