Thanks for sharing information on Telepresence & Migration event, Johannes. The speakers works are intriguing and the a/v clips you include are very powerful examples of how the network can bring the realities of geographically displaced lived experiences together. I am just beginning a networked music project with Iranian refugee and migrant musicians in settlement centres across different states of Australia, and the works you highlight have inspired me to think about how our performances should reference a sense of their home too.
I see the Australian side of this project as the first stage, with potential to connect to Persian diasporas in Europe, and it would be great to chat with you about this in coming months. Best wishes Roger -- Roger Mills http://www.eartrumpet.org http://ethernetorchestra.net http://telesound.net "Knowledge is only rumour until it is in the muscle" - Asaro Mudmen, Papua New Guinea. > On 15 Jun 2019, at 8:00 pm, netbehaviour-requ...@lists.netbehaviour.org wrote: > > Send NetBehaviour mailing list submissions to > netbehaviour@lists.netbehaviour.org > > To subscribe or unsubscribe via the World Wide Web, visit > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > or, via email, send a message with subject or body 'help' to > netbehaviour-requ...@lists.netbehaviour.org > > You can reach the person managing the list at > netbehaviour-ow...@lists.netbehaviour.org > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of NetBehaviour digest..." > > > Today's Topics: > > 1. The Weekly FurtherList No.3 June 14th 2019 (marc.garrett) > 2. Out now Object Oriented Space book (Chiara Passa) > 3. (no subject) (Alan Sondheim) > 4. Re: Sound in the construction zone / Telepresence & Migration > (Alan Sondheim) > 5. Re: Sound in the construction zone / Telepresence & Migration > with Alter egos. (Johannes Birringer (Staff)) > 6. XPUB Special Issue 09 - IFL3 / The Library is Open - > 20.06.2019 Rotterdam (Aymeric Mansoux) > 7. Links (Rob Myers) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 14 Jun 2019 14:08:51 +0000 > From: "marc.garrett" <marc.garr...@protonmail.com> > To: NetBehaviour for networked distributed creativity > <netbehaviour@lists.netbehaviour.org> > Subject: [NetBehaviour] The Weekly FurtherList No.3 June 14th 2019 > Message-ID: > > <HiLTC1S-8Ca7HMDHlh3JxT74D7qqLEHqxFx4oiOv8HdMVJDmfK8R72EnrXM2jIzC9iyrHGXZ3nANJr4FR0zatdkdylF-O2RWdi9ehdTWcV4=@protonmail.com> > > Content-Type: text/plain; charset="utf-8" > > The Weekly FurtherList No.3 June 14th 2019 > > A weekly list of Furtherfield recommendations that we are sharing with > others. It reflects the expansive and dynamic culture we enjoy, straddling > the fields of art, technology and social change. Links to exhibitions, > events, books, articles & other curiosities. By Marc Garrett. > > https://www.furtherfield.org/the-weekly-furtherlist-no-3-june-14th-2019/ > > Featuring @systaime18 @antiuniversity @AaronBastani @richardbarbrook > @ceciliawee @morehshin @thisisliveart @whkchun @MrsBunz @gileslane > @INCAmsterdam @baruch Enjoy... > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190614/4585f6f6/attachment-0001.html> > > ------------------------------ > > Message: 2 > Date: Fri, 14 Jun 2019 16:16:44 +0200 > From: Chiara Passa <chiarapa...@gmail.com> > To: netbehaviour@lists.netbehaviour.org > Subject: [NetBehaviour] Out now Object Oriented Space book > Message-ID: <7d9a445e-8001-4252-8894-238b7e9b5...@gmail.com> > Content-Type: text/plain; charset="utf-8" > >> Dear friends and colleagues, >> I?m proud to invite you at the presentation of the book Object Oriented >> Space on Monday 17 - 5 pm at MLAC museum Rome, where my solo show is ongoing >> until June 19. Press r. of the show >> https://www.arshake.com/en/chiara-passa-object-oriented-space/ >> >> Best regards Chiara Passa >> >> Object Oriented Space >> Viaggio nelle dimensioni invisibili dello spazio / Journey into the >> invisible dimensions of space >> https://www.gangemieditore.com/dettaglio/object-oriented-space/8429/3 >> Autore: Chiara Passa (a cura di) >> Con saggi di: Valentino Catrical?, Francesca Gallo, Elisa Genovesi, Elena >> Giulia Rossi, Antonella Sbrilli, Antonello Tolve >> Collana: Arte >> Formato: 17 x 24 cm >> Legatura: Filorefe >> ISBN13: 9788849237443 >> ISBN10: 9788849237443 >> Ub.int: V53f >> Facing English text >> >> Anno di edizione: 2019 >> Pagine: 192 >> Contenuto: Catalogo della mostra aperta a Roma presso il MLAC ? Museo >> Laboratorio di Arte Contemporanea dal 18 maggio al 19 giugno 2019 >> >> Catlogue of exhibition opened at Rome at MLAC ? Museo Laboratorio di Arte >> Contemporanea from May 18th to June 19th 2019 >> >> Indirizzato a studiosi e curiosi che si vogliano addentrare nelle nuove >> trasformazioni della tecnologia e dello spazio attraverso l'occhio >> dell'arte, questo volume nasce per disegnare l'ampia ricerca di Chiara >> Passa, artista che ha attraversato i pi? grandi cambiamenti degli ultimi >> tempi, dalla fine degli anni Novanta ad oggi. Voltarsi indietro e >> ripercorrere con Object Oriented Space vent'anni di progetti e idee >> significa, non solo rileggere i punti cardinali di un percorso pionieristico >> nel campo della New Media Art, ma anche ritracciare e riesaminare le grandi >> trasformazioni del progresso tecnologico legato oggi alle ultime frontiere >> della filosofia ontologica, proiettate verso una visione post-antropogenica. >> >> This book is addressed to scholars and readers who are keen to explore new >> changes in space and technology through the perspective of art. The book >> provides an overview of the extensive research undertaken by Chiara Passa, >> an artist who has witnessed the most significant transformations of the past >> few years, from the end of the Nineties to the present day. Retracing with >> Object Oriented Space two decades of projects and ideas means not only >> re-interpreting the key stages of a pioneering approach to New Media Art, >> but also retracing and re-examining the major technological changes that >> have occurred, which are nowadays connected to the latest developments of >> ontology and projected towards a post-anthropogenic conception. >> >> Chiara Passa (Roma, 1973) ? un'artista visiva che lavora dal 1997 >> nell'ambito della Media Art. Nel suo percorso ormai ventennale ha indagato >> lo spazio in tutte le sue estensioni e forme realizzando animazioni, opere >> web, installazioni interattive, progetti di realt? aumentata e virtuale come >> strumenti creativi e punti di osservazione privilegiati per analizzare lo >> spazio nelle sue diverse sfaccettature. >> >> Chiara Passa (Rome, 1973) is a visual artist who has worked in Media Art >> since 1997. Over the course of the past two decades, Passa has been >> investigating space in all its features and forms creating animations, >> online works, interactive installations, and projects that use augmented and >> virtual reality as creative tools and distinctive viewpoints to analyse >> space in all its various facets. >> > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190614/d5fe3714/attachment-0001.html> > > ------------------------------ > > Message: 3 > Date: Fri, 14 Jun 2019 12:23:43 -0400 (EDT) > From: Alan Sondheim <sondh...@panix.com> > To: NetBehaviour for networked distributed creativity > <netbehaviour@lists.netbehaviour.org> > Subject: [NetBehaviour] (no subject) > Message-ID: <alpine.neb.2.21.1906141223230.1...@panix3.panix.com> > Content-Type: text/plain; charset=US-ASCII; format=flowed > > > > blues > > http://www.alansondheim.org/blues.jpg > https://youtu.be/r77i7SJzzIs VIDEO > > solo electric guitar, Azure Carter video > Thanks to Jessica Turcios > > alloping ah! eputation (gallops) (across) ah! eds (and) blues eds > (and) blues and some kind of blues, reissued) - and I before, that > course, post-partum conferences, conferences with the (painting) > 48 brilliant roots yellows and blues - this is a can hear the > blues lurking, but it's not likely - reds and blues forX blues in > a way i had found inconceivable before. he made me Kirsty sings > the blues Mexico cult My own stuff. I learned the still the best > blues book - remember. began guitar. Hopkins. blues out. abroad > jaundice played fake Hopkins. The blues seemed grutlcomp2 gui > GUITARsolo hardlybreathe2 blues abroad jaundice proceeds, somewhat > in-scale based; giraffe0, somewhat blues Susie-Q sings the blues > (dub) Folk Festival with the blues guys. I was a city blues the > blues Heat playing electric blues which wasn't my music and with > you the blues to on me reds and blues thrnad ideogrammar scene, Al > remember. began guitar. Hopkins. blues out. abroad jaundice played > fake GUITARsolo hardlybreathe2 blues abroad jaundice guitar blues > Hopkins. The blues seemed the only way out. When I went abroad I > took a whatever index of parent directory last modified blues mpg > -faq i picked up from blues players, but have developed on oud, > pipa, on me reds and blues thrnad ideogrammar flooding and blood > meared with it ion pew and ion blues decades guitar. Hopkins. > blues out. abroad jaundice played fake returns inconceivable > orbits. birth iron. rampage blues samisen blues player, whatever > Hopkins. The blues seemed the only way out. greatest sadness for > me, when researching the blues house, is learned was the blues - > not so much the commercial rampage in 3days tail -fn+1 ./DT.log > Susie-Q sings the blues (dub) The When I went abroad I took a > Kirsty sings the blues Mexico cult blung boatv bodib bodyg bodyr > often sounds like blues or folk rampage in times with the tongues > like the blues do you, rampage in times with the tongues like the > blues do (gallops) (across) ah! eds (and) blues and some kind of > blues, across desert reputation gallops reds blues nine provinces > yu marked directory last modified blues -faq # armsore intrview > brilliant blues in brilliant blue taking harmony harmonics guitar > blues abroad jaundice played fake fingers alive leroi jones amiri > couldn't play blues; blues a paintbrush of before, that this > love." Come on and sing, come on home. "Come on home and sing the > blues to A.S. boulevardier bassus bilabial blessing blues bourdon > singer, samisen blues with the qin high strings as accents This is > a country blues bona fide channelling through A.W. by A.S. > oscillated inconceivable orbits. birth iron. rampage blues times > with the tongues like the blues do i could hear electric returns > in sonnet's blues as apple. So then the murk flaps it all! garbage > glop boulevardier bassus bilabial blessing blues bourdon # armsore > like blues or folk music, but from a totally other modified blues > bourdon ghstava, i will oerform in the midst of orbits. birth > iron. rampage blues returns in sonnet's blues as boulevardier > bassus bilabial blessing blues bourdon singer, toward the > bluegreenmadonna bluejay bluelion bluelobster bluemadonna blues > hatedmorobviously gross oversimplification same blues surprisede > old banjo blues galloping reputation (gallops) (across) reds > substance times with the tongues like the blues do i could hear I > learned was the blues - not so much the commercial music I learned > was the blues - not so much the commercial (and) blues (painting) > garbage glop boulevardier bassus bilabial heat, we played > together, and i picked up from blues players, apple. So then the > blues rhythms on it, in a manner paralleling the use pushing blues > structures into meandering or blur: murk or you can hear the blues > lurking, but it's not likely - galloping reputation (gallops) > (across) reds (and) blues (painting) not so much the commercial > (across) reds blues nine provinces oldmanmadaboutpainting onbottom > on me reds and blues thrnad best blues book - reds (and) blues > (painting) remember. began reissued) - and I couldn't play blues; > blues a paintbrush of viola-violation-blues rainy day viola blues > bowed plucked abused same blues surprisede Susie-Q sings the blues > (dub) Al Wilson bassus bilabial blessing blues bourdon hated > oversimplification saz, oud, pipa, i picked up from blues players, > but have together, and i picked up from blues players, directory > last host. interrelated neolithic guitar blues abroad jaundice > played bourdon singer, toward the brilliant blues in pillows reds > sadness for me, when researching the blues house, is that = The > sonnet's blues as apple. So then the murk flaps it all! room reds > and blues with alto clarinets and no-hole shakuhachis Projection > Commentarybottlenecking roots yellows blues Somewhere to do new > with the blues u1 maginot.blueskys Thu09AM 3days tail maginot > blueskys moving blues nlbluesp,spospssp The blues are falling > down, trains at the station, baby. when researching the blues > house, is that Wein <br>The greatest toward the brilliant blues in > brilliant blue taking harmony harmonics i picked up from blues > players, but have developed on chasm, pushing the form (and > nothing but the form, blues if they were somewhere near the blues > but somewhere else nearer (across) reds blues nine provinces > (emperor) Yu marked hundred prefectures bloom blown blueb blueg > blues blung boatv bodib bodyg bodyr body body body body body body > > > > ------------------------------ > > Message: 4 > Date: Fri, 14 Jun 2019 12:36:07 -0400 > From: Alan Sondheim <sondh...@gmail.com> > To: NetBehaviour for networked distributed creativity > <netbehaviour@lists.netbehaviour.org> > Subject: Re: [NetBehaviour] Sound in the construction zone / > Telepresence & Migration > Message-ID: > <CAO=pi2c8gdwuxx2dtnbqvxg0zojjy7hvvhhywpebehjtz+d...@mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > I find all of this fascinating and the fluid ontologies of performers and > locations remind me of the work I've done with mocap, although that's bound > in one visua/sonic space, grounded there; if there were a way to project / > work with the altered mocap at a distance w/ AR it would be amazing, the > transportation of ruins. Thank you for sharing! > > Best, Alan > > On Tue, Jun 11, 2019 at 11:02 AM Johannes Birringer (Staff) < > johannes.birrin...@brunel.ac.uk> wrote: > >> dear all, >> having just seen the amazing list of events on the further-list, I >> recalled the conversation we had on Sound in the construction zone; several >> of you responded to me; & I had promised a small Bucharest diary, and here >> comes: >> >> "Telepresence and Migration" took place May 30 at CINETic (International >> Center for Research and Education in innovative creative technologies, part >> of UNATC >> National University of theatre and film), located right behind the >> National Theatre, and across from the University Square where last year we >> took part in the Pride Parade and demo. The event was organized by theatre >> director Marina Hangaru, who works at the Teatrul George Ciprian (Buz?u). >> Marina and artist colleagues between Romania, Spain and Portugal had >> engaged in an EU (Creative Europe Program) project dealing with the effects >> of economic migration on families (and especially children). Marina >> co-directed a telematic and live streamed performance with actors in >> Romania and Spain (in the 2 distant locations), performed multiple times >> also in front of physical audience in the two locations. It was a full >> length play, titled "Planet of Lost Dreams": >> >> https://youtu.be/qujWr_5b_Cw >> >> The event in Bucharest brought some of the participating artists together, >> alongside sociologists and researchers who addressed the problematics of >> migration, whereas some additional guests (ironically from the UK) - after >> Bianca Floarea had sketched the landscape of cultural cooperation in Europe >> outlining who is eligible for grants and who might be partially or >> non-eligible (Moldova, Macedonia, Ukraine, Uk after Brexit..) - were asked >> to comment on telepresence and networked performance. Marina spoke >> eloquently on the concept of telepresence in view of the results of the >> "Tele-Encounters" project, filtered through the lens of New Media studies >> and New Media Dramaturgy. How do you build a telematic performance from >> ground zero, integrating technology to tell a coherent story? She analyzed >> the ?levels of organization? of "The Planet of Lost Dreams" telematic >> performance, trying to establish how and if telepresence can change our >> understanding of the theatre (or media) and vice-versa. The project was >> performance oriented but also sociological, with audience questionnaires >> revealing intriguing insights into how the performance was perceived, >> offering potential starting points in articulating a dramaturgy of the >> telematic spectator. Marina also mentioned a phase 2 project (the >> participants? sense of presence in the 360? short films created by >> Portuguese artists as part of the project). >> >> Later in the afternoon Alexandru Berceanu (who is director of CINETic) >> presented his own fieldwork, a fascinating VR project called ATINGE (Touch) >> - through which you can experience the life and culture of Roma people. >> Based on documentary work in segregated and non-segregated Roma communities >> in Romania, Turkey, Italy, and Sweden, the project provides insight into >> the challenges and successes of Roma individuals of different religions and >> from different countries as seen by themselves. >> (In Europe, families or large groups of people live in precarious and >> temporary conditions, often without access to water minimal sanitation, or >> minimal safety. TOUCH is an invitation to empathy, Alexandru told us). >> >> In my own talk, following Andy Lavender's more philosophical reflections >> on "taking time" in telepresence, I tried to re-visit my early telematic >> dance work in 2001-03 which I could barely find amongst my old digital >> tapes, it looks clunky and yet viscerally complex at the same time, working >> with dancers on live feed cameras mixing 5 to 7 sites in the USA, Brasil >> and Japan at a time when we were still learning how to use the internet for >> such collaboration. I then compared 'Planet of Lost Dreams' (a naturalist >> theatre play meshed up telematically) to other contemporary networked >> performances, e.g. Annie Abrahams' recent "Distant Movement 11", the >> Station House Opera collaborative telepresence work "At Home in London and >> Gaza", and finally a surreal dance piece I saw at Tanzhaus D?sseldorf last >> month, Eric Minh Cuong Castaing's "Phoenix" >> >> https://vimeo.com/318882496 >> >> >> which was performed with three French dancers and drones, and a live link >> too Gaza too where Palestine performers showed us their parcours on the >> rooftops, under drone eyes. It was actually an amazing work that also >> caused me to think hard about where surveillance or camera-feed life is >> moving: "Sur sc?ne, trois danseurs et des drones s?ment le trouble. >> ?voquant ? la fois les avions t?l?guid?s de notre enfance comme les >> nouvelles armes meurtri?res des guerres technologiques du XXIe si?cle, les >> drones (? gros bourdon ? ou ? bourdonnement ?, selon la terminologie >> anglo-saxonne) sillonnent la sc?ne et interagissent avec les danseurs. >> Expos?s ? leur vrombissement incessant, ces derniers ?voluent dans un >> espace tour ? tour sensible, terrain d?op?rations ou fen?tre sur le monde, >> connect?s en temps r?el avec d?autres artistes subissant, ? Gaza, la >> pr?sence permanente de ces machines..." >> >> have a look at Minh's short trailer, and you will also be surprised how >> topical such work might be in relation, say, to the work that Eyal Weizman >> & Forensic Architecture have done in counter surveillance and media >> excavations of settlements, architecture, politics, and violence, & a new >> mapping of the (telepresent) connections between climate change, drought, >> drones, armed conflict. >> >> >> respectfully >> Johannes Birringer >> DAP-Lab >> http://www.brunel.ac.uk/dap >> >> photos show the young actress Andreea Darie (who plays the daughter in >> "Planet") and Marina Hanganu introducing us. >> >> >> >> >> >> >> >> >> >> >> >> >> >> ________________________________________ >> From: NetBehaviour <netbehaviour-boun...@lists.netbehaviour.org> on >> behalf of marc.garrett via NetBehaviour < >> netbehaviour@lists.netbehaviour.org> >> Sent: 11 June 2019 11:42 >> >> A weekly list of Furtherfield recommendations we're looking at and sharing >> with others, exhibitions, events, books, articles & other curiosities. >> It reflects the expansive and dynamic culture we enjoy, straddling the >> fields of art, technology and social change. >> Enjoy - >> https://www.furtherfield.org/the-weekly-furtherlist-no-2-june-7th-2019/ >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour@lists.netbehaviour.org >> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >> > > > -- > *=====================================================* > > *directory http://www.alansondheim.org <http://www.alansondheim.org> tel > 718-813-3285**email sondheim ut panix.com <http://panix.com>, sondheim ut > gmail.com <http://gmail.com>* > *=====================================================* > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190614/4544ea2f/attachment-0001.html> > > ------------------------------ > > Message: 5 > Date: Fri, 14 Jun 2019 17:14:56 +0000 > From: "Johannes Birringer (Staff)" <johannes.birrin...@brunel.ac.uk> > To: NetBehaviour for networked distributed creativity > <netbehaviour@lists.netbehaviour.org> > Subject: Re: [NetBehaviour] Sound in the construction zone / > Telepresence & Migration with Alter egos. > Message-ID: > > <cwxp265mb167038f0f26c5b0fa0654abfac...@cwxp265mb1670.gbrp265.prod.outlook.com> > > Content-Type: text/plain; charset="windows-1252" > > Dear Alan, and all: > > thank you for your response, and I also wish to thank Annie Abrahams for > being so positive & allowing me to show images and excerpts from Distant > Movement #11 in Romania. > > Alan your remembering mocap, and of course all your experiences working with > avatars and modified "bodies" in virtual space -- this makes me pause, as in > one sense we seem to have progressed mercilessly (not myself, i mean the > technoculture, gadget makers, drone builders, roboticists and engineers out > there), while on the other hand, Hito Steyerl remarks, we are inside 'absence > management" during our 'junk time commitments" (Duty Free Art, p. 26, chapter > on "The Terror of Total Dasein"), and "acceleration is yesterday's delusion" > (p. 24). > > So, looking back at my old tapes again, circa 1999, 2000, i remember > fiddling with mocap for the first time, having also noted that some of the > more well known choreographers (Merce Cunningham, Bill T Jones) at the time > took an interest in mocap and animation; Bill's "Ghost Catching" (created > with Paul Kaiser and Shelley Eshkar on the software side) came out in 1999, > and I remember Bill being worried that the animation does not quite look like > his fabulous black body. Well, to my immense bafflement, Bill T Jones has > been lured back (by Google), to do a little more dancing testing, now with AI > and machine learning mocap, a system called PoseNet. It is a funny and > slightly disconcerting video demo, with three dancers he brought with him, > here: https://billtjonesai.com/ He is still worried that the machine can't > affect emotion. > > Anyone working with PoseNet, wanting to hook up with the DAP-Lab, to do some > unemotional tests? please let me know, for the fun of it. > > I remember the other day having longer chats with Alter 3 (Offloaded Agency), > a robot featured at The Barbican Centre's new show, "AI: More than Human" - > see photo attached. Well actually, Alter 3 didn't talk; he moved his arms > incessantly, while I waited for his machine learning AI to kick in and see > me, respond, interact with me. I tried for 20 minutes, and noted a minute > change in his left wrist and his right forefinger gesticulations (it has no > legs, pelvis, and no shoulders to speak of, the eyes are small cameras, no > hair). Actually, the chat then ensued between Takashi Ikegami (one of the > engineers/programmers suddenly present), and I'm informed the Alter 3 > operates mainly on 2 modes, conscious (awake) one, when it sees and its > camera sends info to the machine learning part/algorithmic translation that > moves the limbs; unconscious (sleep) mode when it closes its eyes and keeps > moving the arms in preprogrammed sustainable memory mode. Isn't that > wonderful. The trouble is I can't see much of a difference between awake- and > asleep-machine, but I'm biased, of course, in my enfeebled rage against the > machine. > > regards > Johannes Birringer > co-director, DAP-Lab > http://www.brunel.ac.uk/dap > > ________________________________________ > From: NetBehaviour <netbehaviour-boun...@lists.netbehaviour.org> on behalf of > Alan Sondheim via NetBehaviour <netbehaviour@lists.netbehaviour.org> > Sent: 14 June 2019 17:36 > To: NetBehaviour for networked distributed creativity > Cc: Alan Sondheim > Subject: Re: [NetBehaviour] Sound in the construction zone / Telepresence & > Migration > > I find all of this fascinating and the fluid ontologies of performers and > locations remind me of the work I've done with mocap, although that's bound > in one visual/sonic space, grounded there; if there were a way to project / > work with the altered mocap at a distance w/ AR it would be amazing, the > transportation of ruins. Thank you for sharing! > > Best, Alan > > > > > On Tue, Jun 11, 2019 at 11:02 AM Johannes Birringer (Staff) > <johannes.birrin...@brunel.ac.uk<mailto:johannes.birrin...@brunel.ac.uk>> > wrote: > dear all, > having just seen the amazing list of events on the further-list, I recalled > the conversation we had on Sound in the construction zone; several of you > responded to me; & I had promised a small Bucharest diary, and here comes: > > "Telepresence and Migration" took place May 30 at CINETic (International > Center for Research and Education in innovative creative technologies, part > of UNATC > National University of theatre and film), located right behind the National > Theatre, and across from the University Square where last year we took part > in the Pride Parade and demo. The event was organized by theatre director > Marina Hangaru, who works at the Teatrul George Ciprian (Buz?u). Marina and > artist colleagues between Romania, Spain and Portugal had engaged in an EU > (Creative Europe Program) project dealing with the effects of economic > migration on families (and especially children). Marina co-directed a > telematic and live streamed performance with actors in Romania and Spain (in > the 2 distant locations), performed multiple times also in front of physical > audience in the two locations. It was a full length play, titled "Planet of > Lost Dreams": > > https://youtu.be/qujWr_5b_Cw > > The event in Bucharest brought some of the participating artists together, > alongside sociologists and researchers who addressed the problematics of > migration, whereas some additional guests (ironically from the UK) - after > Bianca Floarea had sketched the landscape of cultural cooperation in Europe > outlining who is eligible for grants and who might be partially or > non-eligible (Moldova, Macedonia, Ukraine, Uk after Brexit..) - were asked > to comment on telepresence and networked performance. Marina spoke > eloquently on the concept of telepresence in view of the results of the > "Tele-Encounters" project, filtered through the lens of New Media studies and > New Media Dramaturgy. How do you build a telematic performance from ground > zero, integrating technology to tell a coherent story? She analyzed the > ?levels of organization? of "The Planet of Lost Dreams" telematic > performance, trying to establish how and if telepresence can change our > understanding of the theatre (or media) and vice-ve rs > a. The project was performance oriented but also sociological, with audience > questionnaires revealing intriguing insights into how the performance was > perceived, offering potential starting points in articulating a dramaturgy of > the telematic spectator. Marina also mentioned a phase 2 project (the > participants? sense of presence in the 360? short films created by Portuguese > artists as part of the project). > > Later in the afternoon Alexandru Berceanu (who is director of CINETic) > presented his own fieldwork, a fascinating VR project called ATINGE (Touch) - > through which you can experience the life and culture of Roma people. Based > on documentary work in segregated and non-segregated Roma communities in > Romania, Turkey, Italy, and Sweden, the project provides insight into the > challenges and successes of Roma individuals of different religions and from > different countries as seen by themselves. > (In Europe, families or large groups of people live in precarious and > temporary conditions, often without access to water minimal sanitation, or > minimal safety. TOUCH is an invitation to empathy, Alexandru told us). > > In my own talk, following Andy Lavender's more philosophical reflections on > "taking time" in telepresence, I tried to re-visit my early telematic dance > work in 2001-03 which I could barely find amongst my old digital tapes, it > looks clunky and yet viscerally complex at the same time, working with > dancers on live feed cameras mixing 5 to 7 sites in the USA, Brasil and Japan > at a time when we were still learning how to use the internet for such > collaboration. I then compared 'Planet of Lost Dreams' (a naturalist theatre > play meshed up telematically) to other contemporary networked performances, > e.g. Annie Abrahams' recent "Distant Movement 11", the Station House Opera > collaborative telepresence work "At Home in London and Gaza", and finally a > surreal dance piece I saw at Tanzhaus D?sseldorf last month, Eric Minh Cuong > Castaing's "Phoenix" > > https://vimeo.com/318882496 > > > which was performed with three French dancers and drones, and a live link too > Gaza too where Palestine performers showed us their parcours on the rooftops, > under drone eyes. It was actually an amazing work that also caused me to > think hard about where surveillance or camera-feed life is moving: "Sur > sc?ne, trois danseurs et des drones s?ment le trouble. ?voquant ? la fois les > avions t?l?guid?s de notre enfance comme les nouvelles armes meurtri?res des > guerres technologiques du XXIe si?cle, les drones (? gros bourdon ? ou ? > bourdonnement ?, selon la terminologie anglo-saxonne) sillonnent la sc?ne et > interagissent avec les danseurs. Expos?s ? leur vrombissement incessant, ces > derniers ?voluent dans un espace tour ? tour sensible, terrain d?op?rations > ou fen?tre sur le monde, connect?s en temps r?el avec d?autres artistes > subissant, ? Gaza, la pr?sence permanente de ces machines..." > > have a look at Minh's short trailer, and you will also be surprised how > topical such work might be in relation, say, to the work that Eyal Weizman & > Forensic Architecture have done in counter surveillance and media excavations > of settlements, architecture, politics, and violence, & a new mapping of the > (telepresent) connections between climate change, drought, drones, armed > conflict. > > > respectfully > Johannes Birringer > DAP-Lab > http://www.brunel.ac.uk/dap > > photos show the young actress Andreea Darie (who plays the daughter in > "Planet") and Marina Hanganu introducing us. > > > > > > > > > > > > > > ________________________________________ > From: NetBehaviour > <netbehaviour-boun...@lists.netbehaviour.org<mailto:netbehaviour-boun...@lists.netbehaviour.org>> > on behalf of marc.garrett via NetBehaviour > <netbehaviour@lists.netbehaviour.org<mailto:netbehaviour@lists.netbehaviour.org>> > Sent: 11 June 2019 11:42 > > A weekly list of Furtherfield recommendations we're looking at and sharing > with others, exhibitions, events, books, articles & other curiosities. > It reflects the expansive and dynamic culture we enjoy, straddling the fields > of art, technology and social change. > Enjoy - > https://www.furtherfield.org/the-weekly-furtherlist-no-2-june-7th-2019/ > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@lists.netbehaviour.org<mailto:NetBehaviour@lists.netbehaviour.org> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > -- > ===================================================== > directory http://www.alansondheim.org tel 718-813-3285 > email sondheim ut panix.com<http://panix.com>, sondheim ut > gmail.com<http://gmail.com> > ===================================================== > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: AI More than Human_Alter jb.JPG > Type: image/jpeg > Size: 79913 bytes > Desc: AI More than Human_Alter jb.JPG > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190614/be8a0bb8/attachment-0001.jpe> > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: 04. Alter 3_Takashi Ikegami.jpg > Type: image/jpeg > Size: 267302 bytes > Desc: 04. Alter 3_Takashi Ikegami.jpg > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190614/be8a0bb8/attachment-0001.jpg> > > ------------------------------ > > Message: 6 > Date: Fri, 14 Jun 2019 19:15:26 +0200 > From: Aymeric Mansoux <am-li...@bleu255.com> > To: netbehaviour@lists.netbehaviour.org > Subject: [NetBehaviour] XPUB Special Issue 09 - IFL3 / The Library is > Open - 20.06.2019 Rotterdam > Message-ID: <20190614171526.mys667ub5vjzkhgs@tartorium> > Content-Type: text/plain; charset=iso-8859-1; format=flowed > > Sorry for >< please >> > > /// > > Interfacing the Law 3 / The Library is Open > > Thursday June 20th, 2019 > Leeszaal West Rotterdam > 13:30-18:00 > > https://issue.xpub.nl/09 > > /// > > Dear readers, > > The Library Is Open invites you to an afternoon of workshops that make > the operations within libraries visible. Join us in exploring the > actions and roles of legal and extra-legal libraries (municipal, pirate, > academic, +++), their custodians, and the public that form a community > around collections of texts. > > Registration is not necessary, as on arrival you will be assigned to two > workshops. After the first session there will be a short break, after > which the second session of workshops will begin. At the end of the > event we'll have a moment to share the outcomes of the workshops all > together. We'd like you to attend both sessions if possible, in order to > maximise the experience. > > The event is divided into three parallel workshops which will be held > twice, giving participants the opportunity to encounter different > experiences. > > Details about the workshops: https://issue.xpub.nl/09 > > /// > > The Library Is Open is a participatory event developed by the Piet Zwart > Institute's Experimental Publishing program as part of the research > project Special Issue #9: Interfacing the Law, in partnership with > Constant. Interfacing the Law is a recurring thematic project which > looks at how publishing practices develop in accordance, or in > dissonance with legal frameworks. > > Contributors: > Simon Browne, Tancredi Di Giovanni, Paloma Garc?a, Rita Gra?a, Artemis > Gryllaki, Pedro S? Couto, Femke Snelting, Biyi Wen, Bohye Woo > > http://www.pzwart.nl/experimental-publishing/ > > /// > > :* > > > a. > -- > https://bleu255.com/~aymeric > > > ------------------------------ > > Message: 7 > Date: Sat, 15 Jun 2019 06:59:43 +0000 > From: Rob Myers <r...@robmyers.org> > To: netbehaviour@lists.netbehaviour.org > Subject: [NetBehaviour] Links > Message-ID: > > <PBDZPyrp74RYM7cl5o46dJEQ-5TImb8ZPLEcZ_OcqIjecRhUtpoaxYrpexCw6PRfg2tX4EUZm6d0mqKBdCkwMRKr7Mhrdzya2-NbBvz18UA=@robmyers.org> > > Content-Type: text/plain; charset="utf-8" > > "BIY?- Believe it Yourself is a series of real-fictional belief-based > computing kits to make and tinker with vernacular logics and > superstitions." - > > http://automato.farm/portfolio/believe_it_yourself/ > > > Internet Trends 2019 - > > https://www.bondcap.com/report/itr19/ > > > "74 Percent of Bitcoin Mining Powered With Renewable Energy" - > > https://bitcoinmagazine.com/articles/study-74-percent-of-bitcoin-mining-powered-with-renewable-energy > > > "Fewer than five percent of GitHub crypto contributors are female, says > study" - > > https://decrypt.co/7392/fewer-than-five-percent-of-github-crypto-contributors-are-female-says-study > > > "EFF and Open Rights Group Defend the Right to Publish Open Source > Software to the UK Government" - > > https://www.eff.org/deeplinks/2019/06/eff-and-open-rights-group-defend-right-publish-open-source-software-uk-government > > > Analyzing the CryptoKitties smart contract - > > https://usethebitcoin.com/analytics-of-gaming-smart-contracts-by-examining-the-cryptokitties-game/ > > > "Musician Holly Herndon on collaborating with machines and humans" > > https://thecreativeindependent.com/people/musician-holly-herndon-on-collaborating-with-machines-and-humans/ > > > "AI, art, and autonomy: an introduction to the Abraham project" - > > https://www.youtube.com/watch?v=5z_o2ND8I5k > > > "FOAM Location Update and Demo Documentation" - > > https://blog.foam.space/foam-location-update-and-demo-documentation-58162d1ec075 > > > "Algorithms Won?t Fix What?s Wrong With YouTube" - > > https://www.nytimes.com/2019/06/14/opinion/youtube-algorithm.html > > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: publickey - r...@robmyers.org.asc.pgp > Type: application/pgp-key > Size: 578 bytes > Desc: not available > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190615/cc0da713/attachment-0001.bin> > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: signature.asc > Type: application/pgp-signature > Size: 265 bytes > Desc: OpenPGP digital signature > URL: > <https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20190615/cc0da713/attachment-0001.sig> > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > ------------------------------ > > End of NetBehaviour Digest, Vol 584, Issue 1 > ******************************************** _______________________________________________ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
