[NetBehaviour] Art Image Politics Conference University of Southampton UK March 10, Booking Essential, All welcome
Apologies for cross posting Art Image Politics One Day Symposium, University of Southampton Building 58, Murray Lecture Theatre and John Hansard Gallery 10 March 2012 / 9.30am – 6.30pm Booking Essential / Tickets: £10 (includes refreshments, light buffet and evening gallery reception) To book: call 023 8059 2158 or email i...@hansardgallery.org.uk Limited student bursary places are available – for details contact Ronda Gowland Pryde at r...@soton.ac.uk Convened by John Hansard Gallery with SCAN (digital and interdisciplinary arts agency) as part of the extended programme for the exhibition David Cotterrell: Monsters of the Id http://www.hansardgallery.org.uk/exhibition/future.html 11 Feb – 31 March, 2012 Nation States, world power, economic models, the role of the citizen have all been in a state of change and flux over the last ten years. Historically art has been a good reflection of change and in some cases has led the way in reworking policy. There is a resurgence of art work around new political agendas that either reflects directly current world themes or employs predominant new technologies or other materials and concepts inventively to make more subtle comment. While, since its inception, the photographic image has been questioned for its ‘truth’, it is now accepted that images are routinely manipulated and mediated in order to convey a message or context. This one day symposium will address the ways that artists in 21st Century are using new technologies, reflecting new political agendas, and are constructing imagery or concepts to represent the current world situation. Papers will explore issues surrounding the following themes: Image Manipulation and Politics – How much has the ubiquity of image manipulation changed views on current affairs and their authenticity? How have artists responded to this? Hacking, art and the political agenda – Artists have in the post WWII decades manipulated software and hardware to convey ideas and concepts. How are they responding now? How are they dealing with the standardisation of proprietary software and hardware? Is the current trend in content and platform separation appropriate for artists? New display technologies, art and politics – After decades of working within the constraints of the screen or photographic image, artists are beginning to look at new forms of display. How have artists used new display devices as a conceptual tool? Which artists alongside David Cotterrell are using new displays to convey meaning? New Politics and Artist Responses – Artists are beginning to emerge that embody strong political ideas in their work. How are they responding across a range of media? How is this different from previous work that has a strong political agenda? Speakers: Roger Kneebone Professor of Surgical Education at Imperial College London Gunther Kress Professor of Semiotics and Education at the Institute of Education, University of London David Cotterrell Artist, Monsters of the Id Michaela Crimmin Course Tutor, Art in the Public Domain, Curating Contemporary Art Programme, Royal College of Art and Co-Director, Culture and Conflict Carina Brand, Centre for Art, Design, Research and Experimentation, University of Wolverhampton Mafala Dâmaso Department of Visual Cultures, Goldsmiths, University of London Ian Kirkpatrick Southampton-based artist and researcher Helen Sloan Director, SCAN Neja Tomšič Researcher / curator at MoTA – Museum of Transitory Art, Ljubljana, Slovenia Georgina Williams Winchester School of Art, University of Southampton Matthew Cornford Artist, Cornford Cross and Professor of Fine Art, University of Brighton Hydar Dewachi Photographer, artist and engineer Ian Gwilt Professor of Design and Visual Communication, Sheffield Hallam University and Digital Artist ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] link
this amused me so am sharing the find. james. -- badivce: the home of bad advice I can't get this cheap Transformer out of my toilet brush! What's your advice? The first thing you must do is spill things on your toilet brush's long lost uncle, and if you can, get hold of a useful birthday cake. Then, try to use the birthday cake to inflict damage upon the toilet brush's hostage. Then quarantining your toilet brush's snooker table with a sturdy breakfast show. Try it out, and let us know. http://www.badvice.co.uk/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Your Night/My Day US/Iranian Dialogue Project: Round 3 in Second Life
Your Day/My Night: Round 3: Pressure Valve/Virtual Confinement March 7, 2012, 3:48 PM – March 8, 2012, 3:50 PM (SLT/PST) Second Life URL: http://maps.secondlife.com/secondlife/I%20AM%20Columbia/53/68/26 For the past six months, two teams of artists, Iranian (Negin Ete, Sasan Abri, Vana Nabipour) and American (Andrew Blanton, Patrick Lichty, and Allie Pohl), and one Turkish translator (Zeren Goktan), under the facilitation of Morehshin Allahyahri and Eden Unluata have been creating an artistic conversation by creating texts for one another from which the other team responds through the creation of bodies of work. This is the third round of our conversation, where the rules were to abandon the mediation of the translator and try to directly interact for the creation of a work. In this case the Iranian team wanted the Americans to somehow experience the pressures they feel on a daily basis. This is the text they sent us (in Farsi, translated through an online site): “We chose the theme, the constant psychological pressure - sometimes there are tangible physical consequences - that the Iranian middle class people as a natural part of everyday life and being, and perhaps other Adyshdn Frt not sense, but there is continuing pressure is. This pressure can cause a variety of self-censorship, constantly watch their behavior and divided into two parts and is underground. It's more pressure on women and the banned area is larger, perhaps more typically violate her.” “We recommend that your group, this pressure as a tangible experience. You secretly a completely normal life and do not feel guilty, so I put on it and discovered that the act is a crime punishable by law and will be fined. For example, drinking, or kissing, or even a dress is too tight or open Partnrtan. And knowing that this move is illegal, and you can go to prison or flogging Bhkhatrsh eat. Or you can get a dress and with different sizes and all day Bhtn yourself with your shield. Or the belt tighter than usual to close the two numbers, or wear tighter shoes all day with your life.” “We want you to experience this one day, that might seem a minor issue, but continue to be imposed, it can be as seemingly insignificant issues can become a serious problem.” The American team was baffled at first. How do we restrict ourselves while reaching out to the Iranians directly? We decided to confine ourselves to a single room (studio, bathroom, etc.) for 24 hours (Sundown/Sundown) while extending our presence in the online virtual world of Second Life. It is our hope to meet with our Iranian counterparts and dialogue while we are also likewise confined to a tent in Second Life. This is the pressure we impose upon ourselves, in an attempt to understand, however slightly, in solidarity with our Iranian counterparts. About Your Night/My Day,Your Day/My Night Your Night/My Day,Your Day/My Night is a collaborative project curated by Morehshin Allahyari and Eden Ünlüata which excavates the process of the cultural exchange - or lack thereof - between Iran and the United States. The works generated through this project will highlight the dysfunctional nature of cultural exchange between these two cultures. Presently, there are no direct diplomatic, trade, official artistic or intellectual contacts between the US and Iran. All such communication and exchanges take place through third parties which further complicates the relationship and feeds the distrust while making both sides vulnerable to the agendas of third parties. For this project, the process of art making is based on a series of invitations from the curators Morehshin Allahyari and Eden Ünlüata, called Inspiration Notes featuring 11 topics broadly interpreted in multiple cultures. These topics include: tea and coffee, games, shoes, hands, fruits, stickers, fortune telling/future telling, private and public shared lives, time, modern media - TV/Internet and visiting. Through the Inspiration Notes, teams in each country will be asked to write instructions in their native language for the opposite team to perform and document on a given topic. However, before the opposite team receives them, the instructions will travel through an artist/ editor from Turkey who will put them through the Google Translator (FarsiTurkishEnglish / EnglishTurkishFarsi) and edit them as he/she sees fit - For further information and details please see ‘process’ document. Using this 11-part series, we are not only seeking to decipher and depict the nature of the dysfunctional dialogue between Iranian and American cultures, but also seeking to reveal paths through art that may lead to a better understanding between the two cultures. For more about the project, go to: http://yournightmyday.blogspot.com/ ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] ARTISTS SIDE
...WE HOPE ONE DAY... ART /TECHNE/ WITH EXCLUSIVE CREATIVE CONTROL FROM ARTISTS SIDE... ONLY ... COULD BE POSSIBLE ...MANIK...MARCH...2012...___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Networked Video Performance
Thanks everyone for your responses and sorry for taking so long to reply. Although I'm still trying to discover what networked video performance is I'm thinking about it along these terms: * Live, with all participants playing/taking part in real time * Based on the interaction between each participant, not just the technology behind it * The output is the combined result of each participant Thanks also for the links regarding Pure Data (I already use it a lot). I think the specifics of the software that is used don't matter, just that they are able to interact with other software. And also the term network can be on or offline. As long as each participant is connected When I get time I will read through all of the links. Thanks again! Regarding this link http://www.wj-s.org/-news- is there actually any files to download? On 2 March 2012 13:14, lucille c c.luci...@gmail.com wrote: annie abrahams is working on this tool topic since many years (last project= angry women) http://bram.org/angry/women/ suzon fuchs has one too (waterwheel) http://water-wheel.net/ 2012/3/2 helen varley jamieson he...@creative-catalyst.com i just came across this site, http://www.videopong.net - it has an online video mixing tool, but it looks like it's just for one person to use on their own ( perhaps save the mixes, i'm not sure). On 27/02/12 12:52 PM, Antonio Roberts wrote: Is there such a thing as networked video performance? If so, are there any examples or literature surrounding this topic? I provide visuals for a band (BiLE http://www.bilensemble.co.uk/). The six performers are all connected on a local network, sharing messages over osc and manipulating each others' sounds to create one bigger sound. In some pieces they each manipulate sounds from a central source, or server. Has anything like this been explored with VJing? For example, a number of VJs each manipulating one thing or working with the same content to then manipulate it and display it on screen. Or maybe something else... Another band/collective I'm in, Freecode (http://freecodecollective.tumblr.com/), has started to look at this, but so far only by sending video output from each performer to a mixer. I feel this kind of collaboration could go deeper! Any thoughts are welcome -- helen varley jamieson: creative catalyst he...@creative-catalyst.com http://www.creative-catalyst.com http://www.make-shift.net http://www.upstage.org.nz ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- anto...@hellocatfood.com http://www.hellocatfood.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Can glitch art go public?
Which leaves me to believe that your question is a personal one; how far along the sliding scale do you want or can you take glitch art? And when you finally make it to the public space, will the work, although it originated from glitch, still identify as a work of glitch? Very good summary! My worry is that in order to a) make my work more accessible b) reach a wider audience and c) not get rejected for so many public art projects I have to - and I take no joy in saying this - make my work dumber. A commenter on my blog suggested that if I keep doing this people will eventually learn how to read glitch art. I can't remember which essay I read it in, but someone argued that glitch will always be slightly on the outside of art. For me it feels like their's two options: Make my work dumber or endure a long hard battle to make the public glitch artworks more accepted On 6 March 2012 16:27, Rosa Menkman rosa_menk...@hotmail.com wrote: Dear Antonio and others, I think you ask a very simple question that opens up a box full of very complex problems. To not get stranded, I think its important to stress you are not talking about technological glitches (the scary, unwanted break from a technological flow), but glitch (as) art, which is derived from technologically-based glitch but since then has evolved into a more conceptually based art form and discourse. I would say glitch art is often employed to break the conventions that govern the publics expectations of a technology; it relays the publics perspective on a certain technology and shows what else is possible. In this sense, glitch art can also be described as a political or 'educating' act. But this is not always the case; glitch art is nothing new, it has many histories and genealogies. A lot of forms of glitch have become esthetic styles; Glitch art has grown, maybe paradoxically into a popular discourse, with its own dialectics and conventions. As a style you can find it on MTV (not only in Kanye!), or knitted into your HM clothes imported straight from the Bangladeshi labour factories. In the past I have tried to described a view of these glitch genealogies, some examples: from compression artifact to filter; from cd crack affect to sound effect; from circuitbend to simulation; from broken, voided technology to commoditized form. Thus glitch art can be defined following its roots in technological, but also in conceptual, political or esthetical grounds. These are by no means closed-off categories, and as much as they spill over into each other, they also leak into ... some kind of glitch nihilism. About public art. Public art is made for a public, so its meant to attract, at least to a certain extent. This means that there has to be a tradeoff between this glitchy-mess (the scary, uncanny, unwanted technology) and its attract-ability (both physically and mentally). Which leaves me to believe that your question is a personal one; how far along the sliding scale do you want or can you take glitch art? And when you finally make it to the public space, will the work, although it originated from glitch, still identify as a work of glitch? When do you as an artist or as a public find it more interesting to call the work something else? The trade off is between how big of a public you want (or in the case of your denied proposal) can attract and how far, or why, you, as a glitch artist, are willing to slide down the slippery scale. In my opinion, glitch esthetics has already permeated popular culture and is therefor not rare in the public (art) sphere. I am not a purist by any means but my preference in glitch art lies in work that educates, that opens perspectives or technologies and that surprises me. The growing perversion of transgression through glitch in technology, the mystification of the glitch and the glitch esthetics as an ultimate accessory of the public sphere has for many reasons not my preference. However, I see them as the other side of the coin and a definite part of (glitch)society - its part of a modern collective identity that I want part-take in, to be able to consciously reflect upon. However at this time, it was also one of the reasons for me to decline my invitation to the bus-stops project. Warmly, Rosa ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ ⃝ -- .- -.-- / - . / -... --- - ... / .-.. --- --- -.- / --- ...- . .-. / ..- ... ЯOSΛ MEИKMΛN▓██▓ ▒▒ ▒▒ ░ ░ ░ http://rosa-menkman.blogspot.com The Glitch moment/um GLI.TC/H ▓██▓ ▒▒ ▒▒ ░ ░ ░ From: inter...@noemata.net Date: Tue, 6 Mar 2012 14:26:46 +0100 To: netbehaviour@netbehaviour.org Subject: Re: [NetBehaviour] Can glitch art go public? I think Bob has a point. It's when technology works we shold understand it, but when it doesn't work then we don't need to understand and can ignore it. That it doesn't work is rather the same as saying
[NetBehaviour] losing my touch entirely
Jogia sarangi: I can't tell whether this is good or bad. The strings constantly need tuning as the humidity changes. The harmonics are gorgeous. The bow swings wildly. Difficult to pluck the sympathetic strings. Middle string at octave, and lower... Better at: http://lounge.espdisk.com/archives/794 Think I'm losing my touch here. Entirely. http://espdisk.com/alansondheim/goodorbad.mp3 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
