Archive for the ‘text’ Category

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Worm/Detour : Martin Howse

Martin Howse, ein Mann mit Hut, dunklem Bart und einer Schachtel gefüllt mit “elektronischen Zubehör” spaziert mit uns zu diesem kleinen Platz am Rande des Grete-Rehor Parks, zwischen Parlament und der Staßenbahnstation “Dr. Karl Rennerring”. Ein Ort an dem sich ständig etwas hör und sichtbar bewegt, seien es abbiegende Straßenbahnen, die stetigen Stop and Go Actions der motorisierten Ringfahrer oder schlendernde Sonntagsspaziergänger. Optimale Voraussetzungen für ein Soundexperiment im Rahmen der WORM/Detour Veranstaltungsreihe (initiiert, kuratiert, organisiert von Bernhard Garnicnig).

Also, Martin Howse beginnt sein psycho-geophysisches Experiment mit diversen selbst gebauten Gerätschaften, die nach und nach aus der Schachtel gezogen und Teil eines immer komplexeren Instrumentes werden. Mit Hilfe der Geräte macht sich Howse auf die Suche nach Signalen der Umgebung und wir werden hörende Zeugen seiner Funde…

Kamera, Schnitt: Franziska Mayr-Keber
Inserts: Bernhard Garnicnig

Transmediale 2010 Award Winners announced

winners.jpg

In the Award Ceremony on Saturday, 6 February, Barbara Kisseler (Permanent Secretary of the State of Berlin) and the members of both juries announced the winners of both the transmediale Award 2010 and the Vilém Flusser Theory Award 2010!

Canadian artist Michelle Teran is the winner of the transmediale Award 2010. Her work Buscando al Sr. Goodbar was awarded with a prize of 6,000 Euros.
A Distinction worth 2,000 Euros was given to the Americans Aaron Koblin and Daniel Massey for their work Bicycle Built For Two Thousand.

The Vilém Flusser Theory Award 2010, also worth 2,000 Euros, was given to biologist and artist Warren Neidich (us/de) for his research project Neuropower.

from www.transmediale.de

Interview with James Powderly (GRL, FAT Lab)

During the Olympic Games in 2008 James Powderly traveled to Beijing in order to support the group “Students for a free Tibet”. The Idea was to go there and do a L.A.S.E.R. Tag performance. Before he was able to do so he was arrested and sentenced to 10 days of prison. When the games were over he was set free and sent home, where he decided to publish the story as a comic book together with Jihoi Lee. In the interview he tells us about the time in prison and the comic book that was exhibited at the Blackriver Festival in Vienna.

This is the L.A.S.E.R. Tag Video by GRL, for everybody who is not familiar with the project:


from http://graffitiresearchlab.com/rotterdam/laser_tag_WEB.mov

Japan Media Arts Festival in Vienna MQ

The Japan Media Arts Festival chooses every year another country to show their currently awarded and nominated pieces in an exhibition abroad.
This years the exhibition takes place in Vienna. It shows very well that the Japanese art definition differs from the European approach quite a lot, the border between art and design is floating as you can see by the selection of pieces in the exhibition.

Atsushi Wakimoto, the curator of the Japan Media Arts Festival walks us trough the viennese exhibition of the Festival which is running until 20th of September.

Façade-Play and Body-Sound

“Signs and Signals” @ Ars Electronica Festival 09Last weekend, at the FM4 co-hosted multimedia performance “Signs and Signals”, artist duo freyluft visualized sounds on the surface of the Ars Electronica Center (AEC).

“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

Open Calls: Piksel Fest & transmediale10

piksel09

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!”

tm10

Next years transmediale also published the call for entries.

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..

Creative Cities 3.Teil: Kreativ aus der Krise – oder eine kurze Genealogie der kreativen Klasse

Author/s:
Armin Medosch

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. Continue reading ‘Creative Cities 3.Teil: Kreativ aus der Krise – oder eine kurze Genealogie der kreativen Klasse’

Brilliant!

De:Bug is a German magazine for electronic music, with computers and there abilities… lets call this mag an electronic-live-style-survival-package (pff…out of breath) Couldn’t fit better, they just published the audio records of all “Club Transmediale” panels. And now you can find everything here.

800px-Maria_am_ostbahnhof

Distinction to Reynold Reynolds

 

 

Reynolds’s video installation Six Appartments is a poetic narration of resignation and decline which documents the life of six people in their apartments. The inhabitants live isolated, unaware of each other, without drama – they eat, sleep, watch television – even though their lives are overshadowed by mass media generated problems of the larger world and the upcoming ecological crisis. Their connection to the world is located elsewhere: It can be found in the microscopic process of decomposition of their bodies, food and living spaces, and in their passive existence towards consumption which, with every moment, brings them closer to their deaths. In Reynolds’ composition of images, with their strong Vanitas-motifs, the human being does not have control of its own life. reynold-reynolds.com/six

and the winner of the Vilém Flusser Theory Award is…

 Jaromil AND Brian Holmes

Conratulations!!

 

Denis Jaromil Rojo is a developer and media artist inspired by the GNU free
software movement: he follows the ideal of creating free software for
freedom of expression, to let people communicate, freed from
consumerist speculations and the need for expensive hardware. He is
author of the GNU/Linux Live CD dyne:bolic, of various free software
audiovisual  tools and  net-art  productions as  HasciiCam, the shell
:(){ :|:& };: forkbomb and Time Based Text. Featured as an artist in CODeDOC II
(Whitney Museum Artport), Read_Me 2.3 (runme.org software art),
negotiations 2003  (Toronto CA), I  LOVE YOU (MAK Frankfurt), Netarts
(Machida Tokyo),  Rhizome,  Data Browser 02 (engineering culture),
Crosstalks (Vrije Universiteit Brussel) and in several other
publications.

The blog, Continental Drift at http://brianholmes.wordpress.com, is an essay-writing worksite, updated continuously with Brian Holmes entire output as a public intellectual, whether occasional talks, spur-of-the-moment rants or polished full-length texts dealing with the analysis and subversion of cognitive capitalism and liberal empire.The blog was launched in early 2007 in parallel to the work of the autonomous seminar Continental Drift, developed since 2005 in collaboration with Claire Pentecost and the 16 Beaver Group (www.16beavergroup.org/drift). The seminar, gathering artists, theorists and activists, was conceived as a response to the deterioration of democratic discourse and public space under the influence of the outgoing American imperial administration. The essays on the blog are therefore Holmes personal work, but can also be considered as individual contributions to a collective practice.

Materials from the blog have recently been gathered into a book, _Escape the Overcode: Creative Art in the Control Society_, which will be published in early 2009 by WHW and the Van Abbemuseum. The book is freely accessible: http://brianholmes.wordpress.com/2008/02/02/book-materials

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