Susanna Garcia | 30 Jul 21:18 2015

OWL Modular Launch Event <at> LondonMusicHackspace | Bring your own code

Sorry for any cross-post
---------------------------------

OWL Modular Launch Event | Bring your own code!

August 1  <at>  17:00 - 21:00 | Free

Music Hackspace: Unit 15, 5–10 Corbridge Crescent , London, E2 9DS United Kingdom

Rebel Technology will be holding a little launch event for the OWL Modular at Music Hackspace, this
Saturday 1 August at 5pm.

We’ll be showing off the sonic capabilities of the patch library as well as demonstrating how to load up
Faust, C++ and Pure Data patches.

The OWL Modular is a fully programmable digital audio device. With a sophisticated ARM Cortex M4 processor
and plenty of memory, it delivers outstanding performance and audio quality. The platform is entirely
open source and remarkably easy to program. 

A growing community of patch developers have created a diverse library of more than 70 effects, including
phasers, flangers, delays, reverbs, distortion, compression, filters, shifters, screamers, laughers…

Based on the successful OWL Pedal, the Modular adds CV control and DC-coupled inputs and outputs, while
retaining full patch compatibility.

EVENT LINKS:
http://musichackspace.org/events/owl-modular-launch-event/
http://www.rebeltech.org/news/

---
(Continue reading)

Rasa Smite | 30 Jul 16:52 2015
Picon

CfP: 3D BioLab - Transformative Ecologies

Hello on Spectre list!

from August 19-21, 2015, we - RIXC are organizing a symposium 3D BioLab
at Cafe Europa, in Mons, Belgium,

you are very welcome to join us and participate!

please see below a short-notice call

also, in relation to the symposium, we also have curated Transformative Ecologies exhibition, which will be open in Maison du Design Gallery in Mons, from August 20-30, 2015 

best
Rasa

-----------------------------------------------------

(Short-notice) Call For Symposium Participation:

3D BioLab : TRANSFORMATIVE ECOLOGIES

an investigation into the changing patterns of contemporary ecologies, art and science.

3D BioLab – RIXC residency at Cafe Europa is announcing a call for participation in the symposium, which will take place from August 19-21, 2015 in Mons – European Capital of Culture 2015, Belgium.

The symposium programme will begin on August 19th with the opening of the exhibition in Maison du Design gallery. Entitled TRANSFORMATIVE ECOLOGIES, this exhibition is an investigation into the changing patterns of contemporary ecologies, art and science. It features artworks by Latvian and Belgian artists, who have created innovative art science installations as well as sonic, visual and 3D representations of various environmental data collected during their long term “techno-ecological” art research projects.

The TRANSFORMATIVE ECOLOGIES exhibition is providing the context for 3D BioLab symposium that will take place in the following days – August 20th and 21st in Cafe Europa. The Day 1 will offer the workshop on 3D data visualization, using as a point of departure the data from two artistic science research projects – BIOTRICITY by Rasa Smite and Raitis Smits, and INTELLIGENT BEEHIVE by Annemie Maes. During the Day 2 artists Gert Aertsen and David de Buyser will introduce their approach to 3D object generation by conducting the workshop on WIND POWER, SOUND AND MOVEMENT.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

CALL for participation:

We welcome participants to apply for the symposium and workshops by sending emails with short motivation letter and short biography to:

rixc (at) rixc.lv

Deadline: August 10, 2015.

Admission is free.


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

EXHIBITION:

TRANSFORMATIVE ECOLOGIES exhibition takes place in the framework Mons – European Capital of Culture 2015, August 19 to 30, 2015, featuring innovative art and science works, that addresses the environmental issues and deal withtehno-ecologicaldata representation.

Curators – Rasa Smite and Raitis Smits / RIXC, exhibition design – Rudolf Bekic.

Artists – Gints Gabrans, well-known Latvian contemporary artist, in his work METABOLIC DOMINANCE offers a vision on future of food by proposing to use cellulose disintegrating enzymes, which allows obtaining nutrients from grass, wood, paper... Innovative artist couple Rasa Smite and Raitis Smits / RIXC together with Martins Ratniks keep exploring human-plant communication by analysing and mapping the words out from 13 000 messages received during TALK TO ME artistic research project: what exactly people say to the plants so they grow better, taller and more beautiful? Interspecies communication is also explored in Belgian artist's Anne-Marie Maes work TRANSPARENT BEEHIVE, which is a living sculpture with the bee colonies that have been monitored, measured and visualized. Likewise, sound artist Voldemars Johansons in his artwork from ATTRACTORS series has observed the movement trajectories of an ant colony, creating 3D object from selected data. Negotiations with micro-size species – the bacteria, have been used also in two other works by Rasa Smite and Raitis Smits from BIOTRICITY series. Together with Voldemars Johansons they have made live installation with sonifications of real-time bacteria-electricity generation process, while together with video artists Martins Ratniks and Janis Jankevics – Rasa Smite and Raitis Smits have created new visualizations of POND BATTERY, which was installed in Riga Botanical garden and monitoring of which took place in the out-door conditions for 7 month-long period.

Exhibition also includes artworks by two young Latvian artists who offer highly utopian visions and positive future scenarios. Paula Vitola in her work PRIVATE ATMOSPHERE has made a costume that can help you to create your own 'ideal' and very private environment, yet not escaping, rather being a part of a society. And last but not least, Rihards Vitols with his AKA (Well) project has developed a proposal for new agricultural field that could be named “cloud-farming” as it is using helium balloons to collect rain water.


- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

PRELIMINARY SYMPOSIUM PROGRAMME

at CAFÉ EUROPA, Mons, Belgium


Wednesday, 19.08.2015

18:00 > 20:00

Exhibition Opening with Bacteria Battery art-science public show by Rasa Smite and Raitis Smits / RIXC and audiovisual performances by Rihards Vitols / Trihars and Martins Engelis / VADi.


Thursday, 20.08.2015

12:00 > 16:00

Symposium Day 1: BIOTRICITY, a poetics of green energy, INTELLIGENT BEEHIVE research and 3D DATA VISUALIZATION: workshop conducted by Rasa Smite, Raitis Smits by Annemie Maes.

17:00 > 20:00

3D BioLab Public Program: Renewable Futures lecture, artist presentations and participatory discussions (Playing Fields I).


Friday, 21.08.2015

12:00 > 16:00

Symposium Day 2: WIND POWER, SOUND AND MOVEMENT RESEARCH, AND 3D OBJECT GENERATION: workshops conducted by Gert Aertsen and David de Buyser

17:00 > 20:00

3D BioLab Closing Program: lectures and participatory discussions (Playing Fields II), workshop result demos and art science performances.


Sunday, 23.08.2015

15:00 > 18:00

FAMILY 3D BIOLAB (for local participants): VIRTUOSO workshop – introducing experiments from the 17th century scientists–amateurs and how artists today work with science: building battery from mud, using bees as living 3D printers, 'harvesting' drinking water from the clouds.

More info: http://rixc.org

Contact: rixc (at) rixc.lv, rasa (at) rixc.org (Rasa Smite)

Organized by RIXC in collaboration with Brussels Urban Bee Lab and Mons2015.

Supported by Mons 2015, WBI, Latvian Ministry of Culture of Republic of Latvia, and European Economic Area Financial mechanism.


-- rixc.org facebook.com/rixcriga renewable.rixc.lv
<div>
    <p class="western" lang="lv-LV">Hello on Spectre list!<br></p>
    <p class="western" lang="lv-LV">from August 19-21, 2015, we - RIXC are organizing a
          symposium 3D BioLab <br>
          at Cafe Europa, in Mons, Belgium,</p>
    <p class="western" lang="lv-LV"> you are very welcome to join us and participate!<br></p>
    <p class="western" lang="lv-LV">please see below a short-notice call<br></p>
    <p class="western" lang="lv-LV">also, in relation to the symposium, we also have
          curated Transformative Ecologies exhibition, which will be
          open in Maison du Design Gallery in Mons, from August 20-30,
          2015&nbsp; </p>
    <p class="western" lang="lv-LV">best<br>
          Rasa<br></p>
    <p class="western" lang="lv-LV">-----------------------------------------------------<br></p>
    <p class="western" lang="lv-LV">(Short-notice) Call For Symposium Participation:</p>
    <p class="western" lang="lv-LV">3D BioLab : TRANSFORMATIVE ECOLOGIES</p>
    <p class="western" lang="lv-LV">&hellip; <span>an </span><span>in</span><span>vestigation into the changing patterns of
            contemporary ecologies, art and science.</span></p>
    <p class="western" lang="lv-LV">3D BioLab &ndash; RIXC residency at Cafe Europa is
          announcing a call for participation in the symposium, which
          will take place from August 19-21, 2015 in Mons &ndash; <span lang="en-US">European Capital of Culture 2015</span>,
          Belgium.</p>
    <p class="western" lang="lv-LV">The symposium programme will begin on August 19th
          with the opening of the exhibition in Maison du Design
          gallery. Entitled TRANSFORMATIVE ECOLOGIES, this exhibition <span>is an </span><span>in</span><span>vestigation into the changing patterns of
            contemporary ecologies, art and science. </span><span>It</span> features artworks by
          Latvian and Belgian artists, who have created innovative art
          science installations as well as sonic, visual and 3D
          representations of various environmental data collected during
          their long term &ldquo;techno-ecological&rdquo; art research projects.</p>
    <p class="western" lang="lv-LV">The TRANSFORMATIVE ECOLOGIES exhibition is providing
          the context for 3D BioLab symposium that will take place in
          the following days &ndash; August 20th and 21st in Cafe Europa. The
          Day 1 will offer the workshop on 3D data visualization, using
          as a point of departure the data from two artistic science
          research projects &ndash; BIOTRICITY by Rasa Smite and Raitis Smits,
          and INTELLIGENT BEEHIVE by Annemie Maes. During the Day 2
          artists <span>Gert
            Aertsen and D</span>avid de Buyser will introduce their
          approach to 3D object generation by conducting the workshop on<span> </span><span>WIND POWER, SOUND AND MOVEMENT</span><span>. </span> </p>
    <p class="western" lang="lv-LV">- - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - -</p>
    <p class="western" lang="lv-LV">CALL for participation:</p>
    <p class="western" lang="lv-LV">We welcome participants to apply for the symposium
          and workshops by sending emails with short motivation letter
          and short biography to: <br></p>
    <p class="western" lang="lv-LV">rixc (at) rixc.lv <br></p>
    <p class="western" lang="lv-LV">Deadline: August 10, 2015.</p>
    <p class="western" lang="lv-LV">Admission is free.</p>
    <p class="western" lang="lv-LV"><br>- - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - -  </p>
    <p class="western" lang="lv-LV">EXHIBITION:</p>
    <p class="western" lang="lv-LV"><span lang="en-US">TRANSFORMATIVE ECOLOGIES </span><span lang="en-US">exhibition</span><span lang="en-US"> </span><span lang="en-US">takes</span><span lang="en-US"> place in </span><span lang="en-US">the framework </span><span lang="en-US">Mons &ndash;</span><span lang="en-US"> European Capital of Culture 2015, August </span><span lang="en-US">19</span><span lang="en-US"> to 30, 2015,
            featuring innovative art </span><span lang="en-US">and
            science </span><span lang="en-US">works, that </span><span lang="en-US">addresses the environmental issues and </span><span lang="en-US">deal </span><span lang="en-US">with</span><span lang="en-US"> &ldquo;</span><span lang="en-US">tehno-ecologic</span><span lang="en-US">al</span><span lang="en-US">&rdquo; </span><span lang="en-US">data representation. </span> </p>
    <p class="western" lang="lv-LV"><span lang="en-US">Curators &ndash; Rasa Smite and Raitis
            Smits / RIXC, exhibition design &ndash; Rudolf Bekic. </span>
    </p>
    <p class="western" lang="lv-LV"> Artists &ndash; Gints Gabrans,
          well-known Latvian contemporary artist, in his work METABOLIC
          DOMINANCE offers a vision on future of food by proposing to
          use cellulose disintegrating enzymes, which allows obtaining
          nutrients from grass, wood, paper... Innovative artist couple
          Rasa Smite and Raitis Smits / RIXC together with Martins
          Ratniks keep exploring human-plant communication by analysing
          and mapping the words out from 13 000 messages received during
          TALK TO ME artistic research project: what exactly people say
          to the plants so they grow better, taller and more beautiful?
          Interspecies communication is also explored in Belgian
          artist's Anne-Marie Maes work TRANSPARENT BEEHIVE, which is a
          living sculpture with the bee colonies that have been
          monitored, measured and visualized. Likewise, sound artist
          Voldemars Johansons in his artwork from ATTRACTORS series has
          observed the movement trajectories of an ant colony, creating
          3D object from selected data. Negotiations with micro-size
          species &ndash; the bacteria, have been used also in two other works
          by Rasa Smite and Raitis Smits from BIOTRICITY series.
          Together with Voldemars Johansons they have made live
          installation with sonifications of real-time
          bacteria-electricity generation process, while together with
          video artists Martins Ratniks and Janis Jankevics &ndash; Rasa Smite
          and Raitis Smits have created new visualizations of POND
          BATTERY, which was installed in Riga Botanical garden and
          monitoring of which took place in the out-door conditions for
          7 month-long period.  </p>
    <p class="western" lang="lv-LV"> Exhibition also includes
          artworks by two young Latvian artists who offer highly utopian
          visions and positive future scenarios. Paula Vitola in her
          work PRIVATE ATMOSPHERE has made a costume that can help you
          to create your own 'ideal' and very private environment, yet
          not escaping, rather being a part of a society. And last but
          not least, Rihards Vitols with his AKA (Well) project has
          developed a proposal for new agricultural field that could be
          named &ldquo;cloud-farming&rdquo; as it is using helium balloons to
          collect rain water.</p>
    <p class="western" lang="lv-LV"><br>- - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
          - - - - - -  </p>
    <p class="western" lang="lv-LV">PRELIMINARY SYMPOSIUM PROGRAMME  </p>
    <p class="western" lang="lv-LV">at CAF&Eacute; EUROPA, Mons, Belgium</p>
    <p class="western" lang="lv-LV"><br>Wednesday, 19.08.2015  </p>
    <p class="western" lang="lv-LV">18:00 &gt; 20:00</p>
    <p class="western" lang="lv-LV">Exhibition Opening with Bacteria Battery art-science
          public show by Rasa Smite and Raitis Smits / RIXC and
          audiovisual performances by Rihards Vitols / Trihars and
          Martins Engelis / VADi.</p>
    <br><p class="western" lang="lv-LV">Thursday, 20.08.2015  </p>
    <p class="western" lang="lv-LV">12:00 &gt; 16:00</p>
    <p class="western" lang="lv-LV">Symposium Day 1: BIOTRICITY, a poetics of green
          energy, INTELLIGENT BEEHIVE research and 3D DATA
          VISUALIZATION: workshop conducted by Rasa Smite, Raitis Smits
          by Annemie Maes.</p>
    <p class="western" lang="lv-LV">17:00 &gt; 20:00  </p>
    <p class="western" lang="lv-LV">3D BioLab Public Program: Renewable Futures lecture,
          artist presentations and participatory discussions (Playing
          Fields I).</p>
    <p class="western" lang="lv-LV"><br>Friday, 21.08.2015  </p>
    <p class="western" lang="lv-LV">12:00 &gt; 16:00</p>
    <p class="western" lang="lv-LV">Symposium Day 2: WIND POWER, SOUND AND MOVEMENT
          RESEARCH, AND 3D OBJECT GENERATION: workshops conducted by
          Gert Aertsen and David de Buyser  </p>
    <p class="western" lang="lv-LV">17:00 &gt; 20:00  </p>
    <p class="western" lang="lv-LV">3D BioLab Closing Program: lectures and participatory
          discussions (Playing Fields II), workshop result demos and art
          science performances.</p>
    <br><p class="western" lang="lv-LV">Sunday, 23.08.2015  </p>
    <p class="western" lang="lv-LV">15:00 &gt; 18:00</p>
    <p class="western" lang="lv-LV">FAMILY 3D BIOLAB (for local participants): VIRTUOSO
          workshop &ndash; introducing experiments from the 17th century
          scientists&ndash;amateurs and how artists today work with science:
          building battery from mud, using bees as living 3D printers,
          'harvesting' drinking water from the clouds.<br><br></p>
    <p class="western" lang="lv-LV">More info: <a href="http://rixc.org/">http://rixc.org</a>
         </p>
    <p class="western" lang="lv-LV">Contact: rixc (at) rixc.lv, rasa (at) rixc.org (Rasa
          Smite)</p>
    <p class="western" lang="lv-LV"><span lang="en-US">Organized by RIXC in collaboration
            with Brussels Urban Bee Lab and Mons2015. </span>
    </p>
    <p class="western" lang="lv-LV"><span lang="en-US">Support</span><span lang="en-US">ed
by

            Mons 2015, WBI, </span><span lang="en-US">Latvian Ministry
            of Culture </span><span lang="en-US">of Republic of Latvia,
            and </span><span lang="en-US">European Economic Area
            Financial mechanism. </span> </p>
    <br>-- 
rixc.org
facebook.com/rixcriga
renewable.rixc.lv
  </div>
furtherfield | 29 Jul 11:24 2015
Picon

Robert Hewison’s Future Tense 25 Years Later

Sorry for any cross posting...

Robert Hewison’s Future Tense 25 Years Later.

New Article by Marc Garrett.

http://www.furtherfield.org/features/25-years-after-future-tense

This article revisits Robert Hewison’s book, Future Tense: A New Art For The Nineties, [1] published in 1990. The book focused on contemporary attitudes to art, architecture and design that manifested in what had come to be called the postmodern era. Earlier avant-gardes of collectives and groups such as Dada, Situationism, Fluxus and the Lettrists had incorporated new technologies and challenged the material values embraced by museums and traditional hierarchies in modern art and capitalist society. Hewison set out to discover the ways in which artists of the 80s contributed to a "critical culture" for the 90s.

In the 70s in the UK, art had a role to play in changing society, transforming relations to controlling production and critiquing the role of the establishment. Hewison’s mission was to observe contemporary culture happening in the late 80s in Britain with an emphasis on the future. Even though there had been a massive evolution in culture; within and across the fields of music, art and theory, it was also a new dawn for capitalism as it morphed into what we now know as neoliberalism. By revisiting Hewison's book I hope to elucidate what the cultural shifts and differences in our art culture then and now, and to invite you the reader to reflect on what they mean to those of us engaging with and practicing across the fields of art, technology and social change today.

[1] Robert Hewison. Future Tense: A New Art for the Nineties. Methuen Publishing Ltd (31 May 1990).
<div><div dir="ltr">Sorry for any cross posting...<br><br>Robert Hewison&rsquo;s Future Tense 25 Years Later.<br><br>New Article by Marc Garrett.<br><br><a href="http://www.furtherfield.org/features/25-years-after-future-tense">http://www.furtherfield.org/features/25-years-after-future-tense</a><br><br>This article revisits Robert Hewison&rsquo;s book, Future Tense: A New Art For The Nineties, [1] published in 1990. The book focused on contemporary attitudes to art, architecture and design that manifested in what had come to be called the postmodern era. Earlier avant-gardes of collectives and groups such as Dada, Situationism, Fluxus and the Lettrists had incorporated new technologies and challenged the material values embraced by museums and traditional hierarchies in modern art and capitalist society. Hewison set out to discover the ways in which artists of the 80s contributed to a "critical culture" for the 90s.<br><br>In the 70s in the UK, art had a role to play in changing society, transforming relations to controlling production and critiquing the role of the establishment. Hewison&rsquo;s mission was to observe contemporary culture happening in the late 80s in Britain with an emphasis on the future. Even though there had been a massive evolution in culture; within and across the fields of music, art and theory, it was also a new dawn for capitalism as it morphed into what we now know as neoliberalism. By revisiting Hewison's book I hope to elucidate what the cultural shifts and differences in our art culture then and now, and to invite you the reader to reflect on what they mean to those of us engaging with and practicing across the fields of art, technology and social change today.<br><br>[1] Robert Hewison. Future Tense: A New Art for the Nineties. Methuen Publishing Ltd (31 May 1990).<br>
</div></div>
Andreas Broeckmann | 29 Jul 11:09 2015
Picon

(fwd) CFP: Artificial Natures (Chania, 17-23 Aug 2015)

From: Elina Axioti <kamworkshops@...>
Date: Jul 18, 2015
Subject: CFP: Artificial Natures (Chania, 17-23 Aug 2015)

Chania, Crete, Greece, August 17 - 23, 2015
Deadline: Aug 14, 2015

Artificial Natures
KAM Workshops 2015
Aug. 17-23, Chania Greece

Call for Participation for immediate announcement

We are happy to announce the 14th KAM Workshop under the theme 
Artificial Natures which will be taking place in Chania, Crete form the 
17th till the 23rd of August 2015. KAM Workshops bring together 
practitioners, academics, students of architecture, design, media, art 
and cultural studies for an intensive studio accompanied by a series of 
presentations and discussions on the current theme.

Theme: Artificial Natures appear in a broad spectrum of scenographic 
representations in post-internet culture. Within the anthropocene 
discourse, nature is described as a system which integrates critical 
human interventions. Nature has lost its significance as the opposite of 
human technology. It is a hybrid of the two spheres. The relationship 
between technology and nature, and the dialectics between them, 
organizes both concepts through a strong philosophical opposition. Since 
nature has become, by definition, artificial – produced, to a certain 
degree, consciously or otherwise by mankind – the architecture of its 
presence and its artificiality becomes a new matter for investigation. 
If nature is a lost object, its glorification in the post-internet era 
already necessitates a different relationship to it. The breadth of 
human nostalgia and the ongoing effort to artificially bring back what 
has been permanently lost, is in the center of this workshop. The KAM 
workshop of 2015 focuses on nature and Modernity, critiques on the 
borders between the natural and the human-made; video game environments 
experienced through avatars, techniques of reproduction, copying and 
synthesizing, assembling artificial natures for material or digital 
environments; fake mountains, rocks, trees, vegetation, lakes and gardens.

With contributions and desk crits by Aristide Antonas (University of 
Thessaly), Stavros Vergopoulos (Aristotle University of Thessaloniki), 
Mona Mahall and Asli Serbest (Staatliche Akademie der Bildenden Künste 
Stuttgart and m-a-u-s-e-r studio), Heike Schuppelius (Staatliche 
Hochschule für Gestaltung Karlsruhe) and Ian Warner (State design agency 
and Slab-Mag Berlin) among others.

KAM Workshops have been a space for theoretical investigations and 
spatial experimentations. The program of KAM Workshops consists of a 
daily studio and a series of lectures and is followed by an exhibition 
of the collective works and projects. KAM Workshops are organised by the 
Architecture Syndicate and the Center of Mediterranean Architecture 
(keppedih-cam). For more information you can visit our website 
www.kamworkshops.com or contact us at kamworkshops@... We
would 
highly appreciate your help in disseminating the announcement to 
interested parties.

The Architecture Syndicate and
The Center of Mediterranean Architecture (keppedih-cam)

— www.kamworkshops.com
KAM workshops 2015
CHANIA / Center of Mediterranean Architecture 17 - 23 August

Reference / Quellennachweis:
CFP: Artificial Natures (Chania, 17-23 Aug 2015). In: H-ArtHist, Jul 18, 
2015. <http://arthist.net/archive/10764>.

Andreas Broeckmann | 28 Jul 23:07 2015
Picon

(fwd) TechFocus III: Caring for Software-based Art, New York, Sept 25-26

GUGGENHEIM
The Guggenheim Museum and the Electronic Media Group of the American
Institute for Conservation (AIC) are proud to announce the two-day
symposium and workshop "TechFocus III: Caring for Software-based Art”,
to be held at the Guggenheim Museum on September 25 and 26, 2015.

Symposium

The Guggenheim Museum, the Foundation of the American Institute for the
Conservation of Historic and Artistic Works (FAIC) and the Electronic 
Media Group of the American Institute for Conservation (AIC)
are proud to announce the two-day symposium and workshop

*TECHFOCUS III: CARING FOR SOFTWARE-BASED ART*
*September 25 and 26, 2015*

Day 1: Friday, September 25, 9:30 am–5:30 pm
Day 2: Saturday, September 26, 9:30 am–5:45 pm

Solomon R. Guggenheim Museum
1071 Fifth Avenue at 89th Street
New York City

Join conservators, artists, computer scientists, curators, art
historians, registrars, and archivists to explore challenges and
emerging practices in the collection and preservation of software-based
art. Twelve lectures and four panels will focus on the history of
software–based art and its underlying technology; case studies from
major art collections; methods of artwork analysis, description and
documentation; and strategies for preservation, display and long-term
accessibility. Four guided practical exercises, conducted by
participants on their own laptops, will introduce the audience to the
concepts of coding and basic preservation tools, such as version
control, disk imaging, and emulation. See full program and register on
the symposium site.

Registration fee: $180 AIC members; $250 non-AIC members; students $80.
After August 20: $200 AIC members; $300 non-AIC members; students $100.

The event is made possible by the generous support of the National
Endowment for the Arts, the Solomon R. Guggenheim Museum, and the
Foundation of the American Institute for the Conservation of Historic
and Artistic Works (FAIC).

Guggenheim Museum | 1071 Fifth Ave at 89th St | New York, NY, 10128,
United States | 212 423 3500 | guggenheim.org
http://www.guggenheim.org

beata szechy | 28 Jul 15:54 2015
Picon

Fwd: Call for artists: Artist Residency Program in Budapest, Hungary 2016

(Please list our organization and program)


Call for artists:

Artist Residency Program in Budapest, Hungary 2016

AIR/HMC, Budapest

Subject matter in 2016 “Environment”.


Deadline:  October 15, 2015

___Session 1: Monday, May 16, 2016 - Tuesday, June 7, 2016 

___Session 2: Friday, June 10, 2016 - Saturday, July 2, 2016

___Session 3: Thursday, July 07, 2016 - Saturday, July 30, 2016

___Session 4: Wednesday, August 3, 2016 - Thursday August 26, 2016 

___Session 5: Tuesday, December 27 - Tuesday, January 12, 2017


HMC International Artist Residency Program, a not-for-profit arts organization based in Dallas, TX / Budapest, Hungary - provides national and international artists to produce new work while engaging with the arts community in Budapest, Hungary.  


For more info write to:  Beata Szechy

bszechy-/E1597aS9LQAvxtiuMwx3w@public.gmane.org

http://www.hungarian-multicultural-center.com

Facebook: Budapest International Artist Residency


--

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<div class="gmail_default">(Please list our organization and program)<br>
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<p><br></p>
<p>Call for artists:</p>
<p>Artist Residency Program in Budapest, Hungary 2016</p>
<p>AIR/HMC, Budapest</p>
<p>Subject matter in 2016 &ldquo;Environment&rdquo;.<br></p>
<p><br></p>
<p>Deadline:&nbsp; October 15, 2015</p>
<p>___Session 1: Monday, May 16, 2016 - Tuesday, June 7, 2016&nbsp;</p>
<p>___Session 2: Friday, June 10, 2016 - Saturday, July 2, 2016</p>
<p>___Session 3: Thursday, July 07, 2016 - Saturday, July 30, 2016</p>
<p>___Session 4: Wednesday, August 3, 2016 - Thursday August 26, 2016&nbsp;</p>
<p>___Session 5: Tuesday, December 27 - Tuesday, January 12, 2017</p>
<p><br></p>
<p>HMC International Artist Residency Program, a not-for-profit arts organization based in Dallas, TX / Budapest, Hungary - provides national and international artists to produce new work while engaging with the arts community in Budapest, Hungary.&nbsp;&nbsp;</p>
<p><br></p>
<p>For more info write to: &nbsp;Beata Szechy</p>
<p><a href="mailto:bszechy@..." target="_blank">bszechy@...</a></p>
<p><a href="http://www.hungarian-multicultural-center.com" target="_blank">http://www.hungarian-multicultural-center.com</a></p>
<p>Facebook: <a href="https://www.facebook.com/groups/24925582988/" target="_blank">Budapest International Artist Residency</a></p>
</div>
<span class="HOEnZb"><div><br></div>-- <br><div>Beata Szechy<br><a href="http://www.hungarian-multicultural-center.com" target="_blank">http://www.hungarian-multicultural-center.com</a><br>
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Paul Brown | 28 Jul 16:50 2015

Special Offer: Art by Machine by Jack Tait


UK machine drawing pioneer Jack Tait is offering his book Art by Machine: Taitographs to CAS members at the reduced rate of £10 plus P&P (the normal retail price is £20 + P&P).   

It's an abridged version Jack's Ph.D thesis Programmable Analogue Drawing Machines and can be orderd via machinedraw-6b45v/Ft3lbby3iVrkZq2A@public.gmane.org and payment can be made by PayPal or cheque.  More information may be found on Jack's extensive website http://www.Taitographs.co.uk

A review by CAS Chair Nick Lambert follows and further information about the books is at the end of this post.

Review by Nick Lambert of Art by Machine by Jack Tait

Since the 1950s, Jack Tait has worked as a photographer, designer and educator, with a considerable output of work in each of these fields. Having established the photographic schools at Derby and Manchester Colleges of Art, he was also head of department at Newport College of Art, where he pioneered the use of computers in graphics education during the mid-1980s. 

Whilst pursuing his other interests, Tait has maintained a consistent commitment to the development of a mechanical approach to producing and understanding aspects of art, leading to the work for which he was awarded a PhD by Manchester MMU in 2011. Tait has now compiled his extensive art experiments into a single text, Art by Machine, that details his approach, results and theories on the nature of machine-produced art; and the forms he calls “Taitographs” that emerge from his mechanical devices.

Before proceeding, it should be mentioned that the book is highly illustrated with vibrant colour photographs of the artworks and also the machines themselves. This in itself forms a valuable record of Tait’s work, not least in terms of the intricate construction of the Linkograms and their successors, but also in the variety of images they produce. Tait is aware that many of his predecessors in the area of analogue drawing machines tended to hew closely to one type of output; but it is a testament to his knowledge and ingenuity, and his appreciation of linear form, that he aims to expand the range of possibilities inherent in the analogue approach to mechanical drawing techniques.

With a background strongly informed by Systems Art and process drawing – Kenneth Martin’s work on chance and order is referenced – Tait is particularly concerned with the way in which chance and order can create aesthetically pleasing drawings. There is some discussion of the way in which aesthetic choices in terms of the construction and setup of the linkages and switches in the Taitograph machines affects the outcomes; and it is clear that Tait’s intimate knowledge of his systems enables him to suggest the general outcomes, but not the specific results, of each system. This is not to say that he determines the output as such, but rather sets up the conditions by which a particular outcome is made more likely. Obviously certain Taitographs will only produce results within a particular range of outcomes, but Tait insists that his machines transcend the use of “tools” in art, because they are not merely extensions of the artist’s hand and eye; instead, some decision making and therefore control are delegated to them. [p26]

For this reason, Tait’s work goes some way beyond the Lissajous-type figures that are found in earlier drawing machine work (they were essentially his starting point in the 1950s) and moves towards timing mechanisms and ways of stopping and reversing the direction of the pen; and later mechanisms for varying the amplitude and lifting the pen as well. His NSEW machines, which even include rotating pen selectors holding different line weights and colours, produce more “gesture-like” drawings (in Tait’s terminology, pp71-2) that have a calligraphic freedom compared to the tight curves of his earlier systems. This reflects Tait’s insistence that the wider range of variables at work in the NSEW systems, some of which are quite subtle, show how pseudo-randomness can be deployed in making artwork: “The design process relies on the relationship of pseudo-randomness to determinism. [Its] importance has emerged as one of the most significant aspects of my work.” [p27] 

Perhaps the best expression of the incorporation of both deterministic and randomised elements is found in the images produced using a light pen. By substituting this for a physical pen, and using a DSLR camera and photographic enlarger to capture the images (a cunning fusion of old and new photographic technologies), Tait produces what I think are his most compelling images. One can see a suggestion of the Constructivist origins of his thinking on process in art: the light drawings seem to pick up where Moholy-Nagy and Man Ray left off with their “photograms”. Tait has arrived at this form from a very different direction to these pioneers, but the idea of a non-objective photograph produced using purely mechanical means has a very interesting heritage of which he is fully aware.

Tait wants his book to serve as the starting point for other artists, designers and engineers to make their own image machines and produce works that take these concepts further. He aspires to change the public view of generative art and I think his carefully-explained approach could achieve that goal. Whilst in some respects he explores similar territory to the Algorists, such as Jean-Pierre Hebert and Roman Verostko with their computer-controlled plotters, Tait’s machines partake of a different kind of physicality that embodies the decision-making aspects in their very construction. With the increase in interest amongst various digital artists in making physical things, it is likely that he will strike a chord amongst makers who want to bring digital elements into mechanical devices. 

In summary, Art by Machine lucidly explains each avenue that Tait has explored during his lifelong journey into mechanical art-making, reviewing the means and the results, and suggesting areas for further exploration. I look forward to new developments both from him and others who may follow the same path.

Further information about the book:

The book is an A4 perfect bound paperback 140 pages with 197 illustrations printed on high quality paper. It contains reflections on art process, many photographs of the machines, a comprehensive range of drawings both graphic and light and a full bibliography and glossary of terms. The book gathers the results of over 50 years research into this topic. It provides not only an ouline of the images and the machines making them, but explores the rationale as well as describing in detail how each machine works. With this and the bibliography it provides scope for the reader to either engage in building his or her own machines or pursue further study. 

Tait continues to build drawing machines, foremost amongst these is a reverse engineered machine to recreate images similar to those of Paul Desmond O'Henry who made drawings  in the '70s with a WW2 bombsight computer. The project was done with the support of O’Henry's daughter Elaine O'Hanrahan. It is called a 'Hommage to Henry Machine - HHM.


====
Paul Brown
http://www.paul-brown.com == http://www.brown-and-son.com
UK Mobile +44 (0)794 104 8228
Skype paul-g-brown
====
Honorary Visiting Professor - Sussex University
http://www.cogs.susx.ac.uk/ccnr/research/creativity.html
====

<div>
<div><br></div>
<div>
<div>UK machine drawing pioneer Jack Tait is offering his book Art by Machine: Taitographs to CAS members at the reduced rate of &pound;10 plus P&amp;P (the normal retail price is &pound;20 + P&amp;P). &nbsp;&nbsp;</div>
<div><br></div>
<div>It's an abridged version Jack's Ph.D thesis Programmable Analogue Drawing Machines and can be orderd via <a href="mailto:machinedraw@...">machinedraw@...</a> and payment can be made by PayPal or cheque. &nbsp;More information may be found on Jack's extensive website <a href="http://www.Taitographs.co.uk">http://www.Taitographs.co.uk</a>
</div>
<div><br></div>
<div>A review by CAS Chair Nick Lambert follows and further information about the books is at the end of this post.</div>
<div><br></div>
<div>Review by Nick Lambert of Art by Machine by Jack Tait</div>
<div><br></div>
<div>Since the 1950s, Jack Tait has worked as a photographer, designer and educator, with a considerable output of work in each of these fields. Having established the photographic schools at Derby and Manchester Colleges of Art, he was also head of department at Newport College of Art, where he pioneered the use of computers in graphics education during the mid-1980s.&nbsp;</div>
<div><br></div>
<div>Whilst pursuing his other interests, Tait has maintained a consistent commitment to the development of a mechanical approach to producing and understanding aspects of art, leading to the work for which he was awarded a PhD by Manchester MMU in 2011. Tait has now compiled his extensive art experiments into a single text, Art by Machine, that details his approach, results and theories on the nature of machine-produced art; and the forms he calls &ldquo;Taitographs&rdquo; that emerge from his mechanical devices.</div>
<div><br></div>
<div>Before proceeding, it should be mentioned that the book is highly illustrated with vibrant colour photographs of the artworks and also the machines themselves. This in itself forms a valuable record of Tait&rsquo;s work, not least in terms of the intricate construction of the Linkograms and their successors, but also in the variety of images they produce. Tait is aware that many of his predecessors in the area of analogue drawing machines tended to hew closely to one type of output; but it is a testament to his knowledge and ingenuity, and his appreciation of linear form, that he aims to expand the range of possibilities inherent in the analogue approach to mechanical drawing techniques.</div>
<div><br></div>
<div>With a background strongly informed by Systems Art and process drawing &ndash; Kenneth Martin&rsquo;s work on chance and order is referenced &ndash; Tait is particularly concerned with the way in which chance and order can create aesthetically pleasing drawings. There is some discussion of the way in which aesthetic choices in terms of the construction and setup of the linkages and switches in the Taitograph machines affects the outcomes; and it is clear that Tait&rsquo;s intimate knowledge of his systems enables him to suggest the general outcomes, but not the specific results, of each system. This is not to say that he determines the output as such, but rather sets up the conditions by which a particular outcome is made more likely. Obviously certain Taitographs will only produce results within a particular range of outcomes, but Tait insists that his machines transcend the use of &ldquo;tools&rdquo; in art, because they are not merely extensions of the artist&rsquo;s hand and eye; instead, some decision making and therefore control are delegated to them. [p26]</div>
<div><br></div>
<div>For this reason, Tait&rsquo;s work goes some way beyond the Lissajous-type figures that are found in earlier drawing machine work (they were essentially his starting point in the 1950s) and moves towards timing mechanisms and ways of stopping and reversing the direction of the pen; and later mechanisms for varying the amplitude and lifting the pen as well. His NSEW machines, which even include rotating pen selectors holding different line weights and colours, produce more &ldquo;gesture-like&rdquo; drawings (in Tait&rsquo;s terminology, pp71-2) that have a calligraphic freedom compared to the tight curves of his earlier systems. This reflects Tait&rsquo;s insistence that the wider range of variables at work in the NSEW systems, some of which are quite subtle, show how pseudo-randomness can be deployed in making artwork: &ldquo;The design process relies on the relationship of pseudo-randomness to determinism. [Its] importance has emerged as one of the most significant aspects of my work.&rdquo; [p27]&nbsp;</div>
<div><br></div>
<div>Perhaps the best expression of the incorporation of both deterministic and randomised elements is found in the images produced using a light pen. By substituting this for a physical pen, and using a DSLR camera and photographic enlarger to capture the images (a cunning fusion of old and new photographic technologies), Tait produces what I think are his most compelling images. One can see a suggestion of the Constructivist origins of his thinking on process in art: the light drawings seem to pick up where Moholy-Nagy and Man Ray left off with their &ldquo;photograms&rdquo;. Tait has arrived at this form from a very different direction to these pioneers, but the idea of a non-objective photograph produced using purely mechanical means has a very interesting heritage of which he is fully aware.</div>
<div><br></div>
<div>Tait wants his book to serve as the starting point for other artists, designers and engineers to make their own image machines and produce works that take these concepts further. He aspires to change the public view of generative art and I think his carefully-explained approach could achieve that goal. Whilst in some respects he explores similar territory to the Algorists, such as Jean-Pierre Hebert and Roman Verostko with their computer-controlled plotters, Tait&rsquo;s machines partake of a different kind of physicality that embodies the decision-making aspects in their very construction. With the increase in interest amongst various digital artists in making physical things, it is likely that he will strike a chord amongst makers who want to bring digital elements into mechanical devices.&nbsp;</div>
<div><br></div>
<div>In summary, Art by Machine lucidly explains each avenue that Tait has explored during his lifelong journey into mechanical art-making, reviewing the means and the results, and suggesting areas for further exploration. I look forward to new developments both from him and others who may follow the same path.</div>
<div><br></div>
<div>Further information about the book:</div>
<div><br></div>
<div>The book is an A4 perfect bound paperback 140 pages with 197 illustrations printed on high quality paper. It contains reflections on art process, many photographs of the machines, a comprehensive range of drawings both graphic and light and a full bibliography and glossary of terms. The book gathers the results of over 50 years research into this topic. It provides not only an ouline of the images and the machines making them, but explores the rationale as well as describing in detail how each machine works. With this and the bibliography it provides scope for the reader to either engage in building his or her own machines or pursue further study.&nbsp;</div>
<div><br></div>
<div>Tait continues to build drawing machines, foremost amongst these is a reverse engineered machine to recreate images similar to those of Paul Desmond O'Henry who made drawings &nbsp;in the '70s with a WW2 bombsight computer. The project was done with the support of O&rsquo;Henry's daughter Elaine O'Hanrahan. It is called a 'Hommage to Henry Machine - HHM.</div>
<div><br></div>
<div><br></div>
<div apple-content-edited="true">
<div>
<div>====<br>Paul Brown<br><a href="http://www.paul-brown.com">http://www.paul-brown.com</a> ==&nbsp;<a href="http://www.brown-and-son.com">http://www.brown-and-son.com</a><br>UK Mobile +44 (0)794 104 8228<br>Skype paul-g-brown<br>====<br>Honorary Visiting Professor -&nbsp;Sussex University<br><a href="http://www.cogs.susx.ac.uk/ccnr/research/creativity.html">http://www.cogs.susx.ac.uk/ccnr/research/creativity.html</a><br>====</div>
<div><br></div>
</div>
</div>
</div>
</div>
jula | 24 Jul 18:57 2015
Picon

artistic research on SPACE and TIME

Since 2011 PoolPlay invites once a year to the empty swimming pool of the hotel SOLE PARADISO in the dolomites to do some artistic research on SPACE and TIME. space and time, which is choreographed, composed and or designed. it is therefor open to architects, dancers, musicians but as well to philosophers and artists in general!

more info on www.PoolPlay.eu or http://www.poolplay.eu/PoolPlay_info.pdf
but it stays mystical, since you have to jump ... :)

we would be happy to see you in the pool!
the PoolPlayMakers Max and Jula

<div>
    <div class="comment__text">
      <p>Since 2011 PoolPlay invites once a year to the empty swimming
        pool of the hotel SOLE PARADISO in the dolomites to do some
        artistic research on SPACE and TIME. space and time, which is
        choreographed, composed and or designed. it is therefor open to
        architects, dancers, musicians but as well to philosophers and
        artists in general!<br></p>
      <p>more info on <a href="http://www.PoolPlay.eu" rel="nofollow">www.PoolPlay.eu

        </a>or <a class="moz-txt-link-freetext" href="http://www.poolplay.eu/PoolPlay_info.pdf">http://www.poolplay.eu/PoolPlay_info.pdf</a><br>
        but it stays mystical, since you have to jump ... :)<br></p>
      <p>we would be happy to see you in the pool!<br>
        the PoolPlayMakers Max and Jula<br></p>
    </div>
  </div>
Press Account | 17 Jul 12:10 2015

24 July: NOME Presents THE GLOMAR RESPONSE by James Bridle

James Bridle, The Glomar Response

Opening: 24 July, 6pm

25 July - 5 September 2015


NOME

Dolziger Straße 31, 10247 Berlin

www.nomeproject.com



NOME Gallery is pleased to present The Glomar Response, James Bridle’s first solo show in Germany.


Immigration, politics and surveillance, as well as the intersections of technology with older forms of imperial power constitute the main axes of the show.


The ‘Glomar response’ was formulated in 1975 by the U.S. Government, and refers to the prerogative of power to “neither confirm nor deny” the existence of information.

In the shadow of this statement is all of the uncertainty of contemporary life: the ever-increasing opacity of political and social processes accelerated by computer code and secret law is countered by the growing ability of individuals and activists to use those same networked technologies to investigate and act with ever greater agency.


The exhibition tests the limits of that augmented vision, using law, research, and code to penetrate enclosed and classified spaces, while recognizing and attempting to visualize the boundaries of its own potential.

With The Glomar Response, NOME presents a series of works that use computer code, investigative journalism, and visualization to explore hidden spaces and classified information. 


Seamless Transitions, commissioned by The Photographers’ Gallery, London, is a simulacrum of three unphotographable sites of immigration judgment, detention and deportation in the UK: the Special Immigration Appeals Court, designed for the presentation of secret evidence; Harmondsworth Immigration Removal Center, a privately run detention facility outside of London; and the Inflite Jet Center, a private terminal at Stansted Airport. Reconstructed from planning documents and eyewitness accounts, the film uses architectural visualization to portray physical space and the complex legal and social framework which generates it.


The Fraunhofer Lines are a new series of visualizations from a variety of sources, including the Senate Intelligence Committee report on CIA torture and the UK Information Commissioner’s reports on automated police surveillance. These documents, released following Freedom of Information requests, have been analyzed with computer vision to reveal the extent of redaction and the discrepancies between different documents. They are named and patterned after the gaps in the sun’s spectra discovered in 1814 by German physicist Joseph von Fraunhofer, which both revealed the absence of certain frequencies of light reaching the earth’s surface and pointed toward new methods of analysis and understanding.


Waterboarded Documents presents a series of research documents surrounding the operation of websites and domains linked to the British Indian Ocean Territory, an archipelago forcibly depopulated in the 1970s and subsequently used as a U.S. base during the invasions of Afghanistan and Iraq, as well as a CIA black site and rendition transit point. Reproducing the effects of water damage claimed by the British Government to prevent the release of information relating to the rendition program, the documents illustrate the complicity between contemporary technological networks and older forms of entrenched and imperial power.


James Bridle is an artist, writer and theorist based in London.

With a long-standing investigative interest in modern network infrastructure, government transparency, and technological surveillance, his artistic practice positions itself at the intersection of art, science and political activism. 

Bridle’s artworks have been shown at major international institutions such as Victoria and Albert Museum, London; National Art Center, Tokyo; ZKM, Karlsruhe and the Barbican, London. He received an Honorary Mention at the Prix Ars Electronica 2013 and an Excellence Award from the Japan Media Arts Festival 2014.

His New Aesthetic research project has spurred debate and creative work across multiple disciplines, and continues to inspire critical and artistic response.


More information

Website of NOME: www.nomeproject.com

Website of James Bridle: http://booktwo.org

Facebook event of The Glomar Response: https://www.facebook.com/events/911370355567899/



<div><div><div data-marker="__QUOTED_TEXT__">
<div><div><div><div>
<p>James Bridle, The Glomar Response<br></p>
<p>Opening: 24 July, 6pm</p>
<p>25 July - 5 September 2015</p>
<p><br></p>
<p>NOME</p>
<p>Dolziger Stra&szlig;e 31, 10247 Berlin</p>
<p><span><a href="http://www.nomeproject.com/" target="_blank">www.nomeproject.com</a></span></p>
<p><br></p>
<p><br></p>
<p>NOME Gallery is pleased to present The Glomar Response, James Bridle&rsquo;s first solo show in Germany.<br></p>
<p><br></p>
<p>Immigration, politics and surveillance, as well as the intersections of technology with older forms of imperial power constitute the main axes of the show.</p>
<p><br></p>
<p>The &lsquo;Glomar response&rsquo; was formulated in 1975 by the U.S. Government, and refers to the prerogative of power to &ldquo;neither confirm nor deny&rdquo; the existence of information.</p>
<p>In the shadow of this statement is all of the uncertainty of contemporary life: the ever-increasing opacity of political and social processes accelerated by computer code and secret law is countered by the growing ability of individuals and activists to use those same networked technologies to investigate and act with ever greater agency.<br></p>
<p><br></p>
<p>The exhibition&nbsp;tests the limits of that augmented vision, using law, research, and code to penetrate enclosed and classified spaces, while recognizing and attempting to visualize the boundaries of its own potential.</p>
<p>With&nbsp;The Glomar Response, NOME&nbsp;presents a series of works that use computer code, investigative journalism, and visualization to explore hidden spaces and classified information.&nbsp;</p>
<p><br></p>
<p>Seamless Transitions, commissioned by The Photographers&rsquo; Gallery, London, is a simulacrum of three unphotographable sites of immigration judgment, detention and deportation in the UK: the Special Immigration Appeals Court, designed for the presentation of secret evidence; Harmondsworth Immigration Removal Center, a privately run detention facility outside of London; and the Inflite Jet Center, a private terminal at Stansted Airport. Reconstructed from planning documents and eyewitness accounts, the film uses architectural visualization to portray physical space and the complex legal and social framework which generates it.</p>
<p><br></p>
<p>The Fraunhofer Lines are a new series of visualizations from a variety of sources, including the Senate Intelligence Committee report on CIA torture and the UK Information Commissioner&rsquo;s reports on automated police surveillance. These documents, released following Freedom of Information requests, have been analyzed with computer vision to reveal the extent of redaction and the discrepancies between different documents. They are named and patterned after the gaps in the sun&rsquo;s spectra discovered in 1814 by German physicist Joseph von Fraunhofer, which both revealed the absence of certain frequencies of light reaching the earth&rsquo;s surface and pointed toward new methods of analysis and understanding.</p>
<p><br></p>
<p>Waterboarded Documents presents a series of research documents surrounding the operation of websites and domains linked to the British Indian Ocean Territory, an archipelago forcibly depopulated in the 1970s and subsequently used as a U.S. base during the invasions of Afghanistan and Iraq, as well as a CIA black site and rendition transit point. Reproducing the effects of water damage claimed by the British Government to prevent the release of information relating to the rendition program, the documents illustrate the complicity between contemporary technological networks and older forms of entrenched and imperial power.</p>
<p><br></p>
<p>James Bridle is an artist, writer and theorist based in London.</p>
<p>With a long-standing investigative interest in modern network infrastructure, government transparency, and technological surveillance, his artistic practice positions itself at the intersection of art, science and political activism.&nbsp;</p>
<p>Bridle&rsquo;s artworks have been shown at major international institutions such as Victoria and Albert Museum, London; National Art Center, Tokyo; ZKM, Karlsruhe and the Barbican, London. He received an Honorary Mention at the Prix Ars Electronica 2013 and an Excellence Award from the Japan Media Arts Festival 2014.</p>
<p>His New Aesthetic research project has spurred debate and creative work across multiple disciplines, and continues to inspire critical and artistic response.</p>
<p><br></p>
<p><span>More information</span></p>
<p><span>Website of NOME: <a href="http://www.nomeproject.com/" target="_blank">www.nomeproject.com</a></span></p>
<p><span>Website of James Bridle:&nbsp;<span class="Object"><a href="http://booktwo.org/" target="_blank">http://booktwo.org</a></span></span></p>
<p><span>Facebook event of The Glomar Response:&nbsp;https://www.facebook.com/events/911370355567899/</span></p>
<p><span><br></span></p>
</div></div></div></div>
<br>
</div></div></div>
Warren Neidich | 16 Jul 23:02 2015

Rehearsing Futures Past, An Ongoing Performance by Warren Neidich, Mana Contemporary, Thursday July 23rd

 

 
www.warrenneidich.com 
 
Currently on view:
 
Theorem, Mana Contemporary, curated by Octavio Zaya
 
Equal Not Equal, LAXART, Los Angeles
 
Upcoming:
 
Global Infosphere, ZKM, Karlsruhe, September 4th,2015 
I will exhibit my video The Search Drive  https://vimeo.com/103045578
 
The Psychopathologies of Cognitive Capitalism Part 3, Archive Books, September, 2015
 
Resistance is Fertile, Merve, Fall of 2015
 
 
<div>
<div></div>
<div>&nbsp;</div>
<div>
<br><div>&nbsp;</div>
<div>
<div><span><span>www.warrenneidich.com&nbsp;</span></span></div>
<div><a target="_blank" href="http://t.ymlp306.com/yuqadaeuewmanabeanabwuj/click.php">saas-fee-summerinstituteofart.blogspot.com</a></div>
<div>&nbsp;</div>
<div>Currently on view:</div>
<div>&nbsp;</div>
<div>Theorem, Mana Contemporary, curated by Octavio Zaya</div>
<div><a target="_blank" href="http://t.ymlp306.com/yuyaxaeuewmavabeatabwuj/click.php">http://www.manacontemporary.com/exhibition-2015-theorem/</a></div>
<div>&nbsp;</div>
<div>Equal Not Equal, LAXART, Los Angeles</div>
<div><a target="_blank" href="http://t.ymlp306.com/yesataeuewmazabeaxabwuj/click.php">http://laxart.org/exhibitions/view/warren-neidich-equal-not-equal/#images</a></div>
<div>&nbsp;</div>
<div>Upcoming:</div>
<div>&nbsp;</div>
<div>Global Infosphere, ZKM, Karlsruhe, September 4th,2015&nbsp;</div>
<div><a target="_blank" href="http://t.ymlp306.com/yeuavaeuewmatabeazabwuj/click.php">http://zkm.de/en/event/2015/09/globale-infosphere</a></div>
<div>
<span>I will exhibit my video The Search Drive &nbsp;</span><a target="_blank" href="http://t.ymlp306.com/yeeaaaeuewmalabeagabwuj/click.php">https://vimeo.com/103045578</a>
</div>
<div>&nbsp;</div>
<div>The Psychopathologies of Cognitive Capitalism Part 3, Archive Books, September, 2015</div>
<div>&nbsp;</div>
<div>Resistance is Fertile, Merve, Fall of 2015</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
</div>
</div>
<div align="center">
<a href="http://ymlp306.com/uguqbmeegsgbwujgjqeeggbjbsb">Change email address / Leave mailing list</a>
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{ brad brace } | 28 Jul 15:15 2015

free culture


"Some years ago, the elements (ideas, conceptions, practices, people)
that compose the current (so-called) Free Culture movement were
appropriated by the bureaucrat and the capitalist. The ones that made
use of the technologies and available media to the creation of actions
that provided the debate on new perspectives of possible social
arrangements (obtained by tools such as free licenses, networks of
communication, open source software), are today digested by the old
apparatuses and social mechanisms that once they have used and
questioned. They participated, many times unconsciously, in a
"socio-professional training" in order to occupy the same functions
established for the maintainers of a system that is distant from what we
imagine as a possible human grouping, even more distanced from freedom."
submidialogy.

/:b


Gmane