From dk at telekommunisten.net Thu May 1 08:37:14 2008 From: dk at telekommunisten.net (Dmytri Kleiner) Date: Thu, 1 May 2008 08:37:14 +0200 Subject: [syndicate] Fwd: TODAY >> May 1st :: Telekommunisten Tag der Arbeit Salon @ C-BASE // Dialstation 2008 Launch Message-ID: <00e4f6f14cddc310e5801cbff1b653a5@trick.ca> -------- Original Message -------- Subject: TODAY >> May 1st :: Telekommunisten Tag der Arbeit Salon @ C-BASE // Dialstation 2008 Launch << Date: Thu, 1 May 2008 06:31:12 UT From: "Dmytri Kleiner/ Friends." To: dk at telekommunisten.net TODAY >> May 1st :: Telekommunisten Tag der Arbeit Salon @ C-BASE // Dialstation 2008 Launch << The Telekommunisten would like to invite all who can make it to C-Base Today to celebrate the International Day of Workers Solidarity with us! We will holding discussions about the Telekommunisten project as well as Introducing the brand new version of Dialstation. ~:: http://www.c-base.org ~:: http://www.dialstation.com The shinny new and highly experimental DIALSTATION is now available, please try it out!! You will need to re register your account, use the new quick register form on the Dialstation website to get started with the new kommPanel. Find out more about the Tag der Arbiet festivities at: ~:: http://www.theRevolutionIsCalling.com We will also preview and discuss our Street-art/Phone-Art project, "For Miss Information, Call, " which will be a part of the Hack.Fem.East exhibition at Kunstraum Kreutzberg. ~:: http://hackfemeast.org/web/?page_id=72 //// C-BASE //// Rungestrasse 20 //// 10179 Berlin ~2pm unti ~2am, Thursday May 1st, 2008 //// all are welcome, pass it on.... //// -- Dmytri Kleiner editing text files since 1981 http://www.telekommunisten.net From ctgr at free.fr Thu May 1 15:08:35 2008 From: ctgr at free.fr (ctgr-pavu.com) Date: Thu, 1 May 2008 15:08:35 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <20080430180359.3xetlwselckwgsck@imp4.free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> Message-ID: <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> <

-- OG -/ love /- Le 30 avr. 08 à 18:03, fmadre at free.fr a écrit : > hi, here's a new piece I've just finished > http://pleine-peau.com/BOARD/ > > f. > > > -----Syndicate mailinglist----------------------- > Syndicate network for media culture and media art > information and archive: http://syndicate.anart.no > to post to the Syndicate list: > Shake the KKnut: http://syndicate.anart.no/KKnut/ > no commercial use of the texts without permission -------------- next part -------------- An HTML attachment was scrubbed... URL: From fmadre at free.fr Thu May 1 15:39:28 2008 From: fmadre at free.fr (frdrcmdr) Date: Thu, 01 May 2008 15:39:28 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> Message-ID: <4819C810.5050908@free.fr> thanks for your attention to detail I had done this at first in dreamweaver cs3 and for something as simple as a white page color this piece of shit software created a style sheet! then when I realized this I had to redo everything in notepad, one page at a time to obtain a stripped down highly portable code ... also, http://www.fluctuat.net/blog/ ctgr-pavu.com a écrit : > < >

> > > -- > OG > -/ love /- > > Le 30 avr. 08 à 18:03, fmadre at free.fr a écrit : > >> hi, here's a new piece I've just finished >> http://pleine-peau.com/BOARD/ >> >> f. >> >> >> -----Syndicate mailinglist----------------------- >> Syndicate network for media culture and media art >> information and archive: http://syndicate.anart.no >> to post to the Syndicate list: > > >> Shake the KKnut: http://syndicate.anart.no/KKnut/ >> no commercial use of the texts without permission > From fmadre at free.fr Thu May 1 21:48:56 2008 From: fmadre at free.fr (frdrcmdr) Date: Thu, 01 May 2008 21:48:56 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <4819C810.5050908@free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> <4819C810.5050908@free.fr> Message-ID: <481A1EA8.2010307@free.fr> and, I think it's the first time my stuff gets on metafilter, http://www.metafilter.com/71284/Why-Log-In I'm glad! f. frdrcmdr a écrit : > thanks for your attention to detail > I had done this at first in dreamweaver cs3 and for something as > simple as a white page color this piece of shit software created a > style sheet! then when I realized this I had to redo everything in > notepad, one page at a time to obtain a stripped down highly portable > code > ... > also, > http://www.fluctuat.net/blog/ > > > ctgr-pavu.com a écrit : >> < >>

>> >> >> -- >> OG >> -/ love /- >> >> Le 30 avr. 08 à 18:03, fmadre at free.fr a écrit : >> >>> hi, here's a new piece I've just finished >>> http://pleine-peau.com/BOARD/ >>> >>> f. >>> >>> >>> -----Syndicate mailinglist----------------------- >>> Syndicate network for media culture and media art >>> information and archive: http://syndicate.anart.no >>> to post to the Syndicate list: >> > >>> Shake the KKnut: http://syndicate.anart.no/KKnut/ >>> no commercial use of the texts without permission >> > > From ctgr at free.fr Fri May 2 10:55:39 2008 From: ctgr at free.fr (ctgr at free.fr) Date: Fri, 02 May 2008 10:55:39 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <481A1EA8.2010307@free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> <4819C810.5050908@free.fr> <481A1EA8.2010307@free.fr> Message-ID: <1209718539.481ad70ba8ece@imp.free.fr> left side : the unclickable F. Madre xx€ reward to who can click this guy ! btw, the "i'm glad!" line is Bobif style augenblick isn't it ? -- OG -/ well /- Selon frdrcmdr : > and, I think it's the first time my stuff gets on metafilter, > http://www.metafilter.com/71284/Why-Log-In > I'm glad! > > f. > > frdrcmdr a écrit : > > thanks for your attention to detail > > I had done this at first in dreamweaver cs3 and for something as > > simple as a white page color this piece of shit software created a > > style sheet! then when I realized this I had to redo everything in > > notepad, one page at a time to obtain a stripped down highly portable > > code > > ... > > also, > > http://www.fluctuat.net/blog/ > > > > > > ctgr-pavu.com a écrit : > >> < > >>

> >> > >> > >> -- > >> OG > >> -/ love /- > >> > >> Le 30 avr. 08 à 18:03, fmadre at free.fr a écrit : > >> > >>> hi, here's a new piece I've just finished > >>> http://pleine-peau.com/BOARD/ > >>> > >>> f. From fmadre at free.fr Fri May 2 13:35:29 2008 From: fmadre at free.fr (fmadre at free.fr) Date: Fri, 02 May 2008 13:35:29 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <1209718539.481ad70ba8ece@imp.free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> <4819C810.5050908@free.fr> <481A1EA8.2010307@free.fr> <1209718539.481ad70ba8ece@imp.free.fr> Message-ID: <20080502133529.4omqow4iokk48k4s@imp4.free.fr> ----- Message de ctgr at free.fr --------- > the "i'm glad!" line is Bobif style augenblick isn't it ? after a while we tend to all become the same > -/ well /- >> >>> http://pleine-peau.com/BOARD/ >> >>> >> >>> f. > > From ctgr at free.fr Sun May 4 20:20:53 2008 From: ctgr at free.fr (ctgr-pavu.com) Date: Sun, 4 May 2008 20:20:53 +0200 Subject: [syndicate] new stuff /BOARD In-Reply-To: <20080502133529.4omqow4iokk48k4s@imp4.free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> <4819C810.5050908@free.fr> <481A1EA8.2010307@free.fr> <1209718539.481ad70ba8ece@imp.free.fr> <20080502133529.4omqow4iokk48k4s@imp4.free.fr> Message-ID: Le 2 mai 08 à 13:35, fmadre at free.fr a écrit : > ----- Message de ctgr at free.fr --------- >> the "i'm glad!" line is Bobif style augenblick isn't it ? > > after a while we tend to all become the same Finacial freedom is one form away http://shudjjiii.com.cn Another day passed without any results and the young inventor was getting so nervous, partly with worrying over the loss of his boat and partly on his father's account, that he did not know what to do. > >> -/ well /- > >>> >>> http://pleine-peau.com/BOARD/ >>> >>> >>> >>> f. >> >> > > > > > > > > -----Syndicate mailinglist----------------------- > Syndicate network for media culture and media art > information and archive: http://syndicate.anart.no > to post to the Syndicate list: > Shake the KKnut: http://syndicate.anart.no/KKnut/ > no commercial use of the texts without permission -------------- next part -------------- An HTML attachment was scrubbed... URL: From info at furtherfield.org Wed May 7 13:08:05 2008 From: info at furtherfield.org (info) Date: Wed, 07 May 2008 12:08:05 +0100 Subject: [syndicate] Open Source Embroidery: Craft and Code at HTTP Gallery In-Reply-To: <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> References: <20080430180359.3xetlwselckwgsck@imp4.free.fr> <03ED678A-E00A-43F5-9711-44FE54FE7211@free.fr> Message-ID: <48218D95.8060906@furtherfield.org> Sorry for any cross posting (just in case). Wishing all well. Open Source Embroidery: Craft and Code at HTTP Gallery An exhibition facilitated by Ele Carpenter Preview Friday 16th May 6-9pm 17th May ? 15th June 2008 Open Fridays to Sunday 12-5pm http://www.http.uk.net/ This exhibition explores the connections between the collaborative characteristics of needlework, craft and Open Source software. This project has brought together embroiderers, patch-workers, knitters, artists and computer programmers, to share their practice and make new work. The centre-piece of the exhibition at HTTP Gallery is the HTML Patchwork developed in response to the popularity of quilting in Sheffield, the result of a participatory project initiated by Ele Carpenter in partnership with Access Space. The patchwork is built on open principles of collective production and skill-share where each person contributes a part to the whole. The final work is a collectively stitched patchwork quilt of HTML web-safe colours with embroidered codes, and a wiki website, where the makers of each patch identify themselves and write about their sewing process. Each patch is personalised by the sewer, often including embroidered web addresses. In an interview with Jess Lacetti, Ele Carpenter said about the project: "The same arguments about Open Source vs Free Software can be applied to embroidery. The needlework crafts also have to negotiate the principles of 'freedom' to create, modify and distribute, within the cultural and economic constraints of capitalism. The Open Source Embroidery project simply attempts to provide a social and practical way of discussing the issues and trying out the practice. Free Software, Open Source, amateur and professional embroiderers and programmers are welcome to contribute to the project." The project was developed by Ele Carpenter when working as an artist in residence at Access Space in Sheffield and Isis Arts in Newcastle upon Tyne. Access Space is an open access media lab using recycled computers and open source software. Anyone can drop in and use the lab to develop their creative projects. The exhibition at HTTP Gallery in Harringay, North London, includes works by 11 artists and makers alongside the collectively made HTML Patchwork quilt and wiki. Other works in the exhibition include Susanne Hardy?s Knit-a-Blog, a collective knitting project made by contributors from across the UK and USA, Iain Clarke?s PHP Embroidery, which explores the open source PHP programming language as a form of self-generating weaving, as well as artworks by Paul Grimmer, Tricia Grindrod, Jake Harries & Keith o?Faoláin, John Keenan, Trevor Pitt, Clare Ruddock, James Wallbank, and Lisa Wallbank. The HTML Patchwork has been created by people at: Access Space, Art through Textiles, The Patchwork Garden, The Fat Quarters, Stocksbridge Knit n Chat, Totley Quilters, Isis Arts, and the Banff New Media Institute at the Banff Centre for the Arts, Alberta, Canada. Further info: www.http.uk.net www.open-source-embroidery.org.uk www.eleweekend.blogspot.com www.access-space.org Contact: Lauren Wright, HTTP Gallery laurenATfurtherfieldDOTorg HTTP Gallery Unit A2, Arena Design Centre 71 Ashfield Road London N4 1LD +44(0)79 8129 2734 HTTP Gallery is Furtherfield.org?s dedicated space for exhibiting networked media art. Furtherfield.org is a not-for-profit, artist-led organisation. Based in North London, we provide an online and physical platform for creating, exhibiting, commissioning, and discussing networked media arts. From thth at noos.fr Wed May 7 13:24:42 2008 From: thth at noos.fr (TH) Date: Wed, 07 May 2008 13:24:42 +0200 Subject: [syndicate] IN GODES WE TRUST Message-ID: <4821917A.1080801@noos.fr> Grind reading with "vide-grenier" 15.04.2008 Thierry Théolier @ LA JAVA P.A.R.I.S in "VOICES # 1" http://tinyurl.com/3tjlea Big-up_ Eric Perier http://www.instantnetlabel.net From yb at imal.org Sat May 10 17:18:38 2008 From: yb at imal.org (Yves Bernard) Date: Sat, 10 May 2008 17:18:38 +0200 Subject: [syndicate] NewBraveWorld : Talkoo (Electronic Urban Act) Workshop by David Cuartielles, Brussels, 4-8 June 08 Message-ID: NewBraveWorld, A series of artistic and creative workshops around Internet of Things, Ubicomp and Locative Media Registration is open for workshop 3: Talkoo (Electronic Interventions in Urban Context), 4-8 June 2008 ! with David Cuartielles Talkoo is the chosen name for the Electronic Interventions workshop proposed by media artist D. Cuartielles. David is one of the 3 creators of the famous Arduino , the Open Hardware platform, Honorary Mention to the Ars Electronica Digital Community Prix 2006. The Talkoo workshop intends to bring the practice of Electronic Interventionism teaming up with a community spirit for the realization of pieces to be set in the urban environment of the city center of Brussels. After a series of practical exercises with an introduction to Arduino, participants will look into the methods for carrying out interventions with electronic elements in urban locations. Divided into groups, participants will be the creators of electronic machines that will invade the city, provoking situations and stirring sensations in its inhabitants. Date: from 4 to 8 June 2008 Fee: 100 EUR Maximum Participants: 15 Location: iMAL, Brussels Detailled description and Registration Form on http://www.imal.org/NewBraveWorld/NBW3 About NewBraveWorld An "Internet-of-Things" is under construction with technologies for unique digital identification (RFID), geolocation (GPS), embedded computing (ubiquitous or pervasive computing) and mobile networking (e.g. wifi, wimax, umts/3g). Places and objects become linked to digital media which can be everywhere people are. Our digital life and social interactions are going to happen through tangible augmented objects and our physical environment will become the playground of new social and artistic behaviors, interventions, actions both in data and media spaces. "New Brave World" proposes 4 workshops exploring the roles of artists, designers, media makers and creative scientists/developers in this context of the merge of digital and physical spaces. Dates and detailled descriptions on http://www.imal.org/NewBraveWorld NewBraveWord is produced by iMAL with the support of the Flanders Audiovisual Fund. -- Yves Bernard yb at imal.org asbl iMAL vzw Center for Digital Cultures and Technology 30 Quai des Charbonnages / Koolmijnenkaai 30 1080 Bruxelles/Brussel tel 32 2 410 30 93 http://www.imal.org http://www.erg.be/blogs/artNumeur http://www.i-cult.be From dissemination.jbnaudy at gmail.com Sun May 11 10:23:06 2008 From: dissemination.jbnaudy at gmail.com (Jean-Baptiste Naudy) Date: Sun, 11 May 2008 10:23:06 +0200 Subject: [syndicate] UTOPOLITIKA ::: 18 May :: Van Abbemuseum : Eindhoven. In-Reply-To: <80561c450805110118i39a349bfl41467f1cdf197603@mail.gmail.com> References: <80561c450805110118i39a349bfl41467f1cdf197603@mail.gmail.com> Message-ID: <80561c450805110123k306ceef7led82a518973b8d8b@mail.gmail.com> UTOPOLITIKA a public discussion Sunday 18 MAY, 14:00 Auditorium of the Van Abbemuseum Bilderdijklaan 10, EINDHOVEN http://www.vanabbemuseum.nl _ http://www.your-space.nl - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - UTOPOLITIKA seeks to find bonds between various notions of utopia in contemporary cultural production from the perspectives of architecture, publishing, cultural project management, art criticism, subjective geography / topography, political design and cultural activism. Discussants: # *BAVO* _ architects & philosophers, Brussels / Rotterdam; # *Annelys de Vet* _ graphic designer, Amsterdam; # *Freek Lomme* _ writer and curator (Onomatopee, your-space), Eindhoven; # *Marko Stamenkovic* _ writer and freelance curator, Belgrade; # *Societe Realiste* _ cooperative, Paris; # *Cindy van den Bremen* _ designer, Eindhoven; # *Marije van der Park* _ designer, Eindhoven; # and *Daniel van der Velden* _ designer and member of Metahaven, Amsterdam / Brussels. A program coproduced by Academie Jan van Eyck - Design Department (Maastricht) and your-space , Van Abbemuseum (Eindhoven) - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - UTOPOLITIKA is organised on the occasion of the presentation of Societe Realiste's TRANSITIONERS project at your-space, Van Abbemuseum (open until 25 may). = SOCIETE REALISTE - intelligence at societerealiste.net - http://www.societerealiste.net -------------- next part -------------- An HTML attachment was scrubbed... URL: From RAIQ Sat May 10 00:40:47 2008 From: RAIQ (RAIQ) Date: Fri, 09 May 2008 18:40:47 -0400 Subject: [syndicate] Open Source Embroidery: Craft and Code at HTTP Gallery In-Reply-To: <48218D95.8060906@furtherfield.org> Message-ID: Bonjour, Le bureau du RAIQ est présentement fermé. Je prendrai les messages et les courriels à mon retour le 12 mai prochain. Merci de votre compréhension, - Virginie Belhumeur Coordonnatrice RAIQ Regroupement des arts interdisciplinaires du Québec 372, rue Sainte-Catherine Ouest, local 303.3 Montréal, Qc Canada H3B 1A2 514.380.3093 / raiq at studio303.ca Lundi au jeudi de 9h à 17h Visitez notre site Web! www.artsinterdisciplinaires.org From marc.garrett at furtherfield.org Mon May 12 18:02:55 2008 From: marc.garrett at furtherfield.org (marc garrett) Date: Mon, 12 May 2008 17:02:55 +0100 Subject: [syndicate] Open Source Embroidery: Craft and Code at HTTP Gallery In-Reply-To: References: Message-ID: <48286A2F.6040105@furtherfield.org> Well, I look forward to the 12th of May :-) m. > Bonjour, > > Le bureau du RAIQ est présentement fermé. Je prendrai les messages et les > courriels à mon retour le 12 mai prochain. > > Merci de votre compréhension, > - > Virginie Belhumeur > Coordonnatrice > RAIQ Regroupement des arts interdisciplinaires du Québec > 372, rue Sainte-Catherine Ouest, local 303.3 > Montréal, Qc Canada H3B 1A2 > 514.380.3093 / raiq at studio303.ca > Lundi au jeudi de 9h à 17h > > Visitez notre site Web! > www.artsinterdisciplinaires.org > > > > From arcangel at unosunosyunosceros.com Mon May 12 19:26:26 2008 From: arcangel at unosunosyunosceros.com (arcangel) Date: Mon, 12 May 2008 12:26:26 -0500 Subject: [syndicate] inmerso cyberlounge museo tamayo / james paterson / performance inaugural 14 de mayo Message-ID: <48287DC2.8080406@unosunosyunosceros.com> El Cyberlounge del Museo Tamayo Arte Contemporáneo invita al performance inaugural de *James Paterson www.presstube.com * Miércoles 14 de mayo de 2008 a las 20:00 horas Entrada libre I cupo limitado www.museotamayo.org/inmerso El flujo y la dinámica evolutiva acelerada son características predo- minantes y esenciales en la obra de James Patterson. Dibujante, animador y programador, ha creado una obra sustancial apro- piándose de los nuevos recursos ofrecidos por la tecnología de redes, logrando el reconocimiento internacional de su propuesta estética. Los acontecimientos que tienen lugar en su obra se desbordan a manera de un flujo continuo; las nubes de su ima- ginación están repletas de seres oníricos que son y dejan de ser, surgen, existen y mutan reencontrándose inesperadamente. Sus animaciones interactivas están compuestas de elementos orgá- nicos ilustrados que se transforman en situaciones fantásticas, cuyos trazos animados vibran incesantes con la intención de con- tinuar en proceso de metamorfosis indefinidamente. El flujo en la obra de Patterson está formal y metafóricamente ligado a la forma como se dispersa en la red, diseminándose hasta lo más recóndito de ésta y sorprendiendo a conocedores e inicia- dos que interactúan en su construcción y apreciación estética. El trabajo formal y obsesivo, propio de las técnicas tradicionales del dibujante/animador, es afectado de manera dinámica por las variaciones algorítmicas implementadas en el código y la baja reso- lución vectorial del píxel como sustituto del carbón. Después de realizar estudios en la Nova Scotia College of Art and Design en Canadá, Patterson se muda a Nueva York en 1997 , donde empieza a experimentar con las herramientas proporcio- nadas por flash 2, apropiándose de sus capacidades gráficas y de programación para lanzar el sitio presstube.com en el año 2000. Inicialmente concebido como un sitio para creaciones en colaboración, más tarde se convirtió en el espacio particular de Patterson funcionando como un libro de bocetos, un lugar donde su obra es resguardada a diario mediante una interface-obra que permite a los usuarios, de un modo ágil, una lectura vislumbradora de la capacidad creativa del autor. Arcángel Constantini Curador El trabajo de James Patterson (Londres, 1980. Reside en Montreal, Canadá) ha sido exhibido internacionalmente en espacios como: Centre Pompidou, París;Museum of Contemporary Art, Taipei; Institute for Contemporary Arts, Londres;Seoul Museum of Art, Korea; Israel Museum, Jerusalem; Centro de CulturaContemporánea, Barcelona. Ha realizado parte de su obra en colaboracióncon Amit Pitaru, músico y programador de www.pitaru.com con el proyectowww.insertsilence.com www.presstube.com May 14?August 17, 2008 Flux and an accelerated evolutionary dynamic are essential features of James Patterson?s internationally acclaimed practice. In his substantial body of work?which involves drawing, animation and computer programming?Patterson takes advantage of new tools of Internet technology. The events that take place in his work seem to be in a continual state of transformation; in his imaginary world, dreamlike beings are born and then cease to exist, emerging, breathing and mutating, then disappearing and reappearing unexpectedly. His interactive animations are composed of illustrated organic elements that evolve into fantastic situations where animated drawings vibrate incessantly, apparently intent on continuing the process of metamorphosis indefinitely. In Patterson?s practice, the idea of flux is formally and metaphorically tied to the way in which his work expands through the Web, distributed to its remotest corners and surprising both novices and more experienced surfers who interact with its construction and aesthetic interpretation. The formal, obsessive work characteristic of traditional drawing and animation techniques is influenced in a dynamic manner by the algorithmic variations implemented by its encoding and the low resolution of vectorial pixels substituting charcoal. After studying at the Nova Scotia College of Art and Design in Canada, Patterson moved to New York City in 1997, where he began experimenting with new programs such as Flash II, making use of his drawing and programming skills in order to launch the Website presstube.com in 2000. First conceived as a site for collaborative creations, it subsequently became Patterson?s own personal space, functioning as a sketchbook: a space where his work is uploaded day-by-day, employing a user-friendly interface that provides viewers with a revealing look at his creative abilities. Arcángel Constantini Curator James Patterson (London, 1980; lives in Montreal) has shown his work internationally in venues such as the Centre Pompidou in Paris, the Taipei Museum of Contemporary Art, the Institute for Contemporary Art in London, Seoul Museum of Art, Israel Museum in Jerusalem and Centro de Cultura Contemporánea in Barcelona. He has worked collaboratively with musician and programmer Amit Pitaru (www.pitaru.com ) on such projects as www.insertsilence.com From choubard at gmail.com Mon May 19 19:42:26 2008 From: choubard at gmail.com (Bobig) Date: Mon, 19 May 2008 19:42:26 +0200 Subject: [syndicate] When attitudes re-becomes attitudes Message-ID: <4831BC02.5080005@gmail.com> voilà quoi http://lessiseasier.bobig.fr/tag/when-attitudes-re-becomes-attitudes/ From subterfluent at gmail.com Wed May 21 12:45:19 2008 From: subterfluent at gmail.com (anna balint) Date: Wed, 21 May 2008 12:45:19 +0200 Subject: [syndicate] international art erasure opportunity Message-ID: Sehr geehrte Damen und Herren, Liebe Kunstfreunde, Dear Sir or Madam, Dear art interested folks, ________________________ ArtErasa bietet derzeit das Projekt VotErasa an. VotErasa ist ein Service, der es jeder Person ermöglicht am Kunstgeschehen teilzunehmen und individuell in die internationale Kulturlandschaft einzugreifen. Nutzen Sie das kostenlose Angebot und schlagen Sie ein Kunstwerk zur Bereinigung vor. Aus allen Bereichen der Kunst, der Musik sowie aus der Architektur kann pro Person eine künstlerische Arbeit vorgeschlagen werden. Aus allen Vorschlägen ermittelt dann eine unabhängige Fachjury drei Werke, die gekauft und anschließend bereinigt werden. Gleich mitmachen. VotErasa ArtErasa currently offers VotErasa. VotErasa is a service that allows everybody to participate in the arts directly and to intervene in international cultural affairs. Please use the free and non-binding offer and proposean artwork to us. Everybody can propose one artpiece from all fields of art, music and architecture. Out of all proposals an independent jury nominates three works that will be bought and afterwards erased. Participate right now. VotErasa. ________________________________________ ArtErasa /// Internationale Kunstbereinigungen. ArtErasa /// International Art Erasure. ________________________________________ www.arterasa.org www.echtzeitraum.org / www.realtimespace.org -------------- next part -------------- An HTML attachment was scrubbed... URL: From subterfluent at gmail.com Fri May 23 10:27:27 2008 From: subterfluent at gmail.com (anna balint) Date: Fri, 23 May 2008 10:27:27 +0200 Subject: [syndicate] LAST CALL: Film, Video and Multimedia Projects - URBAN SCREENS 08 References: Message-ID: <71753120-7B3C-438C-95FA-6AC413904560@gmail.com> Begin forwarded message: From: Mirjam Struppek Date: May 23, 2008 5:39:08 AM GMT+02:00 To: USM08 Subject: LAST CALL: Film, Video and Multimedia Projects - URBAN SCREENS 08 Dear colleagues, we are especially looking for more projects reflecting on the topic of today's communities, please help us once again to distribute our call reminder, Best, Mirjam ************************************************************* Urban Screens Melbourne 08 Conference ?mobile publics? 3 ? 5 October 2008 Multimedia exhibition 3 ? 8 October 2008 http://www.urbanscreens08.net Deadline for submission: 31st May 2008 ************************************************************* Urban Screens Melbourne 08 is the third, ground-breaking international conference and multimedia exhibition in a series of worldwide events around the redefinition of a growing digital infrastructure of moving images in public space. It will mark the official launch of the International Urban Screens Association and will take place 3.-8. October at Federation Square, Melbourne. Federation Square is a unique cultural and community oriented multimedia precinct, centred around a significant 38m2 public LED screen complemented with other digital elements. CALL FOR FILM&VIDEO and MULTIMEDIA PROJECTS ******************** The Urban Screens 08 exhibition is looking for Artists, Filmmakers, Multimedia and Interaction Designers and Urban Poets, to submit film and videos or multimedia, interactive or participatory screen based projects. A large diverse urban screens infrastructure is available at Federation Square. CRITERIA We are mainly looking for potentially adaptable projects that interrogate screen media as a medium|content and tackle the festival?s key themes of issues of either community building and reflecting on today?s communities or sustainability in relation to water. These two complex themes aim to provoke discussion and spark questions such as: What is a community in times of the high-speed, global flows of the new media scape? Are we a step closer to the idea of a global community, a global public sphere? What are the places where a community can meet today? The event will explore the various possibilities to engage with Urban Screens for community building. But also how we can utilize the screens to support the promotion of social and environmental sustainability. The theme of water is bridging and connecting both of these concepts. Water is an essential element for a liveable public space. Wells, fountains and riversides are all social meeting places that create an engaging urban environment for all ages, as well as influencing the urban microclimate. Fresh water is essential for human wellbeing but has threatened to become a scare resource. How can we explore the diversity of water, an element, essential to the existence of life on earth? For a detailed description of the curatorial framework see: http:// www.urbanscreens08.net/art-+-events For a detailed description of Fed Squares infrastructure see: http:// www.urbanscreens08.net/technical The projects should preferably employ one or more of the listed existing infrastructure of urban screens of Fed Square and should consider and adapt to the special circumstances of outdoor public spaces, transforming urban spaces to foster dialogue and community engagement. We are looking for: A) Film and video such as - Video art, text art, animation, animated slideshows, or fictional advertisements and community information (under 3 min.) - Silent works especially for the joint broadcasting or daily screenings in-between (under 3 min.) - Short experimental films, documentary and journalistic content (under 15 min.) - Small curated programs of the mentioned type of works B) Interactive, performance based or participatory projects such as - Interactive software applications for urban screens - Participatory community projects using creative digital practices - Live media art merging performance and new media - Community displays for education and exchange - Virtual/real world hybrid projects using streaming content - Real-time generated content - Screen related sound experiments - Digital storytelling projects - Mobile games using urban space as social and educative playground - Connecting mobile culture of locative media with urban screens APPLICATION AND DETAILED CALL For the detailed call and submissions use the relevant online application form provided under: http://www.urbanscreens08.net/callforprojects Submission are due: May 31st 2008 Selected projects due for installation/testing: September 1st 2008 Fim&Video submissions should include a preview (resolution ca. 320x240) no longer than 5 minutes, or a clear storyboard of stills suitable for an online review process. Selected producers/artists may be eligible for a small honorarium, where deemed appropriate, to adjust their project to the program and site or travel to Melbourne. CONTACT exhibition at urbanscreens.net (please use the subject ?USM08 - CALL?) MAYOR EXHIBITION SPONSORS The event is brought to you by the International Urban Screens Association. www.urbanscreens.net This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. www.australiacouncil.gov.au Fed Square Pty Ltd - www.federationsquare.com Barco ?visibly yours? - www.barco.com Film Victoria - http://film.vic.gov.au Circus - www.circusexp.com Pinnacle ?Production Services? - www.pinnacleps.com Media Partner: ARS HyperMedia - www.simultaneita.net australian-architects - www.australian-architects.com Best regards, Mirjam Struppek _______________________________________ URBAN SCREENS MELBOURNE 08 www.urbanscreens08.net Artistic Director International Urban Screens Association www.urbanscreens.net -------------- next part -------------- An HTML attachment was scrubbed... URL: From s.u.n at free.Fr Mon May 26 14:37:18 2008 From: s.u.n at free.Fr (S/U/N) Date: Mon, 26 May 2008 14:37:18 +0200 Subject: [syndicate] bash love Message-ID: <483AAEFE.2030201@free.Fr> [weweje at sd-14368 ~]$ fuck you -bash: fuck: command not found [weweje at sd-14368 ~]$ yum install fuck Loading "installonlyn" plugin You need to be root to perform this command. [weweje at sd-14368 ~]$ su Password: [root at sd-14368 weweje]# su [root at sd-14368 weweje]# yum install fuck Loading "installonlyn" plugin Setting up Install Process Setting up repositories dag 100% |=========================| 1.1 kB 00:00 rpmforge 100% |=========================| 1.1 kB 00:00 base 100% |=========================| 1.1 kB 00:00 updates 100% |=========================| 951 B 00:00 addons 100% |=========================| 951 B 00:00 extras 100% |=========================| 1.1 kB 00:00 Reading repository metadata in from local files Parsing package install arguments Nothing to do From horrorkatze at modukit.com Thu May 29 10:19:16 2008 From: horrorkatze at modukit.com (horrorkatze) Date: Thu, 29 May 2008 10:19:16 +0200 Subject: [syndicate] From Soros Realism to Creative Class by Horrorkatze Message-ID: http://www.modukit.com/horrorkatze/tekstovi/sorosrealism_creativeclass.pdf >From Soros Realism(1) to Creative Class by horrorkatze Cultural foundations have a strong impact on cultural production in the region of the Balkans during the last decade. Analyzing their particular missions and international agendas for cultural policies, it turns out that their vocabulary reminds on critical political practices and discourses of the 1960s and 70s in "western" societies. In this essay I will trace back the history of identity politics and participation and critically comment, why and how these ideas are implemented in the recent conceptions for global and/or European cultural policies. I will present concrete examples of cultural production from Belgrade and Hamburg and describe how cultural identity and participation are interpreted and put into practice in different local contexts. Why culture and creativity play such an essential role in today's economy will be explained through the example of Richard Florida's model of a "creative class". I will show that the culturalization of politics is not solving the problems of inequality in neoliberal capitalism and that the postmodern discourse about the ambiguity of cultural identity in practice supports the continuation of chauvinistic identity politics. Cultural Foundations and their Missions in the Balkans During the Nineties "Soros Centers for Contemporary Art" (SCCA) dominated the cultural scene in whole Eastern Europe. Nowadays the Open Society Institute in Eastern Europe concentrates mainly on programs concerning education, youth and children, minorities and human rights. Since around 2002 foreign funding of culture and arts in Serbia decreased significantly and is coordinated now by the European Cultural Foundation (in cooperation with Open Society Institute and Hivos), national foundations as Kulturstiftung des Bundes (mainly in Kosovo), Pro Helvetia, Kulturkontakt and alike. There emerged even an important corporate foundation, the Erste Bank Group with its program called "Kontakt". What are the goals and visions of the programs offered by these European foundations? For the Swiss Pro Helvetia "cultural identity and cultural self-consciousness" have become crucial in the age of globalization as it is stated in the vision of the "Swiss Cultural Programme South East Europe and Ukraine". Culture, and thus its producer, is "contributing to the social and economic transition process" and is characterized with terms like "change", "openness", "innovative", "active", "engaged", "strengthening of civil society", "social challenges", "partnership", "shared experiences", "debate" etc. The producer ? subject focused on is according to this description young, culturally self-conscious, innovative, creative, open-minded, socially engaged, willing to participate, collaborate, to acquire and to share new knowledge. Two ideas are stressed: cultural identity and participation. The "Kontakt" program of the Erste Bank Group serves, as it reads on their webpage, "as a platform for the social and cultural commitment of Erste Bank Group in the Central and Eastern European region." Erste Bank sees itself as an actor, who is looking for partners to "work on proposals for solutions" and "to develop strategies on how to tackle the economic, cultural and socio-political issues in Central and Eastern Europe in the near future". Erste Bank describes itself as "open, eager to learn and ready to try new approaches". This is what is expected to be the partner, too, of course. Keywords used characterizing possible partners are more or less the same as the ones that uses Pro Helvetia, but there are some new elements coming in: Erste Bank stresses aspects as cooperation, networking, self-organization, the aim "to work independently in the production of art" and to "enable independent creative strategies". In the following I concentrate on three characteristics of the subject (the cultural producer or potential partner) described in the given examples: Cultural identity, participation and selforganization (other expressions might be autonomy, independence, self-determination). I will shortly outline the development of the discourses and practices connected to these ideas from the new social movements of the 20th century until to the cultural turn in the 1990s, which is accompanied by the emergence of the creative industries, the promotion of multiculturalism and cultural difference and the discussions about precarious working conditions of the so-called creative class. Fight for Cultural Identity The statement that identity is not determined biologically was very important for the feminist critique starting in the 70s in Europe and USA. Feminist theory points at the difference between "sex", a biological category, and "gender", a social and cultural role or identity formed in a historical process. With this assumption it became possible to criticize the cultural and social conditions that led and lead to the social inequality between women and men. For some feminist theoreticians the most important question is the question of agency, the capacity to act. For them the power of women and the women's movement lies inside of strengthening of the female subjectivity(2). Another example for the emancipative potential of cultural identity are the national liberation movements. Writing about the Black Power movement in USA, Africa and Europe, the postcolonial theoretician Stuart Hall states the necessity of the concept of identity as a political strategy within the struggle against colonial suppression. According to him, the term "Black" in the slogan "Black Power" is "a historical, a political, a cultural category", not a biological fact(3). In this respect I want to mention the "international solidarity" between the armed anti-imperialist movements in Germany, Italy and France and the national liberation movements in Europe, Africa and America during the 70s and 80s. This (imagined) common fight of the fighters in the centres of imperialism and the ones on the periphery was more a cultural construction than a consequence of a common experience of suppression. This might be one of the (many) reasons why it failed. Both examples have in common that they revive the modern idea about an autonomous subject with the aim to give hold to the positioning of the individual in an active role and thus to be able to overthrow the ruling system and the discourses of the powerful. Cultural identity serves as a common unifier of a group of individuals to empower them to go against its suppressor. In the last 25 years, in "western" societies the concept of cultural identity shifted from a political mobilizer to an anti-political tranquilizer. Promoted along the keywords of cultural difference and multiculturalism, it is now the theoretical basis for cultural policies in Europe and USA. Referring to the representation of black culture in contemporary arts and the media, Kobena Mercer notes that "cultural difference appears more visibly integrated into mainstream markets than ever before, but it is accompanied by a privatised ethos in which it is no longer an 'issue' for public debate. "[...] " 'Hyperblackness' in the media and entertainment industries serves no longer to critique social injustice, but to cover over and conceal increasingly sharp inequalities that are most polarised within black society itself, namely between a so-called urban underclass and an expanded middle class that benefited from affirmative action."(4). However, in other places of the world, for example in Kosovo and Serbia, national or religious identity are a highly political issue. The Alternative Society: Collective Self-determination Let us have a closer look at the other two qualities, potential donation-receivers should have: participation and self-organization/self-government. Participation and self-government have been central claims of many social movements of the 20th century. Especially the youth and students' movements in the Western metropolises in the end of the 1960s expressed the desire for an alternative way of life and developed dissident practices based on self-organization and grassroots democracy. In the beginning of the 70s young people squatted houses and lived together in communities. Decisions were taken at the plenum according to the principle of consensus. Kindergartens, printing-shops, bars were organized as collectives. The idea of an alternative living comprised the abandoning of regular work in the sense of permanent employment. Work and life fell into one: the fight for personal freedom, for a self determined life, for the revolution, against the establishment, against imperialism. What happened during the last 30 years is a normalization of these formerly dissident practices. Today's working conditions demand a maximum of flexibility and self organization. Guaranteed employment many people can only dream of, especially in the so called countries in transition. The rule is unsure, not guaranteed, flexible exploitation: illegal, seasonal, temporary employment, homework, freelancing or self employment.(5) Squatted houses in Berlin or Amsterdam are a good example to see how the scene looks like 25 years later. Over the time, self-organized spaces transformed themselves into professional culture producers like artist-run galleries, cultural centers, tourist attractions, media labs, design studios, pseudo-critical debate clubs etc. while leftover groups of political activists are driven out of the gentrificated areas and exposed to state repression. Culture ? The Fourth Pillar of Development Recent international papers and documents as "Agenda 21 for culture"(6) claim that culture becomes the "fourth pillar of development" together with economy, social inclusion and environment, as stated in the "Guide to Citizen Participation in Local Cultural Policy Development for European Cities" (7) issued by the European Cultural Foundation. In many strategic papers (for example the Schroeder/Blair paper from 98) artists' working conditions and methods are quoted as a role model of an entrepreneurial self.(8). There are two aspects, why culture is such an interesting field in terms of global politics: its economic potential and its participative character. According to UNESCO, "Cultural industries [..] are knowledge and labour-intensive, create employment and wealth, nurture creativity [..] and foster innovation in production and commercialisation processes. At the same time, cultural industries are central in promoting and maintaining cultural diversity and in ensuring democratic access to culture" and "Their international dimension gives them a determining role for the future in terms of freedom of expression, cultural diversity and economic development"(9). Because of the inequality of representation of the world's cultures within cultural industries UNESCO advocates for counteracting "by strengthening local capacities and facilitating access to global markets at national level." The problem of inequality is here translated into a lack of representation within the market, which leads us to the question, if the market is the only stage, where cultural expression and visibility can be performed. In any case, in times of visual hyperproduction and unlimited digital circulation, the image and representation as such have lost its power. This is why political issues in the field of representation (the media) can only reach its public if backed up by a successful marketing strategy. Politics "is ceasing to be about conflict over dominant ideas and much more becomes the 'opportunity to participate in cultural production and conflicts and tensions over identity', as Martin Albrow puts it"(10) and transforms into something, which is described by Paul Piccone as "postmodern populism"(11). Here we come to the other aspect of culture stressed in various policy papers: its participative character. In the introduction to the abovementioned guide it reads: "What makes an individual a citizen (or not) of a particular town or place is largely determined by cultural aspects." It is amazing to see the notion of being a citizen being reduced to his/her access to cultural participation. But it becomes understandable if we recall the concepts of "cultural identity" and "cultural diversity" that stand behind this idea. In this conception of participation the state has the responsibility to enable every individual to choose her/his specific cultural identity and to offer a frame where this identity can be expressed. The question is by which forces this frame is really shaped in the end. Not only in science and education, but also in culture economical profit and corporate interests are gaining influence in the shape and content of projects and programs. For sure it is a nice idea to include citizens in the development of cultural programs of their city, but the question comes up, about what kind of culture we are talking. Isn't every day life, school, working conditions, what kind of products we have in our stores and for which price, etc. as well part of our culture? What, if a "cultural identity" doesn't want or is not able to participate? Can every conflict be translated into a cultural dissent? The advocates of the politics of identity understand culture and belonging to a culture as something negotiable, as a process. This is true, but it should not be forgotten that there exist nonnegotiable social inequalities and that we are living in a world of national and private immovable territories. What about the ones that can not take part in a special kind of culture because they just cannot afford to buy the ticket, the book, the right style of dressing, internet, ... If we talk about "cultural policies based on human rights and cultural diversity"(12), then "cultural rights" can not have a price! This would mean a true revolution of the cultural sector! Unfortunately the "advocating for culture" doesn't go that far but matches just too well with the need to mobilize all creative resources with the aim to create a "vibrant cultural life" in cities that want to attract investors, young people, tourists etc. National identity and contemporary art, Beograd-Prishtina The exhibition about contemporary art from Prishtina "Exception", which took place in January 2008 in Novi Sad and should continue in February in Belgrade, focused in one part on artistic works dealing with national identities(13). It was funded by the European Cultural Foundation and Pro Helvetia. Realized in the very moment when Kosovo's declaration of Independency was expected every day, it was foreseeable that the exhibition would cause heavy controversy. In Belgrade, one art work was destroyed by militant nationalists who entered the gallery, while several hundred of them were demonstrating against the exhibition outside. It was closed during the opening by police, attacks on the building followed during the night. Due to the lack of state support the exhibition had to be cancelled completely. The depiction of an Albanian national hero from Kosovo had provoked Serbian nationalists, no matter that it was used in the general context of pop iconography. It is not the first time, that a work dealing with national identity causes this kind of "scandal" that covers over all other presented works and makes room rather for nationalist propaganda and political manipulation than for the much quoted intercultural dialogue. The question is, in how far the vision of a participative and negotiable cultural identity is performable in a context, where cultural identity has the notion of national, religious or ethnic identity and might be linked to traumatic experiences. These are less negotiable categories, as it is not so easy to change one's history, passport, name or colour of skin. In fact, the preoccupation with national identity avoids the solution of immense social-economic problems within the societies of Serbia and Kosovo, which are neglected by politicians and public authorities to an inexcusable extend. The true victims of the fight between "national identities" are the ones "without defined identity", refugees without papers or without the right kind of papers, living in barracks, camps, favellas or in the woods, displaced from their homes, expelled from the European Union, deprived of their right to exist. Local cultural development and participation in Belgrade and Hamburg In September 2006, the issue of self-organization was discussed on an international conference within the 40th BITEF theatre festival in Belgrade. Although initialized in a highly institutional framework and backed up by a row of local academics(14), the idea of self-organization spread in Belgrade's non institutional cultural scene and two months later the "flexible platform of the Belgrade independent scene", "The Other Scene" was founded by a large number of local initiatives, more and less established ones(15). When the city council of culture issued an open call for a new cultural venue to be founded, all members of "The Other Scene" applied under the condition that every member of the network should have access to the venue and be able to contribute their program. Only a very few initiatives from the network were selected. After the opening, the space turned out to be under the administration of the Belgrade Cultural Center of the City Council, which is now presenting the production of the groups. In business terminology this kind of strategy would be described as outsourcing. Neither the administration of the projects, nor the wages of the producers nor the production itself are on the budget of the institution, in return it gets a "vivid and contemporary" program, which is financed, if at all, by diverse cultural foundations. In 2007 some cultural producers from Belgrade's "Other Scene" took part in the European Art Festival "Wir sind woanders ? we are somewhere else" in Hamburg. In the introduction to the festival guide, the Senator for culture resumes that "in the meantime everybody has learned that it is the positions beyond mainstream out from where surprising visions of the future can be developed"(16). The event was sponsored by a private donator from Hamburg, who prefers to stay anonymous. For the cultural producers themselves, the shift from the margin towards the center seems to be irritating. The discussions held on a parallel theoretical platform underline a critical reflection of the development. There are around three fractions one could figure out in Hamburg's "independent art and cultural scene". One claims the responsibility of the state to fund them at a larger scale, arguing with the new importance of their productivity. Others see a great chance to jump into the emerging economic field of urban marketing and cultural tourism. A third group hints at the precarious working conditions of culture producers and there is a few people that insist explicitly in the critical and political position of their work. The Potential of the Creative Subject After all, the key issues of the social emancipative movements, self-determination and participation, have entered institutional politics. Obviously it is not their critical power but their economical potential that makes them attractive today. Self-responsibility, flexibility, creativity, high motivation, these are the qualities the creative subject must be equipped with to fulfil the requirements of a society regulated by the norms of neoliberal capitalism. Bestseller author Richard Florida(17) believes in a rising "creative class" consisting of scientists, tech people, artists, managers, lawyers, financial people,.. that is the driving force for economical growth. According to his empirical studies in the US, the "young creatives" are attracted by cities offering the right kind of "active, participatory recreation facilities": "They prefer indigenous street-level culture---a teeming blend of cafes, sidewalk musicians, and small galleries and bistros, where it is hard to draw the line between performers and spectators. They crave stimulation, not escape. They want to pack their time full of dense, high-quality, multidimensional experiences. Seldom has one of my subjects expressed a desire to get away from it all. They want to get into it all, and do it with eyes wide open. [...] Creative class people value active outdoor recreation very highly and are into a variety of active sports, from traditional ones like bicycling, jogging, and kayaking to newer, more extreme ones, like trail running and snowboarding." To measure the capabilities a city or area has for a synergy of different kinds of creativity Florida gives three indexes: The Creativity Index (how many people work in the creative field), the High-Tec Index (how many patents are issued per capita) and the Gay Index (which shows how open an area is to different kinds of people and ideas."(18) Because of his very simple and affirmative approach many politicians, city developers and cultural producers took over his argumentation to claim the importance of investing into culture. One can guess, what kind of culture we are talking about, if its main aim is to stir economic growth: fast consumable, target group oriented, expensive, suitable for urban marketing. Conclusion The cultural self-exploitation of the creative subject on the one side and the creation of cultural identities that consume cultural products on the other side seem like two entities of a perpetuum mobile of economic profit. This is an illusion raised up in a blinded world of participative consumer happiness that ignores the fact that its wealth is produced by disenfranchised workers in other parts of the world, of the country or even of the city. In that other world, cultural diversity might mean something else than the freedom to choose between a Vietnamese, Turkish or Chinese restaurant. In that other world enjoyment in a floating cultural identity doesn't exist, but there exist nonambiguous identities confined by their social status. The concept of participation and cultural identity diffuses a potential critical mass into billions of egos fitted with the right to express themselves. It conceals the increasing social inequalities in our societies hit by neoliberal politics and globalized markets downsizing them to cultural or ethno phenomena that could even pay out if only promoted on the market in the right way. The discourse about cultural identity supports the continuation of chauvinist identity politics that push people into irrational conflicts and hinders a constructive dialog between all people about how to secure a normal life for everybody. (1) Term used by Mi?ko ?uvakovi?, http://www.ljudmila.org/scca/platforma2/suvakovicang.htm (2) Peter V. Zima, 2000, "Theorie des Subjekts", p. 281, referring to Francoise Gaspard, Sabina Lovibond and Honi Fern Haber. (3) Hall, 1994, "Alte und neue Identitäten, alte und neue Ethnizitäten", p. 66-88, nach Linda Supik, 2005, "Dezentrierte Positionierung, Stuart Halls Konzept der Identitätspolitiken", p.76 (4) Kobena Mercer, 1999, Third Text issue 49, "Ethnicity and Internationality, New British Art and Diaspora-based Blackness", published again in "Contemporary Art and Nationalism", Prishtina 2007, publishers: Minna Henriksson and Sezgin Boynik, pp. 117-118 (5) "However, it is precisely these alternative living and working conditions that have become increasingly more economically utilizable in recent years because they favor the flexibility that the labor market demands. Thus, practices and discourses of social movements in the past thirty, forty years were not only dissident and directed against normalization, but also at the same time, a part of the transformation toward a neoliberal form of governmentality." Isabell Lorey in "Governmentality and Self-Precarization, On the normalization of cultural producers", published in: Simon Sheikh (Ed.). CAPITAL (It Fails Us Now). Berlin: b_books 2006, pp. 117-139 (6) www.agenda21culture.net (7) European Cultural Foundation, 2007, "Guide to Citizen Participation in Local Cultural Policy Development for European Cities", by Jordi Pascula i Ruiz and Sanjin Dragojevic, published by Interarts Foundation (Barcelona), ECUMEST Association (Bucharest) and the European Cultural Foundation, http://www.eurocult.org/uploads/docs/577.pdf (8) Isabell Lorey in "Governmentality and Self-Precarization" (9) UNESCO Educational, Scientific and Cultural Organization at http://portal.unesco.org/culture/en/ev.php-URL_ID=35024&URL_DO=DO_TOPIC&URL_SECTION=201.html (10) Barrie Axford, Richard Huggins, 1997, "Anti-politics or the Triumph of Postmodern Populism in Promotional Cultures?", The public, Vol.4 , 3 5, http://www.javnost-thepublic.org/article/1997/3/1/ "postmodern populism"11. (11) Piccone, Paul. 1995. Postmodern Populism. Telos 2, 45-87. (12) European Cultural Foundation, 2007 (13) http://www.kontekstgalerija.org/pdf_08/odstupanje.pdf (14) TKH, 2006, TKH 11, Self-organisation Issue, http://www.tkh-generator.net/IMG/pdf/TkH_11.pdf (15) Re-Reader, 2007, Biro za kulturu i komunikacije Beograd, pp. 66/67, http://birobeograd.info/re-reader.pdf (16) http://www.wirsindwoanders.de/files_2007/uploads/WSW2_programmheft.pdf (17) Richard Florida, 2002: "The Rise of the Creative Class. And How It's Transforming Work, Leisure and Everyday Life" (18) Richard Florida, 2002, "The Rise of the Creative Class. Why cities without gays and rock bands are losing the economic development race" article published in http://www.washingtonmonthly.com/features/2001/0205.florida.html. From helen at volcanic.demon.co.uk Fri May 30 10:58:14 2008 From: helen at volcanic.demon.co.uk (Helen Sloan) Date: Fri, 30 May 2008 09:58:14 +0100 Subject: [syndicate] Multichannel Screening Programme 20 June - 6 July, 2008 ArtSway UK, Opening event 20 June 6 - 9pm Message-ID: Apologies for cross-posting Dear Colleagues and Friends I would like to invite you to SCAN's latest project and collaboration with ArtSway. After the success of last year's screening programme, Multichannel will be held for over two weeks in 2008 and we had an overwhelming response from artists making single screen work from all over the world. Paul B Davis will be in residence, as part of Distributed South's programme and network of media arts events across the South of England, to complement the screenings and we will hold an opening screening and seminar event on 20th June starting at 6pm. I do hope you will be able to attend. With best wishes Helen Helen Sloan Director SCAN -------- MultiChannel Friday 20 June Sunday 6 July 2008 Multichannel is a screening programme, organised and curated by ArtSway and SCAN, which will take place in ArtSway¹s galleries. This year¹s programme features film and video works by 37 artists and looks to expand upon the highly successful 2007 Multichannel screening programme. The continuing intention of the curators is to present single screen video works by artists and practitioners who reflect current trends in contemporary lens-based work, as well as screening films by cutting edge practitioners from the previous two decades. Multichannel has been expanded from the three days of screenings in 2007, to almost three weeks for this year¹s programme. In addition, there was an open call for artists to submit work for selection resulting in 150 high-calibre lens-based artists sending works from across the UK, Europe and as far afield as the United States. Alongside the open call a number of exceptional artists have been invited by the curators to exhibit their work. The single channel works selected for Multichannel are curated into a screening programme that will cover the following areas: Film/Video and Music; Narrative and Journey; Film/Video as Material; Psychological Narrative. The 37 artists included in the programme have been grouped into an area that the curators feel best reflects themes inherent in their work, and are as follows: In ArtSway¹s Gallery 2: Film/Video and Music: Andrew Brand; Anahita Hekmat; Pete Gomes; Jen-Kuang Chang; Alison Ballard; Paul B Davis; Rachel Cattle; Flow Motion. Narrative and Journey: Steve Hines; Michael Fortune; Jeannie Driver; David Kendall, David Bickerstaff; Thomson & Craighead; Gair Dunlop; Kevin Logan; Nina Sverdvik; Amanda Loomes, Manuel Saiz; John Davis. In ArtSway¹s Gallery 3: Film/Video as Material: Ranulph Glanville; Nicola Naismith; Cynthia Beth Rubin; Karen Reed; Joe Duffy; Simon Woolham. Psychological Narrative: Hannu Karjailainen; Anna Siebert; Lucy Cash; Tina Gonsalves; Sarah Pucill; Joel Papps; Kevin Pocock; Jordan Baseman; Benjamin Cooper. Artist in Residence and Education Programme: Alongside the screening programme there will be a number of talks and events. Paul B. Davis, an artist and musician with an international reputation for his work reconfiguring video and computer games, will also be in residence for one week during Multichannel as part of the Distributed South media arts initiative curated by Space Media and SCAN. Paul will spend part of his residency teaching local school children from St Luke¹s Primary, Sway, the basics of computer programming and electronics. Late Night Special Screening and Panel Discussion: Friday 20 June 2008, 6pm 9pm Join curators Helen Sloan (SCAN) and Peter Bonnell (ArtSway) for a late night screening from 6pm to 8pm. At 8pm there will be an informal panel discussion, led by Helen and Peter featuring contributions from many artists exhibiting work in Mutlichannel. FREE all welcome. Refreshments will be served. Gallery Talk: Wednesday 2 June 2008, 7pm Brian McClave: Stereoscopic Video Brighton based artist Brian McClave will give an overview and demonstration in ArtSway¹s gallery 2 of his ground breaking stereoscopic video work. Brian has worked predominantly for the past 12 years with the medium of digital, stereoscopic (3D) video. This technology is informed by lens-based practice from 19th century photography to 21st century digital gaming. McClave¹s stereoscopic videos are often multi-layered with information occupying different spacial layers within the 3D environment. This technique allows for a superimposition of related themes and images in a way that is impossible in 2D video work. FREE: Booking Essential Multichannel Filmmaking Clinic with Steve Lewis: Saturday 28 June & Saturday 5 July, 2008, 10am 5pm Two daylong drop-in advice clinics for those who need help with all aspects of filmmaking. There will be 10 half-hour slots available on each day for young people, students and adults of any ability. If you are looking for trouble shooting advice for a film that you want to make, or you¹re struggling to make an existing work experienced filmmaker Steve Lewis will be on hand to help. COST: £10 per half-hour slot. Booking Essential For further details of all events contact Jack Lewis: jack.lewis at artsway.org.uk or telephone +44 (0)1590 682260 http://www.artsway.org.uk http://www.scansite.org From dissemination.jbnaudy at gmail.com Fri May 30 11:42:08 2008 From: dissemination.jbnaudy at gmail.com (Jean-Baptiste Naudy) Date: Fri, 30 May 2008 11:42:08 +0200 Subject: [syndicate] Activities: June 2008 In-Reply-To: <7E96CF1F-EE56-47C7-8FE7-5A85DF161B30@societerealiste.net> References: <7E96CF1F-EE56-47C7-8FE7-5A85DF161B30@societerealiste.net> Message-ID: <80561c450805300242s789cc57amcfd97c9add7d7a9c@mail.gmail.com> SOCIETE REALISTE Activities: June 2008. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - TABLE - - - - - - - - - - - - - - - - - - - - - - - - - - - - - i/ *PUBLICATIONS* *TRANSITIONERS APERIODICAL BULLETIN* The issue n°2 of Transitioners' Aperiodical Bulletin is now released and downloadable following this link . *MANIFESTA 6 DEPT III: ABSCHLUSSBALL *The *Contract of Discord* established during the collective Abschlussball project has been published as an insert to IDEA n°28 . ii/ *L'ARGENT* Collective exhibition OPENING: Sunday 15 JUN, from 15:00 to 20:00. Open through 17 AUG. Le Plateau , Place Hannah Arendt, 75019 PARIS iii/ *NA MI VAN?* Collective exhibition OPENING: Friday 20 JUN, from 18:00. Open through 31 AUG. Mucsarnok , H?sök tere, BUDAPEST iv/ *BE A HAPPY WORKER: WORK-TO-RULE!* Collective exhibition OPENING: Thursday 26 JUN Open through 20 JUL. Galerija Miroslav Kraljevic , Subiceva 29, ZAGREB v/ *COMMENTING L'ARGENT / MARKA* Public discussion: Emiliano Battista, Gal Kirn and Jorgos Papadopoulos. Saturday 28 JUN, 17:00 Le Plateau , Place Hannah Arendt, 75019 PARIS In collaboration with Academie Jan van Eyck . - - - - - - - - - - - - - - - - - - - - - - - - - - - - - CONTENT: *L'ARGENT* - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Collective exhibition In an era dominated ? in art, as elsewhere ? by the omnipresent issue of profitability, this exhibition offers a partial survey of artistic approaches challenging the social role of money, from the early 20th century up until the present. This has been a great chance to bring together works by Manet, Yves Klein, Andy Warhol, Ernest T., Claire Fontaine, Société Réaliste and others. In the context of a rampant capitalism for which the power of the market is all, art is no longer just a sound investment or an aesthetic refuge. Now thoroughly ? and symptomatically ? integrated into the capitalist system, it can provide a better, faster return on investment than some top shares. In such a setting it is logical to give a hearing to artists, individually or in groups, whose work falls within the shadow of stock-market fluctuations. The exhibition L'Argent ("Money") comprises three complementary sections. It begins with a wall of photocopies of works of art addressing the money issue. In turn the public can take possession of the reproductions and touch works of art that very few institutions can afford to borrow. The exhibition then lingers over the period 1970?80, during which artists decided to infiltrate the institutional network and denounce the underhanded transactions that had become an everyday feature of the scene. In a third and final part, Le Plateau is given over to site-specific works focusing right now, in 2008, on the unique, universal touchstone that is money. *With works by*: Adel Abdessemed, Fikret Atay, Fabio Balducci & Sophie Calle, Iain Baxter, Philippe Cazal, Claude Closky, Moyra Davey, Wim Delvoye, Tracey Emin, Et n'est-ce *&/et, Malachi Farrell, Hans-Peter Feldmann, Sylvie Fleury, Claire Fontaine, Michel François, Gloria Friedmann, General Idea, Felix Gonzalez-Torres, David Hammons, Thomas Hirschhorn, IFP, Michel Journiac, Edward Kienholz & Nancy Reddin, Ben Kinmont, Olga Kisseleva, Arnaud Labelle-Rojoux, Suzanne Lafont, Matthieu Laurette, Bertrand Lavier, Louise Lawler, Zoe Leonard, Les ready-made appartiennent à tout le monde (R), Gilles Mahé, Kris Martin, Cildo Meireles, Annette Messager, Antoni Muntadas, Marylène Negro, Cady Noland, Orlan, Gabriel Orozco, Ouest-Lumière, Cesare Pietroiusti & Paul Griffith, Josephine Pryde, Claude Rutault, Seth Siegelaub, Santiago Sierra, Société Réaliste, Reena Spaulings, Ernest T, Taroop & Glabel, the Centre of Attention, Joana Vasconcelos, Dana Wyse, la Biennale de Paris. * Curated by*: Caroline Bourgeois and Elisabeth Lebovici. from Sunday 15 JUN to Sunday 17 AUG. Le Plateau , Place Hannah Arendt, 75019 PARIS On Sunday 28 JUN at 17:00, Le Plateau will host Emiliano Battista, Gal Kirn, Jorgos Papadopoulos and Société Réaliste to comment and reflect on the exhibition (*see below*). - - - - - - - - - - - - - - - - - - - - - - - - - - - - - CONTENT: *NA MI VAN?* - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Collective exhibition *Na mi van?* (*What's Up?*) - *Contemporary Hungarian Art* is the conceptual umbrella under which several contemporary Hungarian art exhibitions and projects taking place in Budapest between July 21st ? August 31st 2008 are gathered together in the organization of M?csarnok / Kunsthalle Budapest. The nucleus of the structure is given by the large format exhibition with the same title, presented in M?csarnok / Kunsthalle, which aims to set forth what is topical, novel and noteworthy in contemporary Hungarian art. The pursuit of latest developments of the local art scene as well as new framing perspectives are among its working methods. About twenty artists are asked to reflect on what concerns them nowadays and make that visible in the installation of their works. *With works by:* András Braun, László Csáki, Gábor Erdélyi, Kis Varsó, Gábor Arion Kudász, Ilona Lovas, Kamilla Szíj, Imre Bukta, Szabolcs Kiss Pál, SZAF / Miki Mécs & Judit Fischer, György Szász, Beatrix Szörényi, Péter Türk, Gyula Várnai, Róza El Hassan, Tibor Horváth, Tamás Kaszás, Antal Lakner, Pál Szacsvay, Société Réaliste. * Curated by:* Judit Angel and Zsolt Petrányi. from Friday 20 JUN to Sunday 31 AUG. M?csarnok , H?sök tere, BUDAPEST - - - - - - - - - - - - - - - - - - - - - - - - - - - - - CONTENT: *BE A HAPPY WORKER: WORK-TO-RULE!* - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Collective exhibition The exhibition *Be a Happy Worker: Work-to-Rule!* considers different perspectives and concepts of work and labour, the 'slowing down' of work, touching upon the quality of work and life in the former and present working conditions, the global division of labour and creative reflections on industrial and postindustrial labour. On the other hand, the exhibition touches upon the nostalgia for the time of belief in industrial modernization, in the light of destinies of workers after the transformations and dissolving of the factories in East Europe. *With works by*: Mircea Cantor, Maja Cipek, Miklos Erhardt & Reinigungsgesellschaft, Igor Grubic, Sanja Ivekovic, Helmut & Johanna Kandl, Pavel Mrkus, Deimantas Narkevicius, Marion von Osten, Marija Mojca Pungercar, Societe Realiste, Mladen Stilinovic. * Curated by*: Ivana Bago and Antonia Majaca. from Thursday 26 JUN to Sunday 20 JUL. Galerija Miroslav Kraljevic , Subiceva 29, ZAGREB. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - CONTENT: *COMMENTING L'ARGENT / MARKA* - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Public discussion Emiliano Battista, Gal Kirn and Jorgos Papadopoulos will reflect on the exhibition* L'Argent *from their specific point of view and action. *Emiliano Battista*, (Buenos Aires, 1973) researcher in theory at *Jan van Eyck Academie* (Maastricht), he has graduated from *Université Catholique de Louvain*. Translator, his work focuses on the anti-aesthetic theories of Jean-François Lyotard and Alain Badiou, and the defence of aesthetics by Jacques Rancière. *Gal Kirn*, (Ljubljana, 1980), researcher in theory at *Jan van Eyck Academie*, member of the *Circle for Lacanian Ideology Critique*, he is currently writing a critical book on a contemporary lecture of Althusser's work. PhD candidate at *University of Nova Gorica* (Slovenia) and editor-in-chief of *Agregat* (Ljubljana). *Jorgos Papadopoulos*, (Athens, 1975), economist, researcher in theory at *Jan van Eyck Academie*, member of the *Circle for Lacanian Ideology Critique*, he is working on the psychoanalysis of money and the ideological critique of financial capitalism. Graduated from *Erasmus Universiteit* (Rotterdam) and *London School of Economics*. Saturday 28 JUN, 17:00 Le Plateau , Place Hannah Arendt, 75019 PARIS In collaboration with Academie Jan van Eyck . = SOCIETE REALISTE - intelligence at societerealiste.net - http://www.societerealiste.net -- ::: J.-B. Naudy - Cooperative SOCIÉTÉ RÉALISTE - Paris - http://www.societerealiste.net ::: -------------- next part -------------- An HTML attachment was scrubbed... URL: From alexandre.gurita at biennaledeparis.org Sat May 31 13:28:02 2008 From: alexandre.gurita at biennaledeparis.org (alexandre.gurita at biennaledeparis.org) Date: Sat, 31 May 2008 13:28:02 +0200 (CEST) Subject: [syndicate] Bureau d'=?ISO-8859-1?Q?=E9t=E9?= de la Biennale de Paris / L'Argent, Le Plateau . 16.06 - 18.08.2008 Message-ID: <4572.88.166.115.80.1212233282.squirrel@webmail.ocsa-data.net> ------------------------------------------------------------ Bureau d'été de la Biennale de Paris / L'Argent / Le Plateau ------------------------------------------------------------ 16.06 - 18.08.2008 XVe BIENNALE DE PARIS Du 1er octobre 2006 au 1er octobre 2008 La Biennale de Paris, initiée par André Malraux en 1959, a repris ses activités en 2000, après plus de dix ans d'interruption. « Organe stratégique de liberté » sans domicile fixe, celle-ci privilégie des formes d'expression qui opèrent dans la réalité. Aujourd’hui, la Biennale est un outil dont se servent plus d'une centaine d'acteurs issus de champs divers. Tous souhaitent repenser l'art et non produire des objets d'art. Jusqu’au 1er octobre 2008, la XVe édition de la Biennale aura lieu à Paris, Beyrouth, Cambrement-le-Petit ou New York…. Près de cent démarches en provenance de plus de vingt pays y participent d’une façon qu’on pourrait qualifier d’unique en son genre. « La Biennale de Paris, parfois à juste titre surnommée la biennale fantôme par la presse, est si marginale dans son concept et ses manières de procéder qu’il serait vain d’essayer de mettre le doigt dessus. C’est une biennale dont la stratégie consiste à rester sans écho : à peine la scène artistique ou les revues spécialisées murmurent-t-elles un petit quelque chose à son propos qu'elle prend plusieurs longueurs d’avance et se met hors de portée… »(1) Dans le cadre de « L’argent », projet conçu par Elisabeth Lebovici et Caroline Bourgeois, la Biennale de Paris ouvrira un bureau d'été au Plateau du 16 juin au 17 août 2008. Deux permanences formeront ce bureau : - une permanence ignorante, chaque jour ouvré, de 14h à 17h. - une permanence, chaque jour ouvré, de 17h à 19h. Le jeudi 10 juillet 2008, à 19h30, plusieurs participants à la XVe édition de la Biennale de Paris parleront d'argent (points de vue ou propositions d’alternatives). Avec : François Deck (consultant), Jean-Baptiste Farkas (président de l'Amicale de la Biennale de Paris, Glitch), Alexandre Gurita (directeur de la Biennale de Paris), Ghislain Mollet-Viéville (agent d'art), Sylvain Soussan (Soussan Ltd), Olivier Stévenart (technicien de surface et ambassadeur) et Liliane Viala (courants faibles). Sous réserve : Francesco Masci (philosophe) et Jacques Salomon (collectionneur). Arbitrage par Claire Fouquet. Gary Bigot interviendra. 1. Emil Sennevald, Kunst Bulletin, 2004 Biennale de Paris BP 358 5868 Paris cedex 18 France T. +33 (0)1 45 34 30 04 Email: information at biennaledeparis.org http://biennaledeparis.org ---------------------------------------------------------- (La Générale en Manufacture) Biennale de Paris 6 grande rue 92310 Sèvres From alexandre.gurita at biennaledeparis.org Sat May 31 20:06:22 2008 From: alexandre.gurita at biennaledeparis.org (alexandre.gurita at biennaledeparis.org) Date: Sat, 31 May 2008 20:06:22 +0200 (CEST) Subject: [syndicate] Rencontres-Discussions avec Denis Chevalier (PPT) , le lundi 9 juin =?ISO-8859-1?Q?=E0?= 19h00 : Biennale de Paris Message-ID: <2588.88.166.115.80.1212257182.squirrel@webmail.ocsa-data.net> Rencontres-Discussions avec Denis Chevalier (PPT) ------------------------------------------------- Le lundi 9 juin à 19h00 : Biennale de Paris Pour aborder mon travail et la question de pratiques artistiques œuvrant en dehors de cadres traditionnels, des pratiques infiltrant le réel (pour dire simple), il était naturel de parler de la Biennale de Paris et de convoquer quelques-uns de ses porteurs et acteurs (que j’ai rejoint il y a deux ans). Les points de contradiction et les questions ne manquant pas, ce moment nous/me permettra d’en soulever quelques-unes, certaines qui n’ont pas été encore abordées ou qui me préoccupent particulièrement, par exemple la question du recours ou non à la représentation ; et de préciser mon expérience certes discontinue avec la Biennale, ce que j’y trouve d’important, ce qu’elle a permis. En présence de Jean-Baptiste Farkas, Alexandre Gurita, Jean-Claude Moineau, Ghislain Mollet-Viéville. La rencontre a lieu à l'appartement situé au au 3 rue des Haudriettes 75003 Paris. Veuillez prévenir de votre venue : gregory.castera at gmail.com Métro : Rambuteau, Temple, Hôtel de Ville, République. Bus : 29, 75, 47, 38, 96, 76, 69. Noctiliens : République (N12), Châtelet (N21, N22, N23, N24). Les autres rendez-vous : le 2 et le 16 juin. ---------------------------- Biennale de Paris BP 358 5868 Paris cedex 18 France ---------------------------- La Générale en Manufacture / Biennale de Paris 6 grande rue 92310 Sèvres T. +33 (0)1 45 34 30 04 information at biennaledeparis.org http://biennaledeparis.org