tagr.tv will be part of the ARS festival scenario as we have been invited by CCC - chaos computer club to join their Digital Communities Area (Bau 1, OG3). and of corse we will use this opportunity to tagr as much interessting projects, artists, etc. as we can!
PRIX ARS ELECTRONICA 2010 _ digital communities
one of the award winners in this category is the ubiquitous - #unibrennt cloud which was the origin for a European wide student movement criticizing our educational systems…. congratulations!!
our host CCC also won a price in this category.
to get an idea of what you can expect we are featuring the recording of the press conference in Vienna, thx to the team of http://unibrennt.tv for the video!!
Lichterloh did a VMS Show on Thursday, 13th May at the Mapping Festival in Geneve. We had the chance to talk with them about light, visuals and the future of Vjing in a light ambient setup.
The Mapping Festival is dedicated to VJing and to the task of combining moving images with contemporary cultures. Thus multiplying the events which animate the town and bestowing itself to the Genevans and international visitors.
Formed in 2005 by Modul8 conceptors and Zoo/Usine, The Mapping is in search of all passionate of real time image use, amateurs of electronic cultures, conviviality and discovery.
The festival is a true laboratory for the VJing discipline, offering both novices and professionals the possibility to experiment and encounter. This unique aspect gives the festival a world-wide reputation in the VJ-community as a meeting point you just have to visit.
INTERVIEW WITH LICHTERLOH
German
Interview: Conny Zenk
Camera: Markus Liszt
Editing: Conny Zenk
TrikeDoubleThree is a piece of performative dance in conjunction with audio visual elements by Christine Gaigg (2nd nature) and Bernhard Lang.
The four dancers on stage, perform on sound panels by being video taped, the sound and video is sampled with the “visual loop generator” and reprojected on the screens in the middle of the stage (stage design: Philipp Harnoncourt). As a viewer you might loose the oversight of what is created by whom, is the machine following the human dancers or vice versa?
But somehow, it’s all about loops. We had the chance to talk to Christine Gaigg and Bernhard Lang, the creators of this piece where dance meets media art.
TrikeDoubleThree was shown at TQW, November 2009, Wien Modern Festival.
INTERVIEW WITH BERNHARD LANG
German with English subtitels
Interview: Ella Esque
Camera & Editing: Franziska Mayr-Keber
Subtitles: Franziska Mayr-Keber, Oliver Stummer
Performance Video Recordings: Raphael Brand
INTERVIEW WITH CHRISTINE GAIGG
German (English subtitels will be added asap)
Interview: Ella Esque
Camera & Editing: Franziska Mayr-Keber
Performance Video Recordings: Raphael Brand
THX to the very charming and synergetic art-gang”freyluft” (monika freyer und philipp luftensteiner) we can proudly present: “Signs and Signals” the directors cut! It’s a recording of the whole performance, taken from the vis-á-vis Danube bank.
The project:
1. The Building:
The Ars Electronica Center (AEC) is a center for the electronic arts, run by Ars Electronica and situated in Linz, Austria. It’s located at the northern side of the Danube, on the right side of the Nibelungenbrücke (witch has a pretty interesszing history itself). The building is also known as the “Museum of the Future“. The museum has six floors filled with creative work from hi-tech laboratories all over the world.
2. The “new” Building:
The new building includes a multi-level structure adjacent to the existing facility and then wrapping the entire ensemble in a glass shell, the AEC’s spectacular 5,100-m2 LED façade. The result is a holistic entity, which can be used like a gigantic kind of screen.
3. The Event:
Matthias Schoenauer and Sebastian Schlachter from Austrian radio station fm4 produced “Signs and Signals. Together with the artgroup “freyluft” they developed the concept of a audio/ visual performance including the technical possibilities of this special environment.
It was extraordinary !!! But see for yourself and enjoy!
Other artists included are: Vocalist Mani Obeya, skin-conductor-violinist Ulla Rauter, Patrick Pulsinger and Richard Eigner.
For more information about the backstage situation and interviews look at my post: Façade-Play and Body-Sound.
“Any heavy-handed block can be transformed to a magical zone with an illuminated façade”, wrote Gerlinde Lang on the FM4 Website. Now, for sure, the new Ars Electronica Center (AEC) at its location on the banks of the Danube in Linz, does not qualify as a “heavy-handed block”, a magical zone it became nonetheless. This happened courtesy of artist duo freyluft, who, last weekend in cooperation with FM4, made 40.000 LEDs dance on the façade of the AEC, in their performance “Signs and Signals”.
The sounds involved were provided by DJs and live-musicians, but, notably, also by media artist Ulla Rauter, who utilized her own body as an instrument. With an electric violin bow she stroked her right forearm, while her hand was fitted with electric contacts. “The skin serves as a conductor. When the violin bow touches the skin, the circuit is closed”, says Rauter: “It is a sort of biofeedback.”
Text: Patrick Dax, ORF Futurezone Translation: Oliver Stummer
Es gibt viele Möglichkeiten, eine Computermaus zu zerstören. Zehn davon hat das japanische Künstlerduo exonemo in der aus Videos und einem Computerprogramm bestehenden Installation “DanmatsuMouse” gesammelt. Einmal saust ein Vorschlaghammer auf das Plastikgadget, ein anderes Mal fräst sich die Klinge eines Küchenmessers durch das Zeigegerät.
Ein Computerprogramm sorgt dafür, dass die reale Maus auf dem Desktop die “Todeserfahrung” ihres gefilmten Pendants nachvollziehen kann und gleichsam final zuckt. Zu sehen ist “DanmatsuMouse” bei der Ausstellung des Coded-Cultures-Festivals, das derzeit im Wiener MuseumsQuartier stattfindet und japanische und österreichische Positionen in der Medienkunst einander gegenüberstellt.
Zum Auftakt der futurezone.ORF.at-Serie “Futurezone Galerie” hat Matthias Tarasiewicz vom Coded-Cultures-Kuratorenteam Ella Esque vom Wiener Medienkunstblog tagr.tv durch die Ausstellung geführt. Die beiden unterhalten sich unter anderem über Martin Pichlmairs Arbeit “Bagatelle Concrete”, die einen Flipper zur Soundmaschine ummodelt, und über Yuko Mohris Installation “The Execution of Mary”, die elektronische Geräte zweckentfremdet.
Coded Cultures endet am Sonntag. Die Festivalausstellung ist noch bis zum 7. Juni im freiraum des Wiener MuseumsQuartiers zu sehen.
(Text: Patrick Dax)
Coded Cultures - Wien 27. – 31. Mai 2009, Yokohama und Tokio 14. – 18. Oktober 2009
The guys of Pikselfest in Norway are now accepting proposals in the categories installation, a/v performance, presentations and workshops. As ever - ” Projects realised using Max/Msp/Jitter, Flash/Shockwave, Final Cut or any other proprietary software does NOT qualify, and should not be submitted!”
I couldn’t find something like a theme or a subject - the next step after getting rid of the categories a few years ago? Would make sense imho, artistic production usually doesn’t care too much about festival themes anyway..
Interview mit Diedrich Diederichsen, Kulturwissenschafter, Berlin / Wien at the Ö1 Creative Cities Symposium on the 31st of april in the Radiokulturhaus Vienna.
Das Wesen des Kapitalismus ist die kreative Zerstörung, sagte der österreichische Ökonom Joseph Schumpeter schon in den dreißiger Jahren. Seine Theorie vom kreativen Unternehmertum feierte in den neunziger Jahren kreative Urständ: die New Economy, man erinnere sich. Junge Burschen und Mädchen mit feschen Frisuren, modischen Turnschuhen und krausen Ideen wurden plötzlich zum Ideal des neuen Unternehmertyps.
Stichwort: Sie hätten ja auch Künstler werden können, aber sie wollten was verdienen. Alte Wahrheiten des Wirtschaftslebens galten auf den Kopf gestellt, Unternehmen begannen ihre besten Produkte zu verschenken, um fiktive Marktanteile an “Eyeballs” in der Ökonomie der Aufmerksamkeit zu gewinnen. Auf der Achse zwischen Silicon Valley und Market Street, San Francisco, im Herzen der ehemaligen Gegenkultur der 1960er Jahre entwickelte sich der “coole Arbeitsplatz”. Ehemalige Fertigungs- und Lagerhallen wurden in Großraumbüros umgewandelt, deren architektonische Anlage bereits flache Hierarchien symbolisierte. Hier arbeiteten Menschen, die an der Garderobe ihr Skateboard deponierten, unter Kopfhörern Grunge oder Hip Hop hörten und Cappuccino Frappe Latte mit Limettengeschmack und Soyamilch, koffeinfrei, tranken, vor allem aber eines taten: sie identifizierten sich mit ihren Jobs. Die Arbeit war nicht mehr eine entfremdete Tätigkeit, die man sozusagen neben sich stehend ausführte. Jeder, ob Chef, Angestellte, Freelancer oder Praktikanten wollte ihr bestes geben, neue, glänzende Dinge machen, einfallsreich, geschickt, ja sogar genial sein. Und dafür arbeitete man dann, sozusagen frei und selbstbestimmt, bis zum Umfallen1. more
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