Snezana Curuvija | 11 Feb 09:16 2016

Open call for regional design competition: YOUNG BALKAN DESIGNERS 2016: NEW ANALOGUE

Balkan Design Network
Innovative platform for the
development of Balkan Design

Open call for regional design competition
YOUNG 
BALKAN 
DESIGNERS 
2016: NEW 
ANALOGUE


Competition theme 2016: ‘New Analogue’
Young Balkan Designers slogan for 2016 – ‘New Analogue’ calls for design projects − products, concepts, services and scenarios that are bringing human touch back into design process and manufacturing, linking them directly to materials, crafts and techniques available in the Balkan culture. We look for ways in which Balkan as a society can activate the value of its own cultural assets and contribute to the global debate on dehumanization of design and production process caused by hyper-efficient models of capitalist industrial and digital production and limiting usability-based approaches to design that tend to neglect other aspects of human factor – people’s personalities, their emotional responses and ideals. We challenge you to think about humanization of the production process, implementation of local manual skills and crafts in contemporary design methodology, with the focus on involvement of your immediate local community in problem-solving process and production, instead of fictional relations offered to us through social networks. In your pursuit to find the right balance between advantages of state of the art technologies available today and the local
expertise in manual work and real-life human exchange, envision your project as the Balkan’s contribution to economic and social sustainability of local communities worldwide, providing personal satisfaction in all phases of the process: creation, production and user experience.

Competition subject and criteria
Socially engaged design concepts; products – furniture, lighting, interior elements,
everyday objects, aid products, shelters, home accessories, fashion garments, stationary; urban services; innovative design and production scenarios, etc. that offer economically and socially sustainable solutions to local problems, both in urban and rural environments.
Criteria appreciated by the Jury: socially engaging and innovative features of the project that enhance the quality of community life; ergonomics; rational production and transportation costs; use of materials available locally; implementation of local knowledge and techniques; environmentally friendly production process, innovative use of recycled materials; significant social impact on your immediate community.

Jury
Konstantin Grcic, KGID, Industrial Designer
Tomislav Knezović, CEO, Prostoria
Zoran Jedrejčić, Industrial Designer
Jelena Matić, Furniture Designer, Professor at the University of Belgrade
Nikola Radeljković, Product Designer, Numen / ForUse

General terms
To be able to participate in the Young Balkan Designers competition, join our community and become a member of Balkan Design Network! Enjoy the benefits of regional design competitions, cooperation and festivals. Sign up to database of designers and design related institutions and organizations. Membership is free of charge: www.balkandesignnetwork.org/members
The competition is open to all members of BDN network aged 35 years and younger, from the following countries: Albania, Austria, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Hungary, Macedonia, Montenegro, Romania, Slovenia, Serbia and Turkey. Applicants may be individuals or groups of creators. Each applicant may submit more than one entry.


Main organizers
Balkan Design Network
Innovative platform established with the aim of articulating and providing longterm strategic support for the development and promotion of the Balkan design on European and International level.

Project co-funded by the Creative Europe Programme of the European Union.
<div><div dir="ltr">
<div>Balkan Design Network</div>
<div>Innovative platform for the</div>
<div>development of Balkan Design</div>
<div><a href="http://www.balkandesignnetwork.com">www.balkandesignnetwork.com</a></div>
<div><br></div>
<div><div>Open call for regional design competition</div></div>
<div>
<div>YOUNG&nbsp;<div>BALKAN&nbsp;</div>
<div>DESIGNERS&nbsp;</div>
<div>2016: NEW&nbsp;</div>
<div>ANALOGUE</div>
</div>
<div><div><br></div></div>
<div>Please visit:&nbsp;<a href="http://projects.balkandesignnetwork.org/ybdopencall2016">http://projects.balkandesignnetwork.org/ybdopencall2016</a>
</div>
<div><br></div>
</div>
<div><div>Competition theme 2016: &lsquo;New Analogue&rsquo;<br>
</div></div>Young Balkan Designers slogan for 2016 &ndash; &lsquo;New Analogue&rsquo; calls for design projects &minus; products, concepts, services and scenarios that are bringing human touch back into design process and manufacturing, linking them directly to materials, crafts and techniques available in the Balkan culture. We look for ways in which Balkan as a society can activate the value of its own cultural assets and contribute to the global debate on dehumanization of design and production process caused by hyper-efficient models of capitalist industrial and digital production and limiting usability-based approaches to design that tend to neglect other aspects of human factor &ndash; people&rsquo;s personalities, their emotional responses and ideals. We challenge you to think about humanization of the production process, implementation of local manual skills and crafts in contemporary design methodology, with the focus on involvement of your immediate local community in problem-solving process and production, instead of fictional relations offered to us through social networks. In your pursuit to find the right balance between advantages of state of the art technologies available today and the local <br>expertise in manual work and real-life human exchange, envision your project as the Balkan&rsquo;s contribution to economic and social sustainability of local communities worldwide, providing personal satisfaction in all phases of the process: creation, production and user experience.<div><br></div>
<div>Competition subject and criteria<br>
</div>Socially engaged design concepts; products &ndash; furniture, lighting, interior elements,<br>everyday objects, aid products, shelters, home accessories, fashion garments, stationary;&nbsp;urban services; innovative design and production scenarios, etc. that offer economically&nbsp;and socially sustainable solutions to local problems, both in urban and rural&nbsp;environments.<br>Criteria appreciated by the Jury: socially engaging and innovative features of the project&nbsp;that enhance the quality of community life; ergonomics; rational production and&nbsp;transportation costs; use of materials available locally; implementation of local knowledge&nbsp;and techniques; environmentally friendly production process, innovative use of&nbsp;recycled materials; significant social impact on your immediate community.<div><br></div>
<div>Jury<br>
</div>
<div>
<div>Konstantin Grcic, KGID, Industrial Designer</div>
<div>Tomislav Knezovi&#263;, CEO, Prostoria</div>
<div>Zoran Jedrej&#269;i&#263;, Industrial Designer</div>
<div>Jelena Mati&#263;, Furniture Designer, Professor at the University of Belgrade</div>
<div>Nikola Radeljkovi&#263;, Product Designer, Numen / ForUse</div>
</div>
<div><br></div>
<div>General terms<br>
</div>To be able to participate in the Young Balkan Designers competition, join our community&nbsp;and become a member of Balkan Design Network! Enjoy the benefits of regional&nbsp;design competitions, cooperation and festivals. Sign up to database of designers and&nbsp;design related institutions and organizations. Membership is free of charge:&nbsp;<a href="http://www.balkandesignnetwork.org/members">www.balkandesignnetwork.org/members</a><br>The competition is open to all members of BDN network aged 35 years and younger,&nbsp;from the following countries: Albania, Austria, Bosnia and Herzegovina, Bulgaria,&nbsp;Croatia, Greece, Hungary, Macedonia, Montenegro, Romania, Slovenia, Serbia and&nbsp;Turkey. Applicants may be individuals or groups of creators. Each applicant may submit&nbsp;more than one entry.<div><br></div>
<div>
<div>Info &amp; Inquiries</div>
<div><a href="mailto:ybd@...">ybd <at> balkandesignnetwork.com</a></div>
<div><a href="http://www.balkandesignnetwork.com">www.balkandesignnetwork.com</a></div>
</div>
<div><br></div>
<div>
<div>Main organizers</div>
<div>Balkan Design Network</div>
<div>Innovative platform established with the aim of articulating and providing longterm strategic support for the development and promotion of the Balkan design on European and International level.</div>
</div>
<div><br></div>
<div>Project co-funded by the Creative Europe Programme of the European Union.</div>
</div></div>
info | 13 Feb 01:56 2016

CALL FOR WORKS ON USB


USB-SHUFFLE-SHOW (FOUR) 

SEND YOUR ARTWORK ON A USB DEVICE AND PARTICIPATE IN THE USB-SHUFFLE-SHOW (FOUR)
EVERYTHING THAT REACHES US BY FEBRUARY 26TH 2016 WILL BE INCLUDED

SEND TO: 
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PO-BOX 040780, 10064 BERLIN
GERMANY 

BACKGROUND:
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GERMANY`S FINEST INSTITUTIONALISM SINCE 2010!


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GERMANY`S FINEST INSTITUTIONALISM SINCE 2010!

stubbs | 12 Feb 21:10 2016
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Fw: new important message

Hello!

 

New message, please read http://ishahbeauty.com/even.php

 

stubbs-1kXtHpul8t0qdlJmJB21zg@public.gmane.org

<div><div class="WordSection1">
<p class="MsoNormal"><span lang="EN-US">Hello!<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">New message, please read <a href="http://ishahbeauty.com/even.php?8pk">http://ishahbeauty.com/even.php</a><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">stubbs@...<p></p></span></p>
</div></div>
stubbs | 12 Feb 20:59 2016
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Fw: new important message

Hello!

 

New message, please read http://estoncamlievler76.com/hung.php

 

stubbs <at> easynet.co.uk

<div><div class="WordSection1">
<p class="MsoNormal"><span lang="EN-US">Hello!<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">New message, please read <a href="http://estoncamlievler76.com/hung.php?woy">http://estoncamlievler76.com/hung.php</a><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">stubbs <at> easynet.co.uk<p></p></span></p>
</div></div>
Gerloff Felix | 12 Feb 19:03 2016
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Sounding Out the Anthropocene. Investigating Sonic Media Ecologies

Dear all,


we are happy to announce our workshop program "Sounding Out the Anthropocene. Investigating Sonic Media Ecologies". Please spread the word!


Best,

Felix Gerloff


Sounding Out the Anthropocene. Investigating Sonic Media Ecologies


International Exploratory Workshop of IXDM and the GfM-AG Auditive Kultur und Sound Studies

10./11. March 2016

Critical Media Lab Basel
Academy of Art and Design FHNW
Freilager-Platz 1
4023 Basel
Tower building (3rd floor)
Map and connections

Organisation: Felix Gerloff, Shintaro Miyazaki, Sebastian Schwesinger

The international exploratory workshop will investigate the fruitfulness of a media ecological approach to sonic phenomena in the light of the Anthropocene discourse. Sonic aspects of global media infrastructures and current ecological issues will be discussed as well as smaller-scale sonic media constellations. The workshop is a collaboration of the working group Auditory Culture and Sound Studies of the Society for Media Studies (GfM) and IXDM.

Registration is open until February 19th. Participation is limited.


Thursday, 10.03.2016

10.00 am – Welcome Coffee & Introduction (Miyazaki/Gerloff/Schwesinger)

11.00 am – Presentation Panel I: Sonic Architectures (Chair: Felix Gerloff)

Jan Philip Müller: The Electronic Battlefield, the Acoubuoy and The Ears of the Jungle. The Becoming-ecological of Radiophonics in the Vietnam War, ca. 1966-1974

Carlos Gárate Marquerie: Underground as a Sonic Space

Steffen Lepa: An ecological systems theory approach to the digital Mediatization of everyday music listening

Malte Kobel: ›Simple Headphone Mind‹. Listening environments around the skull

1.00 pm – Lunch Break

2.00 pm – Project Explorations at CML

3.15 pm – Presentation Panel II: Bio/Media (Chair: Shintaro Miyazaki)

Daniel Gilfillan: Of Parrots, Behaviors, and Moods. Thinking about Sound in the Anthropocene

Thomas Nückel: Cellular Sounds Project. A Sonic Experimental System Based on Cellular Automata

Beate Ochsner/Robert Stock/Markus Spöhrer: Auditory Ecologies. Documentary Practices of (Non-)Hearing

Mark Peter Wright: The Thing about Microphones

5.15 pm – Coffee Break

5.30 pm – Keynote I: Seth Horowitz: Where the Wild Things Hear. Auditory Worlds Beyond the Human Experience

7.00 pm – Dinner


Friday, 11.03.2016

9.30 am – Presentation Panel III: Hearing Universes (Chair: Sebastian Schwesinger)

China Blue: SpectroTemporal Aesthetics. Time, Space and Place

Christoph Borbach: From Material to Sonic Soundings

Friedlind Riedel: Situation-Listening

Jacob Eriksen: Non-Listening. Affect, Hearing and the Sonic Everyday

11.30 am – Coffee Break

11.45 am – Keynote II: Astrid Schwarz: Technology in the Anthropocene. Is Homo Hortensis the »New Man«?

1.15 pm – Lunch Break

2.00 pm – Poster Session

2.30 pm – Working Session: Sound Studies & Media Ecology?

5.00 pm – Coffee Break

5.15 pm – Final Discussion: Desiderata & Future cooperation possibilities

6.30 pm – End

The workshop is funded by the Swiss National Science Foundation.




———————————————————————————— 

Felix Gerloff

Junior Researcher 


ixdm Institute of Experimental Design and Media Cultures

Academy of Art and Design Basel
University of Applied Sciences and Arts Northwestern Switzerland

T:  +41 61 228 43 38
M: +41 76 480 08 82


<div>
<p class="">Dear all,</p>
<div class=""><br class=""></div>
<div class="">we are happy to announce our workshop program "Sounding Out the Anthropocene. Investigating Sonic Media Ecologies". Please spread the word!</div>
<div class=""><br class=""></div>
<br class="">
Best,<br class=""><br class="">
Felix Gerloff
<div class="">
<br class=""><div class=""><br class=""></div>
<p class="">Sounding Out the Anthropocene. Investigating Sonic Media Ecologies</p>
<p class=""><br class=""></p>
<p class="">International Exploratory Workshop of&nbsp;<a href="http://www.ixdm.ch" class="">IXDM</a>&nbsp;and the GfM-AG
<a href="http://www.auditive-medienkulturen.de" class="">Auditive Kultur und Sound Studies</a></p>
<h4 class="">10./11. March 2016</h4>
<h4 class="">
</h4>
<p class="">Critical Media Lab Basel<br class="">
Academy of Art and Design FHNW<br class="">
Freilager-Platz 1<br class="">
4023 Basel<br class="">
Tower building (3rd floor)<br class=""><a href="http://www.ixdm.ch/contact" class="">Map and connections</a></p>

<h4 class=""><span class="">Organisation: Felix Gerloff, Shintaro Miyazaki, Sebastian Schwesinger</span></h4>
<p class="">The international exploratory workshop will investigate the fruitfulness of a media ecological approach to sonic phenomena in the light of the Anthropocene discourse. Sonic aspects of global media infrastructures and current ecological issues will
 be discussed as well as smaller-scale sonic media constellations. The workshop is a collaboration of the working group
Auditory Culture and Sound Studies of the Society for Media Studies (GfM) and IXDM.</p>
<p class="">Registration is open until February 19th. Participation is limited.</p>
<div class="divider-border"></div>
<div class="clear"></div>

<div class=""><br class=""></div>
<span class="">Thursday, 10.03.2016</span>
<div class=""><br class="webkit-block-placeholder"></div>
<p class="">10.00 am &ndash; Welcome Coffee &amp; Introduction 
(Miyazaki/Gerloff/Schwesinger)</p>
<p class="">11.00 am &ndash; <span class="">
Presentation Panel I: Sonic Architectures</span> (Chair: Felix Gerloff)</p>
<p class="">Jan Philip M&uuml;ller:
The Electronic Battlefield, the Acoubuoy and The Ears of the Jungle. The Becoming-ecological of Radiophonics in the Vietnam War, ca. 1966-1974
</p>
<p class="">Carlos G&aacute;rate Marquerie:
Underground as a Sonic Space </p>
<p class="">Steffen Lepa: 
An ecological systems theory approach to the digital Mediatization of everyday music listening
</p>
<p class="">Malte Kobel: 
&rsaquo;Simple Headphone Mind&lsaquo;. Listening environments around the skull </p>
<p class="">1.00 pm &ndash; <span class="">
Lunch Break</span></p>
<p class="">2.00 pm &ndash; Project Explorations at CML</p>
<p class="">3.15 pm &ndash; <span class="">
Presentation Panel II: Bio/Media</span> (Chair: Shintaro Miyazaki)</p>
<p class="">Daniel Gilfillan:
Of Parrots, Behaviors, and Moods. Thinking about Sound in the Anthropocene
</p>
<p class="">Thomas N&uuml;ckel: 
Cellular Sounds Project. A Sonic Experimental System Based on Cellular Automata
</p>
<p class="">Beate Ochsner/Robert Stock/Markus Sp&ouml;hrer:
Auditory Ecologies. Documentary Practices of (Non-)Hearing </p>
<p class="">Mark Peter Wright:
The Thing about Microphones </p>
<p class="">5.15 pm &ndash; <span class="">
Coffee Break</span></p>
<p class="">5.30 pm &ndash; <span class="">
Keynote I:</span> Seth Horowitz: Where the Wild Things Hear. Auditory Worlds Beyond the Human Experience</p>
<p class="">7.00 pm &ndash; <span class="">
Dinner</span></p>
<div class="divider-border"></div>
<div class="clear"></div>

<div class=""><br class=""></div>
<span class="">Friday, 11.03.2016</span>
<div class=""><br class="webkit-block-placeholder"></div>
<p class="">9.30 am &ndash; <span class="">
Presentation Panel III: Hearing Universes</span> (Chair: Sebastian Schwesinger)</p>
<p class="">China Blue: 
SpectroTemporal Aesthetics. Time, Space and Place </p>
<p class="">Christoph Borbach:
From Material to Sonic Soundings </p>
<p class="">Friedlind Riedel:
Situation-Listening </p>
<p class="">Jacob Eriksen: 
Non-Listening. Affect, Hearing and the Sonic Everyday </p>
<p class="">11.30 am &ndash; <span class="">
Coffee Break</span></p>
<p class="">11.45 am &ndash; <span class="">
Keynote II:</span> Astrid Schwarz: Technology in the Anthropocene. Is Homo Hortensis the &raquo;New Man&laquo;?</p>
<p class="">1.15 pm &ndash; <span class="">
Lunch Break</span></p>
<p class="">2.00 pm &ndash; Poster Session</p>
<p class="">2.30 pm &ndash; Working Session: Sound Studies &amp; Media Ecology?
</p>
<p class="">5.00 pm &ndash; <span class="">
Coffee Break</span></p>
<p class="">5.15 pm &ndash; Final Discussion: Desiderata &amp; Future cooperation possibilities</p>
<p class="">6.30 pm &ndash; <span class="">
End</span></p>
<div class="divider-border"></div>
<div class="clear"></div>
<p class="small">The workshop is funded by the Swiss National Science Foundation.</p>
<div class="">
<a href="http://www.ixdm.ch/sounding-out-the-anthropocene/" class="">http://www.ixdm.ch/sounding-out-the-anthropocene/</a>&nbsp;</div>
<div class=""><br class=""></div>
<div class=""><br class=""></div>
</div>
<div class="">
<div apple-content-edited="true" class="">
<div class="">
<div class="">
<div class="">
<div class="">
<div class="">
<div class="">
<div class="">
<div class="">
</div>
<div class="">
<br class="">
&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&nbsp;<br class=""><br class="">
</div>
<div class="">
Felix Gerloff</div>
<div class="">
<br class="">
</div>
<div class="">
Junior Researcher&nbsp;<br class=""><br class=""><br class="">
ixdm Institute of Experimental Design and&nbsp;Media Cultures<br class=""><br class="">
</div>
<div class="">
Academy of Art and Design Basel<br class="">
University of Applied Sciences and&nbsp;Arts Northwestern Switzerland<br class=""><br class="">
T:&nbsp;<span class="Apple-tab-span"> </span>+41 61 228 43 38<br class="">
M:<span class="Apple-tab-span"> </span>+41 76 480 08 82<br class=""><br class="">
</div>
<div class="">
<a href="http://www.ixdm.ch" class="">www.ixdm.ch</a>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
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</div>
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Cécile Martin | 11 Feb 12:51 2016

CAC 5 - Computer Art Congress 5 - Paris - octobre 2016

Dear collegues


We are happy to announce you that the 5th edition of Computer Art Congress will take place in Paris (France) from 26 to 28 october 2016 (MSH Paris Nord - Métro Front Populaire).


Accepted submissions will be published in the Proceedings, ISBN by Europia.


Schedule :

- March 13, 2016: Artwork, Short Paper, Workshop and Demo Submissions

- April 30, 2016: Decisions on Artwork, Short Paper, Workshop and Demo Submissions:

- August 1, 2016: Camera Ready Submissions for all Papers

- Art Exhibition: October 24 – 28th, 2016

- Congress: October 26 – 28th, 2016



For more information, please contact :

- Local Chairs: 

Everardo Reyes (everardo.reyes-garcia-JY2aMsvkacI9aLlBbo+w1A@public.gmane.org), Khaldoun Zreik (zreik-JY2aMsvkacI9aLlBbo+w1A@public.gmane.org)

- http://www.computer-art-congress.org/

-----



Chers collègues,


Nous sommes ravis de vous annoncer que la 5ème édition du colloque Computer Art Congress aura lieu à Paris du 26 au 28 octobre 2016 (MSH Paris Nord - Métro Front Populaire).


Les soumissions acceptées seront publiées dans les actes du colloque, ISBN par Europia.

Les dates importantes à retenir sont :


- March 13, 2016: Artwork, Short Paper, Workshop and Demo Submissions

- April 30, 2016: Decisions on Artwork, Short Paper, Workshop and Demo Submissions:

- August 1, 2016: Camera Ready Submissions for all Papers

- Art Exhibition: October 24 – 28th, 2016

- Congress: October 26 – 28th, 2016


Pour plus informations, n'hésitez pas à contacter :


- Local Chairs: 

Everardo Reyes (everardo.reyes-garcia-JY2aMsvkacI9aLlBbo+w1A@public.gmane.org), Khaldoun Zreik (zreik <at> univ-paris8.fr)

- http://www.computer-art-congress.org/

<div>
<p>Dear collegues</p>
<p><br></p>
<p>We are happy to announce you that <a href="http://www.computer-art-congress.org/">the 5th edition of Computer Art Congress</a> will take place in Paris (France) from 26 to 28 october 2016 (MSH Paris Nord - M&eacute;tro Front Populaire).</p>
<p><br></p>
<p><span class="" lang="en"><span class="hps">Accepted</span> <span class="hps">submissions will be published</span> <span class="hps">in</span> <span class="hps">the Proceedings</span>, ISBN <span class="hps">by</span> <span class="hps">Europia</span>.</span></p>
<p><br></p>
<p>Schedule :<br></p>
<p>- March 13, 2016: Artwork, Short Paper, Workshop and Demo Submissions</p>
<p>- April 30, 2016: Decisions on Artwork, Short Paper, Workshop and Demo Submissions:</p>
<p>- August 1, 2016: Camera Ready Submissions for all Papers</p>
<p>- Art Exhibition: October 24 &ndash; 28th, 2016</p>
<p>- Congress: October 26 &ndash; 28th, 2016</p>
<p><br></p>
<p><br></p>
<p>For more information, please contact :<br></p>
<p>- Local Chairs:&nbsp;</p>
<p>Everardo Reyes (<a href="mailto:everardo.reyes-garcia@...">everardo.reyes-garcia@...</a>),&nbsp;Khaldoun Zreik (<a href="mailto:zreik@...">zreik@...</a>)</p>
<p>- http://www.computer-art-congress.org/</p>
<p>-----<br></p>
<p><br></p>
<p><br></p>
<p>Chers coll&egrave;gues,</p>
<p><br></p>
<p>Nous sommes ravis de vous annoncer que la <a href="http://www.computer-art-congress.org/">5&egrave;me &eacute;dition du colloque Computer Art Congress</a> aura lieu &agrave; Paris du 26 au 28 octobre 2016 (MSH Paris Nord - M&eacute;tro Front Populaire).</p>
<p><br></p>
<p>Les soumissions accept&eacute;es seront publi&eacute;es dans les actes du colloque, ISBN par Europia.<br clear="all"><br></p>
<p>Les dates importantes &agrave; retenir sont :</p>
<p><br></p>
<p>- March 13, 2016: Artwork, Short Paper, Workshop and Demo Submissions</p>
<p>- April 30, 2016: Decisions on Artwork, Short Paper, Workshop and Demo Submissions:</p>
<p>- August 1, 2016: Camera Ready Submissions for all Papers</p>
<p>- Art Exhibition: October 24 &ndash; 28th, 2016</p>
<p>- Congress: October 26 &ndash; 28th, 2016</p>
<p><br></p>
<p>Pour plus informations, n'h&eacute;sitez pas &agrave; contacter :</p>
<p><br></p>
<p>- Local Chairs:&nbsp;</p>
<p>Everardo Reyes (<a href="mailto:everardo.reyes-garcia@...">everardo.reyes-garcia@...</a>),&nbsp;Khaldoun Zreik (<a href="mailto:zreik@...">zreik <at> univ-paris8.fr</a>)<br></p>
<p>- http://www.computer-art-congress.org/</p>
</div>
Marcela Okretič | 10 Feb 15:44 2016

Random Darknet Shopper (Live Version) at Aksioma Project Space

Aksioma – Institute for Contemporary Art, Ljubljana, is proud to announce:

!Mediengruppe Bitnik 
Random Darknet Shopper (Live Version) 
Solo exhibition

Aksioma | Project Space
Komenskega 18, Ljubljana
24 February – 25 March 2016
Opening hours: TUE-FRI  12 pm – 6 pm

Exhibition opening and artist talk: Wednesday, 25 February 2016 at 7 pm



The online environment of the Internet has emerged as a wild and open space where communication is fluent, content is freely exchanged and identity is difficult to track behind the opacity of IP addresses and monikers. In recent years, however, there has been a titanic effort on the part of national governments, international organizations and companies to exert control over this anarchist utopia. Of course, this hasn’t been without conflict: activists, private citizens and other organizations and companies are actively working to protect the “freedom of the Internet” on an infrastructural level, well aware that when this infrastructure changes – for whatever good reason (protection of copyright and patents, the fight against terrorism, etc.) -– what we will lose is far more than what we will gain. This conflict is no longer something that can be reductively limited to the field of technology. As an important part of current global politics and economics, it is something everybody should be aware of. 

The rise of the so-called “darknet” is part of this process. Technically speaking, a darknet (or dark net) is an overlay network that can only be accessed with specific software, configurations or authorization, often using non-standard communications protocols and ports. Two typical darknet types are friend-to-friend networks (usually used for file sharing with a peer-to-peer connection) and anonymity networks such as Tor via an anonymized series of connections.” (from Wikipedia) Like peer-to-peer networks or forums allowing anonymity, darknets are not illegal – or used for illegal purposes – by default, but as free, uncontrolled spaces, they are easily demonized as dangerous, uncomfortable places where bad things such as terrorism, espionage, pedopornography and black markets flourish.

How can we get an impartial portrait of a place whose look changes a lot depending on the experience, the culture, the ideas and the tastes of who is visiting it? One possible way is to set up a robot that visits it for us, according to a set of simple, predetermined rules. The Random Darknet Shopper, by Swiss artists !Mediengruppe Bitnik, Carmen Weisskopf and Domagoj Smoljo, is such a kind of robot. With a wallet of $100 in Bitcoins per week, and the task to randomly buy whatever fits in its wallet and send it to the place where the work is exhibited, the Random Darknet Shopper goes shopping on AlphaBay, an online marketplace accessible via a Tor browser listing about 96,132 products, not all of them illegal. First installed and activated at the Kunst Halle Sankt Gallen, Switzerland for the show The Darknet: From Memes to Onionland, curated by !Mediengruppe Bitnik, the software bought and shipped to the museum various items including a pair of fake Diesel jeans, a baseball cap with a hidden camera, a stash can, a pair of Nike trainers, a decoy letter (used to see if your address is being monitored), 200 Chesterfield cigarettes, a set of fire-brigade issued master keys, a fake Louis Vuitton handbag and 10 Ecstasy pills. Like every performative work based on open rules, the Random Darknet Shopper accepts the risk of unpredictable developments that may or may not happen during the time of the exhibition. 

When they arrived, the Ecstasy pills – together with the Random Darknet Shopper and all the purchased items – were seized by the Swiss public prosecutor and submitted for forensic examination, which proved the drugs were real. Three months later, the artwork and all the items were released, and the Ecstasy was destroyed. As the artists explained on their blog: “In the order for the withdrawal of prosecution, the public prosecutor states that the possession of Ecstasy was indeed a reasonable means for the purpose of sparking public debate about questions related to the exhibition. The public prosecution also asserts that the overriding interest in the questions raised by the artwork Random Darknet Shopper justifies the exhibition of the drugs as artifacts, even if the exhibition does pose a small risk of endangering third parties through the drugs exhibited.” 
!Mediengruppe Bitnik explained to The Guardian: “The arts should be able to mirror something that is happening in contemporary society in a contemporary way. We really want to provide new spaces to think about the goods traded on these markets. Why are they traded? How do we as a society deal with these spaces? At the moment there is just a lot of pressure, but not a lot of thinking about stuff, just immediate reaction.” Random Darknet Shopper was so good in doing this that its activity was reported by magazines and newspapers worldwide, including The Guardian, The Washington Times, Time Magazine, Ars Technica, Daily Mail, Vice, Boing Boing, Wired, Gawker, Der Spiegel, Dazed and Confused, Artnews.

The project will be presented at Aksioma Project Space as part of the Masters & Servers programme and will be accompanied by a brochure featuring a new text by journalist and art historian Jon Lackman (http://jonlackman.com).


!Mediengruppe Bitnik (Carmen Weisskopf and Domagoj Smoljo) live and work in Zurich/London. They are contemporary artists working on and with the Internet. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms. !Mediengruppe Bitniks works formulate fundamental questions concerning contemporary issues. Their works have been shown internationally, including the  Shanghai Minsheng 21st Century Museum, Kunsthaus Zürich, NiMk Amsterdam, Space Gallery London, Cabaret Voltaire Zurich, Beton7 Athens, Museum Folkwang Essen, Contemporary Art Center Vilnius, Beijing “Get It Louder” Contemporary Art Biennial, La Gaîté Lyrique Paris, Gallery EDEN 343 São Paulo and the Roaming Biennale Teheran. They have received the Swiss Art Award, Migros New Media Jubilee Award and an Honorary Mention Prix Ars Electronica.


Production: Aksioma – Institute for Contemporary Art, Ljubljana, 2016
Artistic Director: Janez Janša
Producer: Marcela Okretič
Executive Producer: Sonja Grdina
Assistant: Katra Petriček
Public Relations: Urša Purkart
Technician: Valter Udovičić


Event realized in the framework of Masters & Servers, a joint project by Aksioma (SI), Drugo more (HR), AND (UK), Link Art Center (IT) and d-i-n-a / The Influencers (ES).

This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
 
Supported by: the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana and Swiss Arts Council Pro Helvetia.             
                                       

Contact:     
Marcela Okretič, 00386-(0)41 250830, marcela-SrapxctwqdJAfugRpC6u6w@public.gmane.org
Aksioma | Institute for Contemporary Art, Ljubljana
Jakopičeva 11, SI-1000 Ljubljana, Slovenia

<div>
    Aksioma &ndash; Institute for Contemporary
      Art, Ljubljana, is proud to announce:<br>
    <div class="moz-forward-container">
      <div dir="ltr">
        <div class="gmail_default">
          <div class="gmail_default"><br></div>
          <div class="gmail_default">!Mediengruppe Bitnik&nbsp;</div>
          <div class="gmail_default">Random Darknet Shopper (Live
                    Version)&nbsp;</div>
          <div class="gmail_default">Solo exhibition</div>
          <div class="gmail_default"><a moz-do-not-send="true" href="http://aksioma.org/random.darknet.shopper/index.html">aksioma.org/random.darknet.shopper</a></div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">Aksioma | Project Space</div>
          <div class="gmail_default">Komenskega 18, Ljubljana</div>
          <div class="gmail_default">24 February &ndash; 25 March 2016</div>
          <div class="gmail_default">Opening hours: TUE-FRI &nbsp;12 pm &ndash; 6 pm</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">Exhibition opening and artist talk: Wednesday, 25
              February 2016 at 7 pm</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">Follow the bot on:&nbsp;<a moz-do-not-send="true" href="https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/r/">https://wwwwwwwwwwwwwwwwwwwwww.bitnik.org/r/</a>
</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">The online environment of the Internet has emerged
              as a wild and open space where communication is fluent,
              content is freely exchanged and identity is difficult to
              track behind the opacity of IP addresses and monikers. In
              recent years, however, there has been a titanic effort on
              the part of national governments, international
              organizations and companies to exert control over this
              anarchist utopia. Of course, this hasn&rsquo;t been without
              conflict: activists, private citizens and other
              organizations and companies are actively working to
              protect the &ldquo;freedom of the Internet&rdquo; on an
              infrastructural level, well aware that when this
              infrastructure changes &ndash; for whatever good reason
              (protection of copyright and patents, the fight against
              terrorism, etc.) -&ndash; what we will lose is far more than
              what we will gain. This conflict is no longer something
              that can be reductively limited to the field of
              technology. As an important part of current global
              politics and economics, it is something everybody should
              be aware of.&nbsp;</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">The rise of the so-called &ldquo;darknet&rdquo; is part of this
              process. Technically speaking, a darknet (or dark net) is
              an overlay network that can only be accessed with specific
              software, configurations or authorization, often using
              non-standard communications protocols and ports. Two
              typical darknet types are friend-to-friend networks
              (usually used for file sharing with a peer-to-peer
              connection) and anonymity networks such as Tor via an
              anonymized series of connections.&rdquo; (from Wikipedia) Like
              peer-to-peer networks or forums allowing anonymity,
              darknets are not illegal &ndash; or used for illegal purposes &ndash;
              by default, but as free, uncontrolled spaces, they are
              easily demonized as dangerous, uncomfortable places where
              bad things such as terrorism, espionage, pedopornography
              and black markets flourish.</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">How can we get an impartial portrait of a place
              whose look changes a lot depending on the experience, the
              culture, the ideas and the tastes of who is visiting it?
              One possible way is to set up a robot that visits it for
              us, according to a set of simple, predetermined rules. The
              Random Darknet Shopper, by Swiss artists
                !Mediengruppe Bitnik, Carmen Weisskopf and Domagoj
              Smoljo, is such a kind of robot. With a wallet of $100 in
              Bitcoins per week, and the task to randomly buy whatever
              fits in its wallet and send it to the place where the work
              is exhibited, the Random Darknet Shopper goes
              shopping on AlphaBay, an online marketplace accessible via
              a Tor browser listing about 96,132 products, not all of
              them illegal. First installed and activated at the Kunst
              Halle Sankt Gallen, Switzerland for the show The
                Darknet: From Memes to Onionland, curated by
              !Mediengruppe Bitnik, the software bought and shipped to
              the museum various items including a pair of fake Diesel
              jeans, a baseball cap with a hidden camera, a stash can, a
              pair of Nike trainers, a decoy letter (used to see if your
              address is being monitored), 200 Chesterfield cigarettes,
              a set of fire-brigade issued master keys, a fake Louis
              Vuitton handbag and 10 Ecstasy pills. Like every
              performative work based on open rules, the Random
                Darknet Shopper accepts the risk of unpredictable
              developments that may or may not happen during the time of
              the exhibition.&nbsp;</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">When they arrived, the Ecstasy pills &ndash; together
              with the Random Darknet Shopper and all the
              purchased items &ndash; were seized by the Swiss public
              prosecutor and submitted for forensic examination, which
              proved the drugs were real. Three months later, the
              artwork and all the items were released, and the Ecstasy
              was destroyed. As the artists explained on their blog: &ldquo;In
              the order for the withdrawal of prosecution, the public
              prosecutor states that the possession of Ecstasy was
              indeed a reasonable means for the purpose of sparking
              public debate about questions related to the exhibition.
              The public prosecution also asserts that the overriding
              interest in the questions raised by the artwork Random
                Darknet Shopper justifies the exhibition of the
              drugs as artifacts, even if the exhibition does pose a
              small risk of endangering third parties through the drugs
              exhibited.&rdquo;&nbsp;</div>
          <div class="gmail_default">!Mediengruppe Bitnik explained to The Guardian:
              &ldquo;The arts should be able to mirror something that is
              happening in contemporary society in a contemporary way.
              We really want to provide new spaces to think about the
              goods traded on these markets. Why are they traded? How do
              we as a society deal with these spaces? At the moment
              there is just a lot of pressure, but not a lot of thinking
              about stuff, just immediate reaction.&rdquo; Random Darknet
                Shopper was so good in doing this that its activity
              was reported by magazines and newspapers worldwide,
              including The Guardian, The Washington Times, Time
                Magazine, Ars Technica, Daily Mail, Vice, Boing Boing,
                Wired, Gawker, Der Spiegel, Dazed and Confused, Artnews.<br><br>
</div>
          <div class="gmail_default">The project will be presented at Aksioma Project
              Space as part of the Masters &amp; Servers programme and
              will be accompanied by a brochure featuring a new text by
              journalist and art historian Jon Lackman (<a moz-do-not-send="true" href="http://jonlackman.com"></a><a class="moz-txt-link-freetext" href="http://jonlackman.com">http://jonlackman.com</a>).</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">!Mediengruppe Bitnik (Carmen Weisskopf and
              Domagoj Smoljo) live and work in Zurich/London. They are
              contemporary artists working on and with the Internet.
              Their practice expands from the digital to affect physical
              spaces, often intentionally applying loss of control to
              challenge established structures and mechanisms.
              !Mediengruppe Bitniks works formulate fundamental
              questions concerning contemporary issues. Their works have
              been shown internationally, including the &nbsp;Shanghai
              Minsheng 21st Century Museum, Kunsthaus Z&uuml;rich, NiMk
              Amsterdam, Space Gallery London, Cabaret Voltaire Zurich,
              Beton7 Athens, Museum Folkwang Essen, Contemporary Art
              Center Vilnius, Beijing &ldquo;Get It Louder&rdquo; Contemporary Art
              Biennial, La Ga&icirc;t&eacute; Lyrique Paris, Gallery EDEN 343 S&atilde;o
              Paulo and the Roaming Biennale Teheran. They have received
              the Swiss Art Award, Migros New Media Jubilee Award and an
              Honorary Mention Prix Ars Electronica.</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">Production: Aksioma &ndash; Institute for
              Contemporary Art, Ljubljana, 2016</div>
          <div class="gmail_default">Artistic Director: Janez Jan&scaron;a</div>
          <div class="gmail_default">Producer: Marcela Okreti&#269;</div>
          <div class="gmail_default">Executive Producer: Sonja Grdina</div>
          <div class="gmail_default">Assistant: Katra Petri&#269;ek</div>
          <div class="gmail_default">Public Relations: Ur&scaron;a Purkart</div>
          <div class="gmail_default">Technician: Valter Udovi&#269;i&#263;</div>
          <div class="gmail_default">
<br><br>
</div>
          <div class="gmail_default">Event realized in the framework of Masters
                &amp; Servers, a joint project by Aksioma (SI),
              Drugo more (HR), AND (UK), Link Art Center (IT) and
              d-i-n-a / The Influencers (ES).</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">This project has been funded with support
                from the European Commission. This communication
                reflects the views only of the author, and the
                Commission cannot be held responsible for any use which
                may be made of the information contained therein.</div>
          <div class="gmail_default">&nbsp;<br>
</div>
          <div class="gmail_default">Supported by: the Ministry of Culture of the
              Republic of Slovenia, the Municipality of Ljubljana and
              Swiss Arts Council Pro Helvetia.&nbsp;&nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; <br>
</div>
          <div class="gmail_default">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;</div>
          <div class="gmail_default"><br></div>
          <div class="gmail_default">Contact: &nbsp; &nbsp;&nbsp;</div>
          <div class="gmail_default">Marcela Okreti&#269;, 00386-(0)41 250830,
              <a class="moz-txt-link-abbreviated" href="mailto:marcela <at> aksioma.org">marcela@...</a><br>
</div>
          <div class="gmail_default">Aksioma | Institute for Contemporary Art, Ljubljana</div>
          <div class="gmail_default">Jakopi&#269;eva 11, SI-1000 Ljubljana, Slovenia</div>
          <div class="gmail_default"><a moz-do-not-send="true" href="http://www.aksioma.org">www.aksioma.org</a></div>
          <br>
</div>
      </div>
    </div>
  </div>
Andreas Broeckmann | 10 Feb 14:44 2016
Picon

CFP: Contested Spheres: Artworlds under Socialism (Budapest, 27-28 May 16)

From: Reuben Fowkes <fowkes@...>
Date: Feb 9, 2016
Subject: CFP: Contested Spheres: Artworlds under Socialism (Budapest, 
27-28 May 16)

Kassák Múzeum – Petőfi Literary Museum and Translocal Institute, 
Budapest, May 27 - 28, 2016
Deadline: Feb 29, 2016
<www.translocal.org>

Contested Spheres: Actually Existing Artworlds under Socialism

This conference aims to provide a platform for fresh research into the 
art history of Eastern Europe that brings to light the varied solutions 
that artists and cultural workers found to living and working inside the 
socialist system in the period of the 1960s and 1970s.

While some took the path of direct confrontation with the authorities, 
leading to harassment, imprisonment or exile, and refused in principle 
all collaboration with state-run art institutions, others complied with 
the demands of the Party and freely placed their talents at the service 
of communist ideology, either through conviction or in exchange for 
public commissions, exhibition opportunities and institutional 
positions. There was also a wide band of artists, curators and art 
historians who, like the majority of citizens of ‘actually existing 
Socialism’, devised their own individual strategies for negotiating a 
haphazardly repressive system and actively participated in shaping a 
complex artistic landscape of alternative spaces, transitory gatherings 
and artist-run galleries, as well as semi-independent institutions, 
associations and open air symposia, which all functioned according to 
the unorthodox rules of the socialist art economy. Examining the art 
worlds of mid- to late Socialism not from the top down perspective 
symbolised by the notorious ‘three T’s’ of Hungarian cultural policy, 
which divided artists into the categories of supported, tolerated and 
forbidden, but rather through a bottom up approach that examines the 
variety of possible attitudes adopted by cultural producers to the 
socialist system, ranging from confrontation and withdrawal to 
conformity and compromise, this conference sets out to foster debate 
about the conditions of artistic production during the last decades of 
Socialism and how these affected the individual trajectories, aesthetic 
choices and post-communist legacies of East European artists.

Proposals for conference papers are sought that examine how artists, 
curators or art historians, or even entire art scenes, responded to the 
demands of the socialist system, investigating, for example, prominent 
cases of refusal and resistance, the self-image and social role of 
official artists, as well as instances of disingenuousness, ambiguity 
and doublespeak in the machinations of late Socialist art worlds. Of 
equal relevance are papers that examine the workings of the artistic 
economy under socialism, and the different ways in which artists reacted 
to, suffered under, or turned to their advantage the distinctive 
material and economic environment established by the socialist state.

Speakers are invited to submit abstracts of 250 words, along with a 
short biography (approx. 100 words) to fowkes@... by 29 
February 2016.

Papers will be selected by a conference board made up of: Dr. Klara Kemp 
Welch, Courtauld Institute London, Dr. Tomáš Pospiszyl, Academy of Fine 
Arts, Prague, Dr. Maja Fowkes and Dr. Reuben Fowkes, Translocal 
Institute, Budapest and Dr. Emese Kürti, ACB Research Lab, Budapest.

This conference is organised with the framework of the Kassák Museum’s 
long term research project into the art of the 1960s and 70s.

Reference / Quellennachweis:
CFP: Contested Spheres: Artworlds under Socialism (Budapest, 27-28 May 
16). In: H-ArtHist, Feb 9, 2016. <http://arthist.net/archive/12192>.

____________________________________________________________________

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@...

Submit contributions to / Beiträge bitte an:
http://arthist.net/mailing-list/mode=contribute

Update your subscription / Abo-Verwaltung:
http://arthist.net/admin/

  --

Louise Desrenards | 10 Feb 06:24 2016
Picon

RETRODADA MANIFESTO - DADA 100 2016

 JOURNAL D’EXCOMMUNICATION ET QUELQUES AUTRES _ AND SOME OTHERS >
MANIFESTE RÉTRODADA RETRODADA MANIFESTO

MANIFESTE RÉTRODADA RETRODADA MANIFESTO

The RetroDada Manifesto was written by McKenzie Wark at the invitation
of Anita Hugi and David Dufresne for an event at Cabaret Voltaire in
Zürich, 4 & 5 March 2016, to celebrate the Dada centenary, in there
place where it all began. For more information on that event, and
related projects see dada-data.net/en/.
Below is the text in FRENCH, followed by ENGLISH, GERMAN and ITALIAN.
Feel free to share, remix, etc.

Dans le cadre du centenaire de dada, le Manifeste Rétrodada a été
écrit par McKenzie Wark à l’invitation de Anita Hugi et David Dugresne
curateurs de l’événement qui aura lieu les 4 et 5 mars 2016 au Cabaret
Voltaire où Dada se fonda, à Zurich. Pour plus d’information sur cet
événement et ses projets liés voir le site dada-data.net/fr/.
Dessous, les texte en FRANÇAIS, suivi de l’ANGLAIS, l’ALLEMAND,
l’ITALIEN. Sentez-vous libres de partager, remixer, etc.

http://www.criticalsecret.net/manifeste-retrodada-retrodada-manifesto,183.html

Source
http://www.publicseminar.org/2016/02/retrodada-manifesto/

↑ RETRODADA MANIFESTO

RetroDada begins with disgust. Once again the world gets its war on.
While some cities are attacked by bombers, others are strafed by art
fairs. This time there’s no Switzerland of neutrality where refugees
might cool their heels, as now the whole globe itself overheats. The
insomnia of reason breeds monsters.

But before we can take two steps forward, let’s take one leap back.
Back a whole century. Back to the first of the world wars to be
numbered ; back to the birth of Dada disgust. Back to that great
refusal of what the century was to become. Why shouldn’t a .gif run
backwards as well as forwards ? Its RetroDada time ! In principle
RetroDada is against manifestoes, but it is also also against
principles. So here goes nothing.

The world is full of mistakes, but the worst is the art that got made.
Art gives us Dante’s Inferno as styled by interior decorators.
RetroDada aims to please neither at art nor anti-art, as nobody should
serve masters. We will put an end to spectacle and replace it with
convulsive laughter from continent to continent. It’s shit after all,
but from now on we mean to shit in different colors.

Psychoanalysis is itself the disease. It makes the bourgeois self seem
interesting. Ethics produces atrophy like every plague produced by
intelligence. Theory merely guides us in a round-about way to the
prejudice we had in the first place. What we need are works that are
tender and precise and forever beyond understanding. There is a lot of
negative work to be done.

RetroDada is our intensity. RetroDada is for and against unity.
RetroDada is the abolition of their reasons. RetroDada is the refusal
of an inheritance. RetroDada is a convulsive effusion, like a
cellphone cooked in a microwave. RetroDada is a divinity of the lowest
order. RetroDada has no theory. There is enough of that in art school.
We love the old things for their freshness.

How to make a RetroDada manifesto : Take a Dada manifesto or two. Copy
the good bits. Toss them in a file. Move the bits around. Improve on
them. The manifesto will be like you. As for intelligence, it will be
found in the streets.

RetroDada is working with all its might to introduce the idiot
everywhere. RetroDada is a venture capital form for the exploitation
of other people’s ideas. God can afford to be unsuccessful. So can
RetroDada. It is luxury without value or price. RetroDada gives itself
to nothing, neither to work nor play. RetroDada seduces you with your
own idea.

RetroDada is at once stand-up comedy and a requiem mass. RetroDada
trusts only in the sincerity of situations. RetroDada fights against
the thanaticism of the times. RetroDada develops the plasticity of the
digital. We should make all art and literature and cinema free. The
medium is as unimportant as we are. Essential only is the forming.
Take any material at all.

RetroDada is a theoretical virus. RetroDada means letting oneself be
thrown by events. Say yes to a life that strives downward toward
negation. RetroDada refuses to be contemporary to any of this shit.
RetroDada reintroduces art and everyday life so they can have queer
sex in back alleys. RetroDada is the statelessness of the mind.
RetroDada rejects both the stylish order and the stylized disorder of
contemporary aesthetics. We are convinced of the arbitrariness and
falsity of our poor creation, the world. We look unencumbered into the
heights and depths.

Let’s only steal from the best, and from their actions, not their
styles. The resonant Sophie Taeuber, the drum-banger Richard
Huelsenbeck, the tubular Hugo Ball, the mystic Emmy Hennings, the
hypeman Tristan Tzara, the ironic Jean Arp, the dadasoph Raoul
Hausmann, the runfast Hannah Höch, the aviarist Baroness Elsa. Let’s
take their leavings not their droppings. Music, dances, theories,
manifestos, poems, paintings, costumes, masks. To be begun again, from
the beginning.

So many fates of the west befell Dada. It tried everything already, so
we don’t have to. Arthur Cravan became a legend. Mina Loy became a
poet. Marcel Duchamp became the enabler of contemporary art. Hugo Ball
became a devout Catholic. Emmy Hennings became a Protestant mystic.
Hannah Höch wrote a trans-species children’s book. Richard Huelsenbeck
became a therapist. Tristan Tzara became a communist. Marcel Janco
returned to the Orient. Baroness Elsa died in poverty and obscurity.
Jacques Vaché killed himself before it even all began.

To be for this manifesto is to be RetroDada ! To be against this
manifesto is to be RetroDada ! To be for and against this manifesto is
to be RetroDada ! To be neither for nor against this manifesto is to
be RetroDada ! There is no escape from the history yet to be unmade !

ENG
http://www.criticalsecret.net/manifeste-retrodada-retrodada-manifesto,183.html#eng
DE
http://www.criticalsecret.net/manifeste-retrodada-retrodada-manifesto,183.html#de
FR
http://www.criticalsecret.net/manifeste-retrodada-retrodada-manifesto,183.html#fr
IT
http://www.criticalsecret.net/manifeste-retrodada-retrodada-manifesto,183.html#i

http://dada-data.net/en/
http://dada-data.net/de/
http://dada-data.net/fr/
http://dada-data.net/it/t

--

-- 

-----

furtherfield | 9 Feb 16:04 2016
Picon

What rights in Copyright? Interview with artist Antonio Roberts

Sorry for any cross posting...

What rights in Copyright? Interview with artist Antonio Roberts

By Filippo Lorenzin <at> furtherfield - http://bit.ly/20T5ECp

Antonio Roberts is a digital artist based in Birmingham. His artwork focuses on the errors and glitches generated by digital technology. An underlying theme of his work is open source software and collaborative practices. His video work has been screened in Chicago, Illinois, at GLI.TC/H, Notacon in Cleaveland, Ohio, and Newcastle Borough Museum and Art Gallery, and numerous other places.
<div><div dir="ltr">Sorry for any cross posting...<br><div>
<br>What rights in Copyright? Interview with artist Antonio Roberts<br><br>By Filippo Lorenzin  <at> furtherfield - <a href="http://bit.ly/20T5ECp">http://bit.ly/20T5ECp</a><br><br>Antonio
 Roberts is a digital artist based in Birmingham. His artwork focuses on
 the errors and glitches generated by digital technology. An underlying 
theme of his work is open source software and collaborative practices. 
His video work has been screened in Chicago, Illinois, at <a href="http://GLI.TC/H">GLI.TC/H</a>, 
Notacon in Cleaveland, Ohio, and Newcastle Borough Museum and Art 
Gallery, and numerous other places. </div>
</div></div>
Radio Web MACBA | 9 Feb 14:25 2016
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Ràdio Web MACBA most listened podcasts - January 2016

Ràdio Web MACBA most listened podcasts - January 2016

1- SON[I]A #220. Angela Dimitrakaki. Feat. commissioned music by AGF
Link: http://rwm.macba.cat/en/sonia/angela-dimitrakaki-agf/capsula

Angela Dimitrakaki talks about the new feminist critique, the limits of democracy, the wiles of post-capitalism, and the ambivalence of the commons. We also touch on the notions of radical curating and collaborative practices.

2- SON[I]A #221. Enric Farrés Duran (only available in Catalan)
Link: http://rwm.macba.cat/ca/sonia/enric-farres/capsula

Enric Farrés parla sobre col·leccionar obsessivament, sobre el valor de l'efímer, sobre l'ús de la mentida com a estratègia creativa, sobre la relació de complicitat amb els que l'envolten i sobre altres facetes del seu treball.

3- OBJECTHOOD #4. Curated by Roc Jiménez de Cisneros
Link: http://rwm.macba.cat/en/specials/objecthood4-nabil-ahmed-arie-altena-agf/capsula

The slippery materiality of untraceable objects: from the arsenic poisoning the wells of Bangladesh as told by Nabil Ahmed, to Arie Altena's account of the superstition surrounding the Kola Superdeep Borehole in Russia, or the bizarre biology of the vampire squid from hell in a passage of Vilém Flusser’s ‘Vampyroteuthis Infernalis’ read by AGF.

4- FONS ÀUDIO #38. Dora García (only available in Spanish)
Link: http://rwm.macba.cat/es/especials/dora-garcia/capsula

Dora García desarrolla proyectos que tienden al crecimiento infinito recurriendo a prácticas como el teatro invisible, las notas a pie de página o la exploración por serendipia. En FONS ÀUDIO #38 habla sobre sus obras en la Colección MACBA, sus métodos de trabajo y los inagotables trasvases históricos entre psicoanálisis y literatura.

5- SON[I]A #216. Franco Berardi 'Bifo'
Link: http://rwm.macba.cat/en/sonia/franco-bifo-berardi-heroes/capsula

Bifo talks about mass killings in relation to cinema, mental health, neuroplasticity, friendship, irony and, ultimately, hope.

6- SON[I]A #201. Georges Didi-Huberman
Link: http://rwm.macba.cat/en/sonia/georges-didi-huberman/capsula

Interview with Georges Didi-Huberman about the problems regarding the way in which we see and interpret images, a problematic issue that stems from the definition of what an image is, and from the hierarchy that has historically been imposed on the dialectic between words and images.

7- FONS ÀUDIO #37. Manolo Laguillo (only available in Spanish)
Link: http://rwm.macba.cat/es/especials/manol-laguillo/capsula

Manolo Laguillo es fotógrafo, ensayista y catedrático de fotografía en la Facultad de Bellas Artes de la Universitat de Barcelona. Sus representaciones urbanas, austeras y despobladas, ilustran los procesos de transformación de las metrópolis contemporáneas. En FONS AUDIO #37 Manolo Laguillo nos habla sobre sus procesos de trabajo con la cámara de gran formato; sobre sus paseos por la periferia; sobre charcos, asfalto y ruinas; sobre las posibilidades del color y el blanco y negro; la sensualidad de la copia en papel; y los vínculos entre música y fotografía.

8- MEMORABILIA. COLLECTING SOUNDS WITH... Steve Stapleton (Nurse with Wound)
Link: http://rwm.macba.cat/en/research/memorabilia-steve-stapleton/capsula

The brainchild of Nurse with Wound shares the main features of a collection that might help us understand the unorthodox nature of his own trajectory, as influential as it is extensive.

9- PROBES #16. Curated by Chris Cutler

Link: http://rwm.macba.cat/en/curatorial/probes-16-1-chris-cutler/capsula

PROBES #16 concludes the four programmes that investigate the repurposing of folk instruments. This time it’s banjos, mandolins, balalaikas, jew’s harps and ensembles of folk instruments are extracted from their proper contexts and made to do strange and unnatural things.

10- SON[I]A #212. John Chowning
Link: http://rwm.macba.cat/en/sonia/john-chowning-/capsula

John Chowning shares the experience of being a pioneer in a discipline at a time when using computers to generate music was a leap into the void between creative eccentricity and scientific adventure.

<div><div dir="ltr">
<a href="http://rwm.macba.cat/">R&agrave;dio Web MACBA most listened podcasts - January 2016</a><div><br></div>
<div>1- SON[I]A #220. Angela Dimitrakaki. Feat. commissioned music by AGF<br>Link: <a href="http://rwm.macba.cat/en/sonia/angela-dimitrakaki-agf/capsula" target="_blank">http://rwm.macba.cat/en/sonia/angela-dimitrakaki-agf/capsula</a><br><br>Angela Dimitrakaki talks about the new feminist critique, the limits of democracy, the wiles of post-capitalism, and the ambivalence of the commons. We also touch on the notions of radical curating and collaborative practices.<br><br>2-&nbsp;SON[I]A #221. Enric Farr&eacute;s Duran (only available in Catalan)<br>Link:&nbsp;<a href="http://rwm.macba.cat/ca/sonia/enric-farres/capsula" target="_blank">http://rwm.macba.cat/ca/sonia/enric-farres/capsula</a><br><br>
</div>
<div>Enric Farr&eacute;s parla sobre col&middot;leccionar obsessivament, sobre el valor de l'ef&iacute;mer, sobre l'&uacute;s de la mentida com a estrat&egrave;gia creativa, sobre la relaci&oacute; de complicitat amb els que l'envolten i sobre altres facetes del seu treball.<br><br>3- OBJECTHOOD #4. Curated by Roc Jim&eacute;nez de Cisneros<br>Link: <a href="http://rwm.macba.cat/en/specials/objecthood4-nabil-ahmed-arie-altena-agf/capsula" target="_blank">http://rwm.macba.cat/en/specials/objecthood4-nabil-ahmed-arie-altena-agf/capsula</a><br><br>The slippery materiality of untraceable objects: from the arsenic poisoning the wells of Bangladesh as told by Nabil Ahmed, to Arie Altena's account of the superstition surrounding the Kola Superdeep Borehole in Russia, or the bizarre biology of the vampire squid from hell in a passage of Vil&eacute;m Flusser&rsquo;s &lsquo;Vampyroteuthis Infernalis&rsquo; read by AGF.<br><br>4- FONS &Agrave;UDIO #38.&nbsp;Dora Garc&iacute;a&nbsp;(only available in Spanish)<br>Link: <a href="http://rwm.macba.cat/es/especials/dora-garcia/capsula" target="_blank">http://rwm.macba.cat/es/especials/dora-garcia/capsula</a><br><br>
</div>
<div>Dora Garc&iacute;a desarrolla proyectos que tienden al crecimiento infinito recurriendo a pr&aacute;cticas como el teatro invisible, las notas a pie de p&aacute;gina o la exploraci&oacute;n por serendipia. En FONS &Agrave;UDIO #38 habla sobre sus obras en la Colecci&oacute;n MACBA, sus m&eacute;todos de trabajo y los inagotables trasvases hist&oacute;ricos entre psicoan&aacute;lisis y literatura.<br><br>5- SON[I]A #216. Franco Berardi 'Bifo' <br>Link: <a href="http://rwm.macba.cat/en/sonia/franco-bifo-berardi-heroes/capsula" target="_blank">http://rwm.macba.cat/en/sonia/franco-bifo-berardi-heroes/capsula</a><br><br>Bifo talks about mass killings in relation to cinema, mental health, neuroplasticity, friendship, irony and, ultimately, hope.<br><br>6- SON[I]A #201. Georges Didi-Huberman<br>Link:&nbsp;<a href="http://rwm.macba.cat/en/sonia/georges-didi-huberman/capsula" target="_blank">http://rwm.macba.cat/en/sonia/georges-didi-huberman/capsula</a><br><br>
</div>
<div>Interview with Georges Didi-Huberman about the problems regarding the way in which we see and interpret images, a problematic issue that stems from the definition of what an image is, and from the hierarchy that has historically been imposed on the dialectic between words and images.<br><br>7-&nbsp;FONS &Agrave;UDIO #37.&nbsp;Manolo Laguillo&nbsp;(only available in Spanish)<br>Link: <a href="http://rwm.macba.cat/es/especials/manol-laguillo/capsula" target="_blank">http://rwm.macba.cat/es/especials/manol-laguillo/capsula</a><br><br>
</div>
<div>Manolo Laguillo es fot&oacute;grafo, ensayista y catedr&aacute;tico de fotograf&iacute;a en la Facultad de Bellas Artes de la Universitat de Barcelona. Sus representaciones urbanas, austeras y despobladas, ilustran los procesos de transformaci&oacute;n de las metr&oacute;polis contempor&aacute;neas. En FONS AUDIO #37 Manolo Laguillo nos habla sobre sus procesos de trabajo con la c&aacute;mara de gran formato; sobre sus paseos por la periferia; sobre charcos, asfalto y ruinas; sobre las posibilidades del color y el blanco y negro; la sensualidad de la copia en papel; y los v&iacute;nculos entre m&uacute;sica y fotograf&iacute;a.<br><br>8- MEMORABILIA. COLLECTING SOUNDS WITH... Steve Stapleton (Nurse with Wound)<br>Link:&nbsp;<a href="http://rwm.macba.cat/en/research/memorabilia-steve-stapleton/capsula" target="_blank">http://rwm.macba.cat/en/research/memorabilia-steve-stapleton/capsula</a><br><br>
</div>
<div>The brainchild of Nurse with Wound shares the main features of a collection that might help us understand the unorthodox nature of his own trajectory, as influential as it is extensive.<br><br>9- PROBES #16. Curated by Chris Cutler<br><br><a href="http://rwm.macba.cat/en/curatorial/probes-16-1-chris-cutler/capsula" target="_blank">Link: http://rwm.macba.cat/en/curatorial/probes-16-1-chris-cutler/capsula</a><br><br>PROBES #16 concludes the four programmes that investigate the repurposing of folk instruments. This time it&rsquo;s banjos, mandolins, balalaikas, jew&rsquo;s harps and ensembles of folk instruments are extracted from their proper contexts and made to do strange and unnatural things.<br><br>10- SON[I]A #212. John Chowning <br>Link: <a href="http://rwm.macba.cat/en/sonia/john-chowning-/capsula">http://rwm.macba.cat/en/sonia/john-chowning-/capsula<br></a><br>John Chowning shares the experience of being a pioneer in a discipline at a time when using computers to generate music was a leap into the void between creative eccentricity and scientific adventure.<br><br>
</div>
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<a href="http://rwm.macba.cat/"><span>Enjoy!</span></a><br>
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Gmane