James Bryan Graves | 27 Jun 10:55 2016
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Hackers & Designers Summer Academy 2016

If you are so smart why are you so poor?

The Hackers & Designers Summer Academy is approaching. 
25 July - 5 August 2016, taking place at De PUNT and Waag Society in Amsterdam, The Netherlands. 

… and there are still spots available!


At work.

The program will center around the controversial topic of immaterial labor, and the effects digital economies have on our current techno-society, – an on-going discussion at stake in both design/art and developer practices. H&D engages this year’s summer academy participants to go into discussion and critically reflect on their (digital) activities that exist outside/alongside the traditional wage-based definition of labor. What does it mean for the future of our practices to contribute to creative commons and open source projects, to self-initiate, to organize communities, to promote and publish on social networks, to perpetually generate content, to evolve multiple identities as bloggers, vloggers, mojo contributors…?

Program

With Dyne (Freecoin), Hack Your FutureTechnoflesh (Simone Niquille) & Carina Namih, Nicolas Malevé & Michael Murtaugh (Constant Association for Art & Media), Dennis de Bel & Roel Roscam Abbing, The Rodina & more!
http://www.roelroscamabbing.nl/

Find more information on: http://hackersanddesigners.nl/#/HDSA_2016._If_you_are_so_smart_why_are_you_so_poor



About Hackers & Designers

H&D believes designers and artists should be empowered with the tools of the digital realm including coding and hardware usage and construction. Conversely technologists should be more comfortable and effective in engaging in creative processes through familiarity with the vocabulary of designers and artists. All disciplines sho netbehaviour-oyh+t9JSDmtvBH8NO7Pu5g@public.gmane.orguld become more comfortable in theoretical and social discourse, and thus be asking questions such as not only can we but should we.

http://hackersanddesigners.nl/
<div>
    <div class="">If you are so smart why are you so poor?</div>
    <br class="">
    The Hackers &amp; Designers Summer Academy is approaching.&nbsp;<br class="">
    25 July - 5 August 2016, taking place at De PUNT and Waag Society in
    Amsterdam, The Netherlands.&nbsp;<br class=""><br class="">
    &hellip; and there are still spots available!<br class=""><br class=""><br class="">
    At work.<br class=""><br class="">
    The program will center around the controversial topic of immaterial
    labor, and the effects digital economies have on our current
    techno-society, &ndash; an on-going discussion&nbsp;at stake in both design/art
    and developer practices. H&amp;D engages this year&rsquo;s summer academy
    participants to go into discussion and critically reflect on their
    (digital)&nbsp;activities that exist outside/alongside the traditional
    wage-based definition of labor. What does it mean for the future of
    our practices to contribute to creative commons&nbsp;and open source
    projects, to self-initiate, to organize communities, to promote and
    publish on social networks, to perpetually generate content, to
    evolve multiple&nbsp;identities as bloggers, vloggers, mojo
    contributors&hellip;?<br class=""><br class="">
    Program<br class=""><br class="">
    With&nbsp;<a href="http://dyne.org/" class="">Dyne</a>&nbsp;(<a href="http://freecoin.ch/" class="">Freecoin</a>),&nbsp;<a href="http://www.hackyourfuture.net/#/" class="">Hack Your Future</a>,&nbsp;<a href="http://www.techno-flash.com/" class="">Technoflesh</a>&nbsp;(Simone
    Niquille) &amp;&nbsp;<a href="https://www.youtube.com/watch?v=LK3qP-BzLP0" class="">Carina
      Namih</a>, Nicolas Malev&eacute; &amp; Michael Murtaugh (<a href="http://www.constantvzw.org/site/?lang=en" class="">Constant
      Association for Art &amp; Media</a>),&nbsp;<a href="http://www.dennisdebel.nl/test/" class="">Dennis de Bel</a>&nbsp;&amp;&nbsp;Roel
    Roscam Abbing,&nbsp;<a href="http://www.therodina.com/" class="">The
      Rodina</a>&nbsp;&amp; more!<br class=""><a href="http://www.roelroscamabbing.nl/" class="">http://www.roelroscamabbing.nl/</a><br class=""><br class="">
    Find more information on:&nbsp;<a href="http://hackersanddesigners.nl/#/HDSA_2016._If_you_are_so_smart_why_are_you_so_poor" class=""></a><a class="moz-txt-link-freetext" href="http://hackersanddesigners.nl/#/HDSA_2016._If_you_are_so_smart_why_are_you_so_poor">http://hackersanddesigners.nl/#/HDSA_2016._If_you_are_so_smart_why_are_you_so_poor</a><br class=""><br class="">
    &mdash;<br class=""><br class="">
    About Hackers &amp; Designers<br class=""><br class="">
    H&amp;D believes designers and artists should be empowered with the
    tools of the digital realm including coding and hardware usage and
    construction. Conversely&nbsp;technologists should be more comfortable
    and effective in engaging in creative processes through familiarity
    with the vocabulary of designers and artists. All disciplines&nbsp;sho <a href="mailto:netbehaviour@..."></a><a class="moz-txt-link-abbreviated" href="mailto:netbehaviour@...">netbehaviour@...</a>uld
    become more comfortable in theoretical and social discourse, and
    thus be asking questions such as not only can we but should we.<br class=""><br class=""><a href="http://hackersanddesigners.nl/" class="">http://hackersanddesigners.nl/</a><br class=""><div class="">
<a href="https://www.facebook.com/hackersanddesigners/" class=""></a><a class="moz-txt-link-freetext" href="https://www.facebook.com/hackersanddesigners/">https://www.facebook.com/hackersanddesigners/</a>
</div>
  </div>
furtherfield | 24 Jun 12:40 2016
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Digital Pop | Review of the 12th Athens Digital Arts Festival

Sorry for any cross posting...

Digital Pop | Review of the 12th Athens Digital Arts Festival

By Marianna Christofi.

What kind of digital content do we consume and what culture do we create? How are we “feeding” today’s digital markets? How ephemeral is digital Pop culture? Under the theme of Digital Pop, Athens Digital Arts Festival 2016 aimed to capture the different aspects of Pop in the digital era, focusing on the response of artists and users alike.

http://www.furtherfield.org/features/digital-pop-review-12th-athens-digital-arts-festival
<div><div dir="ltr">Sorry for any cross posting...<br><div>
<br>Digital Pop | Review of the 12th Athens Digital Arts Festival<br><br>By Marianna Christofi.<br><br>What kind of digital content do we consume and what culture do we create? How are we &ldquo;feeding&rdquo; today&rsquo;s digital markets? How ephemeral is digital Pop culture? Under the theme of Digital Pop, Athens Digital Arts Festival 2016 aimed to capture the different aspects of Pop in the digital era, focusing on the response of artists and users alike.<br><br><a href="http://www.furtherfield.org/features/digital-pop-review-12th-athens-digital-arts-festival">http://www.furtherfield.org/features/digital-pop-review-12th-athens-digital-arts-festival</a><br>
</div>
</div></div>
ab | 22 Jun 09:19 2016
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Fwd: Aalto University Professor of Practice in Contemporary Art

Subject: Aalto University Professor of Practice in Contemporary Art

Date: Tue, 21 Jun 2016 12:33:51 +0200

Aalto University is seeking an active artist, eager to bring her/his expertise and contribution to our vibrant and developing environment. Preference will be given to candidates whose work has a demonstrated relation to, or potential for working with, one or more of the non-art fields represented at Aalto, such as science, technology or business, in addition to the societal, cultural and educational contexts explored at Aalto University. It would be perfect if the candidate has some kind of touch on higher education in the field of art. The candidate should be in such career stage, where you might consider him/her being motivated and able to move to Finland and join the employment of Aalto University.

http://www.aalto.fi/en/about/careers/jobs/view/802/
<div>
    Subject: Aalto University Professor of Practice in Contemporary Art
    <br><blockquote>
      <p dir="auto">
        Date: Tue, 21 Jun 2016 12:33:51 +0200
      </p>
      Aalto University is seeking an active artist, eager to bring
      her/his expertise and contribution to our vibrant and developing
      environment. Preference will be given to candidates whose work has
      a demonstrated relation to, or potential for working with, one or
      more of the non-art fields represented at Aalto, such as science,
      technology or business, in addition to the societal, cultural and
      educational contexts explored at Aalto University. It would be
      perfect if the candidate has some kind of touch on higher
      education in the field of art. The candidate should be in such
      career stage, where you might consider him/her being motivated and
      able to move to Finland and join the employment of Aalto
      University.
      <br><br><a class="moz-txt-link-freetext" href="http://www.aalto.fi/en/about/careers/jobs/view/802/">http://www.aalto.fi/en/about/careers/jobs/view/802/</a><br>
</blockquote>
  </div>
Armin Medosch | 21 Jun 09:01 2016
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Technopolitics presents: Tracing Information Society—a Timeline

You are cordially invited to:

Tracing Information Society—a Timeline

An exhibition by Technopolitics about paradigmatic turning points

Opening: MAK Nite Lab, Tue, 21 June, 7:30–11 p.m. Technopolitics Salon
with MAK director Christoph Thun Hohenstein and the Technopolitics
working group: Sylvia Eckermann, Doron Goldfarb, Armin Medosch, Gerald
Nestler, Felix Stalder, Axel Stockburger and Ina Zwerger.

Exhibition / Presentation: 22–26 June 2016 during MAK opening times
MAK FORUM
MAK – Austrian Museum of Applied Arts / Contemporary Art
Stubenring 5, 1010 Vienna

In the MAK FORUM, Technopolitics invites visitors to the curated
knowledge space “Tracing Information Society.”

A 11-meter-long textual work sheds new light on the information
society viewed across a timeframe of more than 100 years. Here, the
genesis and influence of the information society can be studied not by
scrolling on a screen, but by walking along the printed timeline. This
multidimensional mapping of political events, technological
inventions, and cultural developments shows how the information
society has seized and transformed every sphere. The entries may be
understood in more depth on the timetable, which presents analog and
digital media arranged by categories. A network visualization reveals
salient associations between the timeline entries on the basis of
Wikipedia.

Technopolitics is a research platform composed of scientists, artists,
computer scientists, and journalists, who jointly develop innovative
formats at the intersection of art, research, and education.

http://www.technopolitics.info/

In cooperation with MAK – Austrian Museum of Applied Arts /
Contemporary Art. This project is supported by the Arts Division of
the Federal Chancellery of Austria and the Cultural Affairs Department
of the City of Vienna (MA 7). With special thanks to Austrian Radio
ORF Oe1.
______________________________________________
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
e j | 20 Jun 14:45 2016
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Voice Odder workshop at Primal Uproar Festival in Hamburg, Stubnitz

“The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.” – William S. Burroughs, The Ticket That Exploded

During this workshop participants will free themselves of this “parasitic resisting organism” by building a device specially designed for this purpose. This device will allow the participants to hear the invader and even see him in the form of light. Do not be afraid though! This creature is not dangerous as we will keep it in the form of electronic circuitry where it will be drifting with currents and resistances. Let it speak through your voice, let's shout it out and modulate it ! We shall not be afraid of The Other!

///////////////////////////////////////////////////////////////////////////////////////////////////////

For this one-day workshop, Polish electronic noise artist Ewa Justka will guide you through the creation of a unique, multi-faceted electronic instrument and effects unit - The Voice Odder. 

The Voice Odder is a simple electronic circuit based on delay IC. It can generate various sounds - from echo and delay effect to reverb, extreme resonance sampling and distortion, depending on resistance and voltage.

During the workshop participants will learn how to build electronic circuits: how to solder, read schematics and data sheets, use multimeter and what are the functions of basic electronic components.

The workshop is for beginners in electronics but advanced participants will have fun too!

All of the materials will be provided and are included in price. Participants will finish the workshop with their own fully-functioning Voice Odder to take away.

///////////////////////////////////////////////////////////////////////////////////////////////////////
DOCUMENTATION: https://ewajustka.bandcamp.com/album/voice-odder

PRICE: 25 EURO

MAX AMOUNT OF PARTICIPANTS: 15

TO BOOK A PLACE PLEASE EMAIL : ewajustka-Re5JQEeQqe8AvxtiuMwx3w@public.gmane.org . YOU MUST PAY BEFOREHAND VIA PAYPAL IN ORDER TO BOOK THE PLACE.

PLEASE BRING WITH YOU A SOLDERING IRON IF YOU HAVE ONE.

THE WORKSHOP IS A PART OF THE PRIMAL UPROAR FESTIVAL.


/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

THE FESTIVAL:

PRIMAL UPROAR vol. 01
curated by JOSE MACABRA & DR. NEXUS
presented by FRACTION.BRUIT
______________________________________
TWO(!!!) intense nights at the best boat you can find in europe so far!!!

Tickets:
Pre-Sale
15 Euro a day
25 Euro for both days

<div><div dir="ltr">
<span>&ldquo;The word is now a virus. The flu virus may have once been a healthy lung cell. It is now a parasitic organism that invades and damages the central nervous system. Modern man has lost the option of silence. Try halting sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.&rdquo; &ndash; William S. Burroughs, The Ticket That Exploded</span><br><br><span>During this workshop participants will free themselves of this &ldquo;parasitic resisting organism&rdquo; by building a device specially designed for this purpose. This device will allow the participants to hear the invader and even see him in the form of light. Do not be afraid though! This creature&nbsp;</span><span class="">is not dangerous as we will keep it in the form of electronic circuitry where it will be drifting with currents and resistances. Let it speak through your voice, let's shout it out and modulate it ! We shall not be afraid of The Other!<br><br><span>//////////////////////////</span><span class=""></span><span>///////////////////////////</span><span class=""></span><span>///////////////////////////</span><span class=""></span>///////////////////////<br><br>For this one-day workshop, Polish electronic noise artist Ewa Justka will guide you through the creation of a unique, multi-faceted electronic instrument and effects unit - The Voice Odder.&nbsp;<br><br>The Voice Odder is a simple electronic circuit based on delay IC. It can generate various sounds - from echo and delay effect to reverb, extreme resonance sampling and distortion, depending on resistance and voltage.<br><br>During the workshop participants will learn how to build electronic circuits: how to solder, read schematics and data sheets, use multimeter and what are the functions of basic electronic components.<br><br>The workshop is for beginners in electronics but advanced participants will have fun too!<br><br>All of the materials will be provided and are included in price. Participants will finish the workshop with their own fully-functioning Voice Odder to take away.<br><br><span>//////////////////////////</span><span class=""></span><span>///////////////////////////</span><span class=""></span><span>///////////////////////////</span><span class=""></span>///////////////////////<br>DOCUMENTATION:&nbsp;<a href="https://www.facebook.com/l.php?u=https%3A%2F%2Fewajustka.bandcamp.com%2Falbum%2Fvoice-odder&amp;h=lAQH6EDef&amp;enc=AZPfH3sNYPDv4Bqb8GqgjDa_Yfq0JwPufDveXxQz3q2qa44CiwQSFDnOPA19Zp2ampQ&amp;s=1" rel="nofollow nofollow" target="_blank"><span>https://</span><span class=""></span><span>ewajustka.bandcamp.com/</span><span class=""></span>album/voice-odder</a><br><br>PRICE: 25 EURO<br><br>MAX AMOUNT OF PARTICIPANTS: 15<br><br>TO BOOK A PLACE PLEASE EMAIL : <a href="mailto:ewajustka@...">ewajustka@...</a> . YOU MUST PAY BEFOREHAND VIA PAYPAL IN ORDER TO BOOK THE PLACE.<br><br>PLEASE BRING WITH YOU A SOLDERING IRON IF YOU HAVE ONE.<br><br>THE WORKSHOP IS A PART OF THE PRIMAL UPROAR FESTIVAL.</span><div><span><br></span></div>
<div>
<div><span>fb event:&nbsp;<a href="https://www.facebook.com/events/151567135255790/">https://www.facebook.com/events/151567135255790/</a></span></div>
<div><span><br></span></div>
<div><span>/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////</span></div>
<div><span><br></span></div>
<div><span>THE FESTIVAL:</span></div>
<div><span><br></span></div>
<div>
<span>PRIMAL UPROAR vol. 01</span><br><span>curated by JOSE MACABRA &amp; DR. NEXUS</span><br><span>presented by FRACTION.BRUIT</span><br><span>__________________________</span><span class=""></span><span>____________</span><br><span>TWO(!!!) intense nights at the best boat you can find in europe so far!!!</span><br><br><span>Tickets:</span><br><span>Pre-Sale</span><br><span>15 Euro a day</span><br><span>25 Euro for both days</span>
</div>
<div><br></div>
<div>more info:&nbsp;<a href="https://www.facebook.com/events/970172223060957/">https://www.facebook.com/events/970172223060957/</a><br><br><span><br clear="all"></span><div><br></div>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><a href="http://ewajustka.tumblr.com/" target="_blank">http://ewajustka.tumblr.com/</a></div>
</div>
</div>
</div></div>
ab | 19 Jun 15:56 2016
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(fwd) CFP: Cultural Exchanges between USSR and Popular Democracies (Bucharest, 16-17 Jul16)

From: Alina Popescu <popescualinaa <at> yahoo.fr>
Date: Jun 19, 2016
Subject: CFP: Cultural Exchanges between USSR and Popular Democracies 
(Bucharest, 16-17 Jul16)

Bucharest, Romania, July 16 - 17, 2016
Deadline: Jun 26, 2016

La place du grand frère. Cultural Exchanges Between the Soviet Union and 
the Popular Democracies during the Communist Era

The role played by the USSR in the popular democracies in Central and 
Eastern Europe is both overestimated and underestimated in current 
works. It is overestimated in numerous studies, which consider the 
imposing force of the “Soviet-type model” to have been acquired when 
these countries fell under the Soviet sphere of influence at the end of 
World War II. The mere definition of the model per se was however 
anything but clear; its transplantation had many loopholes and the 
adoption of this model showed significant discrepancies depending on the 
periods and areas taken into consideration. It is underestimated since 
the entire array of exchanges made with the USSR during the socialist 
period have rarely been fully considered, given that the USSR was one of 
the main destinations chosen by the various players of the socialist 
stage. This historiographical situation of both over- and 
under-estimation may be explained, to a large extent, by the sources 
mobilised at the time: on the one hand, the discourse celebrating the 
collaboration with the Soviet “big brother” and, on the other hand, the 
accounts made after 1989, which often fail to mention the connections 
with the USSR (favouring the ones with the Western world). Another two 
factors which also interfered with the historiographical reflexion were 
the emphasis placed on the memories of the big geopolitical crises which 
led to Soviet military intervention (in 1953 in East Berlin, in 1956 in 
Budapest and in 1968 in Prague), and the evolution of the relations 
between each of these countries and the Russian power following the fall 
of the Berlin Wall.

Through this conference, we propose that this issue be readdressed 
again, and we invite researchers working on the topic of the USSR and 
the popular democracies to debate on the topic so as to reflect on the 
sources and notions used to report such exchanges. We shall focus on 
cultural exchanges in fields such as theatre, literature, music, visual 
arts, architecture and cinematography. The various ways in which the 
Soviet-type model was received replay the whole story of the Soviet 
presence and its versions in the various countries. By bringing together 
the various national histories, we may acquire an overall comparative 
understanding of how each country shaped its own cultural communist 
experience. How can the cultural field support us in rethinking the 
question of the Soviet presence in the East? This international 
conference aims to put the evolutions of the relations between the 
popular democracies and the USSR into perspective though culture. We 
also hope to reach a better understanding of a topic we now know little 
of: did the Soviets have any interest in what was happening within the 
popular democracies? Do we need to consider cultural transfers from the 
popular democracies to the USSR?

The participants are invited to reflect upon several lines of approach:

1. The cultural institutions and policies. Contributions on this topic 
could look into the role of cultural associations, “creative and 
professional unions” or cultural administration institutions, concerning 
activities such as the definition of cultural policies, the 
establishment of cultural agreements, the performance of protocol or 
documentation visits, the transfer of experts, the imposition or the 
reclassification of the artistic or literary creation models.

2. The cultural actors and the cross-border networks. The considerations 
on this topic should emphasise the routes taken by the intellectuals, 
artistes and experts in various cultural fields, or by the 
representatives of administrative and political structures who were 
initiators, mediators or beneficiaries of the exchanges and circulation 
to the East, or those who were excluded from them. The proposals could 
relate to, amongst other things, the biographies of people involved in 
cultural commerce activities, the artistic and intellectual background 
of those trained in the USSR, the cross-border cultural exchange 
network, etc.

3. The dissemination, reception, circulation and re-appropriation of the 
discourses, know-how, practices and goods. The contributions on this 
axis could delve into how the public, the cultural agents or the 
political and administrative authorities perceived the Soviet culture, 
and how the Soviets perceived the culture of its sister-countries, 
respectively. How did the popular democracies accommodate the things the 
Soviets sent to them? What did the collaborations between the various 
countries and the USSR focus on precisely? What were the official or 
clandestine circuits for people and works? What were the advantages or 
disadvantages of the exchanges with the USSR? In which artistic forms 
was the political and cultural power of the “Soviet Big Brother” 
celebrated or challenged?

4. The geography of cultural exchanges. What role was played by the 
Soviet Republics bordering the popular democracies (the Republics of 
Ukraine, Byelorussia and Moldova) in the exchanges with the centre and 
the other countries in the Soviet bloc? Did this movement benefit from 
the geographical proximity? More generally, which cities (besides Moscow 
and Leningrad) and regions in the USSR, and which cities and regions in 
Eastern Europe, were concerned by these exchanges? What does the 
movement map look like for this period?

The paper proposals (title and abstract of a maximum of 500 words), 
accompanied by a short biographical note (a maximum of 10 lines), should 
be submitted before June 26, 2016 to the e-mail addresses: 
popescualinaa <at> yahoo.fr and luciadragomir <at> gmail.com. Their acceptance 
will be notified, at the latest, on June 30, 2016.

The working language will be mainly French, but papers in English will 
also be accepted. The conference proceedings will be subject to 
publication. Travel and accommodation expenses will be refunded within 
the limits of the available budget. When submitting a proposal, 
attendees should mention whether they wish to benefit from this refund.

Organising committee:
Jérôme Bazin (Paris-Est Créteil Val-de-Marne University)
Lucia Dragomir (University of Bucharest)
Dragos Jipa (EDSS – CEREFREA Villa Noël, University of Bucharest)
Alina Popescu (ISP - Paris Ouest Nanterre la Défense 
University/University of Bucharest)
Caterina Preda (University of Bucharest)

Partner Institutions
Centre Régional Francophone de Recherches Avancées en Sciences Sociales 
(CEREFREA Villa Noël) – Université de Bucarest
Centre de recherche en histoire européenne comparée (CRHEC) – Université 
Paris-Est Créteil Val-de-Marne
Agence universitaire de la Francophonie - Bureau Europe centrale et 
orientale (AUF BECO)
École doctorale francophone en sciences sociales (EDSS – CEREFREA Villa 
Noël) – Université de Bucarest
Institut des Sciences sociales du Politique (ISP) – Université Paris 
Ouest Nanterre La Défense

Scientific committee:
Jérôme Bazin – Lecturer, CRHEC – Paris Est Créteil Val-de-Marne University
Lucia Dragomir – Lecturer, Faculty of  Letters, University of Bucharest
Liliana Deyanova – Professor, Faculty of Sociology, University of Sofia 
« St.Climent Ohridski »
Alina Popescu – Researcher, ISP – Paris Ouest Nanterre la Défense 
University /University of Bucharest
Caterina Preda – Lecturer, Faculty of Political Science, University of 
Bucharest
Jean-Charles Szurek – Research Director, CNRS

Reference / Quellennachweis:
CFP: Cultural Exchanges between USSR and Popular Democracies (Bucharest, 
16-17 Jul16). In: H-ArtHist, Jun 19, 2016. 
<http://arthist.net/archive/13314>.
______________________________________________
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
ab | 19 Jun 15:44 2016
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(fwd) CFP: Traditional & contemporary in art and education (Kosovska Mitrovica, 4-6 Nov 16)

From: Jelena Pavlicic <jpavlicic <at> gmail.com>
Date: Jun 18, 2016
Subject: CFP: Traditional & contemporary in art and education (Kosovska 
Mitrovica, 4-6 Nov 16)

Kosovska Mitrovica, November 4 - 06, 2016
Deadline: Jul 15, 2016

The Faculty of Arts at the University of Priština temporarily settled in 
Zvecan Kosovska Mitrovica is organising International scientific 
conference “Traditional and contemporary in art and education", which 
will be held from 4th to 6th November 2016 at the Faculty of Arts in 
Kosovska Mitrovica. We invite you to take part in the work of the 
scientific conference and make a contribution to the discussion 
concerning current issues in sciences of visual, musical and dramatic arts.

Following topics are suggested for submissions:

1) Cultural and artistic heritage of Kosovo and Metohija
·         Preservation of tradition and national identity in Kosovo and 
Metohija
·         Art and education in Kosovo and Metohija from Middle Ages to 
the present day
·         Problems concerning research and preservation of Kosovo and 
Metohija's heritage
·         "Medieval Monuments in Kosovo" on the UNESCO List of World 
Heritage in Danger – problems of contemporary cultural heritage protection
·         Traditional and spiritual songs from Kosovo and Metohija ? 
modes of preservation

2) Traditional and contemporary approaches to artistic education and 
upbringing
·         Contemporary methods of teaching arts in children education 
and upbringing
·         Contemporary art and artistic education methodology
·         The importance of artistic education and upbringing in 
preschool institutions, elementary and high schools
·         The role of tradition in creation of educational processes

3) Art as a space of memory
·         Tradition recreation /interpretation/recycling in contemporary art
·         Artist's position in contemporary society
·         Traditional techniques in new artistic practices
·         New approaches in heritage preservation
·         Museums as places of memory
·         Heritage and new media
·         The role of film in creating spaces of memory
·         Heritage and popular culture

4) Traditional and contemporary in artistic dance
·         Artistic dance education
·         Contemporary dance and gender theories
·         Gender, body, dance
·         Dance as a space of feminine expression
·         Ritualistic traits in contemporary theatre of movement
·         Choreographic imagination, composition and dancing techniques
·         Correlation of national dances in ballet heritage on the 
territory of former Yugoslavia.

   Application: Proposals should consist of a summary (up to 250 words) 
and key words (up to five), personal details and a short biography. It 
should be sent no later than 15th July to iscaf2016km <at> gmail.com
Applicants will be informed of the acceptance of submissions by 30th 
July. The preliminary program  will be released early in October 2016.
Time limit: Oral presentations are limited to 15 minutes.
Working languages of the Conference are Serbian (and ex-Yu languages), 
English and Russian.
All submitted papers will go through the peer-review process. Positively 
reviewed papers will be published in thematic conference proceedings.
Registration fee is 40 euros (for participants from Serbia in dinar 
equivalent according to the current exchange rate of NBS on the day of 
payment), and it includes the publishing expenses for the book of 
abstracts, thematic conference proceedings, promotional material, 
refreshment breaks and conference dinner. Participants from Serbia will 
cover travel and accommodation expenses on their own. Registration fee 
for participants from abroad will include two nights’ accommodation (bed 
and breakfast) but NOT the travel costs. You will be informed about the 
most favourable possibilities for transport and lodgings. Registration 
fee could be paid at the faculty pay desk during the registration, or 
via bank transfer following these instructions:
  Participants from Serbia:
Purpose of payment: Registration fee for Scientific Conference
Recipient: Fakultet umetnosti Zvecan
Payment code: 189
Recipient’s account: 840-1495666-59
  Participants from abroad:
Purpose of payment: Registration fee for Scientific Conference
Recipient: Fakultet umetnosti Zvc?an
Payment code: 189
Recipient’s account: 840-1495666-59
IBAN: RS 35908500100015081074

Contacts:
Jelena Pavlicic, Secretary of the Organising Committee 
(jpavlicic <at> gmail.com);
Vera Obradovic, Coordinator for International Cooperation of the 
Scientific Conference  (obradovic_vera <at> yahoo.com).

Reference / Quellennachweis:
CFP: Traditional & contemporary in art and education (Kosovska 
Mitrovica, 4-6 Nov 16). In: H-ArtHist, Jun 18, 2016. 
<http://arthist.net/archive/13303>.

____________________________________________________________________

H-ARTHIST
Humanities-Net Discussion List for Art History
E-Mail-Liste für Kunstgeschichte im H-Net

Editorial Board Contact Address / Fragen an die Redaktion:
hah-redaktion <at> h-net.msu.edu

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http://arthist.net/admin/

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______________________________________________
SPECTRE list for media culture in Deep Europe
Info, archive and help:
http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
Vera Frenkel | 17 Jun 19:50 2016
Picon

Points of Departure: Vera Frenkel / Words & Works (short text)

The Museum of Contemporary Art is hosting a dedicated launch for my new book, "Points of Departure: Words & Works", at the Toronto Art Book Fair.

 

David Liss, the MOCA Director on whose watch the book was created, will speak, as will author/editor/NGC curator Jonathan Shaughnessy, on "Ways of Telling", the multidisciplinary exhibition he curated, on which the book is based.

 
Access free.  All welcome!

Art Book Fair: Artscape, 180 Shaw Street, Toronto, Canada M6J 2W5

 Sat., June 18th, 3:00 - 5:00 PM. Free.


Points of Departure: Vera Frenkel / Words & Works

Eds.    Jonathan Shaughnessy,  Duncan McCorquodale

Black Dog Publishing, U.K. 2016, 160 pp, 

<div><div dir="ltr">
<div class="gmail_default">
<p class="MsoNormal"><span lang="EN-US">The Museum of Contemporary Art is hosting a dedicated
launch </span><span lang="EN-US"><span lang="EN-US">for my new book, "Points of Departure:
Words &amp; Works", </span>at the Toronto Art Book Fair.</span></p>

<p class="MsoNormal"><span lang="EN-US">&nbsp;</span></p>

<p class="MsoNormal"><span lang="EN-US">David Liss, the MOCA Director on whose watch the book was
created, will speak, as will author/editor/NGC curator
Jonathan Shaughnessy, on "Ways of Telling", the multidisciplinary exhibition he
curated, on which the book is based. <br></span></p>&nbsp;<br>
</div>
<div class="gmail_default">Access free.&nbsp; All welcome!<br><br>
</div>
<div class="gmail_default">
<p class="MsoNormal"><span lang="EN-US"></span><span lang="EN-US">Art Book Fair: Artscape, 180
Shaw Street, Toronto, Canada M6J 2W5</span>

</p>
<p class="MsoNormal"><span lang="EN-US">&nbsp;Sat., June
18th, <span></span>3:00 - 5:00 PM. Free.<br></span></p> <br><span lang="EN-US">Points of Departure: Vera Frenkel / Words
&amp; Works</span>

<p class="MsoNormal"><span lang="EN-US"><span></span><span></span>Eds. <span>&nbsp;&nbsp;&nbsp;</span>Jonathan Shaughnessy, <span>&nbsp;</span>Duncan McCorquodale </span></p>

<p class="MsoNormal"><span lang="EN-US">Black Dog
Publishing, U.K. 2016, 160 pp,&nbsp; <span><br></span></span></p>
</div>
</div></div>
Andreas Broeckmann | 17 Jun 18:39 2016
Picon

Fwd: "Points of Departure: Vera Frenkel / Words & Works"

-------- Weitergeleitete Nachricht --------
Betreff: 	"Points of Departure: Vera Frenkel / Words & Works"
Datum: 	Fri, 17 Jun 2016 11:46:47 -0400
Von: 	Vera Frenkel <vfrenkel@...>

Spectre notice, 16vi2016

For friends and colleagues unable to attend "Visual Language: Michael 
Snow/Vera Frenkel", the Pages Unbound event that launched my new book, 
"Points of Departure: Words & Works", the Museum of Contemporary Art is 
hosting a dedicated launch at the Toronto Art Book Fair this Saturday, 
June 18th at 3:00 PM.

David Liss, the MOCA Director on whose watch the book was created, will 
speak, as will author/editor/National Gallery of Canada curator Jonathan 
Shaughnessy, on "Vera Frenkel: Ways of Telling", the multidisciplinary 
exhibition he curated, and on which the book is based.

Everyone welcome !

Where: Artscape, 180 Shaw Street, Toronto, Canada M6J 2W5

When:  Saturday, June 18th., 3:00 - 5:00 PM. Access free.

Subject: Points of Departure: Vera Frenkel / Words & Works

Eds. Jonathan Shaughnessy, Duncan McCorquodale
Black Dog Publishing, U.K. 2016, 160 pp

<mod: poster attachment removed>
NOME | Press | 17 Jun 12:42 2016

24.6. NOME opens Joris Strijbos' latest solo show "Oscillations"

Joris Strijbos – Oscillations
Opening: 24 June 2016, 6pm
25 June – 30 July 2016
 
Dolziger Straße 31, 10247 Berlin


NOME is pleased to open „Oscillations" by Joris Strijbos on 24 June 2016

The Dutch artist shows his kinetic light sculptures – „Axon" and „Homeostase" – the result of broader research into artificial life and generative composition. 

Strijbos’s work originates in a series of research questions related to cybernetics, swarm intelligence, and communication networks. Through kinetic installations he develops complex immersive and synesthetic landscapes in which image, sound and light continually intertwine in an emergent choreography. 

The two installations of „Oscillations" – „Axon" and „Homeostase" – are composed of a series of identical elements, connected in a network and exchanging information between one another through electric signals. The collective behavior of the actuators and sensors create unpredictable patterns larger than their individual parts, as though a system of living organisms with their own variable program. A moving scene emerges, where the borders between a ‘natural’ order of things and the mechanical constructions of humans are tested. 

Strijbos plays with the potential of technology to mimic biological systems, so that generative processes merge the algorithmic with the physical world. Aesthetically, the moving sculptures are monochrome and minimalist, calling to mind the austere visual code of Otto Piene and Heinz Mack’s Zero Group in the 1960s. When set in motion the works could be windmills, metallic birds or beacons, whose effects create a multi-sensorial experience for the audience. In Homeostase, for example, multiple rotating objects are programmed to perform an ever-changing choreography – a play of attraction and repulsion that comes from the luminous language of the swarm.

Joris Strijbos studied BA Arts and Sciences at the Royal Academy of Art in The Hague, with a Masters degree from the Royal Conservatory of The Hague. His work has been presented at Ars Electronica (Linz), Sonic Acts (Amsterdam), TodaysArt Festival, STRP (Eindhoven), DEAF Biennale (Rotterdam), Wood Street Galleries (Pittsburg), Atonal Festival (Berlin), WRO International Media Art Biennale (Wroclaw), and the Van Gogh Museum (Amsterdam). Joris Strijbos is part of Macular, a collective of artists researching the interplay of light, sound and motion. Their practice focuses on the programming and manipulation of emergent systems and properties as well as on the constant observation of natural phenomena and dynamic processes.

More information on the NOME website: www.nomeproject.com
<div><div class="">
<div class="">
<div class="">Joris Strijbos &ndash; Oscillations</div>
<div class="">Opening: 24 June 2016, 6pm</div>
<div class="">25 June &ndash; 30 July 2016</div>
<div class="">&nbsp;</div>
<div class="">Dolziger Stra&szlig;e 31, 10247 Berlin</div>
<div class=""><a href="http://www.nomeproject.com" class="">www.nomeproject.com</a></div>
<div class=""><br class=""></div>
<div class=""><br class=""></div>
<div class="">
<div class="">NOME is pleased to open &bdquo;Oscillations" by Joris Strijbos on 24 June 2016</div>
<div class=""><br class=""></div>
<div class="">The Dutch artist shows his kinetic light sculptures &ndash; &bdquo;Axon" and &bdquo;Homeostase" &ndash; the result of broader research into artificial life and generative composition.&nbsp;</div>
<div class=""><br class=""></div>
<div class="">Strijbos&rsquo;s work originates in a series of research questions related to cybernetics, swarm intelligence, and communication networks. Through kinetic installations he develops complex immersive and synesthetic landscapes in which image, sound and light continually intertwine in an emergent choreography.&nbsp;</div>
<div class=""><br class=""></div>
<div class="">The two installations of &bdquo;Oscillations" &ndash; &bdquo;Axon" and &bdquo;Homeostase" &ndash; are composed of a series of identical elements, connected in a network and exchanging information between one another through electric signals. The collective behavior of the actuators and sensors create unpredictable patterns larger than their individual parts, as though a system of living organisms with their own variable program. A moving scene emerges, where the borders between a &lsquo;natural&rsquo; order of things and the mechanical constructions of humans are tested.&nbsp;</div>
<div class=""><br class=""></div>
<div class="">Strijbos plays with the potential of technology to mimic biological systems, so that generative processes merge the algorithmic with the physical world. Aesthetically, the moving sculptures are monochrome and minimalist, calling to mind the austere visual code of Otto Piene and Heinz Mack&rsquo;s Zero Group in the 1960s. When set in motion the works could be windmills, metallic birds or beacons, whose effects create a multi-sensorial experience for the audience. In Homeostase, for example, multiple rotating objects are programmed to perform an ever-changing choreography &ndash; a play of attraction and repulsion that comes from the luminous language of the swarm.</div>
<div class=""><br class=""></div>
<div class="">Joris Strijbos studied BA Arts and Sciences at the Royal Academy of Art in The Hague, with a Masters degree from the Royal Conservatory of The Hague. His work has been presented at Ars Electronica (Linz), Sonic Acts (Amsterdam), TodaysArt Festival, STRP (Eindhoven), DEAF Biennale (Rotterdam), Wood Street Galleries (Pittsburg), Atonal Festival (Berlin), WRO International Media Art Biennale (Wroclaw), and the Van Gogh Museum (Amsterdam). Joris Strijbos is part of Macular, a collective of artists researching the interplay of light, sound and motion. Their practice focuses on the programming and manipulation of emergent systems and properties as well as on the constant observation of natural phenomena and dynamic processes.</div>
</div>
</div>
<div class=""><br class=""></div>
<div class="">More information on the NOME website:&nbsp;<a href="http://www.nomeproject.com" class="">www.nomeproject.com</a>
</div>
<div class="">Facebook event for updates:&nbsp;<a href="https://www.facebook.com/events/281862128824294/" class="">https://www.facebook.com/events/281862128824294/</a>
</div>
</div></div>
furtherfield | 16 Jun 14:38 2016
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Julian Rosefeldt`s Manifesto

Sorry for any cross posting...

Julian Rosefeldt`s Manifesto

Review by Inga Seidler, on Furtherfield.

For the exhibition „Manifesto“ Julian Rosefeldt collaged the texts of numerous manifestos — from Futurism to Pop Art, Conceptual Art or Dogma 95 - into poetic and entertaining monologues. Forming new narratives into thirteen videos, manifesto collages are brought to life by unexpected characters in different contexts.

http://www.furtherfield.org/features/reviews/julian-rosefeldts-manifesto
<div><div dir="ltr">Sorry for any cross posting...<br><div>
<br>Julian Rosefeldt`s Manifesto<br><br>Review by Inga Seidler, on Furtherfield.<br><br>For the exhibition &bdquo;Manifesto&ldquo; Julian Rosefeldt collaged the texts of numerous manifestos &mdash; from Futurism to Pop Art, Conceptual Art or Dogma 95 - into poetic and entertaining monologues. Forming new narratives into thirteen videos, manifesto collages are brought to life by unexpected characters in different contexts.<br><br><a href="http://www.furtherfield.org/features/reviews/julian-rosefeldts-manifesto">http://www.furtherfield.org/features/reviews/julian-rosefeldts-manifesto</a><br>
</div>
</div></div>

Gmane