RHIZOME DIGEST: 6.14.02

discussion

Posted June 13 2002 20:00

RHIZOME DIGEST: 6.14.02

RHIZOME DIGEST: June 14, 2002 Content: +announcement+ 1. Fatima Lasay: Collaboration, Networking and Resource-Sharing: Myanmar 22-27 2. brainstorm: <a rel="nofollow" href="http://www.byteart.org">http://www.byteart.org</a> & eco hacker meeting +opportunity+ 3. James Hanks: job opening: Programme Manager of Exhibitions +work+ 4. Brandon Barr: bannerart.org – new works +feature+ 5. Lev Manovich: Learning From Prada (4/5) + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 1. Date: 6.12.02 From: Fatima Lasay (fats@up.edu.ph) Subject: Collaboration, Networking and Resource-Sharing: Myanmar 22-27 June 2002 Beikthano Gallery 113/38, Kaba Aye Pagoda Road Bahan, Yangon (Rangoon) Myanmar (Burma) Collaboration, Networking and Resource-Sharing: Myanmar (CNRM) is conceived as an open-ended project to assist Myanmar artists who have been deprived of resources, for the establishment of contemporary art and culture in Myanmar. The event will also serve as a foundation for setting up a strong international network of artists, curators, writers and organisers interested in furthering independent art, collaborative structures, intercultural collaboration and socially engaged art. CNRM has immediate and longer-term components: :: The immediate project: International symposium and Open Academy workshops on collaboration, networking & resource sharing to take place in June 2002 :: The longer-term project: establishment of an art center, to be managed by artists, with artists-in-residency programmmes for local and foreign artists. This will be set up from the fourth quarter of 2002 For Collaboration, Networking and Resource-Sharing: Myanmar, artists from Gangaw Village and Inya Artists groups, and other independent artists interested in modern and contemporary art, are coming together to form a new community, Ayeyarwady Art Assembly, to promote and advance modern and contemporary art in Myanmar. This new community will include artists from Yangon, Mandalay and various other regions of Myanmar. INTERNATIONAL SYMPOSIUM AND OPEN ACADEMY ON COLLABORATION, NETWORKING AND RESOURCE-SHARING 22-23 June 2002 The symposium will feature papers by invited speakers and open discussions with participants. It aims for intellectual and practical exchanges of knowledge to promote self-organization by artists, with emphasis on setting up structures for collaboration, networking and resource-sharing. Various models of organizational and collaborative structures will be examined in order to identify suitable courses of action for the setting up a platform for independent discourse and promotion of modern and contemporary and to support the creation of an artists-run artspace/ gallery (art center) in Myanmar. Target Audience: Organizations, foundations and international funding agencies involved in art and cultural work; critics, writers, academics, artists and arts groups from within Myanmar, and from outside Myanmar. Panel topics include: :: Working with International Cultural Institutions: Policies, Strategies, Intentions and Constrains :: Artists-run Organisations - Self-management Strategies, Possibilities and Limitations :: Networking and Resource Sharing in the Globalised Economy :: Sustenance and Development of Independent Art Centers Symposium speakers and respondents: Tay Tong, Manager, Theatreworks, Singapore Yoshio Takano, Japan Foundation Asia-Centre Keiko Sei, Brno Tech. University, Czech Republic Asst. Prof Fatima Lasay, University of Philippines Pooja Sood, Khoj International Workshops, New Delhi, India Ivy Josiah, Five Arts Centre & Women's Aid Org., Malaysia Jason Wright, installation artist, Canada Assoc. Prof. Ma. Corazon A. Hila, University of Philippines Audrey Wong, The Substation, Singapore Nisar Keshvani, fineartforum, Singapore/Australia Yasuko Furuichi, The Japan Foundation Asia Center, Japan Ly Daravuth, Reyum Art Gallery/ Foundation, Phnom Penh, Cambodia Jay Koh, director, IFIMA Khin Swe Win, artist, educator and writer, Myanmar OPEN ACADEMY: INTERNATIONAL ARTISTS' WORKSHOPS AND PROJECTS 24-27 June 2002 The workshop sessions are conceived as 'open academy' learning environments, for presenters and participants alike. These workshops will pave the way for more open academy programs in the future. Although the topics are organised with priority placed on the developmental needs as expressed by Myanmar artists, the workshops are also intended to generate possibilities for further collaboration amongst participants and development of art practices internationally. Workshop topics: Contemporary paintings - styles, mediums and methods Viewing, analysis and discussion Contemporary performance Contemporary sculpture and installation Media and Digital Art Curatorial Perspectives and Art Writing Interdisciplinary Art Practices Info: Jay Koh j3k@gmx.net + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ CONFRONTING THE PRISON INDUSTRIAL COMPLEX Benefit screening for the release of Sandbox Magazine #10: Incarceration 6/22/02/ @ Galapagos (9pm, 70 N.6th St., Williamsburg, Brooklyn) Featuring Danny Hoch, Rhodessa Jones & The Medea Project. <a rel="nofollow" href="http://www.sandboxarts.org">http://www.sandboxarts.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 2. Date: 6.10.02 From: brainstorm (brainstorm@i-love.u.ch) Subject: <a rel="nofollow" href="http://www.byteart.org">http://www.byteart.org</a> & eco hacker meeting during the art33 fair in basel, switzerland the byteart.02 - the digitalalternative will take place at "raum33" from the 15. of july until the 17. of july - each day from 15.00 to 21.00 CET login at <a rel="nofollow" href="http://www.byteart.org">http://www.byteart.org</a> / <a rel="nofollow" href="http://www.institute.org">http://www.institute.org</a> the physical address is st. albansrheinweg beside the "wettstein" bridge - entrance by the parking places for questions <a rel="nofollow" href="mailto:team@byteart.org">mailto:team@byteart.org</a> greets noa artists/networks install their applications on server & clients —> affective workstations where you work on DREAMS, SEX, IMAGE, VIDEO, SOUND & FOOD. USE those applications/ workstations & services: PLUGIN YUR DIGITAL DEVICE DIGITALIZE YOUR INFORMATION USE STATIONS TO GENERATE INFORMATION LOAD THEM UP GET MONEY OR CREDITS BASEL | RAUM33 | 15-17|06|02 | 1500-2100 FREE WORK FREE DOWNLOAD OPEN LICENSE OPEN INFORMATION GET CREDITS GET MONEY STATIONS & INSTALLATIONS PUBLiC AUDI/O STUDIO offenes & öffentliches soundstudio [upload mp3] : [forum] PUBLIC PORN PALACE sexkaraoke und akustische intimitäten [info] [load sex] TR0JANiSCHE KÜCHE in fremde küchen und den rechner eindringen [info] [recipes upload] PUBLIC MOVIE eigene und freie filme frei publizieren [info] [upload movie] DREAM101 HOTEL schlafen, slack, arbeit, träume und hirntrash. [dreamto:] [forum] PUBLIC IMAGE dance your pattern - publish your images. [info] [upload images] [link] PLANET TEGEL meet the prisoners of tegel - your individual cell space [info] [upload] [forum] FREE MARKETS PUBLIC FORUM SPACE short presentations, free surfing & lifeevents [program] [online foren] PUBLIC DOMAIN BAR Files auf CD brennen und micropayment [register] [login] [info] RAUM33 BAR drinks & shots [info] SERVICES FREE NETWORK SERVERFESTIVAL: vernetzte WORKSTATIONS. [access] ART OR NOT ratingsystem für den ultimativen partizipativen arthack [link] [info] FTP.PERFORMANCE ver?nderung des digitalen ursprungs … [link] newECONOMY SYS.021 in das system investieren (=irritieren) [info] [login] BYTEART | ART & ECO HACKER MEETING | 15-17|06|02 byteart.org [location & organisation] institute.tk [interface & idea] simplebrainhotel.com [concept, web & database] copyleft.cc [license] edragee.net [economy & forum] <a rel="nofollow" href="http://www.byteart.org">http://www.byteart.org</a> <a rel="nofollow" href="http://www.institute.org">http://www.institute.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ IT IS necessary to buy "Not Necessarily 'English Music,'" Leonardo Music Journal Volume 11. Not only is it curated by David Toop, but it includes a double CD. Tune in and turn on to the LMJ website at <a rel="nofollow" href="http://mitpress2.mit.edu/Leonardo/lmj/">http://mitpress2.mit.edu/Leonardo/lmj/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 3. Date: 6.11.02 From: James Hanks (hanks@fact.co.uk) Subject: job opening: Programme Manager of Exhibitions Here is some information you and your team may find interesting. Please circulate to anyone you feel would appreciate receiving it. thanks for your help and apologies for any cross posting. FACT is one of the leading European arts organisations specialising in the commissioning, presentation and support of film, video and new media art. In early 2003 FACT will launch its own £9m purpose-built centre in Liverpool. We're now looking to recruit to the following roles within the centre: Programme Manager [Exhibitions] Responsible for day-to-day management of exhibitions, events and delivery teams. Programme Technician [Exhibitions] Responsible for all technical and installation matters related to the commissioning, exhibition and events programmes. Curator [New Media] Part of programming team with key responsibility for commissioning, curating and managing new and emerging media projects and project spaces. Salaries for all posts £17-20k depending on experience. Deadline for receipt of all applications: THURS JULY 4 Interviews will be held on 16, 17 and 18 July respectively. For an information pack please write to or e-mail Zoë Chapman, FACT, PO Box 911, Liverpool L69 1AR [chapman@fact.co.uk] For further information about FACT please visit www.fact.co.uk – James Hanks Marketing & Information Assistant FACT, the Foundation for Art & Creative Technology PO Box 911 Liverpool, L69 1AR t: + 44 151 709 2663 f: + 44 151 707 2150 www.fact.co.uk tenantspin The UK's only tenant-run internet TV channel Broadcasting live from New York, 13 - 16 June at www.tenantspin.org <a rel="nofollow" href="http://www.fact.co.uk">http://www.fact.co.uk</a> <a rel="nofollow" href="http://www.tenantspin.org">http://www.tenantspin.org</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +ad+ **MUTE MAGAZINE NEW ISSUE** Coco Fusco/Ricardo Dominguez on activism and art; JJ King on the US military's response to asymmetry and Gregor Claude on the digital commons. Matthew Hyland on David Blunkett, Flint Michigan and Brandon Labelle on musique concrete and 'Very Cyberfeminist International'. <a rel="nofollow" href="http://www.metamute.com/mutemagazine/issue23/index.htm">http://www.metamute.com/mutemagazine/issue23/index.htm</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 4. Date: 6.10.02 From: Brandon Barr (barr@mail.rochester.edu) Subject: bannerart.org – new works There is new work at the Banner Art Collective (<a rel="nofollow" href="http://bannerart.org/">http://bannerart.org/</a>) by Babel, Roberto Echen, Ji Bêt, Millie Niss, and Tamara Laï. Come visit and get their works for your own webpage. {The Banner Art Collective creates, collects, and distributes web.art within the limitations and context of web advertisements.} – Banner Art Collective Make some art. Host some art. <a rel="nofollow" href="http://bannerart.org/">http://bannerart.org/</a> + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + 5. Date: 6.12.02 From: Lev Manovich (manovich@ucsd.edu) Subject: Learning From Prada (PART 4) The Poetics of Augmented Space: Learning from Prada [May 2002] PART 4: The Electronic Vernacular [posted 6/12/02] When we look at what visual artists are doing with a moving image in a gallery setting in comparison with these other contemporary fields, we can see that the white gallery box still functions as a space of contemplation, quite different from the aggressive, surprising, overwhelming spaces of a boutique, trade show floor, an airport, or a retail/entertainment area of a major metropolis. While a number of video artists continue the explorations of 1960s ³expanded cinema² movement by pushing moving image interfaces in many interesting directions, outside of a gallery space we can find at least as rich field of experiments. I can single out three areas. First, contemporary urban architecture - in particular, many proposals of the last decade to incorporate large projection screens into architecture which would project the activity inside, such as Rem Koolhaus 1992 unrealized project for the new ZKM building in Karlsruhe; a number of projects, also mostly unrealized so far, by Robert Venturi to create what he calls ³architecture as communication² (buildings covered with electronic displays); realized archiectural/media installations by Diller + Scofilio such as Jump Cuts and Facsimile ; the highly concentrated use of video screens and information displays in certain cities such as Seoul and Tokyo or in Time Square in NYC. Second is the use of video displays in trade show design such as in annual SIGGRAPH Conventions. The third is the best of retail environments (I will discuss this in more detail shortly). The projects and theories of Robert Venturi deserve a special consideration since for him an electronic display is not an optional addition but the very center of architecture in information age. Since the 1960s Venturi continuously argued that architecture should learn from vernacular and commercial culture (billboards, Las Vegas, strip malls, architecture of the past). Appropriately, his books Complexity and Contradiction in Architecture and Learning from Las Vegas are often referred to as the founding documents of post-modern aesthetics. Venturi argued that we should refuse the modernist desire to impose minimalist ornament-free spaces, and instead embrace complexity, contradiction, heterogeneity and iconography in our build environments. In the 1990s he articulated the new vision of ³Architecture as communication for information age (rather than as space for the Industrial Age).² Venturi wants us to think of ³architecture as iconographic representation emitting electronic imagery from its surfaces day and night.² Pointing out at some of the already mentioned examples of the aggressive incorporation of electronic displays in contemporary environments such as Time Square in NYC, and also arguing that traditional architecture always included ornament, iconography and visual narratives (for instance, a Medieval cathedral with its narrative window mosaics, narrative sculpture covering the façade, and the narrative paintings), Venturi proposed that architecture should return to its traditional definition as information surface. Of course, if the messages communicated by traditional architecture were static and reflected the dominant ideology, today electronic dynamic interactive displays make possible for these messages to change continuously and to be the space of contestation and dialog, thus functioning as the material manifestation of the often invisible public sphere. Although this has not been a part of Venturi¹s core vision, it is relevant to mention here a growing number of projects where the large publicly mounted screen is open for programming by the public who can send images via Internet, or choose information being displayed via their cell phones. Even more radical is Vectorial Elevation, Relational Architecture #4 by artist Raffael Lozano-Hemmer This project made possible for people from all over the world to control a mutant electronic architecture (made from search lights) in a Mexico City¹s square. To quote from the statement of the jury of Prix Ars Electronica 2002 which awarded this project Golden Nica at Ars Electronica 2002 in Interactive Art category: "Vectorial Elevation was a large scale interactive installation that transformed Mexico City¹s historic centre using robotic searchlights controlled over the Internet. Visitors to the project web site at <<a rel="nofollow" href="http://www.alzado.net">http://www.alzado.net</a>> could design ephemeral light sculptures over the National Palace, City Hall, the Cathedral and the Templo Mayor Aztec ruins. The sculptures, made by 18 xenon searchlights located around the Zócalo Square, could be seen from a 10-mile radius and were sequentially rendered as they arrived over the Net. The website featured a 3D-java interface that allowed participants to make a vectorial design over the city and see it virtually from any point of view. When the project server in Mexico received a submission, it was numbered and entered into a queue. Every six seconds the searchlights would orient themselves automatically and three webcams would take pictures to document a participant¹s design." Venturi¹s vision of ³architecture as iconographic representation² is not without its problems. If we focus completely on the idea of architecture as information surface, we may forget that traditional architecture communicated messages and narratives not only through flat narrative surfaces but also through the particular articulation of space. To use the same example of a medieval cathedral, it communicated Christian narratives not only through it's the images covering its surfaces but also through its whole spatial structure. In the case of modernist architecture, it similarly communicated its own narratives (the themes of progress, technology, efficiency, and rationality) through its new spaces constructed from simple geometric forms and also through its bare, industrial looking surfaces. (Thus the absence of information from the surface, articulated in the famous ³ornament is crime² slogan by Adolf Loos, itself became a powerful communication technique of modern architecture). An important design problem of own time is how to combine the new functioning of a surface as an electronic display with new kind of spaces that will symbolize the specificity of our own time. While Venturi fits electronic displays on his buildings that closely follow traditional vernacular architecture, this is obviously not the only possible strategy. A well-known Freshwater Pavilion by NOX/Lars Spuybroek (1996) follows a much more radical approach. To emphasize that the interior of the space constantly mutates, Spuybroek eliminates all strait surface and strait angle; he makes the shapes defining the space appear to move; and he introduces computer-controlled lights that change the illumination of an interior. As described by Ineke Schwartz, ³There is no distinction between horizontal and vertical, between floors, walls and ceilings. Building and exhibition have fused: mist blows around your ears, a geyser erupts, water gleams and splatters all around you, projections fall directly onto the building and its visitors, the air is filled with waves of electronic sound.² I think that Spuybroek¹s building is a successful symbol for information age. Its surfaces which apear to be constantly changing illustrate the key effect of a computer revolution: substitution of every constant by a variable. In other words, the space which symbolizes information age is not a symmetrical and ornamental space of traditional architecture, rectangular volumes of modernism, broken and blown up volumes of deconstruction, or even "blobs" generated by young architects who learned Alias or similar 3-D software rather, it is space whose shapes are inherently mutable, and whose soft contours act as a metaphor for the key quality of computer-driven representations and systems: variability. [PART 5 will be posted shortly] + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + Rhizome.org is a 501©(3) nonprofit organization. If you value this free publication, please consider making a contribution within your means. We accept online credit card contributions at <a rel="nofollow" href="http://rhizome.org/support">http://rhizome.org/support</a>. Checks may be sent to Rhizome.org, 115 Mercer Street, New York, NY 10012. Or call us at +1.212.625.3191. 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