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Beryl Korot: Selected Video Works 1977 to Present :: until May 5, 2012 :: bitforms gallery nyc, 529 West 20th St., New York City.
bitforms gallery is pleased to announce its first solo exhibition with artist Beryl Korot. Featuring her landmark video installation “Text and Commentary” (1977), the show also includes two of Korot’s more recent investigations into the medium, “Florence” (2008) and “Yellow Water Taxi” (2003).
Recognized since the early 1970s as a pioneer of video art and of multiple channel work in particular, Beryl Korot explores the physical mark of human history and the programmatic structures of data that convey it. The rhythmic impulse in her compositions embraces text, weaving, and video.
“The thing that attracted me to the loom was its sophistication as a programming tool? it programs patterns through the placement of threads, in a numerical order that determines pattern possibilities,” said Korot to Grace Glueck in a 1977 New York Times article. “It’s like the first computer on earth.”
An active player in New York’s then emergent video art scene, Korot had, by 1977, been featured in exhibitions at The Kitchen, the Leo Castelli Gallery, Everson Museum of Art, the Whitney Biennial, Documenta 6, and several important traveling shows: Circuit Invitational, Radical Software, and ICI’s Video Art USA in the Sao Paulo Biennial. Korot’s first multiple-channel works, “Text and Commentary” and “Dachau 1974″, are groundbreaking efforts that moved the video medium beyond the television’s frame and into a vocabulary of installation, both of which were featured at the Whitney Museum of Art in 1980.
When “Text and Commentary” debuted in 1977 at the Leo Castelli Gallery, Jeff Perrone of Artforum described the installation’s systematic approach: “Process was reduced to a small set of actions repeated in space (repeated diamond designs in each hanging, and on each screen) and time (repeated in the work in the loom and repeated on the tape). The patterns in drawing, in making, in editing, in form and design ? all converged little by little, after close scrutiny, creating a unified work which reflected a larger reach of human time ? from primitive loom to modern video.”
The installation is illuminated by two scores, also on view in the exhibition. Instructions for Korot’s five-channel weavings are marked on graph paper in pencil. A pictographic notation indicates the rhythm and pacing of her video editing, which was recorded and edited on ½” reel to reel tape.
Running 33 minutes in length, “Text and Commentary” speaks to an age of endurance viewership, as with many artist’s videos of the 1970s. A reaction against television in its radical approach to time and its challenge of linear narrative, this piece also expands the video frame into a multiple-channel viewpoint. In particular, by banding a horizontal strip of video screens together, the visual structure also references celluloid film (which was typically cut by women who were film editors, another reference to handiwork such as weaving).
“Florence”, a more recent single-channel video by Korot, is organized by a black and white grid comprised of waterfalls, boiling water and snowstorms. Taking the form of a soliloquy or poem, the ten-minute piece abstracts various texts by Florence Nightingale and unfolds linearly as a meditation on the transcendence of fear ? not in a momentary instinctual way, but over a sustained period of time. It is concrete poetry, using other people’s words, with each word floating vertically down the screen with its own position, transparency and speed.
“Yellow Water Taxi” presents the viewer with a colorful scene of movement, bound by a woven grid underlying its electronic image. Korot remarks in a recent catalog about the work: “A morning walk to the Esplanade, near where the Towers had been ? just to watch and record water taxis ferrying people between New Jersey and New York City ? then riding across a piece of handmade canvas scanned into the computer.”
Interviews by Art 21 with Beryl Korot
Text and Commentary
Image: Beryl Korot, Text and Commentary, 1976-1977. Five-channel video installation, black and white with weavings, drawings, pictographic video notations 30 minutes, stereo sound. Installation view at Leo Castelli Gallery, 1977.
Somatics & Technology Conference and Workshop :: June 22-23, 2012 :: University of Chichester, UK :: Call for Papers, Artworks, and Presentations — Deadline: April 28.
The first conference of its kind in the UK to disseminate a spectrum of digital arts linked with the Somatic, this event will integrate advanced critical and theoretical perspectives. Through keynote presentations, papers, roundtable discussions led by keynote speakers, a series of workshops and an art exhibit, the conference offers the opportunity for both practical and theoretical understanding of its theme.
Keynote speakers and workshop leaders include Jean-Louis Boissier (Université Paris 8), Susan Kozel (Malmo University), Isabelle Ginot (Université Paris 8), Contact Improvisation artist Nancy Stark Smith and Quebec digital performance artist Isabelle Choinière.
Nancy Stark Smith will be conducting The Global Underscore Event, an annual event during which dancers at many sites around the world practice the Underscore simultaneously.
U P D A T E S & N E W S I T E M S
A special issue of the Journal of Dance and Somatic Practices, Intellect Press will publish a peer-reviewed edition of the proceedings. Eds. Prof. Sarah Rubidge and Dr. Andrea Davidson. Publication in 2013.
Conference Registration forms are available here.
Call for papers, presentations, and artworks are currently underway, the deadline for these is 28 April.
Visualizar el sonido [Visualizing sound]: Representations of Sound in Contemporary Creation :: until June 25, 2012 :: LABoral Centro de Arte y Creacion Industrial, Los Prados 121, 33394 Gijón (Asturias), Spain.
In 2007, LABoral held the first L.E.V. (Laboratory of Visual Electronics) Festival, whose initials pay tribute to Lev Thermen, the Russian scientist who was the father of the present-day synthesiser. The founding goal of the festival was to provide an eclectic and qualitative overview of electronic sound creation and its intersections with the visual arts. Throughout its five events, the Festival has featured a selection of the most interesting projects by international creators working in this field, spanning from up-and-coming promises to renowned artists.
The L.E.V. Festival is a physical and ephemeral space, particularly focused on the natural synergy between image and sound, on live action, on the influence of avant-garde movements on contemporary creation, on the relationship forged between the spectator and the public space, and on the new art movements emerging around the world in connection with audiovisual culture.
Visualizar el sonido [Visualizing Sound] partakes in this vision and expands the Festival?s lines of research to the exhibition space. The idea behind this international group exhibition is to examine the synthesis between image and sound, the various graphic and physical representations of sound, and its evolution in contemporary art. Sound should not be detached from the surrounding that informs it: space, vibration, wave, technique for representation, perception and even visualization. Visualizar el sonido was conceived with the idea of generating a dialogue between all its constituent parts, covering a whole century of creation around the same notion or concept: the mastering, representation and taming of the wave, the need to go beyond the limits that our senses can take us to, which, at the end of the day, is the essence of all art.
Artists: Pascal Broccolichi, Andreas Fischer, Andy Huntington, Ryoichi Kurokawa, David Letellier, Daniel Palacios, Lucía Rivero, Daniel Romero, Semiconductor, Zimoun
Collaborators: Pro Helvetia, French Embassy
L.E.V Festival 2012
April 27?28, 2012
L.E.V. Festival or the Laboratorio de Electrónica Visual [Laboratory of Visual Electronics] is a space in which electronic music and the visual and scenic arts are combined to form a new mode of artistic expression, bringing to the public a selection of the most interesting projects by young talent as well as by already experienced artists from the local and international art scene.
Artists: Prefuse 73 [Warp Records, USA], Various Production [Various Production, UK], Mika Vainio [Editions Mego, FI], Soap&Skin [Solfo / PIAS, AT], Holy Other [Tri Angle, UK], Kuedo [Planet Mu, UK], Arbol [spa.RK, ES], Anstam [Fifty Weapons, DE], Ryoichi Kurokawa [JP], Old Apparatus [Deep Medi Musik, UK], Fasenuova [Discos Humeantes, ES], Patten [Warp Records, USA]
Radius 22: Radio Tune by Public Domain:: April 1, 6, 8, and 13 at 6:00 pm CST.
Public Domain takes after its name sake, the public domain, and views, manipulates, edits, and comments on material found within it. Public Domain uses material from radio, records and the internet. The work often mirrors the collective unconscious through the use of voyeurism and dark humor. The resulting work is a collage of reality, time, and experiences.
Public Domain is Jane Burton and Doris Lake, a duo based in central London, UK. They often listen to the bells of Big Ben. Public Domain uses collage and montage to reflect upon the things they love, and simultaneously place them in ridicule. Various elements are produced to fit together smoothly, whereas other clash. The discrepancies convey an impression of a heterogeneous assemblage; a careful randomness of disparate elements and collisions. The work critiques the uses of the public domain and plays with the endless juxtaposition of media.
Radius is an experimental radio broadcast platform based in Chicago, IL, USA. The goal is to support work that engages the tonal and public spaces of the electromagnetic spectrum.
Radius features a new project semi-monthly with statements by artists who use radio as a primary element in their work. Radius provides artists with live and experimental formats in radio programming.
Radius is administered by Jeff Kolar and edited by Meredith Kooi.
Ben Rubin: A Shakespeare Accelerator: Experiments in Kinetic Language :: until July 28, 2012 :: EMPAC, 110 8th Street, Troy, New York.
The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) is pleased to announce A Shakespeare Accelerator: Experiments in Kinetic Language, an exhibition by New York City-based media artist Ben Rubin.
As Rubin works out concepts and algorithms for Shakespeare Machine, a permanent installation that will open at the Public Theater in New York in fall 2012, he will transform EMPAC?s public interior into a laboratory of words and motion, projecting glowing white text from Shakespeare?s complete dramatic works onto walls, walkways, and other surfaces.
Shakespeare?s plays are structured around the powerful forces of love, death, family, trust, jealousy, fate, and desire. But in the universe of Shakespearian physics, the subatomic forces that hold words together encompass puns, rhymes, alliteration, rhythms, and unexpected constructions. ?These subtle forces of language are essential to the transcendent power of Shakespeare?s work,? says Rubin. “I want to create a kind of supercollider for Shakespeare?s texts, where the particles to be accelerated and smashed together are scenes, lines, and phrases. Which words, when hurled toward each other, will cause a reaction? Which collisions will most likely provide traces of the incandescent energy, wit, and emotion that existed at the moment of these plays? creation??
Ben Rubin is a New York City-based media artist. He has worked closely with major figures in contemporary culture, including composer Steve Reich, architects Diller Scofidio + Renfro and Renzo Piano, performers Laurie Anderson and Arto Lindsay, theorists Bruno Latour and Paul Virilio, and artists Ann Hamilton and Beryl Korot. He frequently collaborates with UCLA statistician Mark Hansen, and their joint projects include Moveable Type (2007) and Listening Post (2002). Rubin has created large-scale public artworks for the New York Times, the city of San José, and the Minneapolis Public Library. In 2011, Rubin and Mark Hansen joined forces with the Elevator Repair Service theater ensemble to present Shuffle, a new performance and installation that re-mixes text from three American novels of the 1920s. He has taught at the Interactive Telecommunications Program at NYU, as well as the Bard MFA program and the Yale School of Art.
CODE - A Media, Games & Art Conference :: November 21-23, 2012 :: Swinburne University of Technology, Melbourne, Australia :: Call for Papers and Creative Works — Deadline: May 31.
Keynote Speakers: Jussi Parikka, Christian McCrea, Anna Munster.
This site also provides an extended discussion of the conference background and themes and a list of readings. Details regarding venue, travel, accommodation and registration information will be added shortly.
Code is the invisible force at the heart of contemporary digital media and games, routinely obscured by the gadget fetish of breathless tech marketing and scholarly focus on more visible social and technical interfaces. A recent wave of critical new media studies has focused attention on the complex politics of interaction and subjectification in online and videogame spaces, from the re-conception of the online prosumer as a form of consensual user labour and parallel debates regarding ?playbour? in the context of modding and participatory game culture (Kücklich 2005), to the critique of the growing corporate interests that now control and mandate a major section of the games industry and the web.
Concurrently, media studies has been reinvigorated by new approaches in software studies and platform politics. Software studies explores the processes of software and its deep interweaving with contemporary culture, analysing how the logics and materialities of algorithms, codes and data seep into and (re)build everyday life. Platform politics is a growing field of net theory that seeks to understand the specificity of the apps and portals that are becoming the dominant means of access to digital media today, which is often constrained to stratified and proprietary forms.
What these recent interventions and emerging approaches share is an emphasis on interrogating the material conditions, formal characteristics and technical specificity of contemporary media ? taken together, they provide a strong impetus to go even deeper, to the underlying logical and technical architecture of the digital. The time has come to bring code out into the open.
And yet code is not inherently tied to the contemporary games and media apparatus. Implying both process and product, code can be defined in at least two distinct but complementary ways. On the one hand, code is an underlying technical process, a set of rules and instructions governing, for instance, the permutations of all those 0s and 1s obscured behind user interfaces in the case of computer code. But a code is also a cultural framework navigated and understood socially and performatively, which similarly governs action and interpretation at the semiotic level of communication and representation, as is the case with legal, social and behavioural codes.
As both a technical process and an operative principle, code?s significance thus extends far deeper and wider than its manifestation in particular technological assemblages, such as its current digital incarnation. Code permeates all aspects of society, now and then; from codes of conduct and practice to institutional orthodoxies, from semaphores and ciphers to digital hardware and software, from linguistic codes to legal codes and copyrights. This conference will explore code in all its diversity, as a simultaneously material and semiotic force that operates, often by stealth, across the wider cultural, social and political field, with a particular emphasis on media, games and art. We thus seek to understand the aesthetics and politics of code in tandem, and the way in which the political is increasingly controlled and disrupted through the design and programming of software and platforms.
The conference theme is also an opportunity to reflect on how, as academics and creative practitioners, we often participate in but can also challenge the disciplinary and institutional codes that can arbitrarily separate these conceptual and disciplinary domains. CODE will be a transdisciplinary event that brings media studies, media arts and games studies into dialogue through individual papers, combined panels, master classes and an included exhibition.
We welcome all submissions that engage with any aspect of code in all its diversity. The following themes are intended as prompts for reflection and engagement, but do not exhaust the kinds of discussion and debate that a detailed consideration of code generates.
Code and the in/visible
Here, we follow Wendy Chun (2004: 27) in asking, how is it that ?the computer ? that most nonvisual and nontransparent device ? has paradoxically fostered ?visual culture? and ?transparency??? In other words, how it is that code ? the operative logic, the executive power of computing ? has become invisible? Chun argues that software, operating at the level of screen and interface, obscures the constant workings of code, which become opaque to ?end-users? ? an argument even more dramatically stated in Friedrich Kittler?s (1997) claim that ?there is no software?, or rather than software is a simulation which conceals the true locus of computing: hardware. Along with Matthew Kirschenbaum?s critique of media studies? ?screen essentialism? (2008: 34), or preoccupation with formal appearance, such debates perhaps suggest that the ?participatory? or ?interactive? nature of networked new media is a fallacy, and that they are instead bound up in various forms of control (Galloway 2004; Galloway & Thacker 2007; Chun 2011).
We invite submissions that consider the various technical, ideological and academic aspects that thus work to obscure code, both digital and otherwise. Does the mystification of code operate analogously to ideology as Alexander Galloway (2006) and Chun (2004) argue, or is code ideological in itself? How might post-structuralist considerations of cultural codes illuminate these contemporary debates? Papers that explore the ways in which code is hidden are thus welcome, but moreover so are those that focus on how it is made visible. That is, what are the ?thresholds of materiality? (apologies to James Murdoch) at which code is exposed? Code?s invisibility be breached via the aesthetic strategies and accidents of glitch and error, for instance, but also through programming activism, DIY coding and game exploits, as well as a range of other measures.
Failures of code
Certainly, much of the power of code lies in its invisibility, a transparency that leads to a socio-cultural embedding as the ?common sense? of everyday life. But what happens when code fails, socially, culturally, politically or technologically? What happens when someone, or something, refuses to obey the rules? Comedy, subversion, disruption and even revolution all find their origin in their failure to adhere to certain codes. Such disturbances are informative precisely because they highlight the fragility and artificiality of the taken for granted, and we therefore welcome contributions that explore such failures across both technical and cultural fields.
Though code often serves to secure and obscure control and authority, it remains vulnerable. Hackers both compromise and contest the integrity of networked information, communication and entertainment environments. Systematic phone hacking by News International journalists in the UK stands alongside interventions into global affairs-of-state by Wikileaks to set the scene for rethinking established media codes of practice. Similarly, hackers associated with Anonymous have paved the way for new forms of software-based protest and agitation. In a different context the games industry has been shadowed by a history of hacks and cracks: for example, the recent compromise of PS3 console security for both ?homebrew? and piracy purposes, and the massive breach of Sony?s PlayStation Network (PSN) in April 2011 that resulted in data theft from 77 million users. These seemingly disparate situations signal the inherent vulnerabilities of data and code. They raise the spectre of a whole new form of risk society operating at the level of code and through its breaches and accidents. We welcome submissions that call into question the relationship between control, security and forms of hacking across media, gaming and other digital contexts.
The deeper history of code: analogue and digital
?As sequences of signals over time,? Kittler notes, ?[codes] are part of every communications technology, every transmission medium? (2008: 40). Whilst code today is overwhelmingly figured in terms of the digital, code as a principle of information exchange extends far beyond this contemporary manifestation. As such, we invite submissions that consider the critical role of encoding and decoding throughout the history of media and communications technology. In particularly, we welcome media archaeological excursions into the prehistory of digital code: what are the resonances or links between ?old? and ?new? forms of code? Can the emergence of various coded communications systems be traced back to a common source, perhaps the military-industrial complex? How do systems such as Morse code, semaphore, cryptography and cybernetics relate to computing? and how does the logic of code seep into everyday life through various technical and biopolitical regimes? Similarly, what is the theoretical and operative relationship between the ?codes? and rules of non-digital and pre-digital games and contemporary video games, in terms of their linguistic, behavioural and social codes? How might concepts such as protocol (Galloway 2004) and unit operations (Bogost 2006) offer us a way into these considerations?
Code and other laws of media
In any given context, multiple technical and cultural codes frame action, and this situation raises questions about the continuities and discontinuities of various codes. Lawrence Lessig?s Code and Other Laws of Cyberspace (1999) presciently argued that digital code, as instantiated in technical protocols such as digital rights management, may disastrously overextend the limited protections of copyright and intellectual property as dictated by legal codes. In doing so, Lessig called attention to the incongruity or contradictions of different codes as they come into contact. Similarly, we invite submissions that explore the way in which different codes meet, overlap, extend and contradict one another. In particular, we welcome consideration of these issues from the perspective of copyright, intellectual property and distribution and analyses of what happens when the digital reproduces, alters or fails to approximate legal, social, behavioural and other such codes.
Code and public/private
Contemporary media theory argues that emerging forms of socio-technical practice reconfigure the public and private spheres to produce what has been called ?public privacy? (Senft 2008; Boyd 2010; Lovink 2011). This term gestures to the ways in which subjects use public signifying systems, such as social networking sites and the diverse media forms of celebrity production or reality programming, to articulate highly personal messages. Yet such rhetorical strategies are not unique to distributed digital platforms. After all, the eighteenth century epistolary network, often called ?The Republic of Letters?, was responsible for reformulating the public and private domain (Goodman 1994; Cook 1996). We invite submissions that respond to the questions generated by these intersections between public and private, historical and contemporary. For instance, what are the historical, legislative, technological and cultural settings for the emergence of a public privacy? Does the ?intimate public sphere? (Berlant 2008) obscure women?s political and cultural agency? And after Haraway (2007), to what extent does the @ sign and other networked avatars function to locate meaning, destination and geopolitical identity?
Code and agency
Interactive media, games, art and cultural practice can all deal with the relationship between the interacting participant and the coded system. What aesthetics and politics are at work when the participant?s presumed agency and the coded constraints are in tension? Topics for consideration include the aesthetics of code-based media; interfaces; participant experience; emergence/counter-play; proceduralism and performativity.
Bodies in code
Whereas early cyberculture theorists dreamed of a virtual reality freed from the constrains of materiality, more recent theory demonstrates the centrality of embodiment and the material to media both old and new (Hansen 2006; Munster 2006; Milne 2010). For this conference, we ask not only how interfaces and devices, but more specifically information and code, reconfigure various bodies ? social, political, corporeal ? and vice versa. Relatedly, how might we conceptualise the materiality and ontology of code ? flat, folded, linear, or otherwise ? in relations to phenomenologies of embodiment and new or ?vital materialism? (Bennett 2010)? And what is the connection between fantasies of information as liberated, immaterial data and dreams of disembodiment (Hayles 1999)? And are mechanistic principles such as genetic code the only resort for understanding how bodies get into code, and code into bodies?
Recoding the disciplines
Code is also what we live out as academics and creative practitioners, in terms of the disciplinary and institutional frameworks and regulations that often constrain us but can also occasion new forms of connection. In the context of media studies, media arts and games studies, we are particularly interested in asking how these closely related disciplinary formations account for the conditions of their existence and distinctiveness. At the same time, nascent approaches and debates such as software studies, platform politics, digital humanities and computational methodologies might provide a common ground from which to begin transdisciplinary work. We invite submissions to consider, exclusively or in passing, some of the questions the notion of disciplinary codes raises:
- What ?common codes? might media, media arts and games share and at which points do they depart?
- What epistemological and methodological insights might they contribute to one another?
- What aspects of their disciplinary code might exclude certain forms of inquiry or subject areas?
- Can we ?transcode? media, art and games, as cultural and intellectual objects, or should they remain distinct?
- What are the theoretical and methodological tools needed to ?transcode? these disciplines?
The CODE conference incorporates an exhibition of creative works that respond to the artistic challenge of code and the themes outlined above. Code operates, as if by stealth, beneath the materiality of networked media performances, software art, games, mobile apps, locative and social media. But code also presents artists, performers and creative practitioners with opportunities to construct innovative hybrid media forms that can extend our understanding of contemporary art practice. From video installations in the 1960s, through to sophisticated interactive media and augmented reality applications, artists have arguably been at the forefront of innovation, adopting the language of the computer to forge new creative frontiers. We invite contributions that examine the creative potential of code, including but not limited to, the implications of code for contemporary art/ists, code as art and/or performance, code as avant-garde, virus and anti-art.
For works referenced above and a further readings related to the conference themes please view the ?Reading List? tab above.
Soup / No Soup, Rikrit Tiravanija :: April 7, 2012; noon-midnight :: Grand Palais, 3 Avenue du Général Eisenhower, Paris, Ile de France.
As a prelude to the public opening of La Triennale 2012 at the Palais de Tokyo and associated institutions in and around Paris on April 20th, the renowned contemporary artist Rirkrit Tiravanija will present Soup / No Soup, a project which will transform the main nave of Grand Palais into an enormous, festive, twelve-hour banquet composed of a single meal of Tom Ka soup.
For 12 hours non-stop, the Grand Palais will be open to the public, to share and sample a soup prepared and offered by the artist and his team. Generous yet modest, collective yet singular, Soup / No Soup convenes a summoning of all, where each and everyone will be able to enjoy a transactional, immaterial artistic experience based on exchange, encounter, and generosity. From being a passive spectator, the visitor becomes a participant in a developing work.