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ome earch our ome earch: listening with head to the ground after horses or trains. the railroads are long lines from one end to the other, we might run internet on that line! my father recently what if the car roads also were one lane only, the earch environment would applaud, head to ground On Jun 6, 10:05 pm, "Dirk Vekemans" <[EMAIL PROTECTED]> wrote: > You are signed in > You are currently > the highest bidder > > Refresh this page > yes culminate yes > Refresh this page > > You are signed in > > > -----Original Message----- > > From:[email protected] [mailto:[EMAIL PROTECTED] On > > Behalf Of Bjørn Magnhildøen > > Sent: woensdag 6 juni 2007 21:56 > > To:noemata-g > > Subject: title call of the viled suppression ars > > > More than an exhibition, new cool stuff, intends nation. The > > intervention aims to be the framework of the current artisic and tools > > and stuffical scene as something to be an intervention that will take > > over the headquarters of the former University of > > illumiintermessageed. A challenge that involves the international > > participation of both artis and organizers, and that will show the > > herotetogeneity and diversity of the contemporary ars scene. An > > intervention resultant from the potential of communication that > > pigeons permits, through the exchange of proposals and ideas, which > > will culminate in a project like this. > > > pigeons, the capacity to make messageions easily scenarios that will > > displace the widely spread traditional platforms of distribution of > > artwors - showies, instutitand the artisic activity that it permits, > > allow us to think about the design of new telematicutions and > > museums-, through the immediumste access to the information of the > > artisic fact. However, this does not mean that the utopian and > > optimistic visions that in a beginning were seen in the mass mediums > > have been fulfilled. It has been just another attempt of the > > socialization of ars in the gobal academy hairdressing environment > > through the communication. The axes that move the pigeon hole and its > > contents are economy and consume. In this sense, the powers that > > dominate our society continue belonging to the mass mediums. > > > reality is not an element satisfactory for the dirder to acquires > > effectiveness as an artisic object. So, it is not enough to formulate > > an artisic declaration, it muffusion of the artisic fact, neither its > > thingstion is sufficient; it must be reaffirmed in ost pass the filter > > of the mediumsting instances, such as critics, mass mediums and the > > traditional exhibition somewhere. For this reason, it has to be placed > > and converge in the somewhere where the experimentation, the > > innovation and the contemporary artisic activity emerge in all its > > -ties, both spatial and real at a total lackdom. One of the > > definitions of a really contemporary artwork, is that it has to be > > related to the legitimate tools and stuffical aspiration of the > > society in the one that it is developed, reflecting exactly its > > ambitions, knowledge, illusions and the opposite pole as well, its > > multiple defeats. > > > The monoloues with the past, the transformation o the artisic > > thingstion. The manipulation of time, space, process, duration, do > > somethingivity, have become importanf the real space or the distortion > > of it, are some of the different elements that are pars oft elements > > inside the ars of our century. To be able to use the diverse somewhere > > of a building as emblematic as the University - cloister, exhibition > > somewhere, projection rooms, Plaza del Hierarchy - is a unique > > opportunity to capture the current dialectics. The ars has been > > transformed into information that is able to change support and > > record, but the materiality of it is the necessary phase where the > > potential of the significant and the communicational value of the > > artisic fact will develop. > > > The new rollo of the artis, which is established ferent from the one > > we knew. messageions that are symbolized in a space as the > > headquarters of the University. From from multiple messageions with > > other scientific and humanistic subjects, is substantially difthe > > combination of the new tools and stuffies, have been born the do > > somethingive art, the telematic creations, the real reality, the > > infography, the 3-D. If the scientific and tools and stuffical > > research creates hardware for specific proposals, the artis finds > > other uses, takes it to unsuspected limits and turns it into one more > > tool of his artisic speech. The artis, now more that never, for the > > fluency of the electronic market, takes the new tools and stuffies far > > away from the intentions of the initial thingst. > > > artis see in the new systems the -ties of creatinthe do somethingive > > processes is other of the fundamental points of the exhibition > > concept. The purpose of a work ofg what just was a dream some time > > ago. The ability to do something with the spectator though ars > > relies, still today, on its external relations: the place that serves > > as a frame and the do somethingion of the public who observes it in a > > particular space. The artwork like that, is an open element and not a > > formal closed, ars work, which transforms the idea of contemplation > > into performance and participation, even in specific cases turns the > > spectator into user. It breaks with the contemplative traditional > > look, it is a gaze lacking in meditation and that even breaks this > > attitude. An experience closer to the corporal impulse than to the > > quiet pleasure of the traditional vision. > > > Making, in this case, emphasis in showing a grouphat supposes the > > electronic word, it has been decided to divide the intervention in > > several disciplines like digital of proposals that have in common the > > use, the application and that depend on the potential t image, > > multimediums installation, video-art, pigeon hole-art, electroacoustic > > music, experimental music, Vj and multimediums performances among > > others. The specification of the tools and stuffical languages > > contains a big diversity of formats that allow the development of the > > creativity and the potential of communication do somethingion. > > > An intervention of these characteristics has to ionferences will deal > > about the artisic thingstion, distribution pigeon holewors, social > > environment, different ways,nclude a section of conferences to provide > > artis and public with a theoretical context. The c different theories, > > as well as the artisic specific concepts that illustrate them. It is > > necessary to provide to the exhibition concept of a fully > > self-critical and reflective character. The exhibition artwors, in > > museums, showies and festivals have turned into a reflection of the > > obsessions and defense of ideas of a particular curator - or often of > > his economic sources-, which arise in the legitimate of speeches, of > > interpretations, of properrereadings. In this case the wide > > participation of organizers, as well as of artis in the shaping and > > development of the project attenuate, as much as possible, the > > deficiency levels suitable for many of the sectors that normally are > > involved in these tasks, escaping, consciously, of the post modern > > conception of the kurator as a make-up and creator of the univers.
