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  • Permalink for '?In Production (A Narrative Inquiry on Interactive Art)? by Nathaniel Stern'

    ?In Production (A Narrative Inquiry on Interactive Art)? by Nathaniel Stern

    Posted: 17-July-2013, 12:19pm EDT by jo

    networked.jpgRead | Write In Production (A Narrative Inquiry on Interactive Art) by Nathaniel Stern — in Networked: a (networked_book) about (networked_art):

    “In Production (A Narrative Inquiry on Interactive Art) is a free, digital companion chapter to Interactive Art and Embodiment: The Implicit Body as Performance (2013, an Arts Future Book with Gylphi Press).

    “In the book, I argue that interactive art suspends and amplifies the ways in which we experience embodiment as per-formed, relational, and emergent. I provide many in-depth case studies of contemporary artworks that develop a practice of embodied philosophy, setting a stage to explore how we inter-act and relate with the world. I offer a critical framework for analyzing interactive artworks and what?s at stake in our encounters with them, which can be applied to a wide range of complex and emerging art forms. Here bodies, matter, and their matters, are implicated as always unfolding and enfolded to make what is. At stake is the rehearsal of that making, the ways we perform our bodies, media, concepts, and materials.” Continue >>

    Nathaniel Stern is an Associate Professor of Art and Design in Peck School of the Arts at the University of Wisconsin Milwaukee, and a Research Associate at the Research Centre, Faculty of Art, Design, and Architecture, University of Johannesburg.

  • Permalink for ''

    Remix a mediální produkce

    Posted: 17-July-2013, 12:45pm EDT by jo

    networked.jpgRemix and the Rouelles of Media Production — in Networked: a (networked_book) about (networked_art) — has been translated into Czechoslovakian by Pavla Stejskalová: Remix a mediální produkce:

    Obliba remixování stoupá

    Bylo by t??ké p?edstavit si um?ní bez remixování. Na?e nejstar?í kulturní záznamy obsahují bezpo?et p?íklad?, ve kterých se dochované materiály vyu?ily pro tvorbu nových d?l. Ir?tí vyprav??i neboli ?Seanchai? se se svými poslucha?i d?lili o mytické p?íb?hy, je? r?zn? p?izp?sobovali a m?nili podle tam?j?ího publika. Klasický starov?k nabízí ?adu obm?n?ných mýt? a hrdin? a tato tradice pokra?uje po celou dobu historie kanonizované západní kultury. Samotný Louis Dudek vyzdvihoval ?Nalezený úvod? Johna Roberta Colomba, ze kterého citujeme: ?Jestli?e A si myslí, ?e je lep?ím básníkem ne? B, zastavme jeho pový?ené nazna?ování. Nech? p?epí?e báse? básníka B a svoji, tedy vylep?enou verzi publikuje? absurdní návrh? Pouze navrhuji, aby se k sob? moderní um?lci chovali stejným zp?sobem jako ?e?tí dramatici, renesan?ní malí?i nebo básníci královny Al?b?ty. Pokud se n?kdo domnívá, ?e autorská práva podporují lep?í um?ní, ne? tomu bylo za barbarských ?as?, nebudu se ho sna?it p?esv?d?it.? 1

    Zastáváme názor, ?e médium, které básníci sí?ové kultury up?ednost?ují, je video. Poezie byla od samého za?átku o kvalit? a výb?ru. Dodnes je typickým p?íkladem znalosti procesu výb?ru z velké databanky referencí, zku?eností a literárních strategií, je? básník zám?rn? p?izp?sobuje vlastní p?edstav?. Podobn? jako poetové, inspirující se vlastními literárními tradicemi, nachází básníci videa (dne?ní auto?i video remix?) kvalitu ve výb?ru ji? existujících materiál?. Rozdíl mezi poezií a videem tkví v tom, ?e první z nich má ko?eny v bývalém ekonomickém systému, ve kterém du?evní vlastnictví nebylo o boji mezi kvantitativní a kvalitativní p?esností, zatímco nyn?j?í a aktivní video se nachází v dob?, kdy dolování dat a vyhledávání v reálném ?ase vymezuje, jakým zp?sobem má být du?evní vlastnictví distribuováno a cen?no v kultu?e. Výsledkem je stále se opakující otázka originality, která úzce souvisí s  autorskými právy. 2

    Na?e diskuze o remixování se m??ou mnohým um?lc?m a kulturním teoretik?m zdát pochopiteln? pov?domé. Remixování videa, jak jej chápeme, dnes ?erpá z vliv? tak rozdílných, jako jsou estetika hip-hopu, filmová metoda ?found footage? a um?lecké styly apropriace z galerií dvacátého století. Tato podobnost s technikou defraudace 3 vychází z výtvarné tvorby Situacionist?. Virální vzorce distribuce byly zavedeny kulturním aktivismem zvaným ?culture jamming? a hackery.

    Za?átek 21. století v?ak zaznamenal nebývalý r?st v ?remixované? tvorb?. K tomu do?lo p?edev?ím díky rozsáhlému p?ístupu k relativn? cenov? dostupné mediální produkci a distribu?ní technice. Ti, kte?í si tuto techniku sm?jí dovolit, se mohou v rámci kulturního pr?myslu d?íve orientovaného na zákazníka stát kulturními producenty. Tyto tradi?n? jednosm?rné komunika?ní kanály filmu a videa nyní doká?ou fungovat v obou sm?rech.

    Dnes lze videa produkovaná za komer?ním ú?elem pova?ovat za podklady pro na?e vzájemné debaty. Nemusíme u? dále dodr?ovat harmonogramy stanovené televizními spole?nostmi. M??eme hledat podle libosti a média remixovat.

    Sociální média jsou definovaná estetikou remixování, co? se projevuje zejména v mash-up videích v?ech druh?. Pro u?ivatele se remixování obsahu stalo tak b??nou zále?itostí, ?e technický postup za?al postrádat význam. A? u? bloge?i pí?í o jiných blozích, sdílejí link, video nebo obrázky, tak samotné tvo?ení obsahu (profesionálního i amatérského) pova?ují za zvyklost, za n?co, co míní vykonávat ve svém ka?dodenním ?ivot?. Tento postoj m?ní vnímanou roli tv?rce a vy?aduje nový rámec kritiky kulturních producent?. Hranice mezi tradi?ními p?edstavami o vysoké kultu?e v porovnání s masovou kulturou a amatéry s profesionály za?ínají rychle mizet. P?esto s sebou tato zm?na p?iná?í novou fázi sporu, jí? lze nejlépe porozum?t ve v?udyp?ítomnosti amatérských produkcí, které p?edstavují reálnou ekonomickou sílu, je? není snadno kontrolována t?mi, kte?í se domáhají práv du?evního vlastnictví.

    Schopnost obstarat si digitální video z internetu poskytuje lidem p?íle?itost, jak toho dosáhnout bez ztráty kvality. Podobné produkce se vyskytují po celém YouTube a pohybují se od tropení ?ert? z populární kultury a? k vá?ným a významným politickým výrok?m. Zajímavou se jeví diskuse o vlivu remixování videí na ekonomiku video produkce. Remixování videa je v podstat? zdarma stejn? jako ideální kasino. Pro oby?ejné lidi poskytuje vynikající mo?nost, jak podrývat propagandistický styl videí pocházejících z pr?myslu a vlády.

    Jak amaté?i rozli?ují dne?ní video remixy

    V p?ípad? um?lecké tvorby je remix schopný zajít a? za systém profesionál? a komer?ních podn?t?. Pokud jsou komer?ní zájmy odsunuty stranou, vyno?í se nové motivace. N?kte?í lidé tvo?í a d?lí se o svou práci z ?istého zájmu o zapojení v kulturní síti ?i je t??í samotné sdílení, jiní mají naopak zájem proná?et politické výroky. Pokud analyzujeme remix na základ? rozdílných motivací a sociálních struktur, m??eme porozum?t um?leckému a politickému potencionálu kultury remixování.

    Zatímco se ?ánry remixování a jejich komunity roz?i?ují online, my nacházíme celou ?kálu motiv? pro produkci. N?které se sdílí mezi rozdílnými komunitami a um?lci, kde?to jiné jsou odli?né a odporují si. Nap?íklad MAD edito?i v Japonsku remixují pro vlastní publikum a sp?átelené um?lce podobn? jako producenti AMV (animované hudební video) p?evá?n? ze Severní Ameriky. St?iha?i nevyda?ených videí z YouTube jsou ?asto hnáni také obdobným ?oumenstvím, zejména ale usilují o to naru?it YouTube a dal?í weby sdílející videa. Ti, kte?í vytvá?í fan videa, u? dlouho oslavují, kritizují a rozebírají vlastní základnu s rozsáhlou kolekcí remix?. 4 VJové, ji? svou práci zavedli v komer?ních prostorech, vytvá?í online komunity se ?irokou ?kálou komer?ních i nekomer?ních podn?t? pro produkci.5 P?íkladem jsou politická remixovaná videa, která ukazují politickou motivaci typickou pro kulturní jamery (culture jammers).

    Na druhou stranu nám remixy filmových trailer? p?ipomínají, ?e ne v?ichni tv?rci mají politické, sociální nebo spole?enské zám?ry vyu?ívat licencovaný materiál zábavního pr?myslu. Tito remixující auto?i si v?t?inou neuv?domují politiku a zákony, které obklopují prost?edí remixu. Z?ídkakdy komunikují s kolegy a ?asto up?ednost?ují vlastní práci. Z t?chto d?vod? není sociální struktura ve skupin? remixovatel? trailer? optimální pro spolupráci a tv?rci nemusí být jedinými p?isp?vateli, kte?í mají mén? kolaborativní a více komer?ní motivace vytvá?et video remixy. Tyto remixy jsou také vyu?ívány s ?istými komer?ními zám?ry pomocí výrobního a maloobchodního prodeje a nechávají náv?t?vníky, aby si vytvo?ili vlastní remixy z omezeného mno?ství reklamního video materiálu.

    P?esto musíme být opatrní, abychom si to neidealizovali a? do takového bodu, ?e vytvo?íme mýtus. Postup amatér? (termín ozna?ující osobu, která je zapojená do ?innosti a nevy?aduje ?ádné materiální výhody) by m?l být chápán jako odklon od jiných apropria?ních praktik. Jde o okrajovou formu mediálního výzkumu a kritiky; zp?sob, jakým lze vyjád?it vlastní názor nebo zm?nit p?edstavu o kulturním fenoménu, jako jsou pr?myslová zábava, komer?ní výrobky, zprávy, memy a dal?í. Remix nabízí stru?né a ?ivé rétorické metody schopné bu? infikovat systém masových médií, nebo jej naru?it ?i zapojit do vzájemného vztahu.

    Rétorické rozdíly remixovaných záb?r?

    Zatímco význam mediální gramotnosti a s tím souvisejících kritik médií byl ji? vy?erpávajícím zp?sobem posti?en, konkrétní vlastnosti video remixu (jako bezprost?ednost, aktuálnost, p?íhodnost a soust?ed?nost) nám nabízejí nové rétorické p?íle?itosti. Nejv?t?ím rozdílem je pou?ití video remixu jako prost?edku ?e?i, jen? m??e vytvo?it p?ímé a praktické zapojení s obrazotvorností osvobozené nejen od tradi?ních estetických problém?, ale také od institucionalizované politiky. Je u?ite?né zamyslet se nad tím, jak m??e video remix jako?to niterný a bezprost?ední nástroj pro sd?lení zprávy nahradit textový komentá?, názor nebo nesouhlas.

    Pokud vezmeme v potaz zmi?ovanou podobnost s poezií, je z?ejmé, ?e video je obeznámeno s poetickou licencí nejen z hlediska pohodlného p?ístupu k materiálu (básník m??e vybírat slova ze své rostoucí slovní zásoby stejn? jako remixovatel videa lehce p?istupuje k databázi ji? existujícího videa), ale také z ekonomické stránky (psaní není nijak drahé a editování videa se stalo ne?ekan? dostupným). To m??e být ?áste?n? zp?sobeno tím, ?e celé generace lidí byly, jako?to spot?ebitelé, doslova bombardovány obrazy. Jakmile programování zp?ístupnilo výrobu videí, staly se amatérské postupy nebo nezávislé produkce obdobn? p?irozenými jako t?eba mluvení.

    Samoz?ejm? remixování videa v ?ádném p?ípad? neuniklo obchodním zájm?m, dominujícím kulturní produkci. Podklady, které vyu?ívají online remixy, se ?asto skládají z nejprodávan?j?ích film? a televizních po?ad? nebo z p?edních videoklip? a reklam. Reklamní pr?mysl si sám o sob? vybral estetiku remixu proto, aby apeloval na novou tr?ní strukturu vzdorovitých profesionálních spot?ebitel?.  Nicmén? onen propastný rozdíl mezi reklamní agenturou, která legitimn? zaji??uje práva a která platí za pou?ití ?ady klip? chrán?ných autorskými právy v reklam?, a mezi jednotlivými remixovateli, kte?í z klip?, ke kterým nemají ?ádné oprávn?ní, vytvá?í politické remixy, je z?etelný. A tento rozdíl je je?t? dále prohlubován po?iny mnohých autor? remix?, kte?í riskují postihy spojené s autorskými právy, a to i za cenu, ?e za svoji práci nedostanou zaplaceno. V této válce o informace m??e út?k z komer?ních tlak? a restrikcí poskytnout autor?m politických remix? potenciáln? mocnou zbra?. M??e toti? znamenat odolnost v??i firemní kooptaci, zplnomocnit diváky a nabídnout pedagogicko-politický nástroj.

    M??ou video remixy zm?nit ekonomii video produkce?

    Walter Benjamin vyzval um?lce, aby se ujali nejen úkolu produkování, který má progresivní politický charakter, ale aby tak u?inili prost?ednictvím moderních prost?edk? produkce, které podporují ostatní um?lce k obdobnému p?ístupu: ?[Autorova] práce nevyvíjí pouze produkty, ale zárove? pracuje se v?emi prost?edky produkce? Autor, jen? nenau?í nic spisovatele, nem??e nau?it nic ani nikoho dal?ího. Zásadním faktorem je ukázkový typ produkce, který za prvé umo??uje vést ostatní producenty k této produkci a za druhé jim p?edstavuje vylep?ená za?ízení, je? mohou pou?ívat.?6

    Postupy, které se vyu?ívají v remixování videí, m??ou být také pova?ovány za mediální aktivismus, jeliko? postupn? oslabují zákony a monopoly, je? dominují pr?myslové kultu?e a m?ní ji v komoditní trh. Fair use, Creative Commons7 a copyleft8 sni?ují náklady na kulturní spoluvlastnictví a dávají producent?m sd?lovacích prost?edk? p?íle?itost vykonávat své ?emeslo v demokratickém stylu. Zárove? výzvy, které video remixy p?edstavují pro roli copyrightu, mohou p?isp?t k diskusi o zm?n? zákon?, je? se uplat?ují na dal?í formy du?evní práce, jako je v?da nebo vývoj softwaru.

    Aktivisté v?ech typ? m??ou t??it z nízkých náklad? na remixování videí. N?které politicky motivované remixy mohou p?isp?t k r?zným progresivním kauzám a prohlubovat solidaritu mezi um?lci tvo?ícími remixy, mediálními aktivisty a hnutím za sociální spravedlivost. Video remix m??e slou?it nejen jako d?le?itý p?íklad progresivní kulturní produkce, ale nabízí také prostor pro diskuzi, na kterou v hlavním proudu kulturního pr?myslu není prostor.

    Um?lci jako Negativland9 a John Oswald jsou p?íkladem jednotlivc?, pro které je um?ní prost?edkem ke zpochybn?ní ekonomických vztah? kulturní produkce. Obohacující je zde také ov?em otázka, zda velké um?lecké komunity v?nující se remixu mohou ?i nemohou spole?n? pracovat a stav?t tak na t?chto minulých vít?zstvích. Komplikací je, ?e v?t?ina nejnav?t?vovan?j?ích platforem pro sdílení videí sídlí na webových stránkách vlastn?ných velkými korporacemi. Ba co více, hrstka obrovských konglomerát?, která dnes vlastní práva k v?t?in? médií, je ?asto schopná pod hrozbou ?aloby odradit potenciální um?lce. P?iznané zacházení se zdroji a aktivistické aktivity jednotlivých um?lc? a um?leckých skupin v?nujících se remix?m jsou tudí? kv?li nutnosti financí zastaveny ?asto je?t? d?íve, ne? se stanou p?edm?tem právních otázek.

    Jaká je budoucnost remixování videí a jak jí docílíme?

    Vzhledem k faktu, ?e po?et video remix? roste, m?li bychom se zam??it na p?eká?ky, kterým ?elí, a p?ekonat je. Práce autor? v?nujících se remix?m je spojena s ?adou hodin strávených nad hledáním a konvertováním záznamu. Mnoho tv?rc? také odrazuje náhodné vymazávání videí na základ? copyrightu nebo strach z právních následk?. ?e?ení t?chto problém? nespo?ívá pouze v právní a technologické reform?, ale také ve vývoji a obohacení samotných komunit autor?. Práv? tyto komunity nabízí tv?rc?m mo?nost poradit se v otázkách estetiky a techniky se svými sou?asníky. Metadata mohou um?lc?m pomoci t??it ze zdrojového materiálu. Neziskové distribu?ní stránky umo??ují autor?m nahrát své výtvory bez toho, aby se obávali náhodného vymazání nebo zneu?ití ze strany ostatních u?ivatel?. Ukázkovým p?íkladem je projekt The Archive of Our Own (?ná? vlastní archiv?) organizace pro transformativní díla Organization for Transformative Works10. A my se m??eme zam??it na diskuse probíhající v t?chto komunitách, abychom zde nalezli nový pohled na budoucnost video remixu.

    P?esto?e ?asto uva?ujeme o tv?rcích online video remix? jako o velké demografii u?ivatel?, m?li bychom se také zam??it na individuální autory nebo tv?rce: tj. osoby u po?íta?e, které pracují se st?iha?ským softwarem, vybírají a dohromady dávají fragmenty r?zných médií. Krom? toho, ?e této ?innosti v?nují fanaticky ve?kerý sv?j volný ?as, jsou také stavebními kameny kulturní reprodukce. Asi nikoho nep?ekvapí, ?e tv?rce je základní podstatou kulturní produkce. Hodnota individuální práce je pak zásadní pro na?e diskuze o tom, jak chceme budovat své um?lecké komunity.

    Vybrala Marie Meixnerová, z anglického originálu Remix and the Rouelles of Media Production p?elo?ila Pavla Stejskalová.

    ?Remix and the Rouelles of Media Production? [online]. In.: Networked: a (networked_book) about (networked_art), [networkedbook.org] , naposledy upraveno 11. ?ervna 2011. [?erpáno 28. 12. 2012] Dostupné z WWW: [wiki.networkedbook.org] >.

    Text i jeho p?eklad jsou publikovány pod licencí 3.0 Creative Commons (The ?Attribution-ShareAlike? licence).

    1. Colombo, John Robert. ?A Found Introduction? Open Poetry. Ed. Ronald Gross a George Quasha. Simon & Schuster: New York, 1973. 431-435 [?]
    2. Pro více detail? ohledn? otázek originality, autorských práv a kultury v dne?ní ekonomice, viz Lawrence Lessig.
    3. Remix: Making Art and Commerce Thrive in the Hybrid Economy. Penguin Press: New York, 2008. [?]
    4. Ken Knabb: ?Francouzské slovo détournement znamená odchylka, odvedení, odklon?ní, p?ekroucení, zneu?ití, zpronev?ra, únos, jinak odbo?ení z b??ného sm?ru nebo cíle?? [?]
    [www.video24-7.org] [?]
    5. [thru-you.com] [?]
    6. Walter Benjamin, ?The Author as Producer,? New Left Review I/62, July-August 1970 [?]
    [creativecommons.org] [?]
    7. [www.gnu.org] [?]
    8. [negativland.com] [?]
    organizace, která podporuje ?innost fanou?k? ? pozn. p?ekl. [?]

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  • Permalink for 'Synthetic Biology'

    Synthetic Biology

    Posted: 24-June-2013, 11:52am EDT by jo

    The Helmholtz Initiative on Synthetic Biology is calling for proposals for art exhibits developed during an experimental laboratory experience.

    The project is a common project between Prof. Dr. Roland Eils (DKFZ Heidelberg and Heidelberg University) and Prof. Ursula Damm (Bauhaus University Weimar). The jury will consist equally of scientists and artists.

    With the emergence of Synthetic Biology, a scientific discipline aiming at the standardization of biological parts for the targeted generation of organisms with new, naturally not occurring features is gaining more and more scientific as well as public attention. Discoveries and inventions in the field of Synthetic Biology bear an enormous potential for the understanding of the living world and the development of processes and products for medicine and technology. The societal changes originating from such advances, however, are neither anticipated nor reflected in scientific approaches to this issue. Thus, the project aims at introducing artists to the technical methodology of Synthetic Biology and to uncover common aspects for a critical assessment of societal and cultural aspects of this emerging discipline.

    The project starts at September 9, 2013. Selected artists are invited to a four-week experimental laboratory visit at the BioQuant Center for Quantitative Analysis of Molecular and Cellular Biosystems in Heidelberg, Germany. During the first two weeks, the embedded artists will be introduced to experimental techniques, such as handling of bacteria and mammalian cells, DNA cloning and protein expression as well as analytic methods, such as microscopy, gel electrophoresis or photometric assays.

    The following two weeks are dedicated to the first stages of exhibit development. The exhibits generated during and after this laboratory experience will be presented to the public in an exhibition in the award-winning BioQuant Center in Heidelberg. The exhibition will last (depending on the kind of exhibits) 4-6 weeks and will take place within the framework of the international research symposium Synthetic Biology — from understanding to application — taking place at the German Cancer Research Center (DKFZ) in Heidelberg on December 9-11, 2013.

    The call is open until July 28, 2013. Applicants will be informed about the Jury?s decision until August 7, 2013. Accommodation in Heidelberg from September 9 until October 4, 2013, as well as equipment and consumables necessary for the experimental part are fully covered by the organizers. Two artists will be supported with a budget between 1.000 - 3.000 (depending on the requirements) to cover production costs of the exhibits.

    Your application should include:

    • Project proposal (preliminary) (500 words)
    • Letter of interest (up to 1000 words)
    • Documentation of artwork (website, PDF, video)
    • Curriculum vitae

    Please send all required documents by email to j.ritzerfeld [at] dkfz.de

    More information is available here.

  • Permalink for 'Live Stage: Open(Art) [NYC]'

    Live Stage: Open(Art) [NYC]

    Posted: 24-June-2013, 12:07pm EDT by jo

    Open(Art) ? Creative platforms for the open web :: July 12 - August 11 :: Opening Reception: July 12; 6-8 pm :: Workshops: July 13; 12-3 pm :: Eyebeam, 540 W 21st St. New York, NY.

    Eyebeam is pleased to announce the Open(Art) exhibition and workshop series, which marks the culmination of our Open(Art) Fellows’ projects.

    Open(Art) is a joint initiative launched by Eyebeam and Mozilla to support creativity at the intersection of art and the open web. It offers a unique opportunity for artists and technologists to collaborate on work that catalyzes participation on a global scale, and engages audiences through innovation, transparency, and utility.

    Join the Open(Art) Fellows — Forrest Oliphant, Toby Schachman, and Nortd Labs — for a reception on July 12 and workshops on July 13.

    About the Projects

    Forrest Oliphant — Meemoo

    Meemoo brings the power of app development to everyone. It is an HTML5 data flow programming environment with an emphasis on real-time audio-visual manipulation. Using an intuitive visual interface that lets users connect modules together using colorful “wires,” Meemoo lets anyone remix and build apps right in the browser.

    Toby Schachman — Pixel Shaders

    Pixel Shaders is an interactive book, platform, and community centered around harnessing the graphics processing unit (GPU) for artistic purposes. It aims to make GPU programming accessible to artists in the same way that tools like Processing made CPU programming more acessible to digital creators.

    Nortd Labs (Addie Wagenknecht + Stefan Hechenberger) — BOMfu

    BOMfu is a collaborative web repository for open hardware projects. It aims to increase the ease of use and quality for the “bill of materials” or “BOM” - the list of raw materials required to build a finished product. The goal is to open up new and more complex forms of open hardware creations.

    About the Workshops

    Eyebeam will host a Workshop Day on July 13th, during which the Fellows will present their projects, explain their implications, and teach participants how to use them.

    Forrest Oliphant’s Meemoo workshop is designed for K-12 art, media, and technology educators who might use Meemoo within the classroom.

    Toby Schachman’s Pixel Shaders workshop will teach the basic of “shader” programming, which are programs that run on the GPU to create real-time visual effects. No prior programming experience required.

    Nortd Lab’s BOMfu workshop will introduce participants to open hardware “BOMs” — or bills of material — and get users started finding open source projects and creating their own.

  • Permalink for 'FM-Scenario - The Listener?s Voice'

    FM-Scenario - The Listener?s Voice

    Posted: 24-June-2013, 12:40pm EDT by jo

    FM-Scenario - The Listener’s Voice :: June 22 ? August 4, 2013 :: ZKM | Center for Art and Media, Lorenzstrasse 19, 76135 Karlsruhe, Germany.

    The inter-media project FM-Scenario - The Listener’s Voice uses the Internet as a production site for generating content for further media ? more specifically: radio stations, exhibitions and publications. The project’s starting point comprises Eran Schaerf’s news radio plays from the years 1997 to 2011, as well as new texts. The Listener’s Voice (2002), a fictitious radio station, moderated by a computer program is exemplary of Eran Schaerf’s news radio plays. Here, Schaerf uses the newscast format in order to indicate the relativity of its objectivity claim: newscasts not only describe apparent facts, but allow such coverage to be one narrative account among many.

    On the Website, Eran Schaerf set up an expanding archive of audio modules. This online studio is not an information website, but a production site open to all. From this archive of audio modules ZKM curator, Margit Rosen, compiled the narrative FM-Scenario: Reality Race: a listener logs him or herself into the program The Listener’s Voice, yet hesitates with the required registration of gender. As in state regulations, the machine compels the listener to identify him or herself as an individual by way of gender ? as a necessary basis for all further communication. Were the moderator not a computer program, it would, perhaps, understand that gender is not clearly defined, but is constructed in the enactment of roles.

    This montage serves Eran Schaerf as a script for a performance, which takes place in the exhibition space in front of cameras, though not before an audience. The imagery thus produced, is one of several elements of the three scenic installations featured in the exhibition.

    Margit Rosen’s audio-montage will be broadcast on June 21, 2013 at around 9.03 p.m. by the Bavarian Broadcasting Cooperation (Bayerischer Rundfunk) on Bayern2 as part of the program ‘ho?r!spiel!art.mix’. After the broadcast, the program will be available as podcast for downloading on www.hoerspielpool.de, where previous montages, as well as the background broadcasts can already be found.

    Project Curator: Joerg Franzbecker
    Project Management: Herbert Kapfer and Joerg Franzbecker
    Exhibition Curator: Margit Rosen
    Project Coordination ZKM: Annina Zwettler
    Performance and Image Production: in collaboration with Moritz Büchner, Joerg Franzbecker, René Haustein, Kerstin Honeit, Sabine Huzikiewiz, Gesche Karnick, Suchan Kinoshita, Inga Krüger, Karolin Meunier, Clara Napp, Paula Reissig, Martin Roos und Andrea Thal.

    The project is funded by Kulturstiftung des Bundes (German Federal Cultural Foundation).

    ‘FM-Scenario ? The Listener’s Voice’ (2012?2014) is a production of a production e.V., Berlin and Bayerischer Rundfunk/Ho?rspiel und Medienkunst in cooperation with Hartware MedienKunstVerein, Dortmund; Haus der Kulturen der Welt, Berlin; Les Complices, Zurich; Museum fu?r Konkrete Kunst, Ingolstadt, and the ZKM | Center for Art and Media Karlsruhe.

  • Permalink for 'Everything is TEMP'

    Everything is TEMP

    Posted: 24-June-2013, 12:50pm EDT by jo

    TEMP Art Space is pleased to announce Everything is TEMP, an exhibition curated by Alex Ahn and Ari Lipkis featuring work by nine emerging artists who explore the fleeting nature of digital art. The idea ultimately reflects the inherent ephemerality of technology and life. Artists include Yonatan Ben-Simhon, Tyler Healy, Jack Kalish, Rune Madsen, Marisa Prefer, Byron Peters, Matthew Ostrowski, Ryan Raffa, and Timo Toots.

    In the novel Nineteen Eight-Four, George Orwell created a fictional language “Newspeak,” intended to be used by the dystopian rulers of his world to limit and control free thought. Orwell masterfully demonstrated that the development of language could either hold back mankind?s advancement or pull it forward. Arduino, C, C++, CSS, HTML, Java, Javascript, PHP, Processing, Python, UNIX, XML, etc. ? these are the new languages of today used to program the technologies that now run our lives, these are the advancement of language.

    The artists involved in this exhibition have studied to be fluent in these new languages just as one might devote themselves to learning French, Spanish or any foreign tongue. Language is continually evolving and with just about every new innovation a new computer language is born. Today?s rapidly increasing innovations require a mastery of each new language.

    In Ryan Raffa?s RhythmSynthesis a visual language is transcribed from sound. Through the interactive musical instrument users employ color, shape, and sound to create a new hybrid language comprised of audio and aesthetics. Each colored tile placed on the screen of the work creates a different sound based on its color shape and placement on the screen. An assortment of tiles can essentially create a musical composition and since recreating a previous arrangement is nearly impossible each participant creates a new individual musical work. Each digital construction by the user is unique and thus can never be repeated.

    Equivalents by Byron Peters is a continuous archive of footage of sky from around the world as taken by workers from their workplace. The video clips were taken by workers on digital outsourcing platforms while they were paid minimum wage (10 per hour USD, Silicon Valley) to watch clouds in one-minute intervals. The piece questions the idea of work and time in a digital society.

    Marisa Prefer?s Breathing Room is a site-specific interactive sculpture relying on consistent airflow to create its structure. The piece is digitally activated through various accompany artworks. The multi-colored inflatable room, which visitors are welcome to enter, echoes the continually changing nature of technology.

    www.tylerhealy.com is a digital self-portrait that embodies the bottomless fascination of the internet. The video of the artist intently scrolling through his own website demonstrates how digital platforms allow one to constantly update the world. The glare of the screen and intent gaze of the artist is simultaneously narcissistic, haunting, and beautiful.

    Structured around generative sets of numerically encoded gestures and scenes, Negative Differential Resistance by Mathew Ostrowski is a study in temporal relationships of stability and instability, both visual and sonic. Deriving from the idea of the binary — a lamp is either on or off — and using a minimalist palette of white light and 60-cycle hum, this work creates an optical and aural theater whose ultimate topic of investigation is our own awareness: as patternmaker, cognitive agent, and embodiment of time.

    An artwork is usually considered to be unique but with the advent of printing it became possible to reproduce the same work many times over. Artists began making limited editions of their printed work in order to reassert the uniqueness of their work. Rune Madsen?s series Tiny Artist is a finite number of prints generated by a computer code that destroys itself, making it impossible to replicate the original prints.

  • Permalink for 'Slow Space: Flatbread Society [Oslo]'

    Slow Space: Flatbread Society [Oslo]

    Posted: 24-June-2013, 1:20pm EDT by jo

    [Futurefarmers embark their mobile oven on Oslo Opera House, June 2013. Photo: Max McClure.] Situations: Challenging Public Art Now presents Slow Space: An unfolding programme of public art projects in the city of Oslo.

    Slow Space, a new programme of public art projects, events and publications, is set to unfold in Bjřrvika, Oslo’s former container port, over the next four years. Challenging preconceptions about the forms and timespan of conventional public artworks, the programme promises a new approach to working with artists in sites of regeneration.

    In 2010, UK-based producers Situations were asked to devise a new curatorial vision for this major site of regeneration on Oslo’s waterfront. Claire Doherty, Situations Director recalls, “We were struck by how Snřhetta’s white marble roof at the Opera House had quickly become a new gathering place in the city ? a space free from commercial activity in which to think, to slow down, to congregate, to self-organise. We gathered together artists, architects, planners and curators from all over the world in Oslo to help us think about alternative approaches to public time as well as public space.”

    Slow Space is conceived as a programme that will unfold over time, through collective activity, annual events and interventions, often in close collaboration with existing organisations and artist-run and activist initiatives across the city.

    The first of four projects launched this month with the San Francisco-based artist Amy Franceschini and Futurefarmers establishing Flatbread Society. Using the compelling proposition of a permanent Bakehouse for Bjřrvika, Futurefarmers sought out the hidden networks of bakeries and urban food production, environmental activists and farmers across Oslo, listening and researching, delighting in the divergent forms of and facilities for making flatbread.

    From May to June 2013, Flatbread Society established a temporary presence to test out the function, form and community of the Bakehouse. Its provisional aesthetic contrasted starkly with the surrounding construction site: the hand-made meeting tables and tools, its radio station Ramona, the tandoor and flatbread ovens, a canoe oven (above), a telescope rolling pin and shelter structure ? served to insert make-shift production into the highly planned and controlled public space of the new Bjřrvika. This is a field station operating through a spirit of readiness. Through Flatbread Society, Futurefarmers offer an alternative approach to the design and builds methodology of urban design, creating a space in which we might actively contribute to the life of our public spaces through a captivating idea.

    Read & download Tara McDowell’s new essay Notes from the Field, Summer 2013 on Flatbread Society at www.slowspace.no/journal.

    New projects by artists Katie Paterson, Toril Johannessen and Marjolijn Dijkman, Heather and Ivan Morison will be announced in due course. Follow @situationsuk.

    Support

    Slow Space is the public art programme for Bjřrvika, the former container port area of the city of Oslo and is supported by Bjřrvika Utvikling.

    About Situations

    Situations is an award-winning visual arts organisation which commissions and produces projects by contemporary artists for public sites and situations. Established in 2002 and based in Bristol, UK, Situations has achieved international recognition for its programme of projects, publications and events which challenge preconceptions about where, how and when public art takes place. Situations is supported by the Paul Hamlyn Foundation.

  • Permalink for 'Participatory Composition: Video Culture, Writing, and Electracy'

    Participatory Composition: Video Culture, Writing, and Electracy

    Posted: 24-June-2013, 1:47pm EDT by jo

    Participatory Composition: Video Culture, Writing, and Electracy by Sarah J. Arroyo:

    Like. Share. Comment. Subscribe. Embed. Upload. Check in. The commands of the modern online world relentlessly prompt participation and encourage collaboration, connecting people in ways not possible even five years ago. This connectedness no doubt influences college writing courses in both form and content, creating possibilities for investigating new forms of writing and student participation. In this innovative volume, Sarah J. Arroyo argues for a “participatory composition,” inspired by the culture of online video sharing and framed by theorist Gregory Ulmer?s concept of electracy.

    Electracy, according to Ulmer, “is to digital media what literacy is to alphabetic writing.” Although electracy can be compared to digital literacy, it is not something shut on and off with the power buttons on computers or mobile devices. Rather, electracy encompasses the cultural, institutional, pedagogical, and ideological implications inherent in the transition from a culture of print literacy to a culture saturated with electronic media, regardless of the presence of actual machines.

    Arroyo explores the apparatus of electracy in many of its manifestations while focusing on the participatory practices found in online video culture, particularly on YouTube. Chapters are devoted to questions of subjectivity, definition, authorship, and pedagogy. Utilizing theory and incorporating practical examples from YouTube, classrooms, and other social sites, Arroyo presents accessible and practical approaches for writing instruction. Additionally, she outlines the concept of participatory composition by highlighting how it manifests in online video culture, offers student examples of engagement with the concept, and advocates participatory approaches throughout the book.

    Arroyo presents accessible and practical possibilities for teaching and learning that will benefit scholars of rhetoric and composition, media studies, and anyone interested in the cultural and instructional implications of the digital age. Related: The Learning Screen by Gregory Ulmer.

  • Permalink for 'Turbulence Commission: iSkyTV'

    Turbulence Commission: iSkyTV

    Posted: 19-June-2013, 11:27am EDT by jo

    Turbulence Commission: iSkyTV by the Institute for Infinitely Small Things, with Sophia Brueckner [For desktops and mobile devices]:

    iSkyTV is a networked art project that detects the user’s location and animates the Google Street View sky above their heads. The project is a reimagining of “Sky TV” — Yoko Ono’s famed video work from 1966 — that brought the outside space inside the gallery. In contrast, iSkyTV brings the interior space of the database outside and invites viewers to reflect on a world in which our natural resources and landscapes have been digitized, databased, copyrighted and archived.

    iSkyTV is a 2012 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was funded by the National Endowment for the Arts.

    BIOGRAPHIES

    The INSTITUTE FOR INFINITELY SMALL THINGS conducts creative, participatory research that aims to temporarily transform public spaces and instigate dialogue about democracy, spatial justice and everyday life. The Institute?s projects use performance, conversation and unexpected interventions to investigate social and political ?tiny things?. Their membership is varied and interdisciplinary.

    For this project, the Institute for Infinitely Small Things was led by CATHERINE D’IGNAZIO, a.k.a. kanarinka, who is an artist, educator and software developer. She is the former Director of the Experimental Geography Research Cluster at RISD?s Digital + Media MFA program and currently a graduate student at MIT’s Center for Civic Media. Her artwork has been exhibited at the ICA Boston, Eyebeam, MASSMoCA and numerous public street corners around the world.

    SOPHIA BRUECKNER, born in Detroit, MI, is an artist and engineer. Inseparable from computers since the age of two, she believes she is a cyborg. She received her Sc.B. in Computer Science and Applied Mathematics from Brown University, worked as a software engineer at Google, and earned her MFA in Digital + Media at the Rhode Island School of Design. She feels an urgency to understand and bring awareness to technology’s controlling effects, and to encourage the ethical and thoughtful design of new technologies. She recently joined the MIT Media Lab as a graduate student in the Fluid Interfaces research group.

  • Permalink for 'Live Stage: Walking Walden [Concord, MA]'

    Live Stage: Walking Walden [Concord, MA]

    Posted: 17-June-2013, 1:00pm EDT by jo

    Walking Walden with Wen Stephenson and Jane D. Marsching :: June 20, 2013; 1:00pm :: Walden Pond, Concord, Massachusetts (Meet at Thoreau?s House Replica near the Walden Pond parking kiosk).

    A walking event that reconsiders the radical politics of Thoreau in our time. Connect observation, environmental awareness, aesthetic action, and social change to the climate crisis now. We will walk from Walden Pond to Brister’s Hill, home of one of the first freed slaves in Concord and symbol of Concord?s engagement with the abolitionist movement. As we walk we will consider what is nature, what is changing, and what is radicalism today?

    Wen Stephenson is a contributing writer for The Nation which recently published Thoreau’s Radicalism and the Fight Against the Fossil-Fuel Industry (a short version of Essentially Revolutionary: Thoreau’s Radical Moment — and Ours). He has written about climate, culture, and politics for Slate, The Boston Phoenix, Grist, The Boston Globe, and The New York Times. His Slate essay “Walking Home From Walden” was featured at the Thoreau Society’s 2012 annual gathering in Concord. He is a founding member of the grassroots climate-action network 350 Massachusetts, allied with 350.org.

    This event is part of WORK OUT, an outdoor exhibition of the work of Futurefarmers, Fritz Haeg, Jane D. Marsching, and Andi Sutton who have each created alternative, sustainable engagements with the landscape in deCordova?s Sculpture Park. Through October 6 at the deCordova Sculpture Park and Museum, 51 Sandy Pond Road, Lincoln, MA.

    Field Station, Marsching’s project for WORK OUT, is a platform for data collection, citizen science, handmade and digital explorations of plant and animal life, and a conversation full of questions about the vibrancy of matter and our role in the stresses and resiliences of ecosystems.

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