Networked_Performance (4 unread)

• 

  Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating [Zagreb]

  Posted: 1-February-2012, 9:34pm CET by jo

  [BADco. "Responsibility for Things Seen", 2011, photo: Dinko Rup?i?] Symposium: Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating :: March 16-17, 2012 ::  Zagreb, Croatia :: Call for Participation - Deadline: February 10, 2012.

  This symposium and its topic are a continuation of BADco.?s artistic interest to relate performance and image. More concretely, it was motivated by our most recent work Responsibility for Things Seen that was presented in 2011 within the Croatian participation at the Biennale di Venezia. The work required us, in the absence of performers in the six-months exhibition, to pursue the idea of ?theater by other means? and to custom develop a database video system that unfolds a particular nexus of body, image and technology.

  Who can apply: If you are a scholar or practitioner working on the nexus of performance, image and technology, if you are working in or between any number of fields such as, but not exclusively: performing arts, visual arts, cinema and expanded cinema, human-machine interaction, technological performance, architecture, neuroscience, we are inviting you to present your research interests in form of a presentation and/or participate in the debates at our symposium Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating.

  When and where: The symposium will take place on 16-17 March 2011 in Zagreb, Croatia. The artistic programme will start on the 15th.

  What is the topic: With ?Actionable Image? we propose to explore the experimental encounters between the image and the body ? two modalities of organized materiality, agency and receptivity affecting each other, two modes of expression whose encounters in our age are predominantly arranged, composed and mediated by means of visual technologies.

  We tend to subscribe to the critique of the domination of image and the scopic regime: the unebbing repetition of hegemonic representations, the homogenization of mediatized social experience, the habituation of sensory apparatus to technological artifice. However, understanding the encounter of image and body as a field of performance allows us to explore this encounter beyond the adequation of sensory perception to technological apparatus, of social behaviors to reproduced images. A mis-encounter where incompatibilites between technology and habit, excess of agency on the side of image or on the side of spectators, interventions in the transmission process, strange situations of viewing emerge, that encounter becomes an indeterminate field of negotiation, slippage, misperformance, deterritorialization and reterritorialization? In short, a field of divergences that are themselves frequent subject to experimentation in art.

  With this other scene of image in mind, we calls for contributions that will bring their analysis to bear on situations of problematic spectating, strange apparatuses and dispositifs of viewing, agency of images, strategies of performing images and other issues relevant to the nexus of body, image and technology.

  The symposium and attendant artistic programme will include a.o., contributions by artists and scholars such as Jonathan Beller, Maaike Bleeker, Vlatka Horvat, Stephen Zepke and BADco.

  What are the keywords: performance and image, performed image, image in performance, image and corporeality, agency of image, actionable image, algorithmic cinema, image and interface, iconicity of image, apparatuses and dispositifs of viewing, cinematic viewing vs theatrical viewing, image and presence/ absence?

  How to apply and when is the deadline: We are looking for contributions of various formats, including but not limited to papers, short presentations, demonstrations and participation in the debate, up to 30 minutes in length. If you want to participate in the symposium, please send us a short note stating your topical interests, discussion points, format, etc. and a short description of your background. While we cannot cover your expenses, we can help you find convenient travel arrangement and affordable accommodation, and we will do our best to address your interests and provide an insightful debate.

  All proposals should be sent in by 10 February 2012 to: tom at badco.hr.
  You?ll be notified of our decision shortly thereafter.

  Publication: A special issue of Frakcija Performing Arts Journal will accompany the symposium. We are looking for contributions of those taking part in the symposium, but also others who cannot join us in Zagreb but are researching the topic in academic or artistic formats. Articles, essays and artist?s page(s) proposals will be considered. The submission deadline is March 2, publication June 2012. All proposals (and any questions on submission) should be sent to: ivana at badco.hr

  The symposium and attendant artistic program are organized in collaboration with Multimedia Institute/MAMA and the curatorial collective What, How and for Whom/WHW.

  The symposium Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating is part of LABO21 ? European Platform for Interdisciplinary Research on Artistic Methodologies, a partner project of BADco. (Zagreb), BUDA Arts Center (Kortrijk), Laboratorium (Antwerp) and University of Circus and Dance (Stockholm). With the support of the Culture Programme of the European Union.

• 

  The Anti-Piracy Discussion We Haven?t Had Yet

  Posted: 1-February-2012, 6:35pm CET by jo

  From The Anti-Piracy Discussion We Haven’t Had Yet by Scott M. Fulton, III on ReadWriteWeb: “In 1959 (as I recall), my mother, an acclaimed professional artist, had entered a handful of her oil paintings into an annual art show. Someone attending the show noted that one particular work, the face of a peasant boy, strongly resembled a photograph that had appeared in Life magazine. Well, there was no coincidence about it: Mom had studied precisely that face, and her work was based on that photograph. (The card tacked to the wall actually said so, if anyone had bothered to read it.)

  So it was that the local newspaper “exposed” my mother as a fraud, a counterfeiter. It ran a story with the painting next to the Life magazine photograph itself. Thus began a lifelong dialog that became one of the threads of my life: a case study in fair use that fueled endless debates in the Socratic method between Mom and her art students for the next four decades. It began with the delicious irony of the newspaper having reprinted the Life photograph without Time-Life’s permission, and embraced the lovely fact Mom eventually sold the painting for many times the original price.” Continue here.

• 

  Live Stage: Subcuratorship Beyond Media Arts [Berlin]

  Posted: 1-February-2012, 8:22pm CET by jo

  CODED CULTURES - Subcuratorship Beyond Media Arts with Michal Wlodkowski, Luise Reitstätter, Joasia Krysa, Sydney Ogidan, and Eva Fischer (Moderated by Georg Russegger) :: February 2, 2012: 4:00 - 6:00 pm :: Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Germany.

  Based on questions about contemporary media art festivals, in the autumn of 2011 CODED CULTURES presented City as Interface. Hereby curators and artists tried to create new models of representation, transmission and intervention within a concept of sub-curatorship beyond media arts and within public space. For transmediale 2012 a discursive vector is reflecting on these inventions based on trans-disciplinary examples from intersecting fields like contemporary art, media art, street art, audio-visual arts, exhibition design and interfaces in order to transform the city into a playful and unstable environment for artistic interventions. The invited participants will give 10-minute long impulse-lectures to present methodological approaches based on their interests and backgrounds. The panel will be followed by a discussion with the audience.

  (Image: Christian Falsnaes 2011, courtesy the artist and PSM, Berlin)

• 

  ?Geometry? by Félicie d?Estienne d?Orves [London]

  Posted: 1-February-2012, 8:32pm CET by jo

  Geometry by Félicie d’Estienne d’Orves :: until September 12, 2012; dawn - midnight :: Watermans, 40 High Street, Brentford, TW8 0DS.

  Geometry is a kinetic installation that uses light as a means of communication and is inspired by such communication devices as light houses, military signal lights and the Morse code. The interplay of the different movements of the sculpture create a symbolic language of communication between the sculpture and the viewer.

  Geometry exploits wind-farm technology to drive two masts which cross (one vertically one horizontally) on which mirrors are attached. The reflection of the sky in the mirrored blades and the movement of the sculpture itself create different kinetic effects according to the time of the day and season. At nightfall the signal is reinforced through projections of laser light from the horizontal mast. Laser lines will be projected from the Watermans building onto the horizontal mast and reflected from the sky.

  Geometry was made possible with a grant from The Mayor of London’s Outer London Fund and is supported by The London Borough of Hounslow.

  Félicie d’Estienne d’Orves explores the meaning and impact of light through her work. She uses light and sound technologies to create a mysterious art of beauty and power, challenging the boundaries of her materials and our own perceptions of them. The resulting kinetic work appears frameless and seems to possess a life of its own. Her audience is invited to engage in both the works’ seductive simplicity and delve into their complex layers of mystery. Key examples of D’Estienne d’Orves’ work include Gong: a resonant, pulsating, often frightening work from her Cosmos Series in 2009 and Monolithe, in 2008, which stands like a futuristic needle-point surrounded by ancient spiritual drama and was presented at Paris’ all-night art happening, Nuit Blanche. In 2004, Félicie founded In-visible, a conceptual multi-media studio.

  Technical support has been provided by Mechatronic company Bonfiglioli who delivered the motor solutions for the installation. Watermans would also like to acknowledge the contribution of David Simpson of Show Laser Systems for the laser technology, Michel Delarasse and the Institut Français.

  GEOMETRY is part of the International Festival of Digital Art 2012.