Janos Sugar | 25 Jan 23:31 2015
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fwd: Hungarian Politics in 2014

Policy Solutions has a long history of providing international 
audiences with meticulous analyses of Hungarian political life. Now, 
for the first time we present, in collaboration with the Friedrich 
Ebert Foundation, an annual review of Hungarian politics. This is a 
comprehensive overview of recent developments, events and trends in 
Hungary in 2014.
http://www.policysolutions.hu/en/news-read/hungarian_politics_in_2014_yearbook

John Maher | 23 Jan 18:29 2015
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Big Data is Algorithmic You. No Surprise there. But is it art?


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<a href="http://www.article11.info/?-Entretiens-">Article11 - Entretiens</a><br>
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<div contenteditable="false" class="link-enhancr-attachment link-enhancr-element"><table class="link-enhancr-element" cellspacing="0" cellpadding="0" border="0">
<tr class="link-enhancr-element"><td class="link-enhancr-element" colspan="8"><div class="link-enhancr-element">&nbsp;</div></td></tr>
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<td rowspan="5" class="link-enhancr-element"><div class="link-enhancr-element">&nbsp;</div></td>
<td class="link-enhancr-element" rowspan="5"><div class="link-enhancr-element" align="center"><a href="http://www.article11.info/?-Entretiens-" class="link-enhancr-card-urlWrapper link-enhancr-element"></a></div></td>
<td rowspan="5" class="link-enhancr-element"><div class="link-enhancr-element">&nbsp;</div></td>
<td rowspan="5" class="link-enhancr-element"><div class="link-enhancr-element">&nbsp;</div></td>
<td colspan="2" class="link-enhancr-element"><div class="link-enhancr-element">&nbsp;</div></td>
<td rowspan="5" class="link-enhancr-element"><div class="link-enhancr-element">&nbsp;</div></td>
<td class="link-enhancr-element" rowspan="5" width="1"><div class="link-enhancr-element">&nbsp;</div></td>
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<tr><td class="link-enhancr-element" colspan="2"><div class="link-enhancr-text-part link-enhancr-element"><div class="link-enhancr-element">
<span class="link-enhancr-element icon  icon-shrink link-enhancr-toggle"></span><span class="link-enhancr-element icon icon-close link-enhancr-delete"></span><a href="http://www.article11.info/?-Entretiens-" class="link-enhancr-card-urlWrapper link-enhancr-element"><span class="link-enhancr-element link-enhancr-card-title">Article11 - Entretiens</span></a><div class="link-enhancr-card-description link-enhancr-element">samedi 11 octobre 2014 Entretiens post&eacute; &agrave; 14h13, par L&eacute;mi 4 commentaires &laquo;&nbsp;On est des ibu, et basta&nbsp;!&nbsp;&raquo; En 1983 &eacute;tait publi&eacute; en Suisse al&eacute;manique un ouvrage des plu...</div>
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<tr><td colspan="2" class="link-enhancr-element"><div class="link-enhancr-element"></div></td></tr>
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<td class="link-enhancr-element"><div class="link-enhancr-element"><a href="http://www.article11.info/?-Entretiens-" class="link-enhancr-card-url link-enhancr-element" target="_blank"><span class="link-enhancr-element link-enhancr-view-on"><span class="link-enhancr-element link-enhancr-mobile-no-resize">View on <span class="link-enhancr-view-on-domain">www.article11.info</span></span></span></a></div></td>
<td class="link-enhancr-element"><div class="link-enhancr-element link-enhancr-preview-wrapper"><span class="link-enhancr-element link-enhancr-preview-by link-enhancr-mobile-no-resize">Preview by Yahoo</span></div></td>
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Radio Web MACBA | 23 Jan 11:06 2015
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New podcast: interview with Sigalit Landau

New podcast: Sigalit Landau talks about her work and about the methodology she uses to develop her personal vision of the world. She also discusses the inherent contradictions and connections between biography, territory and politics in her work, and analyses the role of art as the language that can account for this convergence.


Sigalit Landau was born in Jerusalem in 1969 and studied in a bilingual and multicultural environment in the Israel, the UK and the US, but without ever losing sight of the Judea Desert and the Dead Sea. After several years spent studying dance and a period of military service, she began her artistic career, mainly focusing on sculpture. Her first works were exhibited at the Witte de With in Rotterdam, Herzliya Museum in Tel Aviv, Documenta in Kassel and the Venice Biennale, among others. Since the late nineties, Landau has reinterpreted her sculptural work through the use of the body in performances and videos. She works recursively with symbols, images and narratives as therapeutic forms of the wounds provoked by her historical, personal and cultural identity.

Timeline
1:29 The shifting
2:52 The relationship between video and sculpture
4:05 Biographical background
6:07 Memory and childhood
7:28 Contradictions
10:20 Barbed hula or nest
12:23 Working on the Dead Sea
15:27 Art and politics
16:39 Artist vs researcher
17:50 Influences
18:34 International reception
19:21 A bridge between borders

Enjoy!
<div><div dir="ltr">New podcast:&nbsp;<span class="Apple-style-span">Sigalit Landau talks about her work and about the methodology she uses to develop her personal vision of the world. She also discusses the inherent contradictions and connections between biography, territory and politics in her work, and analyses the role of art as the language that can account for this convergence.</span><div><br></div>
<div>Link:&nbsp;<a href="http://rwm.macba.cat/en/sonia/sigalit-landau/capsula">http://rwm.macba.cat/en/sonia/sigalit-landau/capsula</a><br>
</div>
<div><br></div>
<div>Sigalit Landau was born in Jerusalem in 1969 and studied in a bilingual and multicultural environment in the Israel, the UK and the US, but without ever losing sight of the Judea Desert and the Dead Sea. After several years spent studying dance and a period of military service, she began her artistic career, mainly focusing on sculpture. Her first works were exhibited at the Witte de With in Rotterdam, Herzliya Museum in Tel Aviv, Documenta in Kassel and the Venice Biennale, among others. Since the late nineties, Landau has reinterpreted her sculptural work through the use of the body in performances and videos. She works recursively with symbols, images and narratives as therapeutic forms of the wounds provoked by her historical, personal and cultural identity. <br><br>Timeline<br>1:29 The shifting<br>2:52 The relationship between video and sculpture<br>4:05 Biographical background<br>6:07 Memory and childhood<br>7:28 Contradictions<br>10:20 Barbed hula or nest<br>12:23 Working on the Dead Sea<br>15:27 Art and politics<br>16:39 Artist vs researcher<br>17:50 Influences<br>18:34 International reception<br>19:21 A bridge between borders</div>
<div><br></div>
<div>Enjoy!</div>
</div></div>
Won de Rwerp | 22 Jan 01:42 2015
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NEXT WEEK IN DEN HAAG - wonderwerp #58 - starting from scratch

Thursday, January 29th 2015
__
___________________

__ __ _____ _ _  __| |___ _ ___ __ _____ _ _ _ __#58
\ V  V / _ \ ' \/ _` / -_) '_\ V  V / -_) '_| '_ \
 \_/\_/\___/_||_\__,_\___|_|  \_/\_/\___|_| | .__/
````````````````````````````````````````````|_| 
-- - ----- - - - - - Starting from Scratch

The first Wonderwerp edition of 2015 presents Willem Marijs with his Electro Magnetic Field Orchestra of fluorescent tubes, Maia Francisco on piano and sine wave oscillator, Dewi de Vree and Jeroen Uyttendaele with Ground and their graphite controlled electronic instrument and Margriet Kicks-Ass with her brand new Sound-Case.


Dewi de Vree & Jeroen Uyttendaele . Ground (2011)
Maia Francisco . Improvisation for piano & sine wave oscillator (2015)
Margriet Kicks-Ass . Sound-case (2015)
Willem Marijs . ELOMA (2013)


Studio Loos
20:30 . doors open at 20:00
De Constant Rebecqueplein 20b . 2515RA Den Haag
3 euro


for more info see -- - ----- - - - - - -    -     -        -
._iiinitiative.org/agenda/ ___
._www.studioloos.com ___
._faces.books ___


save the dates
``````edition 59 - wednesday, february 25
``````edition 60 - thursday, march 26
``````edition 61 - thursday, april 23
`` ` ```` ` ` `  ` `   `   `   `      `
````````````
```````
````
`
<div><div dir="ltr"><div dir="ltr"><div class="gmail_quote"><div><div><div dir="ltr"><div class="gmail_quote"><div><div><div><div><div><div><div><div><div>
<span><span><span><span><span><span><span><span><span>Thursday, January 29th 2015<span><br></span><span>__</span></span></span></span></span></span></span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span>__</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span>_</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br>__ __ _____ _ _&nbsp; __| |___ _ ___ __ _____ _ _ _ __#58<br>\ V&nbsp; V / _ \ ' \/ _` / -_) '_\ V&nbsp; V / -_) '_| '_ \<br>&nbsp;\_/\_/\___/_||_\__,_\___|_|&nbsp; \_/\_/\___|_| | .__/<br>````````````````````````````````````````````|_|&nbsp; <br>-- - ----- - - - - - Starting from Scratch<br><br>The first Wonderwerp edition of 2015 presents Willem Marijs with his Electro Magnetic Field Orchestra of fluorescent tubes, Maia Francisco on piano and sine wave oscillator, Dewi de Vree and Jeroen Uyttendaele with Ground and their graphite controlled electronic instrument and Margriet Kicks-Ass with her brand new Sound-Case. <br><br><br>Dewi de Vree &amp; Jeroen Uyttendaele . Ground (2011)<br>Maia Francisco . Improvisation for piano &amp; sine wave oscillator (2015)<br>Margriet Kicks-Ass . Sound-case (2015)<br>Willem Marijs . ELOMA (2013)<br><br><br>Studio Loos<br>20:30 . doors open at 20:00 <br>De Constant Rebecqueplein 20b . 2515RA Den Haag<br>3 euro<br><br><br>for more info see -- - ----- - - - - - -&nbsp;&nbsp;&nbsp; -&nbsp;&nbsp;&nbsp;&nbsp; -&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; -<br><a href="http://iiinitiative.org/agenda/"><span></span></a><span><span><span><span><span><span>._</span></span></span></span></span><a href="http://iiinitiative.org/agenda/">iiinitiative.org/agenda/≤/a><span></span> <span>___ </span><br><span><span><span><span><span>._</span></span></span></span></span><a href="http://www.studioloos.com/ephemere/wonderwerp-58-starting-from-scratch">www.studioloos.com</a> <span>___<br></span></span><span><span><span><span>._</span></span></span><a href="https://www.facebook.com/events/1520164581588348">faces.books</a> <span>___</span><br><br></span><br>save the dates<br>``````edition 59 - wednesday, february 25<br>``````edition 60 - thursday, march 26<br>``````edition 61 - thursday, april 23<br>`` ` ```` ` ` `&nbsp; ` `&nbsp;&nbsp; `&nbsp;&nbsp; `&nbsp;&nbsp; `&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ` <br>````````````<br>```````<br>```` <br>`<br>
</div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
Radio Web MACBA | 21 Jan 12:05 2015
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Ràdio Web MACBA's most listened podcasts 2014

Ràdio Web MACBA's most listened podcasts 2014

1- MEMORABILIA. COLLECTING SOUNDS WITH.... Andy Votel Part I. 
Produced by Matias Rossi

Over the past twenty years, Andy Votel has travelled far and wide in a quest to buy as many records as he could. His main motivation is to listen to music, and the only way to get the music he likes is generally to buy and collect it.

Link: http://rwm.macba.cat/en/research/memorabilia-andy-votel/capsula
More info:  http://rwm.macba.cat/uploads/20131212/Memorabilia_Andy_Votel_eng.pdf

2- MEMORABILIA. COLLECTING SOUNDS WITH.... Brian Shimkovitz. Part I. Produced by Matias Rossi

The tale of how a student of ethnomusicology from Brooklyn spent a year in West Africa buying tapes off street markets... and how he managed to turn that bizarre collection into one of the most revered record labels in recent years.

Link:
http://rwm.macba.cat/en/research/memorabilia_brian_shimkovitz/capsula
More info:  http://rwm.macba.cat/uploads/20130903/Memorabilia_Brian_Shimkovitz_eng.pdf

3- PROBES #1. Curated by Chris Cutler

PROBES #1 sets the scene and investigates early reconsiderations of pitch: probes that postulate new scales to be constructed through the ever-greater subdivision of the inherited intervals of equal temperament.

Link: http://rwm.macba.cat/en/curatorial/probes1_chris_cutler_/capsula
More info:  http://rwm.macba.cat/uploads/20121023/Probes1_eng.pdf

4- ONLY GIRLS OF 17 CAN HEAR UP TO 16.000 HERTZ. A short history of the audio cassette. Curated by Felix Kubin

Following with Felix Kubin’s line of research on the creative underground tape scene, in this brief podcast we revisit the origins of the format with former Philips employee Wim Langenhoff.

Link: http://rwm.macba.cat/en/extra/wim-langenhoff/capsula
 More info: http://rwm.macba.cat/uploads/20140917/Wim_eng_PDF.pdf

5-  INTERRUPTIONS #16. On duration: silence is unavailable, please buy time or switch dimensions. Curated by Dave Phillips

Dave Phillips' mix is a true assault on the senses that reflects on extreme durations in music and our relationship with the temporality of sound.

Link: http://rwm.macba.cat/en/curatorial/dave-phillips-on-duration/capsula
More info: http://rwm.macba.cat/uploads/20140220/16Interruptions_eng.pdf

6- MEMORABILIA. COLLECTING SOUNDS WITH... Eric Isaacson. Part I. Produced by Rosanna Arbon

It may seem obvious looking back but Eric Isaacson had no idea that a childhood obsession with The Beatles and an armful of Daniel Johnston cassettes would be the foundation for his work as founder of Mississippi Records label and shop and the keeper of a uniquely free flowing record collection that is detached from time.

Link: http://rwm.macba.cat/en/research/memorabilia-eric-isaacson/capsula
More info: http://rwm.macba.cat/uploads/20140313/Memorabilia_Eric_Isaacson_eng.pdf

7- PROBES #3. Curated by Chris Cutler

This is where pitch becomes weightless and all that is solid melts into air: futurism, noise, electricity, ecstasy and uncertainty. We look at the lure and power of sliding tones.

Link: http://rwm.macba.cat/en/curatorial/probes3_chris_cutler_/capsula
More info: http://rwm.macba.cat/uploads/20130221/Probes3_eng.pdf

8- OBJECTHOOD #2. Curated by Roc Jiménez de Cisneros

Cuts, folds, scales, sound objects, charts, chimeras. Artists Erick Beltrán and Florian Hecker discuss different theories about objects in relation to their respective artistic practices.

Link: http://rwm.macba.cat/en/specials/objecthood2-florian-hecker-erick-beltran/capsula
More info: http://rwm.macba.cat/uploads/20140613/Objecthood_2_en.pdf


9- SON[I]A #119

Interview with Allan Sekula about the relationship between art and photography, about artistic activism, the role of the artist in the public sphere and "Waiting for Tear Gas".

Link: http://rwm.macba.cat/en/sonia/allan_sekula/capsula


10- INTERRUPTIONS #15. Cumulative Tails. Curated by Vicki Bennett

Cumulative Tails is a pun upon the 'cumulative tale', where each part of a story relates to that which just preceded and followed it. This radio mix, curated by Vicki Bennett, has been created using that process – a succession of audio tracks picked in conceptual relation only to that which was previously played.

Link: http://rwm.macba.cat/en/curatorial/vicki-bennett-cumulative-tails-/capsula
More info: http://rwm.macba.cat/uploads/20131230/15Interruptions_eng.pdf

Thanks for being there!
<div><div dir="ltr">R&agrave;dio Web MACBA's most listened podcasts 2014<div>
<br>1- MEMORABILIA. COLLECTING SOUNDS WITH.... Andy Votel Part I.&nbsp;</div>
<div>Produced by Matias Rossi</div>
<div>
<br>Over the past twenty years, Andy Votel has travelled far and wide in a quest to buy as many records as he could. His main motivation is to listen to music, and the only way to get the music he likes is generally to buy and collect it.<br><br>
</div>
<div>Link: <a href="http://rwm.macba.cat/en/research/memorabilia-andy-votel/capsula">http://rwm.macba.cat/en/research/memorabilia-andy-votel/capsula</a><br>More info: &nbsp;<a href="http://rwm.macba.cat/uploads/20131212/Memorabilia_Andy_Votel_eng.pdf">http://rwm.macba.cat/uploads/20131212/Memorabilia_Andy_Votel_eng.pdf</a><br><br>2- MEMORABILIA. COLLECTING SOUNDS WITH.... Brian Shimkovitz. Part I. <span class="Apple-style-span">Produced by Matias Rossi</span>
</div>
<div>
<span class="Apple-style-span"><br></span>The tale of how a student of ethnomusicology from Brooklyn spent a year in West Africa buying tapes off street markets... and how he managed to turn that bizarre collection into one of the most revered record labels in recent years.<br><br>Link:<br><a href="http://rwm.macba.cat/en/research/memorabilia_brian_shimkovitz/capsula">http://rwm.macba.cat/en/research/memorabilia_brian_shimkovitz/capsula</a><br>More info: &nbsp;<a href="http://rwm.macba.cat/uploads/20130903/Memorabilia_Brian_Shimkovitz_eng.pdf">http://rwm.macba.cat/uploads/20130903/Memorabilia_Brian_Shimkovitz_eng.pdf</a><br><br>3-&nbsp;PROBES #1. Curated by Chris Cutler</div>
<div>
<br>PROBES #1 sets the scene and investigates early reconsiderations of pitch: probes that postulate new scales to be constructed through the ever-greater subdivision of the inherited intervals of equal temperament.</div>
<div>
<br>Link: <a href="http://rwm.macba.cat/en/curatorial/probes1_chris_cutler_/capsula">http://rwm.macba.cat/en/curatorial/probes1_chris_cutler_/capsula</a><br>More info: &nbsp;<a href="http://rwm.macba.cat/uploads/20121023/Probes1_eng.pdf">http://rwm.macba.cat/uploads/20121023/Probes1_eng.pdf</a><br><br>4-&nbsp;ONLY GIRLS OF 17 CAN HEAR UP TO 16.000 HERTZ. A short history of the audio cassette.&nbsp;Curated by Felix Kubin<br><br>Following with Felix Kubin&rsquo;s line of research on the creative underground tape scene, in this brief podcast we revisit the origins of the format with former Philips employee Wim Langenhoff.</div>
<div>
<br>Link: <a href="http://rwm.macba.cat/en/extra/wim-langenhoff/capsula">http://rwm.macba.cat/en/extra/wim-langenhoff/capsula</a><br>&nbsp;More info: <a href="http://rwm.macba.cat/uploads/20140917/Wim_eng_PDF.pdf">http://rwm.macba.cat/uploads/20140917/Wim_eng_PDF.pdf</a><br><br>5- &nbsp;INTERRUPTIONS #16.&nbsp;On duration: silence is unavailable, please buy time or switch dimensions.&nbsp;Curated by Dave Phillips<br><br>Dave Phillips' mix is a true assault on the senses that reflects on extreme durations in music and our relationship with the temporality of sound.<br><br>Link: <a href="http://rwm.macba.cat/en/curatorial/dave-phillips-on-duration/capsula">http://rwm.macba.cat/en/curatorial/dave-phillips-on-duration/capsula</a><br>More info: <a href="http://rwm.macba.cat/uploads/20140220/16Interruptions_eng.pdf">http://rwm.macba.cat/uploads/20140220/16Interruptions_eng.pdf</a><br><br>6- MEMORABILIA. COLLECTING SOUNDS WITH...&nbsp;Eric Isaacson. Part I. Produced by Rosanna Arbon<br><br>It may seem obvious looking back but Eric Isaacson had no idea that a childhood obsession with The Beatles and an armful of Daniel Johnston cassettes would be the foundation for his work as founder of Mississippi Records label and shop and the keeper of a uniquely free flowing record collection that is detached from time.<br><br>
</div>
<div>Link: <a href="http://rwm.macba.cat/en/research/memorabilia-eric-isaacson/capsula">http://rwm.macba.cat/en/research/memorabilia-eric-isaacson/capsula</a><br>More info: <a href="http://rwm.macba.cat/uploads/20140313/Memorabilia_Eric_Isaacson_eng.pdf">http://rwm.macba.cat/uploads/20140313/Memorabilia_Eric_Isaacson_eng.pdf</a> <br><br>7-&nbsp;PROBES #3.&nbsp;Curated by Chris Cutler<br><br>This is where pitch becomes weightless and all that is solid melts into air: futurism, noise, electricity, ecstasy and uncertainty. We look at the lure and power of sliding tones.<br><br>Link: <a href="http://rwm.macba.cat/en/curatorial/probes3_chris_cutler_/capsula">http://rwm.macba.cat/en/curatorial/probes3_chris_cutler_/capsula</a><br>More info: <a href="http://rwm.macba.cat/uploads/20130221/Probes3_eng.pdf">http://rwm.macba.cat/uploads/20130221/Probes3_eng.pdf</a><br><br>8- OBJECTHOOD #2.&nbsp;Curated by Roc Jim&eacute;nez de Cisneros<br><br>Cuts, folds, scales, sound objects, charts, chimeras. Artists Erick Beltr&aacute;n and Florian Hecker discuss different theories about objects in relation to their respective artistic practices.<br><br><span class="Apple-style-span">Link:&nbsp;</span><a href="http://rwm.macba.cat/en/specials/objecthood2-florian-hecker-erick-beltran/capsula">http://rwm.macba.cat/en/specials/objecthood2-florian-hecker-erick-beltran/capsula</a><br><span class="Apple-style-span">More info:&nbsp;</span><a href="http://rwm.macba.cat/uploads/20140613/Objecthood_2_en.pdf">http://rwm.macba.cat/uploads/20140613/Objecthood_2_en.pdf</a><br><br><br>9- SON[I]A #119<br><br>Interview with Allan Sekula about the relationship between art and photography, about artistic activism, the role of the artist in the public sphere and "Waiting for Tear Gas".<br><br>Link: <a href="http://rwm.macba.cat/en/sonia/allan_sekula/capsula">http://rwm.macba.cat/en/sonia/allan_sekula/capsula</a><br><br><br>10-&nbsp;INTERRUPTIONS #15.&nbsp;Cumulative Tails.&nbsp;Curated by Vicki Bennett<br><br>Cumulative Tails is a pun upon the 'cumulative tale', where each part of a story relates to that which just preceded and followed it. This radio mix, curated by Vicki Bennett, has been created using that process &ndash; a succession of audio tracks picked in conceptual relation only to that which was previously played.<br><br>Link: <a href="http://rwm.macba.cat/en/curatorial/vicki-bennett-cumulative-tails-/capsula">http://rwm.macba.cat/en/curatorial/vicki-bennett-cumulative-tails-/capsula</a><br>More info: <a href="http://rwm.macba.cat/uploads/20131230/15Interruptions_eng.pdf">http://rwm.macba.cat/uploads/20131230/15Interruptions_eng.pdf</a>
</div>
<div><br></div>
<div>
<span class="Apple-style-span">Thanks for being there!</span><br>
</div>
</div></div>
shu lea cheang | 20 Jan 11:55 2015
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MCD#76 - Changer l'argent - We grow money, We eat money, We shit money

Dear friends at spectre

Me acting as guest chief editor together with Annick Rivoire of poptronics.fr and Anne-Cécile Worms, publisher of MCD, le magazine des cultures digitales, We are releasing MCD issue #76 - Changer l'argent - We grow money, We eat money, We shit money this year.
http://www.digitalmcd.com/mcd-76-changer-largent/

The MCD French print version at la Gaîté Lyrique, Paris, January 20
http://gaite-lyrique.net/rencontre/lancement-mcd76-changer-largent
 
The MCD's first online English version is to be released during transmediale on January 31 in Berlin.
http://www.transmediale.de/content/mcd76-launch-we-grow-money-we-eat-money-we-shit-money

Please join us and with some of the writers/contributors present.

very best
sl

LANCEMENT MCD#76 "Changer l'argent" -We Grow Money, We Eat Money, We Shit Money
ALTERNATIVE MONETAIRE / CRYPTO-DEVISES / DESOBEISSANCE FISCALE /
ECONOMIE POST-INTERNET / MONNAIES VIRTUELLES / EXPERIMENTATIONS FINANCIERES / BANQUES DU TEMPS
Mardi 20 Janvier, à 19h00, à la Gaîté Lyrique
Le numéro 76 de MCD, le magazine des cultures digitales, est entièrement consacré à l'argent post-internet et titré «We grow money, We eat money, We shit money» (rédactrice en chef invitée: l'artiste Shu Lea Cheang et Annick Rivoire, journaliste et conseillère éditoriale) et propose 33 visions et textes d'artistes, de théoriciens et d'acteurs de l'Internet, qui s'intéressent à la nouvelle situation monétaire. Depuis la crise financière globalisée des subprimes sont apparues des initiatives indépendantes, localisées ou électroniques, artistiques ou associatives qui redéfinissent notre rapport à l'argent. Le bitcoin signe la fin du tabou sur l'argent, le réseau devient la banque de tous et par tous, tandis que les crypto-monnaies ouvrent une alternative aux économies traditionnelles.

A l'occasion de la sortie de ce numéro spécial, MCD invite le groupe Économie solidaire de l'art ( <at> ecosolidaireart), qui propose une nouvelle approche de la rémunération des artistes et des professionnels de l'art en France, à présenter leur démarche et à en discuter pour la première fois en public. Le lancement de ce numéro sera diffusé en direct sur RADIOMARAIS, lors d'une émission animée par Xavier Faltot.

MCD, le magazine des cultures digitales
Directrice de la rédaction : Anne-Cécile Worms
Rédacteur en chef : Laurent Diouf
Rédactrice en chef invitée : Shu Lea Cheang
Conseillère éditoriale : Annick Rivoire
 
Les contributeurs de ce numéro : Alain Le Cabrit, Albertine Meunier, Alexis Rowell, Annick Rivoire, Baruch Gottlieb, Brett Scott, Denis Roio alias Jaromil, Économie solidaire de l'art, Effie Amanatidou, Ewen Chardronnet, Geert Lovink, Gerald Nestler, Giorgos Gritzas, Giselle Beiguelman, Gregory Chatonsky, Harry Halpin, Karolos Iosif Kavoulakos, Kate Rich, Lenara Verle, Mabel Tapia, Mansour Ciss Kanakassy, Marco Radium Sachy, Maria Ptqk, Michael Aschauer, Michel Bauwens, Nathaniel Tkacz, Nuria Güell, Olga Kisseleva, Olivier Auber, Paolo Cirio, Primavera De Filippi, Regine Debatty, Shu Lea Cheang, Stephanie Reisinger, Tanja Brandmayr, Tiziana Terranova.
 
<div>
<div>Dear friends at spectre</div>
<div><br></div>
<div>Me acting as guest chief editor together with Annick Rivoire of
poptronics.fr and Anne-C&eacute;cile Worms, publisher of MCD, le magazine
des cultures digitales, We are releasing MCD issue #76 - Changer
l'argent - We grow money, We eat money, We shit money this year.</div>
<div>http://www.digitalmcd.com/mcd-76-changer-largent/</div>
<div><br></div>
<div>The MCD French print version at la Ga&icirc;t&eacute; Lyrique, Paris,
January 20</div>
<div>http://gaite-lyrique.net/rencontre/lancement-mcd76-changer-largent</div>
<div>&nbsp;</div>
<div>The MCD's first online English version is to be released during
transmediale on January 31 in Berlin.</div>
<div>http://www.transmediale.de/content/mcd76-launch-we-grow-money-we-eat<span></span>-money-we-shit-money</div>
<div><br></div>
<div>Please join us and with some of the writers/contributors
present.</div>
<div><br></div>
<div>very best</div>
<div>sl</div>
<div><br></div>
<blockquote type="cite" cite>LANCEMENT MCD#76 "Changer l'argent"
-We Grow Money, We Eat Money, We Shit Money</blockquote>
<blockquote type="cite" cite>ALTERNATIVE MONETAIRE / CRYPTO-DEVISES /
DESOBEISSANCE FISCALE /</blockquote>
<div>ECONOMIE POST-INTERNET / MONNAIES VIRTUELLES / EXPERIMENTATIONS
FINANCIERES / BANQUES DU TEMPS<br>
</div>
<blockquote type="cite" cite>Mardi 20 Janvier, &agrave; 19h00, &agrave; la
Ga&icirc;t&eacute; Lyrique</blockquote>
<blockquote type="cite" cite><a href="http://t.ymlp219.net/mmhqaxauqbsqacajeavauewey/click.php">Le
num&eacute;ro 76 de&nbsp;MCD, le magazine des cultures digitales, est
enti&egrave;rement consacr&eacute;&nbsp;&agrave; l'argent post-internet&nbsp;et titr&eacute;
&laquo;We grow money, We eat money, We shit money&raquo; (r&eacute;dactrice en chef
invit&eacute;e: l'artiste&nbsp;Shu Lea Cheang et Annick Rivoire,
journaliste et conseill&egrave;re &eacute;ditoriale) et propose&nbsp;33 visions
et textes d'artistes, de&nbsp;th&eacute;oriciens&nbsp;et&nbsp;d'acteurs de
l'Internet, qui s'int&eacute;ressent &agrave; la nouvelle situation mon&eacute;taire.
Depuis la&nbsp;crise financi&egrave;re
globalis&eacute;e&nbsp;des&nbsp;subprimes&nbsp;sont apparues
des&nbsp;initiatives ind&eacute;pendantes, localis&eacute;es ou &eacute;lectroniques,
artistiques ou associatives&nbsp;qui red&eacute;finissent notre rapport &agrave;
l'argent. Le&nbsp;bitcoin&nbsp;signe la fin du tabou sur l'argent, le
r&eacute;seau devient la banque de tous et par tous, tandis que les
crypto-monnaies ouvrent&nbsp;une alternative aux &eacute;conomies
traditionnelles.</a></blockquote>
<div><br></div>
<blockquote type="cite" cite>A l'occasion de la sortie de ce num&eacute;ro
sp&eacute;cial, MCD invite le groupe&nbsp;<a href="http://t.ymlp219.net/mmhyaxauqbsqapajeaoauewey/click.php">&Eacute;conomie solidaire de l'art</a>&nbsp;(<a href="http://t.ymlp219.net/mmwsacauqbsqakajeafauewey/click.php"> <at> ecosolidaireart</a>), qui propose une nouvelle approche de la
r&eacute;mun&eacute;ration des artistes et des professionnels de l'art en France,
&agrave; pr&eacute;senter leur d&eacute;marche et &agrave; en discuter pour la premi&egrave;re
fois en public. Le lancement de ce num&eacute;ro sera diffus&eacute; en
direct sur&nbsp;<a href="http://t.ymlp219.net/mmwuakauqbsqafajeagauewey/click.php">RADIOMARAIS</a>, lors d'une &eacute;mission anim&eacute;e
par&nbsp;Xavier Faltot.</blockquote>
<blockquote type="cite" cite><a href="http://t.ymlp219.net/mmweafauqbsqafajeagauewey/click.php"><br></a></blockquote>
<blockquote type="cite" cite>MCD, le magazine des cultures
digitales<br>
Directrice de la r&eacute;daction&nbsp;: Anne-C&eacute;cile Worms<br>
R&eacute;dacteur en chef&nbsp;: Laurent Diouf<br>
R&eacute;dactrice en chef invit&eacute;e :&nbsp;Shu Lea Cheang<br>
Conseill&egrave;re &eacute;ditoriale :&nbsp;Annick Rivoire</blockquote>
<blockquote type="cite" cite>&nbsp;</blockquote>
<blockquote type="cite" cite>Les contributeurs de ce num&eacute;ro : Alain
Le Cabrit, Albertine Meunier, Alexis Rowell, Annick Rivoire, Baruch
Gottlieb, Brett Scott, Denis Roio alias Jaromil, &Eacute;conomie solidaire
de l'art, Effie Amanatidou, Ewen Chardronnet, Geert Lovink, Gerald
Nestler, Giorgos Gritzas, Giselle Beiguelman, Gregory Chatonsky, Harry
Halpin, Karolos Iosif Kavoulakos, Kate Rich, Lenara Verle, Mabel
Tapia, Mansour Ciss Kanakassy, Marco Radium Sachy, Maria Ptqk, Michael
Aschauer, Michel Bauwens, Nathaniel Tkacz, Nuria G&uuml;ell, Olga
Kisseleva, Olivier Auber, Paolo Cirio, Primavera De Filippi, Regine
Debatty, Shu Lea Cheang, Stephanie Reisinger, Tanja Brandmayr, Tiziana
Terranova.</blockquote>
<blockquote type="cite" cite>&nbsp;</blockquote>
</div>
Emmanuelle Gibello | 19 Jan 12:31 2015
Picon

Emmanuelle Gibello : Janvier 2015 January

Next dates :

Vendredi 23 janvier L'épiderme Nomade performance
REC <at> Gaité Lyrique, Paris
http://gaite-lyrique.net/performance/lepiderme-nomade

Samedi 31 janvier : Le complexe des garçons live
<at> Cave 40, Bourges
https://www.facebook.com/cave40

Mercredi 4 février  : L'épiderme Nomade radio diffusion/broadcast
Les ateliers de la création <at> France Culture, on line
http://www.franceculture.fr/emission-l-atelier-de-la-creation-0

View this email in your browser (*|ARCHIVE|*)


** L'épiderme Nomade :
------------------------------------------------------------

L’Epiderme Nomade, d'après une nouvelle de Didier Anzieu (http://fr.wikipedia.org/wiki/Didier_Anzieu) ,  est créé en public le Vendredi 23 Janvier 2015 à 19h30 festival REC à la Gaité Lyrique (http://gaite-lyrique.net/performance/lepiderme-nomade) .
Rendez-vous entre 19:00 et 19:15 devant l'auditorium, entrée libre dans la limite des places disponibles.

Une petite fille de sept ans est dans un train avec Didier et Annie Anzieu. Didier raconte un rêve à  Annie. La petite fille s’endort bercée par le rêve de Didier et ce terme étrange: le Moi-Peau (http://fr.wikipedia.org/wiki/Moi-Peau) . C'est le point de départ d'une enquête qui l'enfonce jusqu'au plus profond des méandres du sommeil.

Le rêve est ici une matrice dans laquelle plonger à bras le corps.

La partition est écrite pour un comédien, une bruiteuse et une musicienne interprète de musique électronique. Sons naturels, voix, sons synthétiques, sont enregistrés puis joués en live lors d'une performance publique sur les machines qu'Emmanuelle Gibello a inventées, le FONOF* contrôleur qui se joue avec des aimants et le Molf* activé par des toupies.

_________________________________________________________________________________

L’Epiderme Nomade,
a story by Didier Anzieu (http://fr.wikipedia.org/wiki/Didier_Anzieu)  created in public on Friday, January 23, 2015 at 19:30 at the Gaite Lyrique (http://gaite-lyrique.net/performance/lepiderme-nomade) .
REC fest at Gaité Lyrique (http://gaite-lyrique.net/performance/lepiderme-nomade) .

A little girl of seven is on a train with Didier and Annie Anzieu. Didier tells a dream to Annie. The little girl falls asleep lulled by the dream of Didier and this strange term: Le Moi-Peau (http://fr.wikipedia.org/wiki/Moi-Peau) . This is the starting point for an investigation that sinks to the depths of sleep meanders. The dream is here a matrix in which dive head on. The score is written for an actor, a musician and performer bruiteuse electronic music. Natural sounds, vocals, synth sounds are recorded and played live at a public performance on machines Emmanuelle Gibello has invented the FONOF * controller that is played with magnets and Molf * activated tops. A test conducted by Emmanuelle Gibello Véronique LAMENDOUR, broadcast in the Atelier de la creation (http://www.franceculture.fr/emission-l-atelier-de-la-creation) of France Culture February 4, 2015 from 23h to midnight.

Avec / With :

Sophie Bissantz bruiteuse;
Slimane Yefsah comédien;
Emmanuelle Gibello interprète;
Kerwin Rolland, marchand de sable;
Les molfistes : Thomas Baumgartner, Aurélie Charon, Inès de Bruyn, Irène Omélianenko, Alice Ramond;
Les voix de : Annie et Didier Anzieu, Clément Sylla.
Une création rendue possible grâce à Christian Zanesi et Philippe Dao du GRM, Bruno Letort, Bernard et Marie-Luce Gibello, Olivier Guillerminet

Un essai d’Emmanuelle Gibello réalisé par Véronique Lamendour.
Diffusion: le 4 février 2015 de 23h à minuit dans les Ateliers de la création (http://www.franceculture.fr/emission-l-atelier-de-la-creation)  de France Culture.
A radio essay from Emmanuelle Gibello, realised by Véronique Lamendour.
Broadcast : February the 4th  les Ateliers de la création (http://www.franceculture.fr/emission-l-atelier-de-la-creation)  de France Culture

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


** Le complexe des garçons :
------------------------------------------------------------
Cave 40 Bourges
à la Cave 40 - 21h - 3€
40 bd Lamarck - Bourges
https://www.facebook.com/cave40?fref=ts

Solo au Molf et au FONOF

Créé pour le Music Tech Fest (http://musictechfest.org/#MTFParis) à l'IRCAM en novembre 2014 / Created in november for the Music Tech Fest (http://musictechfest.org/#MTFParis)

Extrait/extract :
https://www.youtube.com/watch?v=nEvNfCVIuAY

https://www.youtube.com/watch?v=JTZ0UWHkR40

Web article :

http://continuo-docs.tumblr.com/post/103442479642/emmanuelle-gibello-myriam-bleau-performances
<div><div dir="ltr">
<span>Next dates :</span><br><br><span class="">Vendredi</span><span>&nbsp;</span><span>23 janvier L'&eacute;piderme Nomade performance</span><br><span>REC  <at> Gait&eacute; Lyrique, Paris</span><br><span class=""><a target="_blank" href="http://gaite-lyrique.net/performance/lepiderme-nomade">http://gaite-lyrique.net/performance/lepiderme-nomade</a></span><br><br><span class="">Samedi</span><span>&nbsp;</span><span>31 janvier : Le complexe des gar&ccedil;ons live</span><br><span> <at> Cave 40, Bourges</span><br><span class=""><a target="_blank" href="https://www.facebook.com/cave40">https://www.facebook.com/cave40</a></span><br><br><span class="">Mercredi</span><span>&nbsp;</span><span>4 f&eacute;vrier &nbsp;: L'&eacute;piderme Nomade radio diffusion/broadcast</span><br><span>Les ateliers de la cr&eacute;ation  <at> France Culture, on line</span><br><span class=""><a target="_blank" href="http://www.franceculture.fr/emission-l-atelier-de-la-creation-0">http://www.franceculture.fr/emission-l-atelier-de-la-creation-0</a></span><br><br><span>View this email in your browser (*|ARCHIVE|*)</span><br><br><br><span>** L'&eacute;piderme Nomade :</span><br><span>------------------------------------------------------------</span><br><br><span>L&rsquo;Epiderme Nomade, d'apr&egrave;s une nouvelle de Didier Anzieu (</span><span class=""><span class=""><a target="_blank" href="http://fr.wikipedia.org/wiki/Didier_Anzieu">http://fr.wikipedia.org/wiki/Didier_Anzieu</a></span></span><span>) , &nbsp;est cr&eacute;&eacute; en public le</span><span>&nbsp;</span><span class=""><span class="">Vendredi 23 Janvier 2015</span></span><span>&nbsp;</span><span>&agrave; 19h30 festival REC &agrave; la Gait&eacute; Lyrique (</span><span class=""><span class=""><a target="_blank" href="http://gaite-lyrique.net/performance/lepiderme-nomade">http://gaite-lyrique.net/performance/lepiderme-nomade</a></span></span><span>) .</span><br><span>Rendez-vous entre 19:00 et 19:15 devant l'auditorium, entr&eacute;e libre dans la limite des places disponibles.</span><br><br><span>Une petite fille de sept ans est dans un train avec Didier et Annie Anzieu. Didier raconte un r&ecirc;ve &agrave; &nbsp;Annie. La petite fille s&rsquo;endort berc&eacute;e par le r&ecirc;ve de Didier et ce terme &eacute;trange: le Moi-Peau (</span><span class=""><span class=""><a target="_blank" href="http://fr.wikipedia.org/wiki/Moi-Peau">http://fr.wikipedia.org/wiki/Moi-Peau</a></span></span><span>) . C'est le point de d&eacute;part d'une enqu&ecirc;te qui l'enfonce jusqu'au plus profond des m&eacute;andres du sommeil.</span><br><br><span>Le r&ecirc;ve est ici une matrice dans laquelle plonger &agrave; bras le corps.</span><br><br><span>La partition est &eacute;crite pour un com&eacute;dien, une bruiteuse et une musicienne interpr&egrave;te de musique &eacute;lectronique. Sons naturels, voix, sons synth&eacute;tiques, sont enregistr&eacute;s puis jou&eacute;s en live lors d'une performance publique sur les machines qu'Emmanuelle Gibello a invent&eacute;es, le FONOF* contr&ocirc;leur qui se joue avec des aimants et le Molf* activ&eacute; par des toupies.</span><br><br><span>_________________________________________________________________________________</span><br><br><span>L&rsquo;Epiderme Nomade,</span><br><span>a story by Didier Anzieu (</span><span class=""><span class=""><a target="_blank" href="http://fr.wikipedia.org/wiki/Didier_Anzieu">http://fr.wikipedia.org/wiki/Didier_Anzieu</a></span></span><span>) &nbsp;created in public on Friday, January 23, 2015 at 19:30 at the Gaite Lyrique (</span><span class=""><span class=""><a target="_blank" href="http://gaite-lyrique.net/performance/lepiderme-nomade">http://gaite-lyrique.net/performance/lepiderme-nomade</a></span></span><span>) .</span><br><span>REC fest at Gait&eacute; Lyrique (</span><span class=""><span class=""><a target="_blank" href="http://gaite-lyrique.net/performance/lepiderme-nomade">http://gaite-lyrique.net/performance/lepiderme-nomade</a></span></span><span>) .</span><br><br><span>A little girl of seven is on a train with Didier and Annie Anzieu. Didier tells a dream to Annie. The little girl falls asleep lulled by the dream of Didier and this strange term: Le Moi-Peau (</span><span class=""><span class=""><a target="_blank" href="http://fr.wikipedia.org/wiki/Moi-Peau">http://fr.wikipedia.org/wiki/Moi-Peau</a></span></span><span>) . This is the starting point for an investigation that sinks to the depths of sleep meanders. The dream is here a matrix in which dive head on. The score is written for an actor, a musician and performer bruiteuse electronic music. Natural sounds, vocals, synth sounds are recorded and played live at a public performance on machines Emmanuelle Gibello has invented the FONOF * controller that is played with magnets and Molf * activated tops. A test conducted by Emmanuelle Gibello V&eacute;ronique LAMENDOUR, broadcast in the Atelier de la creation (</span><span class=""><span class=""><a target="_blank" href="http://www.franceculture.fr/emission-l-atelier-de-la-creation">http://www.franceculture.fr/emission-l-atelier-de-la-creation</a></span></span><span>) of France Culture February 4, 2015 from 23h to midnight.</span><br><br><span>Avec / With :</span><br><br><span>Sophie Bissantz bruiteuse;</span><br><span>Slimane Yefsah com&eacute;dien;</span><br><span>Emmanuelle Gibello interpr&egrave;te;</span><br><span>Kerwin Rolland, marchand de sable;</span><br><span>Les molfistes : Thomas Baumgartner, Aur&eacute;lie Charon, In&egrave;s de Bruyn, Ir&egrave;ne Om&eacute;lianenko, Alice Ramond;</span><br><span>Les voix de : Annie et Didier Anzieu, Cl&eacute;ment Sylla.</span><br><span>Une cr&eacute;ation rendue possible gr&acirc;ce &agrave; Christian Zanesi et Philippe Dao du GRM, Bruno Letort, Bernard et Marie-Luce Gibello, Olivier Guillerminet</span><br><br><span>Un essai d&rsquo;Emmanuelle Gibello r&eacute;alis&eacute; par V&eacute;ronique Lamendour.</span><br><span>Diffusion: le 4&nbsp;</span><span class=""><span class="">f&eacute;vrier 2015</span></span><span>&nbsp;</span><span>de 23h &agrave; minuit dans les Ateliers de la cr&eacute;ation (</span><span class=""><span class=""><a target="_blank" href="http://www.franceculture.fr/emission-l-atelier-de-la-creation">http://www.franceculture.fr/emission-l-atelier-de-la-creation</a></span></span><span>) &nbsp;de France Culture.</span><br><span>A radio essay from Emmanuelle Gibello, realised by V&eacute;ronique Lamendour.</span><br><span>Broadcast : February the 4th &nbsp;les Ateliers de la cr&eacute;ation (</span><span class=""><span class=""><a target="_blank" href="http://www.franceculture.fr/emission-l-atelier-de-la-creation">http://www.franceculture.fr/emission-l-atelier-de-la-creation</a></span></span><span>) &nbsp;de France Culture</span><br><br><span>----------------------------------------------------------------------------------------------------------------------</span><br><br><br><span>** Le complexe des gar&ccedil;ons :</span><br><span>------------------------------------------------------------</span><br><span>Cave 40 Bourges</span><br><span>&agrave; la Cave 40 - 21h - 3&euro;</span><br><span>40 bd Lamarck - Bourges</span><br><span class=""><a target="_blank" href="https://www.facebook.com/cave40?fref=ts">https://www.facebook.com/cave40?fref=ts</a></span><br><br><span>Solo au Molf et au FONOF</span><br><br><span>Cr&eacute;&eacute; pour le Music Tech Fest (</span><span class=""><span class=""><a target="_blank" href="http://musictechfest.org/#MTFParis">http://musictechfest.org/#MTFParis</a></span></span><span>) &agrave; l'IRCAM en</span><span>&nbsp;</span><span class=""><span class="">novembre 2014</span></span><span>&nbsp;</span><span>/ Created in november for the Music Tech Fest (</span><span class=""><span class=""><a target="_blank" href="http://musictechfest.org/#MTFParis">http://musictechfest.org/#MTFParis</a></span></span><span>)</span><br><br><span>Extrait/extract :</span><br><span class=""><a target="_blank" href="https://www.youtube.com/watch?v=nEvNfCVIuAY">https://www.youtube.com/watch?v=nEvNfCVIuAY</a></span><br><br><span class=""><a target="_blank" href="https://www.youtube.com/watch?v=JTZ0UWHkR40">https://www.youtube.com/watch?v=JTZ0UWHkR40</a></span><br><br><span>Web article :</span><br><br><span class=""><a target="_blank" href="http://continuo-docs.tumblr.com/post/103442479642/emmanuelle-gibello-myriam-bleau-performances">http://continuo-docs.tumblr.com/post/103442479642/emmanuelle-gibello-myriam-bleau-performances</a></span><br clear="all"><div><div class="gmail_signature"><div dir="ltr">Emmanuelle Gibello<br>47 rue Alexandre Dumas<br>75011 Paris<br>+33(0)610840202<br><br><a href="http://www.scenophonie.net" target="_blank">www.scenophonie.net</a><br><a href="http://emmanuellegibello.bandcamp.com/" target="_blank">http://emmanuellegibello.bandcamp.com</a>
<br><a href="http://www.youtube.com/user/nosuninparis" target="_blank">http://www.youtube.com/user/nosuninparis</a><br><a href="http://www.youtube.com/user/Scenophonie" target="_blank">http://www.youtube.com/user/Scenophonie</a><br><br>
</div></div></div>
</div></div>
Gabriel Menotti | 19 Jan 12:10 2015
Picon

UPCOMING DEADLINE - CFP: Besides the Screen: Piracy in Theory and Practice

apologies for cross-posting! deadline arriving


best!

Menotti


* * *



PIRACY IN THEORY AND PRACTICE

Coventry University, UK, 9 - 10 April 2015

http://besidesthescreen.com/?p=366

We are looking for ongoing research projects to participate in a workshop associated with the AHRC funded Besides the Screen symposium PIRACY IN THEORY & PRACTICE, to be held at Coventry University, UK. The workshop will be on Thursday 9th April, during the first day of the main event.


Departing from the relation of movie piracy with the economy and politics of content distribution, the symposium means to discuss the dynamics of authority embedded in contemporary systems of communication and explore how informal media practices might intervene with the development of new technologies, frame film curating, foster or inhibit particular scholarships, and even raise questions about the ontology of the moving image.


Confirmed speakers at the symposium include Adnan Hadzi (Coventry/UK), Gary Hall (Coventry/UK), Ramon Lobato (Swinburne/Australia), HD Mabuse (CESAR/Brazil), Gabriel Menotti (UFES/Brazil), Paul McDonald (University of Nottingham/UK), Pedro Mizukami (FGV/Brazil), and Jonas Andersson Schwarz (Södertörn University/Sweden).


We welcome proposals from a wide range of topics within this universe, and encourage the participation of PhD candidates and early career researchers. Participation in the workshop is free of charge (as is attendance at the symposium), but all participants must cover their own transportation and accommodation costs.


All participating works will be considered for publication in a special edition of an international, blind peer-reviewed journal.


To submit a proposal, send a text file (doc, docx, rtf) containing a short abstract about your research (~250 words) and bio (~150 words) to the email besidesthescreen-Re5JQEeQqe8AvxtiuMwx3w@public.gmane.org with the subject PROPOSAL – PIRACY IN THEORY AND PRACTICE.


The deadline is 2nd Feb 2015. Selected participants will be notified by 9th Feb 2015.


* * *


Besides the Screen is an international research network active since 2010, involving participants from the UK, Mexico and Brazil. It means to investigate the continuing development of audiovisual practices from a materialistic perspective, deploying artistic and unorthodox methodologies in the context of cinema studies. Its ever-expanding constellation of topics revolves around techniques of projection, the centrality of marginal processes, and the manifold systems of movie storage and transmission. Information about previous events can be found at http://besidesthescreen.com


<div><div dir="ltr">
<span><p><span>apologies for cross-posting! deadline arriving</span></p>
<p><span><br></span></p>
<p><span>best!</span></p>
<p><span>Menotti</span></p>
<p><span><br></span></p>
<p><span>* * *</span></p>
<p><span><br></span></p>
<p><span><br></span></p>
<p dir="ltr"><span>PIRACY IN THEORY AND PRACTICE</span></p>
<p dir="ltr"><span>Coventry University, UK, 9 - 10 April 2015</span></p>
<a href="http://besidesthescreen.com/?p=366" target="_blank">http://besidesthescreen.com/?p=366</a></span><div><span><br><p dir="ltr"><span>We are looking for ongoing research projects to participate in a workshop associated with the AHRC funded </span><span>Besides the Screen</span><span> symposium PIRACY IN THEORY &amp; PRACTICE, to be held at Coventry University, UK. The workshop will be on Thursday 9th April, during the first day of the main event. </span></p>
<br><p dir="ltr"><span>Departing from the relation of movie piracy with the economy and politics of content distribution, the symposium means to discuss the dynamics of authority embedded in contemporary systems of communication and explore how informal media practices might intervene with the development of new technologies, frame film curating, foster or inhibit particular scholarships, and even raise questions about the ontology of the moving image.</span></p>
<br><p dir="ltr"><span>Confirmed speakers at the symposium include Adnan Hadzi (Coventry/UK), Gary Hall (Coventry/UK), Ramon Lobato (Swinburne/Australia), HD Mabuse (CESAR/Brazil), Gabriel Menotti (UFES/Brazil), Paul McDonald (University of Nottingham/UK), Pedro Mizukami (FGV/Brazil), and Jonas Andersson Schwarz (S&ouml;dert&ouml;rn University/Sweden).</span></p>
<br><p dir="ltr"><span>We welcome proposals from a wide range of topics within this universe, and encourage the participation of PhD candidates and early career researchers. Participation in the workshop is free of charge (as is attendance at the symposium), but all participants must cover their own transportation and accommodation costs.</span></p>
<br><p dir="ltr"><span>All participating works will be considered for publication in a special edition of an international, blind peer-reviewed journal.</span></p>
<br><p dir="ltr"><span>To submit a proposal, send a text file (doc, docx, rtf) containing a short abstract about your research (~250 words) and bio (~150 words) to the email </span><a href="mailto:besidesthescreen <at> gmail.com"><span>besidesthescreen@...</span></a><span> with the subject PROPOSAL &ndash; PIRACY IN THEORY AND PRACTICE.</span></p>
<br><p dir="ltr"><span>The deadline is 2nd Feb 2015. Selected participants will be notified by 9th Feb 2015.</span></p>
<br><p dir="ltr"><span>* * *</span></p>
<br><p dir="ltr"><span>Besides the Screen is an international research network active since 2010, involving participants from the UK, Mexico and Brazil. It means to investigate the continuing development of audiovisual practices from a materialistic perspective, deploying artistic and unorthodox methodologies in the context of cinema studies. Its ever-expanding constellation of topics revolves around techniques of projection, the centrality of marginal processes, and the manifold systems of movie storage and transmission. Information about previous events can be found at <a href="http://besidesthescreen.com">http://besidesthescreen.com</a></span></p>
<div><span><br></span></div></span></div>
</div></div>
Maria Chatzichristodoulou | 18 Jan 11:46 2015
Picon

RiDE CfP: Responding to Intermediality

Call for Contributions

RiDE: the Journal of Applied Theatre & Performance
Special themed issue (Vol. 21.3)
Co-edited by Dr. Maria Chatzichristodoulou (University of Hull, UK) and Dr. Mark Crossley (De Montfort
University, UK)

Responding to intermediality
How applied theatre and drama education engage with new intermedial forms.

This themed issue of RiDE invites contributions from practitioners in the field of applied theatre and
drama education that reflect upon the opportunities and challenges of the ever-increasing mutability
of the dramatic form in contemporary cultures across the world. It builds upon the recent themed issue:
Innovation, technology and converging practices in drama education and applied theatre (Volume 17,
Issue 4 2012) in its recognition of technology’s influence in this domain, whilst seeking to consider
the multiple confluences of media that are occurring at a local, national and transnational level;
informing and destabilising many of the conventions of dramatic practice.
This themed issue of RiDE, entitled Responding to intermediality, therefore calls for contributions
that reflect on how applied theatre and drama education have responded or may respond to these new
intermedial and intermodal challenges. Proposals are particularly welcomed from practitioners in
theatre and performance and drama educators who have utilised intermedial practices in applied and
educational settings, and have experiences and observations from a diverse range of discourses that
reflect the geographical and cultural breadth of this theme.
We must be mindful however, that when referring to such hybrid practice, we do not assume that it is either
ubiquitous or uniform across all locations or cultures. Different contexts offer specific
possibilities and tensions dependant on artistic and educational traditions, access to technology,
socio-economic liberties or constraints, gender specific issues, alongside a multiplicity of other
factors. This issue welcomes proposals that are mindful to and analytical of these factors.
Context setting
The specific term intermedia was first coined by the writer and Fluxus artist Dick Higgins in his 1966 essay
succinctly entitled Intermedia, which was an attempt to describe the new hybrid forms of performance
that were proliferating at the time. He noted ‘…much of the best work being produced today seems to
fall between media.’ (1966: 1) There is now, arguably, a constant hybridisation of the dramatic
medium, fusing together new intermedial forms using live disciplines such as dance and circus skills,
but also visual arts and digital practices ranging from film and screen-based practices, through to
telematic, virtual and augmented reality applications. These fusions are not merely combinations of
pre-existing art forms that can be defined and analysed through their constituent parts, but rather they
are new phenomena in which the respective media generate, in the words of Chiel Kattenbelt, a ‘mutual
affect’. (2007: 6) Alongside these confluences of ‘discreet’ media, there are countless modal
interactions where recognisable paradigms, traits or structural elements from one medium are being
appropriated into drama.
In recent years, the subjects of intermediality and intermodality have been reflected upon at length by
many writers, including Freda Chapple and Chiel Kattenbelt (2006), Sarah Bay-Cheng et al. (2010) and
Lars Elleström (2010). Further debates have centred around the proliferation of novel forms of theatre
that are defined and shaped by digital and networking technologies, such as those termed ‘virtual
theatres’ (Giannachi 2004), ‘digital performances’ (Dixon 2007), or other (Benford and
Giannachi 2011, Parker-Starbuck 2011).
Some of these theorizations include critical analysis of how such hybrid forms impact on applied theatre
and socially engaged practice.  Notably, Carroll et al. (2006, 2009) have considered the potential of
technology within the drama classroom to reveal new modes of learning, although their focus was more
specifically on technology as a tool within education, rather than the wider consideration of
intermedial pedagogy. Several writers, including Amy Petersen Jensen (2008) have also highlighted the
significance of multimodal literacies within young peoples lives and how pedagogy may seek to harness
this knowledge more creatively. However, the field is developing so rapidly that only parts of this
territory have been explored to date with limited examples of how drama pedagogy has responded or may
respond in the future.
Contributions
Contributions to this themed issue may be represented in a wide variety of formats, to capture and reflect
the extent of practices. A range of written journal articles are encouraged from short 1,000 word
provocations to longer 4 – 5,000 word papers. We would also welcome dialogues, interviews, and
practitioner reflections. Furthermore, contributors may wish to consider hybrid media responses that
consist of a combination of writing and audiovisual materials, including visual and filmic vignettes
and commentaries on rehearsal processes, class based projects, community interventions and events
etc, which can be accessed online.
It is anticipated that responses to the theme will be diverse, but could consider some of the following questions:

•       What new modes of enquiry does intermediality create for applied theatre educators and learners?

•       What new potential is there for individual and collective learning?

•       How do specific geographical or cultural factors influence applied intermedial practice?

•       What culturally specific opportunities and tensions arise when conventional drama strategies are
encroached upon by other media influences in form and/or content?

•       Do technologically infused drama learning environments connect or isolate us?

•       Do we become fragile or empowered citizens in the face of technology in performance and the
uncertainties of hybridity?

•       What skill-sets or knowledge ‘repositories’ are required to teach drama in these intermedial environments?

•       Do specific groups of learners (age groups, genders etc) respond differently to new intermedia forms?
If so, how and why?

•       How may drama teaching and learning be defined, articulated or argued for in the face of such hybridity?

•       What future paradigms may be predicted in this field?

Proposals may also wish to draw upon key theoretical concepts related to the topics of intermediality and
intermodality including hybridity, hypermediality, intertextuality, intramediality,
remediation, transmediality, digitality and network culture.

BAY-CHENG, S. et al. (eds.) (2010) Mapping Intermediality in Performance.  Amsterdam: Amsterdam
University Press.
BENFORD, S. and GIANNACHI, G. (2011) Performing Mixed Reality.  Cambridge, MA: MIT Press.
CARROLL, J., ANDERSON, M. and CAMERON, D. (2006) real players? drama, technology and education. Trentham Books.
CARROLL, J., ANDERSON, M. and CAMERON, D. (2009) Drama Education with Digital Technology. London: Continuum.
CHAPPLE, F. and KATTENBELT, C. (2006) Key issues in intermediality. In: CHAPPLE, F and KATTENBELT C.
(eds.) Intermediality in Theatre and Performance. Amsterdam: Rodopi. pp. 11 – 25.
DIXON, S. (2007) Digital Performance: A History of New Media in Theatre, Dance, Performance Art and
Installation. Cambridge, MA: MIT Press.
ELLESTRÖM, L. (2010) The Modalities of Media: A Model for Understanding Intermedial Relations. In:
ELLESTRÖM, L. (ed.)Media Borders, Multimodality and Intermediality. Basingstoke: Palgrave
Macmillan. pp. 11–48.
GIANNACHI, G. (2004) Virtual Theatres: An Introduction. London and New York: Routledge.
HIGGINS, D. (1966) Intermedia. The Something Else Newsletter. Vol. 1 No 1. Something Else Press Inc. New
York (online) Available: http://primaryinformation.org/SEP/Something-Else-Press_Newsletter_V1N1.pdf
JENSEN, A. P. (2008) Multimodal Literacy and Theater Education. Arts Education Policy Review, Vol. 109
Issue 5, pp. 19-28.
KATTENBELT, C.  (2007) Intermediality: a Redefinition of Media and a Resensibilization of Perception
(online) Available:http://www.palatine.ac.uk/events/viewreport/515/
PARKER-STARBUCK, J.  (2011) Cyborg Theatre: Corporeal/Technological Intersections in Multimedia
Performance. New York: Palgrave Macmillan.

All proposals, questions and suggestions to: mcrossley@...
and M.Chatzi@...

Proposals: 1st April 2015

First drafts: 1st September 2015
 Hybrid media responses: November and December 2015
 Final copy: 1st February 2016
Publication: May 2016

RiDE: The Journal of Applied Theatre and Performance is a refereed journal aimed at those who are
interested in applying performance practices to cultural engagement, educational innovation and
social change. It provides an international forum for research into drama and theatre conducted in
community, educational, developmental and therapeutic contexts. The journal offers a dissemination
of completed research and research in progress, and through its Points and Practices section it
encourages debate between researchers both on its published articles and on other matters.
Contributions are drawn from a range of people involved in drama and theatre from around the world. It aims
to bring the fruits of the best researchers to an international readership and to further debates in the
rich and diverse field of educational drama and applied theatre.

Peer Review Policy:
All research articles in this journal undergo rigorous peer review, based on initial editor screening and
anonymized refereeing by at least two anonymous referees. All reviewers are internationally
recognized in their field, and the editorial board of Research in Drama Education aims to support
scholars from many different parts of the world.

Website: http://www.tandfonline.com/toc/crde20/current

Dr Maria Chatzichristodoulou

Lecturer in Performance and New Media
Programme Leader MA by Research & PhD in Theatre and Performance
Disability, Equality and Diversity Tutor
School of Drama, Music and Screen
University of Hull

Room: Loten L104
Cottingham Road
Hull, HU6 7RX, UK

T. +44 (0) 1482 465076

http://www2.hull.ac.uk/fass/drama.aspx

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Marcela Okretič | 17 Jan 01:06 2015

The Pirate Cinema by Nicolas Maigret at Aksioma Project Space

Aksioma – Institute for Contemporary Art, Ljubljana, in partnership with Kunsthal Aarhus,
transmediale 2015, Berlin and Abandon Normal Devices, Manchester, presents:

Nicolas Maigret: The Pirate Cinema
www.aksioma.org/pirate.cinema

Aksioma | Project Space
Komenskega 18, Ljubljana, Slovenia
21 January – 20 February 2015

Exhibition opening with lecture by Geoff Cox: Wednesday, 21 January 2015 at 7 pm

Related events:
- Launching of the online version of The Pirate Cinema during the conference Digital Utopias at Hull Truck Theatre (UK): Tuesday, 20 January 2015
- Performance The Pirate Cinema by Nicolas Maigret at transmediale 2015 (DE): Thursday, 29 January 2015, at 9 pm
​ ​

In recent years, piracy and peer-to-peer file sharing of audio-visual contents have become a massive activity involving millions of internet users, and one of the main ways in which cinema is experienced at home. This does not only raise obvious copyright and legal issues, and not only floods us with poor, downgraded versions of the hi-quality original but also potentially challenges cinema’s materiality and the idea of a movie as a linear narrative.

The Peer-to-Peer Sharing protocol is based on small samples file fragmentation. This fragmentation smoothes the exchange between different recipients: when all the “chunks” have been downloaded, the file can then be reconstructed sample by sample until completion, from chaotic scraps received from distinct users. This hidden architecture reveals extraordinary narrative implications, automatizing and randomizing the remix processes widely used in art since the Avant-gardes. 

The Pirate Cinema takes off from here to make the hidden activity and geography of Peer-to-Peer file sharing visible. The project is presented as a monitoring room, which shows Peer-to-Peer transfers happening in real time on networks using the BitTorrent protocol. The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of online activity, with information concerning its source and destination, thus depicts the topology of digital media consumption and uncontrolled content dissemination in a connected world.

The Pirate Cinema is based on a data interception software. It reveals, through a simple diversion, different aspects of exchange platforms, such as the global and multi-situated nature of Peer-to-Peer networks (P2P), the potential for viral transmission, and alternative social models. Its purpose is to make available for aesthetic exploration the pre-existing potentials of Peer-to-Peer architectures. The installation of The Pirate Cinema relies on an automated system that constantly monitors the most viewed torrents. The intercepted data is immediately projected onto a screen, after which it is discarded. The 3 screens installation at Aksioma Project Space visualizes fragmentary files received and sent all over the world.


Real-time for Pirate Cinema, lecture by Geoff Cox
As a portrait of the network in real-time, Pirate Cinema somewhat reflects the temporal complexity of the world now in the coming together of different co-existing ways of being in time. In the talk Geoff Cox wants to suggest that Pirate Cinema might allow us to better understand the dynamics of networked technologies and some of the defining conditions of globalization that underpin the cultural logic of our times.
The lecture is based on Geoff Cox essay, which was commissioned for the Aksioma's new series of brochures PostScriptUM. www.aksioma.org/brochures

The Pirate Cinema (Online)
Abandon Normal Devices (UK), Aksioma - Institute for Contemporary Art, Ljubljana (SI) and Kunsthal Aarhus (DK), in partnership with transmediale (DE) have co-commissioned a new version of The Pirate Cinema project that will be available online at thepiratecinema.com/online from January 20, 2015 onwards. TPC (Online) has been developed with the support of mur.at (A) and creacast.com (F), and was realized in the framework of Masters & Servers, an European adventure focused on a new generation of digital interventionism.

The official release of the co-commission will happen in Hull (UK) during the conference Digital Utopias, an Arts Council initiative curated by Abandon Normal Devices as a trailblazer event for Hull City of Culture 2017.


Nicolas Maigret exposes the internal workings of media, through an exploration of their dysfunctions, limitations or failure thresholds which he develops sensory and immersive audio visual experiences. As a curator, he initiated the disnovation.net research, a critique of the innovation propaganda. He teaches at Parsons Paris and cofounded the Art of Failure collective in 2006. His work has been presented in international exhibitions and festivals: transmediale (Berlin) - File (Sao Paulo) - Museum of Art and Design (New York) - 30th Chaos Communication Congress (Hamburg) - NWFF (Seattle) - SAIC (Chicago) - China Museum of Digital Arts (Beijing) - The Pirate Bay 10th Anniversary (Stockholm) - Palais de Tokyo (Paris) - Eastern Bloc (Montreal) - Gli.tc/h (Birmingham).

Geoff Cox (UK) is Associate Professor in the Dept. of Aesthetics and Communication, and Participatory IT Research Centre, Aarhus University (DK), and Adjunct faculty Transart Institute (DE/US). His research interests lie in the areas of contemporary art and performance, software studies and network culture. He is an editor for the DATA Browser book series (published by Autonomedia). With Alex McLean, he wrote Speaking Code: coding as aesthetic and political expression (MIT Press 2012).


Production of the exhibition: Aksioma - Institute for Contemporary Art, Ljubljana, 2015

Artistic Director: Janez Janša
Producer: Marcela Okretič
Executive Producer: Sonja Grdina
Public Relations: Hana Ostan Ožbolt
Technician: Valter Udovičić
Documentation: Adriana Aleksić

Presented in partnership with Kunsthal Aarhus (DK), transmediale 2015 (DE) and Abandon Normal Devices (UK).

​    
The Pirate Cinema is a project developed with the support of ArtKillArt (F), CNC / DICREAM, La Maison populaire, Conseil Général de Seine-Saint-Denis (F), Eastern Bloc (CA).

The Pirate Cinema is 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: Creative Europe Programme of the European Union, the Ministry of Culture of the Republic of Slovenia, the Municipality of Ljubljana, Institut français de Slovénie
 
Partners for technical equipment: Zavod Projekt Atol, Forum Ljubljana


-- Marcela Okretič Aksioma | Zavod za sodobne umetnosti, Ljubljana Neubergerjeva 25, 1000 Ljubljana, Slovenija Aksioma | Projektni prostor Komenskega 18, 1000 Ljubljana, Slovenija tel.: + 386 – (0)590 54360 gsm: + 386 – (0)41 – 250830 e-pošta: marcela-SrapxctwqdJAfugRpC6u6w@public.gmane.org www.aksioma.org

<div>
    Aksioma &ndash; Institute for Contemporary Art, Ljubljana, in partnership
    with Kunsthal Aarhus,<br><div class="moz-forward-container">
      <div class="moz-forward-container">
        <div dir="ltr">
          <div class="gmail_quote">
            <div dir="ltr">
              <div class="gmail_quote">
                <div dir="ltr">
                  <div class="gmail_quote">
                    <div dir="ltr">
                      <div dir="ltr">
                        <div>
                          <div>
                              transmediale 2015, Berlin and Abandon
                              Normal Devices, Manchester, presents:<br><br>Nicolas Maigret: The Pirate
                                  Cinema<br><a moz-do-not-send="true" href="www.aksioma.org/pirate.cinema">www.aksioma.org/pirate.cinema</a><br><br>Aksioma | Project Space<br>
                              Komenskega 18, Ljubljana, Slovenia<br>
                              21 January &ndash; 20 February 2015<br><br>Exhibition opening with lecture by
                                Geoff Cox: Wednesday, 21 January
                              2015 at 7 pm<br><br>
                                Related events:<br>
                              - Launching of the online version of The

                                Pirate Cinema during the conference
                              <a moz-do-not-send="true" href="http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/">Digital

                                  Utopias</a> at Hull Truck Theatre
                              (UK): Tuesday, 20 January 2015<br>
                              - Performance The Pirate Cinema by
                              Nicolas Maigret at transmediale 2015 (DE):
                              Thursday, 29 January 2015, at 9 pm<br>&#8203;
                              &#8203;<br><br> </div>
                          <div>
                            <div>In
                                recent years, piracy and peer-to-peer
                                file sharing of audio-visual contents
                                have become a massive activity involving
                                millions of internet users, and one of
                                the main ways in which cinema is
                                experienced at home. This does not only
                                raise obvious copyright and legal
                                issues, and not only floods us with
                                poor, downgraded versions of the
                                hi-quality original but also potentially
                                challenges cinema&rsquo;s materiality and the
                                idea of a movie as a linear narrative.</div>
                            <div><br></div>
                            <div>The
                                Peer-to-Peer Sharing protocol is based
                                on small samples file fragmentation.
                                This fragmentation smoothes the exchange
                                between different recipients: when all
                                the &ldquo;chunks&rdquo; have been downloaded, the
                                file can then be reconstructed sample by
                                sample until completion, from chaotic
                                scraps received from distinct users.
                                This hidden architecture reveals
                                extraordinary narrative implications,
                                automatizing and randomizing the remix
                                processes widely used in art since the
                                Avant-gardes.&nbsp;</div>
                            <div><br></div>
                            <div>The

                                  Pirate Cinema takes off from here
                                to make the hidden activity and
                                geography of Peer-to-Peer file sharing
                                visible. The project is presented as a
                                monitoring room, which shows
                                Peer-to-Peer transfers happening in real
                                time on networks using the BitTorrent
                                protocol. The installation produces an
                                arbitrary cut-up of the files currently
                                being exchanged. This immediate and
                                fragmentary rendering of online
                                activity, with information concerning
                                its source and destination, thus depicts
                                the topology of digital media
                                consumption and uncontrolled content
                                dissemination in a connected world.</div>
                            <div><br></div>
                            <div>The

                                  Pirate Cinema is based on a data
                                interception software. It reveals,
                                through a simple diversion, different
                                aspects of exchange platforms, such as
                                the global and multi-situated nature of
                                Peer-to-Peer networks (P2P), the
                                potential for viral transmission, and
                                alternative social models. Its purpose
                                is to make available for aesthetic
                                exploration the pre-existing potentials
                                of Peer-to-Peer architectures. The
                                installation of The Pirate Cinema
                                relies on an automated system that
                                constantly monitors the most viewed
                                torrents. The intercepted data is
                                immediately projected onto a screen,
                                after which it is discarded. The 3
                                screens installation at Aksioma Project
                                Space visualizes fragmentary files
                                received and sent all over the world.</div>
                            <div><br></div>
                          </div>
                          <div><br></div>
                          <div>
                            <div>Real-time

                                    for Pirate Cinema, lecture by
                                  Geoff Cox</div>
                            <div>As
                                a portrait of the network in real-time,
                                  Pirate Cinema somewhat reflects
                                the temporal complexity of the world now
                                in the coming together of different
                                co-existing ways of being in time. In
                                the talk Geoff Cox wants to suggest that
                                Pirate Cinema might allow us to
                                better understand the dynamics of
                                networked technologies and some of the
                                defining conditions of globalization
                                that underpin the cultural logic of our
                                times.</div>
                            <div>The
                                lecture is based on Geoff Cox essay,
                                which was commissioned for the Aksioma's
                                new series of brochures PostScriptUM.
                                <a moz-do-not-send="true" href="http://www.aksioma.org/brochures" target="_blank">www.aksioma.org/brochures</a>
</div>
                            <div><br></div>
                          </div>
                          <div>
                            <div>The Pirate
                                  Cinema (Online)</div>
                            <div>
<a moz-do-not-send="true" href="http://www.andfestival.org.uk" target="_blank">Abandon Normal Devices</a>
                                (UK), <a moz-do-not-send="true" href="http://www.aksioma.org" target="_blank">Aksioma - Institute
                                  for Contemporary Art, Ljubljana </a>(SI)

                                and <a moz-do-not-send="true" href="http://kunsthalaarhus.dk/en" target="_blank">Kunsthal Aarhus</a>
                                (DK), in partnership with <a moz-do-not-send="true" href="http://transmediale.de" target="_blank">transmediale </a>(DE)
                                have co-commissioned a new version of The

                                  Pirate Cinema project that will be
                                available online at <a moz-do-not-send="true" href="http://thepiratecinema.com/online" target="_blank">thepiratecinema.com/online</a>
                                from January 20, 2015 onwards. TPC
                                  (Online) has been developed with
                                the support of <a moz-do-not-send="true" href="http://mur.at" target="_blank">mur.at

                                </a>(A) and <a moz-do-not-send="true" href="http://creacast.com" target="_blank">creacast.com</a> (F),
                                and was realized in the framework of <a moz-do-not-send="true" href="http://www.mastersandservers.org" target="_blank">Masters &amp; Servers</a>,
                                an European adventure focused on a new
                                generation of digital interventionism.</div>
                          </div>
                          <div><br></div>
                          <div>
                            <div>The
                                official release of the co-commission
                                will happen in Hull (UK) during the
                                conference <a moz-do-not-send="true" href="http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/" target="_blank">Digital Utopias</a>,
                                an Arts Council initiative curated by
                                Abandon Normal Devices as a trailblazer
                                event for Hull City of Culture 2017.</div>
                          </div>
                          <div><br></div>
                          <div><br></div>
                          <div>
                            <div>Nicolas

                                  Maigret exposes the internal
                                workings of media, through an
                                exploration of their dysfunctions,
                                limitations or failure thresholds which
                                he develops sensory and immersive audio
                                visual experiences. As a curator, he
                                initiated the <a moz-do-not-send="true" href="http://disnovation.net" target="_blank">disnovation.net</a>
                                research, a critique of the innovation
                                propaganda. He teaches at Parsons Paris
                                and cofounded the Art of Failure
                                collective in 2006. His work has been
                                presented in international exhibitions
                                and festivals: transmediale (Berlin) -
                                File (Sao Paulo) - Museum of Art and
                                Design (New York) - 30th Chaos
                                Communication Congress (Hamburg) - NWFF
                                (Seattle) - SAIC (Chicago) - China
                                Museum of Digital Arts (Beijing) - The
                                Pirate Bay 10th Anniversary (Stockholm)
                                - Palais de Tokyo (Paris) - Eastern Bloc
                                (Montreal) - Gli.tc/h (Birmingham).</div>
                            <div><br></div>
                            <div>Geoff

                                  Cox (UK) is Associate Professor
                                in the Dept. of Aesthetics and
                                Communication, and Participatory IT
                                Research Centre, Aarhus University (DK),
                                and Adjunct faculty Transart Institute
                                (DE/US). His research interests lie in
                                the areas of contemporary art and
                                performance, software studies and
                                network culture. He is an editor for the
                                DATA Browser book series (published by
                                Autonomedia). With Alex McLean, he wrote
                                Speaking Code: coding as aesthetic and
                                political expression (MIT Press 2012).</div>
                          </div>
                          <div><br></div>
                          <div><br></div>
                          <div>
                            <div>Production

                                  of the exhibition: Aksioma -
                                Institute for Contemporary Art,
                                Ljubljana, 2015</div>
                            <div><br></div>
                            <div>Artistic

                                Director: Janez Jan&scaron;a</div>
                            <div>Producer:

                                Marcela Okreti&#269;</div>
                            <div>Executive

                                Producer: Sonja Grdina</div>
                            <div>Public

                                Relations: Hana Ostan O&#382;bolt</div>
                            <div>Technician:

                                Valter Udovi&#269;i&#263;</div>
                            <div>Documentation:

                                Adriana Aleksi&#263;</div>
                            <div><br></div>
                            <div>Presented

                                  in partnership with Kunsthal
                                Aarhus (DK), transmediale 2015 (DE) and
                                Abandon Normal Devices (UK).</div>
                          </div>
                          <div>
                              <div>&#8203;<br>
</div>

                              <div>
                                  <div class="gmail_default">&#8203;
                                    &nbsp; &nbsp; <br>
</div>
                                 </div>
                            </div>
                          <div>
<span>The Pirate Cinema is a
                                project developed with the support of
                                ArtKillArt (F), CNC / DICREAM, La Maison
                                populaire, Conseil G&eacute;n&eacute;ral de
                                Seine-Saint-Denis (F), Eastern Bloc
                                (CA).</span><br>
</div>
                          <div>
                            <p>The
                                  Pirate Cinema is 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).</p>
                          </div>
                          <div><br></div>
                          <div>
                            <div>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>&#8203; </div>
                          </div>
                          <div>Supported

                                by: Creative Europe Programme of the
                              European Union, the Ministry of Culture of
                              the Republic of Slovenia, the Municipality
                              of Ljubljana, Institut fran&ccedil;ais de
                              Slov&eacute;nie</div>
                          <div>
<span>&nbsp;</span><br>
</div>
                        </div>
                        <div>
                          <div>Partners

                                for technical equipment: Zavod
                              Projekt Atol, Forum Ljubljana</div>
                          <div><br></div>
                        </div>
                        <br>
</div>
                    </div>
                  </div>
                </div>
              </div>
            </div>
          </div>
        </div>
      </div>
      -- 
Marcela Okreti&#269;
Aksioma | Zavod za sodobne umetnosti, Ljubljana
Neubergerjeva 25, 1000 Ljubljana, Slovenija

Aksioma | Projektni prostor
Komenskega 18, 1000 Ljubljana, Slovenija
tel.: + 386 &ndash; (0)590 54360
gsm: + 386 &ndash; (0)41 &ndash; 250830
e-po&scaron;ta: <a class="moz-txt-link-abbreviated" href="mailto:marcela <at> aksioma.org">marcela@...</a>
<a class="moz-txt-link-abbreviated" href="http://www.aksioma.org">www.aksioma.org</a>

      <br>
</div>
    <br>
</div>
Joanna Zylinska | 16 Jan 15:22 2015
Picon

Photography of and from the future: Photomediations Machine

We have the pleasure to announce eight new contributions to the curated 
online space Photomediations Machine. In one way or another, they all 
engage with the nature of the photographic medium and its relationship 
with time as not just as something that passes but as active shaping of 
what is to come:
http://www.photomediationsmachine.net

-    A posthuman natural history of the future, by Alexa Horochowski:
http://photomediationsmachine.net/2015/01/13/club-disminucion/

-    Psychoanalyst Benjamín Mayer Foulkes writes about a new vision of 
the image by blind photographer Evgen Bavcar:
http://photomediationsmachine.net/2015/01/13/the-blind-photographer/

-    Masha Tupitsyn’s audio history of amour in cinema is a love 
manifesto presented as a philosophy notebook:
http://photomediationsmachine.net/2014/12/09/love-sounds/

-    The Exploding Plastic Inevitable: Andy Warhol’s multi-screen 
multimedia environment:
http://photomediationsmachine.net/2014/12/09/andy-warhols-exploding-plastic-inevitable/

-    Conan: Bartosz Wajer’s images produced directly on the sensor of a 
dismantled digital camera:
http://photomediationsmachine.net/2015/01/13/conan/

-    Korean artist Jang Suk-Joon uses digital media to create portrayals 
of landscapes:
http://photomediationsmachine.net/2014/12/09/jang-suk-joon-and-the-modern-landscape/

-    I Caught It at The Movies: Elaine Whittaker’s mixed media 
installation of digital images, painting and live bacteria:
http://photomediationsmachine.net/2014/12/09/i-caught-it-at-the-movies/

-    Jisun Choi’s sculpted suitcases as symbolic containers for human 
anxiety:
http://photomediationsmachine.net/2015/01/13/in-case/

************************************************
PHOTOMEDIATIONS MACHINE
http://www.photomediationsmachine.net

Photomediations Machine is a curated online space where the dynamic 
relations of mediation as performed in photography and other media can 
be encountered, experienced and engaged.

Photomediations Machine adopts a process-based approach to image making 
by tracing the technological, biological, cultural, social and political 
flows of mediation that produce photographic objects. Showcasing 
theoretical and practical work at the intersections of art and 
mainstream practices, Photomediations Machine is both an archive of 
mediations past and a site of production of media 
as-we-do-not-know-them-yet. Photomediations Machine is non-commercial, 
non-profit and fully open access.

Curated by Joanna Zylinska and Ting Ting Cheng, Photomediations Machine 
has an International Advisory Board which includes Katherine Behar, Lisa 
Cartwright, Alberto López Cuenca, Asbjørn Grønstad, Richard Grusin, 
Sarah Kember, Max Liljefors, Melissa Miles, Nicholas Mirzoeff, W.J.T. 
Mitchell, Luiza Nader, Nina Sellars, Jonathan Shaw, Katrina Sluis, 
Marquard Smith, Hito Steyerl and Bernadette Wegenstein. It is a sister 
project to the online open access journal Culture Machine 
(http://www.culturemachine.net), established in 1999.

Website: http://www.photomediationsmachine.net
Follow us on Twitter:  <at> Photomediations
Visit us on Facebook: http://www.facebook.com/photomediations.machine

Submissions invited:
http://photomediationsmachine.net/submissions/

--

-- 
Professor Joanna Zylinska
Department of Media and Communications
Goldsmiths, University of London
http://www.joannazylinska.net

Curator of Photomediations Machine
http://www.photomediationsmachine.net

NEW BOOK, Minimal Ethics for the Anthropocene, available open access:
http://www.openhumanitiespress.org/minimal-ethics.html


Gmane