Thierry Théolier | 2 Mar 19:49 2015
Picon

article sur APAR / texte "NIGHTWORKS" / article "Vivre sans pornographie (ou presque)" dans Technikart + passage RADIOMARAIS

Sorry only in french (dudes are lazy)

*
Bonsoir,

Veuillez recevoir le lien du dernier article concernant le projet sonore
"2000 What The Fuck - 2ème acte" (Jokari Garage)





La suite....
http://www.apar.tv/musique/thierry-theolier-son-disque-rare-pour-loosers-magnifiques

L'album est écoutable ici :
https://jokarigarage.bandcamp.com/album/2000-what-the-fuck-2-me-acte-2

Les remixs de "NON MEC" sont là :
https://jokarigarage.bandcamp.com/album/non-mec-rmx



Pour commander l'album...
http://thth.free.fr/jokari_garage



Je donne des lectures performées pour ce projet de spoken word techno low fi poésie directe
la dernière a été donné à la JIMI (journée des initiatives musicales indépendantes)

N'hésitez pas à me contacter si vous êtes intéressés...

Je joins un flash de mon avant dernier article publié dans le magazine TECHNIKART
"Vivre sans pornographie (ou presque)" sorti en décembre/janvier dernier, la version
finale sera publiée par DENISE LABOUCHE éditions pour compléter la version du
"Dude Manifesto" (sortie avril prochain)

Voici également un texte publié sur le site de Denise Labouche "NIGHTWORKS"
http://dleditions.com/2015/02/12/nightworks

Vous pourez également écouter une interview que j'ai donné pour Radiomarais concernant
le récent reboot du magazine parisien avec le rédacteur en chef.



http://www.radiomarais.fm/technikart

Bonne soirée !

Dudesquement.

Thierry

**



<div>
    <div align="center">Sorry
        only in french (dudes are lazy)<br>
</div>
    <div class="moz-forward-container">
      <div align="center">
<br>
          *<br>
          Bonsoir,<br>
</div>
      <div align="center">  <br> Veuillez recevoir le
          lien du dernier article concernant le projet sonore<br> "2000 What The
            Fuck - 2&egrave;me acte" (Jokari Garage) <br> <br> <br> <br> <br> <br> La suite....<br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="http://www.apar.tv/musique/thierry-theolier-son-disque-rare-pour-loosers-magnifiques/">http://www.apar.tv/musique/thierry-theolier-son-disque-rare-pour-loosers-magnifiques</a><br> <br> L'album est &eacute;coutable
          ici :<br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="https://jokarigarage.bandcamp.com/album/2000-what-the-fuck-2-me-acte-2">https://jokarigarage.bandcamp.com/album/2000-what-the-fuck-2-me-acte-2</a><br> <br> Les remixs de "NON
          MEC" sont l&agrave; :<br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="https://jokarigarage.bandcamp.com/album/non-mec-rmx">https://jokarigarage.bandcamp.com/album/non-mec-rmx</a><br> <br><br> <br> Pour commander
          l'album...<br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="http://thth.free.fr/jokari_garage">http://thth.free.fr/jokari_garage</a><br> <br> <br> <br> Je donne des lectures

            perform&eacute;es pour ce projet de spoken word
            techno low fi po&eacute;sie directe<br> la derni&egrave;re a
          &eacute;t&eacute; donn&eacute; &agrave; la JIMI (journ&eacute;e des initiatives musicales
          ind&eacute;pendantes)<br>    <br> N'h&eacute;sitez pas &agrave; me
          contacter si vous &ecirc;tes int&eacute;ress&eacute;s...<br> <br> Je joins <a moz-do-not-send="true" href="https://www.facebook.com/Trickster021268/photos/pb.8117804801.-2207520000.1425306772./10152933533499802/?type=1&amp;theater">un

            flash</a> de mon avant dernier article publi&eacute; dans le
          magazine TECHNIKART<br> "Vivre sans
          pornographie (ou presque)" sorti en d&eacute;cembre/janvier dernier,
          la version<br> finale sera publi&eacute;e
          par DENISE LABOUCHE &eacute;ditions pour compl&eacute;ter la version du<br> "Dude Manifesto"
          (sortie avril prochain)<br> <br> Voici &eacute;galement un
          texte publi&eacute; sur le site de Denise Labouche "NIGHTWORKS"<br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="http://dleditions.com/2015/02/12/nightworks">http://dleditions.com/2015/02/12/nightworks</a><br> <br> Vous pourez &eacute;galement
          &eacute;couter une interview que j'ai donn&eacute; pour Radiomarais
          concernant<br> le r&eacute;cent reboot
          du magazine parisien avec le r&eacute;dacteur en chef.<br> <br> <br> <br> <a moz-do-not-send="true" class="moz-txt-link-freetext" href="http://www.radiomarais.fm/technikart">http://www.radiomarais.fm/technikart</a><br> <br> Bonne soir&eacute;e !<br> <br> Dudesquement.<br> <br> Thierry <br><br>
        **≤br>
</div>
       <br> <br>
</div>
    <br>
</div>
eb | 2 Mar 19:49 2015

[Bioartsociety] HYBRID MATTERs - open call for artwork productions in the Nordic countries


Please apply and distribute - sorry for cross posting:

	Open call for artwork productions in the Nordic countries:

++ About

	HYBRID MATTERs is a two year Nordic art&science network program which
investigates the convergence of the physical and digital world into a 
hybrid ecology.

	HYBRID MATTERs is an interdisciplinary and integral program  consisting
of artistic research, citizen art&science and artistic field work
activities, the production of artworks, a touring exhibition, workshops
and a final conference.

	HYBRID MATTERs will select two Nordic artists or artist groups
who will receive each a production grant of EURO 10.000 to produce a
work for the HYBRID MATTERs touring exhibition in 2016. The exhibitions
will be at Kunsthall Grenland in Porsgrunn/NO (March 2016), Nikolaj
Kunsthall in Copenhagen/DK (July 2016) and Forumbox in Helsinki/FI
(October 2016).

++ Eligibility: 

	Artists and artist groups from or based in the Nordic countries:
Denmark, Finland, Island, Norway, Sweden, Faroe Islands, Greenland and
Aland.

++ Deadline: 

	Friday 3rd of April 2015

++ Theme:

	We are looking for proposals of new works which address and respond to
convergent ecologies and examine the digital as a converging factor. We
consider anything with a physical and digital aspect at the same time as
hybrid matter and thus an actor in a hybrid ecology. For more
information please visit http://hybridmatters.net

++ Application process

	Apply via http://hybridmatters.net

For questions please contact info@... 

--

-- 
Erich Berger
Toiminnanjohtaja / Director
The Finnish Society of Bioart
http://bioartsociety.fi

furtherfield | 2 Mar 17:26 2015
Picon

Open Call | The NetArtizens Project | March 2 - April 2, 2015

Sorry for any cross posting...

The NetArtizens Project- a month of artistic collaboration, exhibition & discussion with 3 flavours of online participation
March 2 - April 2, 2015

a project of Furtherfield with Nick Briz & Joseph Yølk Chiocchi as part of the Art of Networked Practice | Online Symposium

http://www.furtherfield.org/netartizens/

Open Call

Join The NetArtizens Project to explore, express, and debate the role of the network in our individual and collective practice as artists, scholars, educators, and citizens of the Net. You can also contribute to the NetArtizens Open Online Exhibition, an evolving showcase of works submitted between March 2 – April 2, 2015.

During March 2015, Randall Packer, convener of The Art of Networked Practice | Online Symposium, will host a month of discourse and artistic production across 3 network channels. Using any and all available network tools- software, email, browsers, apps, devices etc. - we will discuss, remix, and engage each others’ words and works in the form of utterances, files, behaviours, codes, glitch, protocols, instructions, manifestos, games, and net theories.

How do I get involved?

We provide three online channels that connect & support different modes of collaborative networked art production, discussion, and circulation:

Netbehaviour: Furtherfield's experimental mailing list of net artists, hackers, techies, and activists, a forum for discussion and sharing artistic work. Follow this link to Subscribe. Moderated by Randall Packer, participants are invited to discuss, make, send, receive and remix things (or links to things) via email. Your inbox is part of a distributed, collective artwork.
http://furtherfield.org/netbehaviour

Twitter: A global network of micro bloggers & commentators will follow <at> netartizens on Twitter, an ongoing narrative of the project offering comments, links, media, and social taxonomies for remix using the #netartizens hashtag.
https://twitter.com/netartizens

Op3nR3p0: Glitch-artists and hacker-makers from the demo scene and emerging digital arts culture submit your artworks to the open repository Op3nR3p0.net, providing metadata: name, title and description of your work for inclusion in The NetArtizens Open Online Exhibition. Op3nR3p0 is a project of Nick Briz & Joseph Yølk Chiocchi.
http://submit.0p3nr3p0.net/

From March 2 - April 2, 2015 the three channels of The NetArtizens Project will be noisy with your net behaviours, online commentaries and artistic work. All project activity, questions and issues will be incorporated into the culminating virtual roundtable global exchange that takes place on the final day of The Art of The Networked Practice | Online Symposium, Thursday 2 April, 4:00 PM – 5:30 PM SGT. Moderated by Randall Packer, the discussion will involve leading media artists and theorists from around the world participating in the symposium, including: Vibeke Sorensen, Jon Cates, Lev Manovich, Charlotte Frost, Melinda Rackham and Furtherfield Co-directors Ruth Catlow and Marc Garrett. See programme for additional details.

The NetArtizens Project
http://www.furtherfield.org/netartizens/

The Art of the Networked Practice | Online Symposium
http://oss.adm.ntu.edu.sg/symposium2015/

Reportage from the Aesthetic Edge
http://www.randallpacker.com/
<div><div dir="ltr">Sorry for any cross posting...<br><br>The NetArtizens Project- a month of artistic collaboration, exhibition &amp; discussion with 3 flavours of online participation<br>March 2 - April 2, 2015<br><br>a project of Furtherfield with Nick Briz &amp; Joseph Y&oslash;lk Chiocchi as part of the Art of Networked Practice | Online Symposium<br><br><a href="http://www.furtherfield.org/netartizens/">http://www.furtherfield.org/netartizens/</a><br><br>Open Call<br><br>Join The NetArtizens Project to explore, express, and debate the role of the network in our individual and collective practice as artists, scholars, educators, and citizens of the Net. You can also contribute to the NetArtizens Open Online Exhibition, an evolving showcase of works submitted between March 2 &ndash; April 2, 2015.<br><br>During March 2015, Randall Packer, convener of The Art of Networked Practice | Online Symposium, will host a month of discourse and artistic production across 3 network channels. Using any and all available network tools- software, email, browsers, apps, devices etc. - we will discuss, remix, and engage each others&rsquo; words and works in the form of utterances, files, behaviours, codes, glitch, protocols, instructions, manifestos, games, and net theories.<br><br>How do I get involved?<br><br>We provide three online channels that connect &amp; support different modes of collaborative networked art production, discussion, and circulation:<br><br>Netbehaviour: Furtherfield's experimental mailing list of net artists, hackers, techies, and activists, a forum for discussion and sharing artistic work. Follow this link to Subscribe. Moderated by Randall Packer, participants are invited to discuss, make, send, receive and remix things (or links to things) via email. Your inbox is part of a distributed, collective artwork.<br><a href="http://furtherfield.org/netbehaviour">http://furtherfield.org/netbehaviour</a><br><br>Twitter: A global network of micro bloggers &amp; commentators will follow  <at> netartizens on Twitter, an ongoing narrative of the project offering comments, links, media, and social taxonomies for remix using the #netartizens hashtag.<br><a href="https://twitter.com/netartizens">https://twitter.com/netartizens</a><br><br>Op3nR3p0: Glitch-artists and hacker-makers from the demo scene and emerging digital arts culture submit your artworks to the open repository Op3nR3p0.net, providing metadata: name, title and description of your work for inclusion in The NetArtizens Open Online Exhibition. Op3nR3p0 is a project of Nick Briz &amp; Joseph Y&oslash;lk Chiocchi.<br><a href="http://submit.0p3nr3p0.net/">http://submit.0p3nr3p0.net/</a><br><br>From March 2 - April 2, 2015 the three channels of The NetArtizens Project will be noisy with your net behaviours, online commentaries and artistic work. All project activity, questions and issues will be incorporated into the culminating virtual roundtable global exchange that takes place on the final day of The Art of The Networked Practice | Online Symposium, Thursday 2 April, 4:00 PM &ndash; 5:30 PM SGT. Moderated by Randall Packer, the discussion will involve leading media artists and theorists from around the world participating in the symposium, including: Vibeke Sorensen, Jon Cates, Lev Manovich, Charlotte Frost, Melinda Rackham and Furtherfield Co-directors Ruth Catlow and Marc Garrett. See programme for additional details.<br><br>The NetArtizens Project<br><a href="http://www.furtherfield.org/netartizens/">http://www.furtherfield.org/netartizens/</a><br><br>The Art of the Networked Practice | Online Symposium<br><a href="http://oss.adm.ntu.edu.sg/symposium2015/">http://oss.adm.ntu.edu.sg/symposium2015/</a><br><br>Reportage from the Aesthetic Edge<br><a href="http://www.randallpacker.com/">http://www.randallpacker.com/</a><br>
</div></div>
Matze Schmidt | 2 Mar 11:44 2015
Picon

Playmais-Materialismus?

|<----- Breite: 72 Zeichen - Fixer Zeichensatz: Courier New, 10 ------>|

n0name newsletter 165 Mo., 02.02.2015 11:20 CET

*Inhalt/Contents*

1. Playmais-Materialismus?
   Interview mit Toshimaru über ZENismus und Dispositive als Dispo

ca. 6 DIN A4-Seiten

http://n0name.de/news/news165.txt

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

1.

Playmais-Materialismus?

Interview mit Toshimaru über ZENismus und Dispositive als Dispo

(Umlaute!)
Unicode (UTF-8)

Matze Schmidt: Am Montag spielst Du in Berlin in einer für Dich 
ungewöhnlichen Besetzung.

Toshimaru: So ungewöhnlich ist die nicht. Dass wir jetzt das fast 
schon traditionelle Instrument E-Gitarre neben den Maschinen in den 
Klang integrieren, ist kein Defizit. Im Gegenteil, versuchen wir das 
Konzept dieser aktiven Passivität der Maschine gegenüber etwas zu 
unterlaufen.

Also ist Zen nicht mehr der wichtigste Bezugspunkt?

Du hast doch für radi0.tv diesen ganz neuen Track online gestellt, auf 
dieses Erfolgsportal Soundcloud. Dort werden die Worte No Input als 
Tag in Hashtag "no" und Hashtag "input" aufgesplittet. Eine gute 
Taktik, die Automatismen das Semantische mit-entscheiden zu lassen und 
das auch zu zeigen. Diese ganze Nietzscheanische Herangehensweise, der 
Überhöhung und Stilisierung des Typewriter nervt ja nur noch. Das war 
immer der Versuch, Evidenzen doch noch zu entkommen, also dem 
Offensichtlichen in Kunst zu entweichen.

Und das wäre nun vorbei?

Ich glaube jede neue Generation wird die Verdrängungen neu erkennen 
müssen. Die Atomkatastrophen sind in Japan der Ursprung des Mythos aus 
der Technik. Wir können hier nichts kontrollieren, darum dann diese 
Unversicherung und Affirmation zugleich. Statt das Herstellen zu 
erneuern, wird es ästhetisch gemacht.

Mh, ja. Die Technologietheorie hat Produktion aufs Technische 
gemittelt und anthropologisiert. Nochmal zu Instrument, Maschine und 
Ausdruck. Siehst Du da ein gewandeltes Verhältnis?

Ich weiß nicht genau. Klar ist, dass die Expressionismen, wie sie von 
Noise-Leuten hier und da gepflegt werden nicht mehr ausreichen. Es ist 
mittlerweile jedem deutlich, dass ein dekonstruiertes Dispositiv 
und das sich Verhalten dazu und basteln daran interessante 
wie-auch-immer-punkige Sounds macht. Das macht aber noch keine 
neue Industrie aus.

Man überschätzt sich. Aber der hörbare Sound und der 
Herstellungsprozess, Machen und Ergebnis fallen dabei doch 
auseinander. Kann man damit nicht arbeiten?

Warum sollte man das denn wieder zusammenfügen wollen. Zen war oder 
ist doch gerade der Versuch das auseinandergefallene Gesellschaftliche 
wieder zu vereinen. Aber nicht auf der Ebene freier reflektierter 
Entfaltung, sondern auf der Versöhnung von Natur und Kultur. Ich sehe 
aber da keine Versöhnung, weil diese nur in der Kunst gelaufen ist.

Romantik?

Ja, Neo-Neo-Romantik vielleicht. Nicht in den realen 
Herstellungsprozessen für alle möglichen Güter sollen Natur, Kultur, 
Technik ausbalanciert werden, das soll nur auf der Bühne geschehen.

Und wenn das konsequenter kritisiert werden soll, müsste man die Bühne
verlassen?

Ich glaube ja. Das Format Konzert sollte als Spielen aufgefasst 
werden, und Spielen als funktionaler Ansatz der Vermittlung. Die 
Klang- und Radio-Labors sind im Basteln versunken und bleiben im 
geschützten Biotop direkter Zwischenmenschlichkeit. Warum sollte ich 
diese Inseln weiter wie Robinson beschallen?

Was hältst Du von der offiziellen deutschen Klangkunst?

Die ist ziemlich getrieben in Richtung Technikprimat und Bedingungen. 
Die steht für sich. Lötworkshops sind doch keine Lösung, wenn die 
Repräsentativisten der Schönheit das Sagen haben. Diese Relaxtheit 
sollten wir aufgeben, wir sollten uns dem Klang nicht einfach nur 
hingeben. Jede Nuance hat ihre Berechtigung aber auch ihren Kontext, 
je nach dem.

Und Shin, also Stille hilft auch nicht?

Shin, hehe. Sollte sich jeder mal gönnen.

Aber nicht als Gesamtkonzept für den Klangraum.

Ja, der Klangraum ist alles. Das ist aber nicht kosmologisch gemeint.

Toshi, es gibt diese Ideophone im japanischen Comic -- liest Du Mangas?

Nein, wenig.

Mh, wenn zum Beispiel dieses "shiin" etwas nicht Hörbarem einen Sound 
gibt, wäre ein solcher Klangsymbolismus nicht der Ansatz, Reflektion 
und improvisierte Aussage zu mixen?

Tara-tara, toro-toro. Ja, Reflektion und Impro. Aber nur wieder in der 
Meta-Sprache. 

Was heißt Tara-tara, toro-toro?

Eine Lautverschiebung. Tara-tara bedeutet etwas Dickes Cremiges 
Tröpfelndes, toro-toro heißt dickflüssig.

Ah, eine Spitzfindigkeit, Genauigkeit.

Ich meine, man sollte auf Strukturen gehen. Zum Beispiel Orchester für 
sich abschaffen, den Klang des Zuhörens wieder brechen, denn Zuhören 
macht den Klang, und jeder, der spielt, ist der erste Zuhörer. Ich 
glaube nicht, dass alles einen Klang hat. Obwohl ein solcher Glaube 
entgegen der christlichen Antisensualität schon ganz gut tut. Aber 
diese Idee, der Kosmos und alles, klinge in sich, weist jedem 
historisch gewordenen Ding und den Zusammenhängen das selbe 
geschlossene Konzept zu.

Aber wäre das, so ein materialistischer Klangsymbolismus, nicht das 
vermessene Gegenstück zur Aufhebung der schrecklichen, unberechenbaren 
Wirklichkeit in der Hochkultur? Die Aufhebung von Machen und 
Konsumieren kann man doch nicht künstlich erzwingen.

Doch, das müssen wir. Um daraufhinzuweisen, dass virtuoses Spiel und 
kein Onkyo gegen manipulativen Dauersoundtrack und Flucht-Beschallung 
etwas ausrichten kann, wenn sie lediglich Rückzüge sind.

Also wäre die buddhistische Seite des Zen einer Kritik auszusetzen?

Das europäische Dispositiv ist bestenfalls zum intellektuellen Dispo 
geworden, oder? Damit kann man sich in die akademische Medienwelt 
einkaufen. Die materiale Seite von Zen wäre weiterhin spannend. Zu 
sagen, es gibt keinen No Input wäre beinahe zu wenig, weil es bloß den 
Bezugpunkt wechselt. Für den Mann am Mixer ohne Eingangssignal gibt es 
kein bedeutungsvolles oder irgendwie geordnetes Signal von Außen. Das 
verweist ja nicht nur auf die Flucht -- positive Flucht vor dem 
Beschallungsterror. Es verweist auch auf die Elektrizität und das 
Gerät, aus der das Signal und der Ton gemacht wird.

Also mit dem neuen Interesse am Materialismus, ohne metaphysische 
Transzendenz, eine ästhetische Sensibilisierung für veränderbare 
Seinsgegebenheiten. Jeder No-Input Mixer muss die Schallwandlung aber 
mitbedenken. Also wäre an dieser Stelle No Input eine Art 
materialistische Denkweise?

Mh, wenn zu sagen "es gibt keinen No Input" nicht reicht, kann man 
auch sagen "ohne Material kein Output". Der No Input Mixer hat ja 
einen Input, nur einen vor dem Schall, etwas bevor etwas etwas 
bedeuten könnte, so als handele es sich um reines Material, als sei 
es das Grundexistentielle. Die Bezeichnung No Input will nur plakativ 
sagen, was es nicht weiß. Dass es auf elektrischen Strom ...

Die Metaphorik der Elektrizität.

... angewiesen ist und Draht und Papier und so weiter, und hier 
akustische Signale in elektrische Signale und umgekehrt gewandelt 
werden. Eine relativ einsichtige Form, pure Form (!) der Demonstration 
des Technik-Natur-Verhältnisses. Fast schon ein Physikbaukasten. Das 
Resultat, dieses Feedbackgeknackse und Fiepsen, ist faszinierend, aber 
relativ unwichtig. Dieses Resultat muss man eventuell wieder wichtig 
machen und nicht allein die Bespielung thematisieren.

Feedbackmixing vom existentialstischen Wieso und Weshalb befreit.

Ja, Vergegenwärtigung ohne Ich-ich-ich-Versenkung. Der 
Instrumentalismus hört immer nur den kommenden Ausgang, das was 
narzisstisch zu sagen wäre. Die entmystifizierte Maschine kann zum 
narzisstischen Instrument werden. Aber da streiten sich die Modelle 
vom Subjekt. Wäre das Instrument nun das Gerät des sich mit anderen 
verwirklichende Individuum oder verwirklichende Subjekt, oder sagt 
das Subjekt immer nur das, was bereits angesagt ist? Spielt die 
Maschine oder ihr Programmierer als Graue Eminenz, und wird 
Reprogrammierung mit Retraining und mit den Verhältnissen verwechselt?

Gut, auf die neue Relationalität von Maschine und Mensch sind wir ja 
zur Genüge vorbereitet worden. Die breite Medienaufmerksamkeit mit 
dem schwulen Turing als Vertreter der erweiterten Diversity in The 
Imitation Game, der hitchBOT und vor Jahren die Cyberpunk und 
Cyborggeschichten zielen allein nicht nur auf die Akzeptanz der 
Maschine als ebenbürtiger Einheit, wie ein R2D2. Sie zielen auch auf 
eine Abgrenzung von ihr, als Spezies, welche die Automatisierung 
erkennt, ohne sie zur Bedrohung zu erhöhen. Aber Turings Affront ist 
weniger das der Maschine, die war als Untergeordnetes mit Eigendynamik 
schon lange bekannt, sondern, dass menschliches Tun simulierbar ist.

Ja, wenn wir über die Klänge, die wie Blumengestecke und 
Kreuzworträtsel funktionieren sollen hinauskommen wollen, wäre von der 
Naturalisierung von Technik abzusehen. Was ein ganz wichtiges, sagen 
wir Training wäre. Denn Sounds ändern an banalen Tatsachen wie 
Geldverdienen, Abwaschen Kommando nichts direkt, höchstens zur 
Arbeitserleichterung taugen sie. Ich denke, solange der maschinellen 
Eigendynamik kein Eigensinn zugewiesen wird, müssen sich die 
wirklichen Roboter, Arbeiter, keine Sorgen um ihre Ausbeutung machen.

Zdenek Pešánek hatte für die Edison Transformatorenstation in Prag 
eine Lichtskulptur entworfen. In der Nationalgalerie in Prag wird das 
Brummen der Transformatoren hinter Holzplatten simuliert und das 
Perpetuum mobile damit wieder hervorgeholt.

Ja, sie holen das Perpetuum mobile raus und zeigen zwar so 
stahlträgerartige Formen und Glas, Zeichen der Moderne. Aber eben der 
so genannten Moderne. Wenn ich Hand anlege an die Regler, setze ich 
mich wenigstens ins Verhältnis zum Produkt. Vergessen wir nicht, 
Futurismus ist kein Mainstream, er ist nur akzeptiert in eine seiner 
Erscheinungen, so wie der Kies im Garten, den der 
Grundstückseigentümer am Wochenende recht. Der Gegensatz Sprache und 
Sound ist ein falscher. Die Strukturierungsmomente und die Verweise 
sind entscheidend, nicht das fixum. Der Verweis muss überhaupt wieder 
in den abstrakten HipHop hinein.

HipHop?

Ja. Genres sind erstmal völlig zu vernachlässigen, weil sie ja heute 
alle greifbar sind, nutzbar sind. Instrumental-HipHop gab keine 
musikalische Basis für einen Rap mehr her. Und Noise ist auch eine 
Reaktion darauf, weil darin immer noch Gestus war. Aber Noise ist 
kein Universalgenre, das alle anderen frisst. Diese essentialische 
Klangharmonie, angeblich ohne die bisherigen Muster der Musiken, ist 
nur tendenziell Leere. Das kann man daran erkennen, dass Noise immer 
voll voll voll ist. Je mehr Schallquellen oder Signale, um so besser, 
desto mehr Komplexität lässt sich für den Bediener erreichen. Die 
materielle Basis ist selbstverständlich gegeben und ausschlaggebend 
für das Ergebnis, das sich durchaus von der Tonalität unterscheidet 
und etwas anderes will. Oder eben Wollen nicht will. Aber es wird 
wohl nicht genügen, dem ganzen Dröhnen einfach die richtigen Messages 
zuzumischen, um wieder politisch zu werden.

Ja, denn neben dem Warum man solchen Klang macht, machen lässt, wenn 
man nicht ins Fummeln mit Playmais verfallen will oder die wunderbar 
freie anarchische Beliebigkeit unbegrifflicher 
Kreuzworträtsel-Kombinatorik ...

Die aber auch begrifflich produktiv wirken kann.

... aber es wird assoziativistisch. Wenn etwa das Querwort zu 
Japanisch sagen wir Schnee lauten kann oder zum Beispiel Andreas, 
liegen verschiedene Assoziationen vor, die gleichwertig erscheinen, 
aber inhaltlich weit auseinanderliegen.

Gut nehmen wir, weil das für Spielsituationen als öffnender Score 
genutzt werden kann Kreuzworträtsel und das Wort Japanisch. In 
Kreuzworträtseln gibt es immer Reste zwischen den Feldern. Das kann 
ein SA sein, ein HH, ein HT oder soetwas. Dafür ...

Für etwas, das nichts bedeutet, bezeichnet.

... würde sich eine lettristische Strömung des Noise interessieren. 
Lettern als Material und Bedingung. Eine solche Strömung existiert 
aber vielleicht garnicht. Weil der radikale Krach, Verweigerung, 
abstrakte Formel, sich sogar noch der Bewertung des Randständigen 
entzieht. HH oder HT bedeuten dann nichts mehr, außer sich selbst 
zu sein.

Wenn es dieses Sich übergeordneter Eigenbewegung denn gibt. Die 
kritischen Realisten benötigten immer etwas, das schon denonativ, 
konnotativ besetzt war, noch nicht zerlegt und 'gestört' war, um es 
zu zerlegen. Das macht sie zu Formalisten, die abhängig vom 
Gegebenen, dessen Zusammenhang nicht erkennen. Was wiederum hilft, 
die Grammatiken zu verstehen.

Daran erkennt man aber auch ihren Befreiungsmessianismus, ihr 
Zerhacken. Wenn kein Sujet mehr vorliegt, kann nichts zerstört 
werden. Wenn keines angestrebt wird, gibt es kein Aussage mehr, 
außer der des zu leugnenden Kontextes der Musiken. Wird sogar dieser 
Nicht-Kontext aufgegeben, liegt dieser nicht vor, stünden die Dinge 
frei und wären, was sie an sich sind. Ein Stein, ein Tintenstrich, 
ein Zwirbeln.

Genau das war ja mit Playmais gemeint. Man kann alles ohne 
geschichtlichen Zusammenhang bauen, aber es bleibt ohne Relevanz 
außerhalb des Spiels.

Ist nur Spiel.

Ja.

Kann aber zu etwas führen.

Toshimaru und Matzu spielen mit dem Transnational Noise Orchestra am 
2. März im Madame Claude in der Lübbener Str. 19 in Berlin.

Real Improvised       from Japan®

+?? YaHei

Toshimaru + Matzu

We're happy that there is no No-Input there. Since a signal 
is a meta of sound and not of off. We're also sorry 
that there is no Oke <Orchestra> and no Toshimaru here, 
a „who is who“ actually from Japan and your own projection.

We're happy that there is No-Input there. Since a signal 
is a signal of meta thus of hyperspiritual sound. We're also 
happy that there is this Oke <orchestra> and a Toshimaru 
here, who is actually from another land. We play NoNo-Input 
and Anti-Noise.

We're happy that there is no No-Input there. Since a signal 
is a signal of matter and not of spiritual sound. We're also 
sorry that there is no Orchestra <Oke> but a Toshimaru here, 
a „who is who“ actually from  •  and your own projection.

We're sorry that there is no No-Input there. Since a signal 
is a meta of matter and not of geist. We're also sorry 
that there is no philharmonic but a Toshimaru here, 
one „who is who“ actually not from • (<- red dot) or your
own projection.

Toshimaru + Matzu & The Transnational Noise Orchestra at
Madame Claude (Berlin) Mar 2, 2015 http://www.madameclaude.de/events/experimontag-63/

Printflyer (PDF) http://n0name.de/radio/eflyer/toshimarumatzuflyer.pdf

https://soundcloud.com/radi0tv/there-is-no-no-input

www.radi0.tv Web Safe #0000FF

Danke an Krach der Roboter

------------------ End/e des/of n0name newsletter 165 ------------------

Diego Ugalde | 27 Feb 10:17 2015

Call NEXT THINGS 2015 – CONDUCTA, the Forth Global Art & Technology Challenge

Hi,

 

Telefonica R+D and LABoral are seeking researchers/artists/designers who are working on artistic and research projects exploring the modulation of human behavior in groups of people through new technologies, particularly ideas and techniques involving data mining and pattern recognition, machine learning, collective group behavior and wearable technologies and biometric data and similar.


Key Words: Quantifed Self, behavior, self-tracking, aggregate data, machine learning, wearable tracking


It is important to reflect on these frameworks and to explore the impact that the Internet of Things, and Interactions Machine to Machine (M2M) can have on the lives of people, on a scale that spans from individual to whole societies.


It will be appreciated in the proposals:

- That may be converted in manufactured objects, employed by people and societies.

- Connected wirelessly to the Internet.

 

The selected project will be awared with a six (6) month artist fellowship, split between  LABoral Centro de Arte y Creación Industrial (through Plataforma 0. Production Centre) in Gijón for (2) two months and Telefónica R+D (Telefonica's technology research and development arm) in Barcelona for (4) four months. The goal of the fellowship is to enable the fellow to bring the chosen idea to life.

 

The artist will receive twelve thousand euros (12,000 €) gross as fees and a grant of up to two thousand euros (2,000 €) gross for travel, accommodation and expenses at LABoral.

 

More information: http://www.laboralcentrodearte.org/en/r/convocatorias/nextthings15

 

 

Diego Ugalde

Social Media

 

 

 

 

LABoral Centro de Arte y Creación Industrial

Los Prados, 121 / 33394 Gijón / Asturias - España

T.+34 985 185 577  / F.+34 985 337 355

www.laboralcentrodearte.org

 

Cuidemos del medio ambiente. Por favor no imprimas este e-mail si no es  necesario.

 

Este documento se dirige exclusivamente a su destinatario. Contiene información CONFIDENCIAL sometida a secreto profesional 

cuya divulgación esta prohibida por la ley. Si ha recibido este documento por error, debe saber que su lectura, copia y uso están prohibidos.

Le regamos que nos lo comunique inmediatamente por esta misma vía o por teléfono (985 13 39 24) y proceda a su destrucción.

 

This document is intended only for the addressee. It may contain CONFIDENTIAL information whose disclosure is forbidden 

by law. If you are not the intended recipient of this document, you are notified that reading, copying or using it are strictly prohibited. 

Please notify us by reply e-mail or by telephone (+34 985 13 39 24) and then delete it. 

 

<div><div class="WordSection1">
<p class="MsoNormal"><span lang="EN-US">Hi,<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">Telefonica R+D and LABoral are seeking researchers/artists/designers who are working on artistic and research projects exploring the modulation of human behavior in groups of people through new technologies, particularly ideas and techniques involving data mining and pattern recognition, machine learning, collective group behavior and wearable technologies and biometric data and similar.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><br>Key Words: Quantifed Self, behavior, self-tracking, aggregate data, machine learning, wearable tracking<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><br>It is important to reflect on these frameworks and to explore the impact that the Internet of Things, and Interactions Machine to Machine (M2M) can have on the lives of people, on a scale that spans from individual to whole societies.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><br>It will be appreciated in the proposals:<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US">- That may be converted in manufactured objects, employed by people and societies.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US">- Connected wirelessly to the Internet.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">The selected project will be awared with a six (6) month artist fellowship, split between&nbsp; LABoral Centro de Arte y Creaci&oacute;n Industrial (through Plataforma 0. Production Centre) in Gij&oacute;n for (2) two months and Telef&oacute;nica R+D (Telefonica's technology research and development arm) in Barcelona for (4) four months. The goal of the fellowship is to enable the fellow to bring the chosen idea to life.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">The artist will receive twelve thousand euros (12,000 &euro;) gross as fees and a grant of up to two thousand euros (2,000 &euro;) gross for travel, accommodation and expenses at LABoral.<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US">More information: <a href="http://www.laboralcentrodearte.org/en/r/convocatorias/nextthings15">http://www.laboralcentrodearte.org/en/r/convocatorias/nextthings15</a><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span>Diego Ugalde<p></p></span></p>
<p class="MsoNormal"><span>Social Media<p></p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span></span><span><p></p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span>LABoral Centro de Arte y Creaci&oacute;n Industrial<p></p></span></p>
<p class="MsoNormal"><span>Los Prados, 121 / 33394 Gij&oacute;n / Asturias - Espa&ntilde;a<p></p></span></p>
<p class="MsoNormal"><span>T.+34 985 185 577&nbsp; / F.+34 985 337 355<p></p></span></p>
<p class="MsoNormal"><span><a href="http://www.laboralcentrodearte.org/es"><span>www.laboralcentrodearte.org</span></a></span><span><p></p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span></span><span>Cuidemos del medio ambiente.&nbsp;Por favor no imprimas este e-mail si no es &nbsp;necesario.</span><span><p></p></span></p>
<p class="MsoNormal"><span><p>&nbsp;</p></span></p>
<p class="MsoNormal"><span>Este documento se dirige exclusivamente a su destinatario. Contiene informaci&oacute;n CONFIDENCIAL sometida a secreto profesional&nbsp;</span><span><p></p></span></p>
<p class="MsoNormal"><span>cuya divulgaci&oacute;n esta prohibida por la ley. Si ha recibido este documento por error, debe saber que su lectura, copia y uso est&aacute;n prohibidos.<p></p></span></p>
<p class="MsoNormal"><span>Le regamos que nos lo comunique inmediatamente por esta misma v&iacute;a o por tel&eacute;fono (985 13 39 24) y proceda a su destrucci&oacute;n.<p></p></span></p>
<p class="MsoNormal"><span>&nbsp;<p></p></span></p>
<p class="MsoNormal"><span lang="EN-US">This document is intended only for the addressee. It may contain CONFIDENTIAL information whose disclosure is forbidden&nbsp;</span><span lang="EN-US"><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US">by law. If you are not the intended recipient of this document, you are notified that reading, copying or using it are strictly prohibited.&nbsp;</span><span lang="EN-US"><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US">Please notify us by reply e-mail or by telephone (+34 985 13 39 24) and then delete it.&nbsp;</span><span lang="EN-US"><p></p></span></p>
<p class="MsoNormal"><span lang="EN-US"><p>&nbsp;</p></span></p>
</div></div>

Noise and the Possibility for a Future, The Goethe-Institut Los Angeles, March 6, 7

 


For Immediate Release:
Noise and the Possibility for a Future

Organized by Warren Neidich 
March 6th and 7th
The Goethe-Institut Los Angeles
Adresse: 5750 Wilshire Boulevard, 100, Los Angeles, CA 90036
 
Participants:
Victor   Albarracin, Andrew Berandini,  David  Burrows, Luciano Chessa, Mathieu Copeland, D.J. Spookey (aka Paul Miller), Corey Fogel, Simone Forti, Paul Hegarty, Sarah Kessler, Ulrich Krieger, Gregory Lenczycki,  Mattin, Daniel Munoz, Renee Petropoulis,  David Schafer, Marcus Schmickler, Susan Silton,  Gabie Strong Karen Tongson, John Wiese, Susanne Winterling
 
Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things. (Jacques Attali, Noise: The Political Economy of Music)
 
Noise is prevalent in our post-industrial society, like it or not! Whether experienced as the cacophony of an industrial era eroded and broken, breeding new forms of information, war machines and inspirational responses such as those of Throbbing Gristle's, in which over-painted and appropriated sounds are collaged with real time performance, producing a clangorous, disharmonic din.  Or whether, instead, the dissonance resulting from an overly compressed and accelerated cultural habitus occurring near highways and airports that makes life a little less livable,  generating protective responses such as noise barriers, those Serra-esque barricades shielding adjacent built communities.  
 
Noise usually gets a bad rap. It is appreciated as something offensive, rendering systems inefficient and therefore requiring control or mitigation. However, noise has another side, more positive and emancipatory. This 'other side' is the focus of this conference which understands it in an expanded form. It asks instead whether it might be considered as something liberating. Could we think of it rather as a mode of production beyond capitalism's capacity to recuperate its alterity for its own purposes; a sublime place of freedom?  
 
This symposium aims to understand how Noise acts as a destabilizing force through which the inherent diversity and variability in the world, its pluri-potentiality, is first unleashed and then reregistered to create alternative events that reroute institutional networks, hoping to ‘undistribute’ and disentangle the contemporary mesh of our highly-connected social, political, economic, and psychological world. What then might emerge? This cross-disciplinary intervention links the fields of visual art and music, especially their theories of the avant-garde, to other fields of study such as performance studies, auto-destructive art, social constructivism, critical theory, gender and queer studies and political philosophy, in order to understand an expanded notion of noise as a discursive apparatus of building. After all, in our information and knowledge economies, ideas and discourses create the surplus value of exo-evolutionary fields that become embodied in neural, social and economic circuitry. Of special importance will be a conception of noise as it relates to the emerging field of communicative and cognitive capitalism in which the mind and brain are the new sites of wealth production and control.  As the introductory quote implies, music and noise create new possibilities for contemporary forms, shapes and events active in the cultural landscape.  Warren Neidich
 
For more information:
 


<div>
<div>
</div>
<div align="center">&nbsp;</div>
<table border="0" cellpadding="0" cellspacing="0" align="center"><tr>
<td align="left">
<table cellpadding="0" cellspacing="0"><tr></tr></table>
<table cellpadding="5" cellspacing="0"><tr>
<td align="left" valign="top">
<div>
<div class="p1"></div>
<div class="p1"><span><span><br></span></span></div>
<div class="p1"><span><span><br></span></span></div>
<div class="p1"><span><span>For Immediate Release:</span></span></div>
<div class="p2"><span><span>Noise and the Possibility for a Future</span></span></div>
<div class="p2"><span><span><br></span></span></div>
<div class="p2"><span><span>Organized by Warren Neidich&nbsp;</span></span></div>
<div class="p2"><span><span>March 6th and 7th</span></span></div>
<div class="p1"><span><span>The Goethe-Institut Los Angeles</span></span></div>
<div class="p3"><span><span>Adresse:&nbsp;5750 Wilshire Boulevard, 100, Los Angeles, CA 90036</span></span></div>
<div class="p4"><span><span>&nbsp;</span></span></div>
<div class="p3"><span><span>Participants:</span></span></div>
<div class="p3"><span><span><span>Victor&nbsp;&nbsp;&nbsp;Albarracin,&nbsp;Andrew Berandini,&nbsp;&nbsp;David&nbsp;&nbsp;Burrows,&nbsp;Luciano Chessa, Mathieu Copeland, D.J. Spookey (aka Paul Miller), Corey Fogel, Simone Forti,&nbsp;Paul Hegarty,&nbsp;Sarah Kessler,&nbsp;Ulrich Krieger, Gregory Lenczycki,&nbsp;&nbsp;Mattin, Daniel Munoz, Renee Petropoulis,&nbsp;&nbsp;David Schafer, Marcus Schmickler,&nbsp;Susan Silton,&nbsp;&nbsp;Gabie Strong&nbsp;Karen Tongson, John Wiese, Susanne Winterling</span></span></span></div>
<div class="p3"><span><span>&nbsp;</span></span></div>
<div class="p5"><span><span>Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things. (Jacques Attali, Noise: The Political Economy of Music)</span></span></div>
<div class="p1"><span><span>&nbsp;</span></span></div>
<div class="p2"><span><span>Noise is prevalent in our post-industrial society, like it or not! Whether experienced as the cacophony of an industrial era eroded and broken, breeding new forms of information, war machines and inspirational responses such as those of Throbbing Gristle's, in which over-painted and appropriated sounds are collaged with real time performance, producing a clangorous, disharmonic din.&nbsp; Or whether, instead, the dissonance resulting from an overly compressed and accelerated cultural habitus occurring near highways and airports that makes life a little less livable, &nbsp;generating protective responses such as noise barriers, those Serra-esque barricades shielding adjacent built communities. &nbsp;</span></span></div>
<div class="p1"><span><span>&nbsp;</span></span></div>
<div class="p2"><span><span>Noise usually gets a bad rap. It is appreciated as something offensive, rendering systems inefficient and therefore requiring control or mitigation. However, noise has another side, more positive and emancipatory. This 'other side' is the focus of this conference which understands it in an expanded form. It asks instead whether it might be considered as something liberating. Could we think of it rather as a mode of production beyond capitalism's capacity to recuperate its alterity for its own purposes; a sublime place of freedom? &nbsp;</span></span></div>
<div class="p1"><span><span>&nbsp;</span></span></div>
<div class="p2"><span><span>This symposium aims to understand how Noise acts as a destabilizing force through which the inherent diversity and variability in the world, its pluri-potentiality, is first unleashed and then reregistered to create alternative events that reroute institutional networks, hoping to &lsquo;undistribute&rsquo; and disentangle the contemporary mesh of our highly-connected social, political, economic, and psychological world. What then might emerge? This cross-disciplinary intervention links the fields of visual art and music, especially their theories of the avant-garde, to other fields of study such as performance studies, auto-destructive art, social constructivism, critical theory, gender and queer studies and political philosophy, in order to understand an expanded notion of noise as a discursive apparatus of building. After all, in our information and knowledge economies, ideas and discourses create the surplus value of exo-evolutionary fields that become embodied in neural, social and economic circuitry. Of special importance will be a conception of noise as it relates to the emerging field of communicative and cognitive capitalism in which the mind and brain are the new sites of wealth production and control.&nbsp; As the introductory quote implies, music and noise create new possibilities for contemporary forms, shapes and events active in the cultural landscape.&nbsp; Warren Neidich</span></span></div>
<div class="p6"><span><span>&nbsp;</span></span></div>
<div class="p1"><span><span>For more information:</span></span></div>
<div class="p6"><span><span>&nbsp;</span></span></div>
<div class="p7"><span class="s1"><span><span>phone: <a href="http://t.ymlp270.net/whjafauyuuuacauwhaaabwuj/click.php"><span class="s2">+1 (323) 5253388</span></a><br> fax <a href="http://t.ymlp270.net/whbadauyuuuafauwhafabwuj/click.php"><span class="s2">+1 (323) 9343597</span></a><br><a href="mailto:info <at> losangeles.goethe.org">info@...</a><br><a href="http://t.ymlp270.net/whhapauyuuuanauwhafabwuj/click.php">www.goethe.de/losangeles</a>&nbsp;</span></span></span></div>
<span><span><br></span></span>
</div>
<div><span><br></span></div>
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eipcp | 23 Feb 14:48 2015
Picon

Changing Europe: Syriza, Podemos and more

transversal texts starts publishing a series of interventions written by Antonio Negri and Raúl Sánchez Cedillo on the chances and problems of the political changes in Europe today. Follow the texts in Spanish, Italian, English and German at transversal.at. Here is the first intervention:

Antonio Negri / Raúl Sánchez Cedillo: The hope of the democratic monster, between Syriza and Podemos

“A spectre is haunting Europe”. The Italian newspaper Il Manifesto used this headline a few days ago for its homepage, commenting on the visits of Tsipras and Varoufakis to European governments. A real nightmare for the ordoliberal Germans, a Geisterfahrer, to be precise, a suicidal conductor looking to collide with the European bus, as Der Spiegel described on its front page. Imagine what could happen with the victory of Podemos in Spain: what a magnificent spectre would then be seen lurking about, a real monster created by the exploited and the productive forces of the fourth European economy!

http://transversal.at/blog


---
eipcp - european institute for progressive cultural policies
a-1060 vienna, gumpendorfer strasse 63b
a-4040 linz, harruckerstrasse 7

contact <at> eipcp.net
http://eipcp.net | http://transversal.at

eipcp newsletter - subscribe/unsubscribe: http://eipcp.net/institute/nl


 

<div>

<p>transversal texts starts publishing a series of interventions written by Antonio Negri and Ra&uacute;l S&aacute;nchez Cedillo on the chances and problems of the political changes in Europe today. Follow the texts in Spanish, Italian, English and German at transversal.at. Here is the first intervention:<br><br>Antonio Negri / Ra&uacute;l S&aacute;nchez Cedillo: The hope of the democratic monster, between Syriza and Podemos<br><br>&ldquo;A spectre is haunting Europe&rdquo;. The Italian newspaper Il Manifesto used this headline a few days ago for its homepage, commenting on the visits of Tsipras and Varoufakis to European governments. A real nightmare for the ordoliberal Germans, a Geisterfahrer, to be precise, a suicidal conductor looking to collide with the European bus, as Der Spiegel described on its front page. Imagine what could happen with the victory of Podemos in Spain: what a magnificent spectre would then be seen lurking about, a real monster created by the exploited and the productive forces of the fourth European economy!<br><br><a class="external-link" href="http://transversal.at/blog">http://transversal.at/blog</a></p>
<p><br>---<br>eipcp - european institute for progressive cultural policies<br>a-1060 vienna, gumpendorfer strasse 63b<br>a-4040 linz, harruckerstrasse 7<a href="mailto:contact <at> eipcp.net"><br></a></p>
<p><a href="mailto:contact <at> eipcp.net">contact <at> eipcp.net</a><br><a class="external-link" href="http://eipcp.net">http://eipcp.net</a> | <a class="external-link" href="http://transversal.at">http://transversal.at</a></p>
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Jake Harries | 1 Mar 16:33 2015
Picon

Computer Club Algorave at Access Space


Computer Club Algorave 
------------------------------------------------------------


Friday, 20 March 2015, 8pm - 1am

Computer Club (http://www.computer-club.it/) , Algorave (http://algorave.com/) and Access Space (https://www.facebook.com/accessspace) are joining forces in this great collaboration. Come celebrate the 2nd release on Computer Club with live coding pioneer yaxu (http://yaxu.org/) aka Alex McLean and special guests. Computer Club are DJ and label manager Sheffield Bleep (Chris Smith) and Human (Nick Bax, formerly of Designers Republic). We are expecting a full house for this special event and all proceeds will go to Access Space!


Like everyone on PC Music, Lil Data (https://soundcloud.com/pcmus/sup) takes fun seriously. His debut EP "sup" is a journey through quirky glitched euphoria. A bit of a mysterious figure, we are not sure exactly what he will be doing at Computer Club but there will be some algorithms involved.

Canute (http://canute.lurk.org/) are an improvised algorithmic techno duo made up of Algorave founders yaxu and Yee-King. Yee-King (Matthew Yee-King) is an old skool drill 'n bass producer. His classic album SuperUser on Rephlex recently placed at #32 in FACT magazine's top 100 IDM albums. For Computer Club he will be playing live processed drums, including triggering some wacked-out evolved sounds. yaxu (Alex McLean) live codes with his own Tidal (http://tidal.lurk.org/) language, making algorithmic, broken rhythms that you'll be hearing more of on his solo Computer Club EP. He is also one third of the live coding band Slub.

Norah Lorway (http://norahlorway.com/) 's LPs are dark and ambient, but her live Algorave ** Access Space, Sheffield, UKsets (https://soundcloud.com/norahlo/fierce-festival-algorave-club-fierce-excerpt) are multilayered, dynamic, live coded techno.


Hellocatfood (http://www.hellocatfood.com/) is Antonio Roberts, glitch artist and curator of international reknown. For the Computer Club Algorave he will be live coding (and glitching) algorithmic visuals, using a range of languages and hacks.
Computer Club Algorave is part of a series of relaunch events at Access Space and supported by Sound and Music, the national agency for new music. More events to be announced soon.

Also booking:
Live Coding with Tidal Workshop lead by Alex McLean
Tuesday, 17 March 2015, 6:30 - 9:30

Access Space
3-7 Sidney Street
Sheffield, South Yorkshire S1 4RG
UK
t: 0114 2495522

--

All the best
Jake

Please note I work part time at Access Space - usually Tuesdays and Thursdays
>>>>>>>>>>>>>>>>>>>>>>>>
Jake Harries, Creative Producer
www.access-space.org  +44(0)114 249 5522
<at> accessspace facebook.com/accessspace
3-7 Sidney St, Sheffield, S1 4RG, UK
>>>>>>>>>>>>>>>>>>>>>>>>


<div><div dir="ltr">
<div><br></div>
<div>Computer Club Algorave&nbsp;<br>
</div>
<div>------------------------------------------------------------</div>
<div><br></div>
<div><br></div>
<div>Friday, 20 March 2015, 8pm - 1am</div>
<div><br></div>
<div>Computer Club (<a href="http://www.computer-club.it/">http://www.computer-club.it/</a>) , Algorave (<a href="http://algorave.com/">http://algorave.com/</a>) and Access Space (<a href="https://www.facebook.com/accessspace">https://www.facebook.com/accessspace</a>) are joining forces in this great collaboration. Come celebrate the 2nd release on Computer Club with live coding pioneer yaxu (<a href="http://yaxu.org/">http://yaxu.org/</a>) aka Alex McLean and special guests. Computer Club are DJ and label manager Sheffield Bleep (Chris Smith) and Human (Nick Bax, formerly of Designers Republic). We are expecting a full house for this special event and all proceeds will go to Access Space!</div>
<div><br></div>
<div>Book your &pound;6 tickets here (<a href="http://www.eventbrite.co.uk/e/computer-club-algorave-tickets-15515030875">http://www.eventbrite.co.uk/e/computer-club-algorave-tickets-15515030875</a>)</div>
<div><br></div>
<div>Like everyone on PC Music, Lil Data (<a href="https://soundcloud.com/pcmus/sup">https://soundcloud.com/pcmus/sup</a>) takes fun seriously. His debut EP "sup" is a journey through quirky glitched euphoria. A bit of a mysterious figure, we are not sure exactly what he will be doing at Computer Club but there will be some algorithms involved.</div>
<div><br></div>
<div>Canute (<a href="http://canute.lurk.org/">http://canute.lurk.org/</a>) are an improvised algorithmic techno duo made up of Algorave founders yaxu and Yee-King. Yee-King (Matthew Yee-King) is an old skool drill 'n bass producer. His classic album SuperUser on Rephlex recently placed at #32 in FACT magazine's top 100 IDM albums. For Computer Club he will be playing live processed drums, including triggering some wacked-out evolved sounds. yaxu (Alex McLean) live codes with his own Tidal (<a href="http://tidal.lurk.org/">http://tidal.lurk.org/</a>) language, making algorithmic, broken rhythms that you'll be hearing more of on his solo Computer Club EP. He is also one third of the live coding band Slub.</div>
<div><br></div>
<div>Norah Lorway (<a href="http://norahlorway.com/">http://norahlorway.com/</a>) 's LPs are dark and ambient, but her live Algorave ** Access Space, Sheffield, UKsets (<a href="https://soundcloud.com/norahlo/fierce-festival-algorave-club-fierce-excerpt">https://soundcloud.com/norahlo/fierce-festival-algorave-club-fierce-excerpt</a>) are multilayered, dynamic, live coded techno.</div>
<div><br></div>
<div><br></div>
<div>Hellocatfood (<a href="http://www.hellocatfood.com/">http://www.hellocatfood.com/</a>) is Antonio Roberts, glitch artist and curator of international reknown. For the Computer Club Algorave he will be live coding (and glitching) algorithmic visuals, using a range of languages and hacks.</div>
<div>Computer Club Algorave is part of a series of relaunch events at Access Space and supported by Sound and Music, the national agency for new music. More events to be announced soon.</div>
<div><br></div>
<div>Also booking:</div>
<div>Live Coding with Tidal Workshop lead by Alex McLean</div>
<div>Tuesday, 17 March 2015, 6:30 - 9:30</div>
<div>More info here (<a href="https://www.facebook.com/events/721290144653737">https://www.facebook.com/events/721290144653737</a>)</div>
<div><br></div>
<div>Access Space<br>
</div>
<div>3-7 Sidney Street</div>
<div>Sheffield, South Yorkshire S1 4RG</div>
<div>UK</div>
<div>w: <a href="http://access-space.org">access-space.org</a>
</div>
<div>t: 0114 2495522</div>
<div>e: <a href="mailto:jake@...">jake@...</a>
</div>
<div><br></div>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr">
<div>
<div>
<br>All the best<br>Jake<br>
</div>
<div><br></div>
<div>Please note I work part time at Access Space - usually Tuesdays and Thursdays</div>
<div>&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;</div>
<div>Jake Harries, Creative Producer<br>
</div>
<div>
<a href="http://www.access-space.org" target="_blank">www.access-space.org</a> &nbsp;+44(0)114 249 5522</div>
<div> <at> accessspace <a href="http://facebook.com/accessspace" target="_blank">facebook.com/accessspace</a>
</div>
<div>3-7 Sidney St, Sheffield, S1 4RG, UK</div>
<div><a href="mailto:jake@..." target="_blank">jake@...</a></div>
<div>&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;&gt;<br>
</div>
</div>
<div><div>
<br><br>
</div></div>
</div></div></div></div></div></div></div>
</div></div>
yukiko shikata | 1 Mar 13:39 2015
Picon

"RE/membering MIKAMI Seiko", March 8 at ICC, Tokyo

Farewell Event of MIKAMI Seiko

"RE/membering MIKAMI Seiko" 1961-2015


Founders: ABE Kazunao, ICHIKAWA Sota, KUBOTA Akihiro, SHIKATA Yukiko, TSUJI Hiroko, HATANAKA Minoru, MINATO Chihiro /
Art & Media Course, Department of Information Design, Tama Art University

Date: Sunday, March 8, 2015, 6:30pm - 9:00pm (JST)
Venue: ICC Gallery A 
Admission Free 
Organizer: NTT InterCommunication Center [ICC]

http://www.ntticc.or.jp/Exhibition/2015/RE_membering_MIKAMI_Seiko/index.html

*Formal dress is not required.


MIKAMI Seiko (1961.1.8 - 2015.1.2): 
Artist, Professor of Tama Art University. Since the 1980s, has been showing large-scale installations themed on information society and the human body. In the 1990s, most of works are interactive media art installations incorporating human perception, eye-tracking project "Molecular Informatics," about acoustic sense and the living body sound "World, Membrane and the Dismenbered Body," "gravicells - gravity and resistance" on the theme of the gravity called the 6th consciousness and "Desire of Codes" focused in coded individual at information society.
Her Art works were shown at Fundacio Joan Miro, Le Musée des Beaux-arts de Nantes, Künstlerhaus Vienna, Kulturhuset Stockholm and Canon ARTLAB. Also shown at the number of international Media Art Festivals such as transmediale (Berlin), DEAF (Rotterdam), SHARE (Turin), Ars Electronica (Linz), MoiMulti (Quebec), TESLA (Berlin), VEROCITY Festival of Digital Culture (UK), TRUST (Dortmund), ISEA and the other. Solo exhibition "Desire of Codes" held at Yamaguchi Center for Art and Media [YCAM], NTT InterCommunication Center [ICC] and from 2012, will travel to around the world.
<div><div dir="ltr">
<div>Farewell Event of MIKAMI Seiko</div>
<div><br></div>
<div>
<div>"RE/membering MIKAMI Seiko" 1961-2015</div>
<div><br></div>
<div><br></div>
<div>Founders: ABE Kazunao, ICHIKAWA Sota, KUBOTA Akihiro, SHIKATA Yukiko, TSUJI Hiroko, HATANAKA Minoru, MINATO Chihiro /<br>Art &amp; Media Course, Department of Information Design, Tama Art University<br>
</div>
<div><br></div>
<div>Date: Sunday, March 8, 2015, 6:30pm - 9:00pm (JST)<br>Venue: ICC Gallery A&nbsp;<br>Admission Free&nbsp;<br>Organizer: NTT InterCommunication Center [ICC]<br><br>
</div>
<div>
<a href="http://www.ntticc.or.jp/Exhibition/2015/RE_membering_MIKAMI_Seiko/index.html" target="_blank">http://www.ntticc.or.jp/Exhibition/2015/RE_membering_MIKAMI_Seiko/index.html</a><br><br>*Formal dress is not required.<br><br><br>MIKAMI Seiko (1961.1.8 - 2015.1.2):&nbsp;</div>
<div>Artist, Professor of Tama Art University. Since the 1980s, has been showing large-scale installations themed on information society and the human body. In the 1990s, most of works are interactive media art installations incorporating human perception, eye-tracking project "Molecular Informatics," about acoustic sense and the living body sound "World, Membrane and the Dismenbered Body," "gravicells - gravity and resistance" on the theme of the gravity called the 6th consciousness and "Desire of Codes" focused in coded individual at information society.<br>Her Art works were shown at Fundacio Joan Miro, Le Mus&eacute;e des Beaux-arts de Nantes, K&uuml;nstlerhaus Vienna, Kulturhuset Stockholm and Canon ARTLAB. Also shown at the number of international Media Art Festivals such as transmediale (Berlin), DEAF (Rotterdam), SHARE (Turin), Ars Electronica (Linz), MoiMulti (Quebec), TESLA (Berlin), VEROCITY Festival of Digital Culture (UK), TRUST (Dortmund), ISEA and the other. Solo exhibition "Desire of Codes" held at Yamaguchi Center for Art and Media [YCAM], NTT InterCommunication Center [ICC] and from 2012, will travel to around the world.<br>
</div>
</div>
</div></div>
Janos Sugar | 1 Mar 11:32 2015
Picon

Fwd: Call for contributions to map artistic/curatorial self-organizations

>Call for contributions to map artistic/curatorial self-organizations worldwide
>
>OFF-Biennale Budapest, organized for the first 
>time in 2015, initiates a research on artistic 
>and curatorial self-organizations currently 
>active internationally.
>
>The aim of this research is to map best 
>practices of grassroots contemporary art 
>initiatives engaged with a democratic and 
>sustainable mode of operation.
>
>
>About the OFF-Biennale
>
>Envisioned as a series of exhibitions and events 
>in and beyond the city of Budapest, the 
>OFF-Biennale is planned for the period between 
>April 24 and the end of May 2015. It will be an 
>occasion for a wide range of actors of the 
>contemporary art field to consider and test the 
>potential inherent in self-organization and 
>network-based collaboration. Besides, it aims to 
>offer an alternative both to the usual know-how 
>of contemporary art biennials, as well as to the 
>dominance of local state-run art infrastructures.
>This Biennale endeavors to establish a base for 
>a sustainable, well-connected independent and 
>interdependent art scene in Hungary. For the 
>sake of this cause, OFF-Biennale Budapest 
>implements a structural model that is based on a 
>commonality of interest, on voluntary work, on 
>networking, collaboration, and solidarity. One 
>of the main objectives of the project is to 
>produce and present a wide spectrum of 
>collaborative, DIY, network-based, and 
>risk-taking art projects that critically address 
>the emergent possibilities and the set of 
>problems that result from the recent 
>conservative/nationalist/populist/anti-democratic 
>turn in Hungary and beyond.
>
>
>Call for contributions
>
>OFF-Biennale Budapest in this research aims to 
>investigate artistic projects, initiatives, 
>communities, institutions which are organized 
>from the bottom up, are not exclusively 
>dependent on state funding, and have an engaged 
>and reflected relationship with the given social 
>and political reality.
>
>We endeavor to set the basis for a platform of 
>knowledge sharing and networking, where various 
>contemporary art initiatives can meet.
>
>Artistic and curatorial collectives, projects, 
>initiatives, and organizations are invited to 
>send information about their activities and 
>modes of operation which will be collected and 
>presented in the course of the OFF-Biennale in 
>the frame of an on-line publication on various 
>forms of artistic and curatorial 
>self-organizations.
>
>We are looking for contributors whose working 
>methodologies correspond to at least some of the 
>following criteria:
>
>-their activity is engaged with the transforming 
>the potentials of art/culture and have a strong 
>mission they represent consistently,
>
>-represent critical approaches towards the 
>dominant, oppressing political environment and 
>intend to sustain a critical and engaged 
>contemporary art scene despite the unwelcoming 
>atmosphere,
>
>- represent the interest of local communities 
>with a special emphasis on communities in need,
>
>-their mode of operation is based on 
>self-organization, and are not exclusively 
>dependent on state funding and infrastructure,
>
>-have a strong interest in community and network building,
>
>-follow inventive economical models to ensure financial stability.
>
>
>Please upload information in English about your 
>activity at the link

><https://docs.google.com/forms/d/1MQLozkukDLbZm_KcFLbo27GZh2xW9HnWclruAq12PG4/viewform>here 
>till the 15th of March, 2015
>
>
>Thank you!
>
>The Curatorial team of the OFF-Biennale Budapest:
>Nikolett Er‘ss, Anna Juhász, Hajnalka Somogyi, 
>Tijana Stepanovic, Borbála Szalai, Katalin 
>Székely, János Szoboszlai
>
><http://www.google.com/url?q=http%3A%2F%2Foffbiennale.hu%2F&sa=D&sntz=1&usg=AFQjCNG0mqzBFazF0BgkAqL3H5frYqA8aA>http://offbiennale.hu/
>more information: <mailto:civil@...>civil@...

Chiara Passa | 1 Mar 10:30 2015
Picon

OUT now 'Oh deer' by Chantal Rousseau, at the Widget Art Gallery.

Dear friends & colleagues,

I'm glad to present 'Oh deer' by Chantal Rousseau, March 1st - April 1st 2015. At the Widget Art Gallery http://www.chiarapassa.it/wag  Web-App cross-device and platform. It's always available the osx-dashboard version at http://www.chiarapassa.it/TheWidgetArtGallery.html Enjoy the show!

Best regards, Chiara Passa


About the WAG

Due to our needs that seem to be increasingly handheld, WAG was born on 2009! The Widget Art Gallery is a mini single art gallery room fitting into people's pocket. Every month, the WAG hosts a solo digital art exhibition related to its dynamic site-specific context. So the WAG works both as a sort of kunsthall showing temporary exhibitions and also as museum conserving all the past shows inside an online archive that creates a permanent collection.
WAG website http://www.chiarapassa.it/TheWidgetArtGallery.html

About the show

'Oh deer' by Chantal Rousseau.
Chantal Rousseau’s is a French artist based in Canada. Her practice brings together popular culture, sex, death, and technology. 'Oh deer' especially though for the WAG space, continues a series of gifs exploring the natural world as filtered through online culture.

http://chantalrousseau.ca/?page_id=114



--
Chiara Passa - media artist
chiarapassa-Re5JQEeQqe8AvxtiuMwx3w@public.gmane.org
http://www.chiarapassa.it


<div><div dir="ltr">Dear friends &amp; colleagues,<br><br>I'm glad to present 'Oh deer' by 
Chantal Rousseau, March 1st - April 1st 2015. At the Widget Art Gallery 
<a href="http://www.chiarapassa.it/wag">http://www.chiarapassa.it/wag</a>&nbsp; Web-App cross-device and platform. It's
 always available the osx-dashboard version at 
<a href="http://www.chiarapassa.it/TheWidgetArtGallery.html">http://www.chiarapassa.it/TheWidgetArtGallery.html</a> Enjoy the show!<br><br>Best regards, Chiara Passa<br><br><br>About the WAG<br><br>Due
 to our needs that seem to be increasingly handheld, WAG was born on 
2009! The Widget Art Gallery is a mini single art gallery room fitting 
into people's pocket. Every month, the WAG hosts a solo digital art 
exhibition related to its dynamic site-specific context. So the WAG 
works both as a sort of kunsthall showing temporary exhibitions and also
 as museum conserving all the past shows inside an online archive that 
creates a permanent collection.<br>WAG website <a href="http://www.chiarapassa.it/TheWidgetArtGallery.html">http://www.chiarapassa.it/TheWidgetArtGallery.html</a><br><br>About the show<br><br>'Oh deer' by Chantal Rousseau.<br>Chantal
 Rousseau&rsquo;s is a French artist based in Canada. Her practice brings 
together popular culture, sex, death, and technology. 'Oh deer' 
especially though for the WAG space, continues a series of gifs 
exploring the natural world as filtered through online culture.<br><br><a href="http://chantalrousseau.ca/?page_id=114">http://chantalrousseau.ca/?page_id=114</a><br><br><br><br>--<br>Chiara Passa - media artist<br><a href="mailto:chiarapassa@...">chiarapassa@...</a><br><a href="http://www.chiarapassa.it">http://www.chiarapassa.it</a><br><div dir="ltr"><br></div>
<div dir="ltr"><br></div>
</div></div>

Gmane