Re: [NetBehaviour] newscientist - analysis shows a small group of companies control the global economy
science has only just worked this out? artists have known it for years ... http://theyrule.net/ On 13/03/12 3:13 AM, Richard Wright wrote: Half of these companies I've never even heard of. I am particularly worried by the company called Dodge Cox... *From: *dave miller dave.miller...@gmail.com mailto:dave.miller...@gmail.com *Date: *11 March 2012 12:15:47 GMT *To: *NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org mailto:netbehaviour@netbehaviour.org *Subject: **[NetBehaviour] newscientist - analysis shows a small group of companies control the global economy* *Reply-To: *NetBehaviour for networked distributed creativity netbehaviour@netbehaviour.org mailto:netbehaviour@netbehaviour.org http://www.newscientist.com/article/mg21228354.500-revealed–the-capitalist-network-that-runs-the-world.html “AS PROTESTS against financial power sweep the world this week, science may have confirmed the protesters’ worst fears. An analysis of the relationships between 43,000 transnational corporations has identified a relatively small group of companies, mainly banks, with disproportionate power over the global economy. The idea that a few bankers control a large chunk of the global economy might not seem like news to New York’s Occupy Wall Street movement and protesters elsewhere. But the study, by a trio of complex systems theorists at the Swiss Federal Institute of Technology in Zurich, is the first to go beyond ideology to empirically identify such a network of power. It combines the mathematics long used to model natural systems with comprehensive corporate data to map ownership among the world’s transnational corporations.” The top 50 of the 147 superconnected companies 1. Barclays plc 2. Capital Group Companies Inc 3. FMR Corporation 4. AXA 5. State Street Corporation 6. JP Morgan Chase Co 7. Legal General Group plc 8. Vanguard Group Inc 9. UBS AG 10. Merrill Lynch Co Inc 11. Wellington Management Co LLP 12. Deutsche Bank AG 13. Franklin Resources Inc 14. Credit Suisse Group 15. Walton Enterprises LLC 16. Bank of New York Mellon Corp 17. Natixis 18. Goldman Sachs Group Inc 19. T Rowe Price Group Inc 20. Legg Mason Inc 21. Morgan Stanley 22. Mitsubishi UFJ Financial Group Inc 23. Northern Trust Corporation 24. Société Générale 25. Bank of America Corporation 26. Lloyds TSB Group plc 27. Invesco plc 28. Allianz SE 29. TIAA 30. Old Mutual Public Limited Company 31. Aviva plc 32. Schroders plc 33. Dodge Cox 34. Lehman Brothers Holdings Inc* 35. Sun Life Financial Inc 36. Standard Life plc 37. CNCE 38. Nomura Holdings Inc 39. The Depository Trust Company 40. Massachusetts Mutual Life Insurance 41. ING Groep NV 42. Brandes Investment Partners LP 43. Unicredito Italiano SPA 44. Deposit Insurance Corporation of Japan 45. Vereniging Aegon 46. BNP Paribas 47. Affiliated Managers Group Inc 48. Resona Holdings Inc 49. Capital Group International Inc 50. China Petrochemical Group Company ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour -- 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] Double Life,,by Olga Kisseleva
Double Life by Olga Kisseleva Conference between Vladivostok and Auvergne, March 16 from 10AM (GMT+1, Clermont-Ferrand) / 8PM (GMT+11, Vladivostok, Russia). Panelists: Olga Kisseleva (artiste), Caroline Bissière (Centre d'art de Meymac), Vera Glazkova (ARKA gallery), Simon Pourret (Transfo) and Double Life participants. Olga Kisseleva invites young artists to become co-author of one episode of the project Double Life, whose main characters combine creative activities with “money-making” professions in everyday life. Each new episode of the project is a video-diptych consisting of a documentary material of the protagonist's life and an artistic endeavor, conceived by the co-author. Olga Kisseleva creates her work in the same way as a scientist would approach their work in biology, geophysics or social science. She observes life and society, then follows a scientific process as she carefully detects a discrepancy, formulates her hypothesis and finds a solution. It is these solutions which are presented as films in her project Double Life, created in collaboration with the Sorbonne‘s Laboratory of sociology and social sciences. The project seeks to understand and define the connection and relationship between a higher intellectualism and social status. She asks the question – ‘Does our society really need artists and intellectuals?’ VIDEOFORMES 3 rue du Maréchal Joffre 63000 Clermont-Ferrand, France http://www.videoformes-fest.com/ March 14 - April 1 ARKA GALLERY 5, Svetlanskaya, Vladivostok, Russia http://www.arkagallery.ru/ March 15 - April 9 -- Other Info: Furtherfield - A living, breathing, thriving network http://www.furtherfield.org - for art, technology and social change since 1997 Also - Furtherfield Gallery Social Space: http://www.furtherfield.org/gallery About Furtherfield: http://www.furtherfield.org/content/about Netbehaviour - Networked Artists List Community. http://www.netbehaviour.org http://identi.ca/furtherfield http://twitter.com/furtherfield ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Moments. A History of Performance in 10 Acts | Opening: March 17 ZKM | Germany.
Moments. A History of Performance in 10 Acts | Opening: March 17 ZKM | Germany. http://moments.zkm.de/ Moments. A History of Performance in 10 Acts :: March 8 - April 29, 2012 :: Opening: March 17; 4:00 pm :: ZKM | Center for Art and Media Karlsruhe, Lorenzstrasse 19, 76135 Karlsruhe, Germany. Moments. A History of Performance in 10 Acts is an international live exhibition on the history of art performance in dance and fine arts. As an exhibition ‘in progress’, the project shows and develops new formats of museal presentation of live acts. The starting point is the interest in the processes of coming to terms with history in so-called re-enactments of historic performances, but which also comes to expression in the recently erupted controversy surrounding the museal presentability of performances by Joseph Beuys in photographic documentation. This is also reflected in the practice of a younger generation of performers and choreographs, such as in numerous historical appropriations and re-enactments. At the center of this is the ‘heroic’ period of the 1960s to the 1980s in which a radical (new) definition of the genre took place in the more intimate dialog between performance movements of fine arts and dance. Moments develops new methodological and interdisciplinary formats of an active and not only museal representation of performance history. During the eight week duration of the exhibition project a scenic act around ten central stages of dance and performance history unfolds — as witnessed by a group of experts invited to accompany and observe for the entire period — before the audience. One of the key focal points is the performances and works by women who have consciously been thematizing, transgressing and critiquing the genre boundaries between dance, performance, and visual media since the 1960s. Here, they likewise reflect on the implicit male constructions of the gaze and the gestural logic of their colleagues. The exhibition begins and ends in an empty space in which a lively exhibition display is built up in a permanent reciprocal movement between historical presence and medial documentation, museal re-presentation and scenic re-appropriation as well as new interpretation. A multiplicity of dialogically spirited situations emerge between performers, witnesses and public. Here, unlike more popular reenactments, recourse to history serves as a face à l’histoire, an active contrast of the historical and the present. Among others, the artists represented in the exhibition will be Marina Abramović, Graciela Carnevale, Simone Forti, Anna Halprin, Reinhild Hoffmann, Channa Horwitz, Lynn Hershman Leeson, Sanja Iveković, Adrian Piper and Yvonne Rainer. The artists themselves document their historical performances in exhibition spaces. In collaboration with colleagues from art and theory (Alex Baczynski-Jenkins, Nikolaus Hirsch, Lenio Kaklea, Jan Ritsema, Christine De Smedt, Gerald Siegmund, Burkhard Stangl, Meg Stuart) Boris Charmatz approaches the documented works scenically and develops on-site a live act in a laboratory situation around this central moment of performance history. The artist Ruti Sela will be documenting this artistic approach to the work of their predecessors by way of film documentaries and will produce a film in the actual exhibition context itself. A group of students at renowned European universities will be accompanying the entire process. Directed by the group Charmatz, and in collaboration with the ZKM | Museum Communication, new performative methods and actions of the mediation of historical performance will be presented to visitors. A publication will appear at the end of the exhibition. Curators and exhibition dramaturgy: Boris Charmatz, Sigrid Gareis, Georg Schöllhammer Display Concept: Johannes Porsch -- Other Info: Furtherfield - A living, breathing, thriving network http://www.furtherfield.org - for art, technology and social change since 1997 Also - Furtherfield Gallery Social Space: http://www.furtherfield.org/gallery About Furtherfield: http://www.furtherfield.org/content/about Netbehaviour - Networked Artists List Community. http://www.netbehaviour.org http://identi.ca/furtherfield http://twitter.com/furtherfield ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] You're invited: Sheroes #8: Marianne Faithfull on Thurs, Mar 22
“The Sheroes raison d’être, and the reason it succeeds, is that it’s cerebral while remaining fiercely emotional.” — The Grid’s Night Shift Is this email not displaying correctly? View it in your browser. Sheroes presents a remix tribute to the Grande Dame Marianne Faithfull latest inductee to the League of Legendary Ladies Featuring headlining performances by U.S. Girls Ulysses Castellanos TORONTO - (Tuesday, March 13, 2012) - Sheroes will be presenting their latest event, Sheroes #8: Marianne Faithfull, on Thursday, March 22 at The Beaver (1192 Queen Street West). The monthly, limited-run art party series — which brings together on and offline works that playfully and peformatively explore the iconography and fan culture surrounding the League of Legendary Ladies — will be co-headlined by U.S. Girls and Ulysses Castellanos. For Sheroes #8: Marianne Faithfull, organizer Rea McNamara has commissioned an impressive lineup of local and international artists and performers. Inspired by the Grande Dame's various personas — the convent-educated waif in lace, the Soho junkie aristocrat, the husky-voiced survivor — these performances, digital animations and interactive installations will reinterpret and remix for one night only our current muse. Sheroes #8: Marianne Faithfull Thursday, March 22, 2012. 10PM. The Beaver (1192 Queen Street West) Contact: Rea McNamara totallyeffyeahsher...@gmail.com Performances Above: U.S. GIrls (AKA Megan Remy) Headliners include a Broken English-inspired performance by Chicago/Toronto DIY ingenue U.S. Girls (the alluring Eno of the 2250s music/persona of Megan Remy, who recently released her third full length “U.S. Girls on Kraak” on Belgian label Kraak), live PA by Toronto performance artist Ulysses Castellanos. Support: Adventure Studies (a returning Sheroes music project by artist Derek Aubichon), emcee extraordinaire Silk Degrees, Sheroes salonnière reeraw and resident DJ NoLoves. Interactive Installation Our popular nail art bar by Smack of the Hand (AKA Brittany Bennington) returns, with free Grande Dame-inspired manis. Projections Above: a screen grab of a specially-commissioned animated GIF from Italian new media artist Chiara Passa for Sheroes #8. Digital Animations by The Global GIF Aristocracy (von Sacher-Masoch Line), a GIF group show projected on the walls of The Beaver. Curated by Lorna Mills, the show will feature the works of A. Bill Miller, Absis Minas, Andrew Benson, Anthony Antonellis, Chiara Passa, Daniel Rehn, Emilie Gervais, Emilio Gomariz, Eva Papamargariti, Francoise Gamma, Gaby Cepeda, Georges Jacotey, Giselle Zatonyl, Grace McEvoy, Haruko Hirukawa, Helen Adamidou, Juan Manuel Morales, Lorna Mills, Manuel Fernández, Oz Melo, Rea McNamara, Rollin Leonard, Sally McKay, Tony Halmos Yoshi Sodeoka. Join our Facebook group Forward to a Friend WATCH: Lido Pimienta's riveting performance at Sheroes #7: Etta James Last month, Colombian darling Lido Pimienta — who was recently featured on NPR Music's Song of the Day — headlined Sheroes #7: Etta James. You can now watch her música glamurosa dramática take on Etta's Woman. What is Sheroes? Sheroes is committed to doing herstory right — reinterpreting and remixing the mythic woman-power that pervades digital and actual cultures, realizing new works from ephemeral and archival artifacts. Our next inductee into the League of Legendary Ladies will be Dolly Parton on Thursday, April 22 at The Beaver. For further information regarding our upcoming events, click here. All Sheroes events are brainstormed and archived online at fuckyeahsheroes.tumblr.com, uniting digital communities with real-time audiences in an ongoing exploration into cultures of fandom and collaborative content creation. Visit the Sheroes Archives for the catalogue of our past events. follow us on Tumblr | add us on Google+ | join our Facebook group | forward to a friend This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 1.0 Generic License. You are receiving this email because we thought you'd be interested in the latest emerging on/offline artistic practices that engage technology community-building. Our mailing address is: Sheroes 51 Margueretta Street Toronto, ON M6H 3S4 Add us to your address book unsubscribe from this list | update subscription preferences ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] The Technological Creation of a Monster in Collusion with the Technological Creation of a Monster
The Technological Creation of a Monster in Collusion with the Technological Creation of a Monster http://www.alansondheim.org/fookit2s.mp4 (12 minutes) with Foofwa and Jonathan and ghosts, as well as Japanese tsunami reportage. [small image because of length] What happens when everything boils over, and nothing occurs: this is the video where nothing occurs. This is the video where ghosts are made and they're made from monsters made from ghosts. It's also a video of preparation for Foofwa d'Imobilite, Pina Jackson in Mercemoriam at The Kitchen as I have often said, but it is not that piece, it is a piece of the creation, by technology, of a monster in collusion. Everything in the world is a cell, and every cell, like every electron, is the identical, not equivalent, cell; what makes the monster _is_ the monster, and what makes a ghost _is_ a ghost. What I am trying to say is that it's 'one and the same,' and it's this 'one and the same' that the video is about; the video is of course in collusion with video. I want to thank Foofwa and Jonathan for allowing me to freely video, not only this, but other, events, that they have been nothing but kind to me and in this life and the 'life of the future' which is now, I will have already paid them back in kind. Thus the monster in collusion with kindness, with power, with electrical energy, and the sound of the voice in earthquake and empty halls in collusion with voice and earthquake, fecund with electrical energy. All choreography and text by Foofwa, lighting by Jonathan. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] CALL 4 PAPERS: PIRATE-CAMP READER
The cultural association KANINCHEN-HAUS with the support of Fondazione Cariplo invites curators, critics, and theorists from different disciplines to submit contributions for the publication of the Pirate-Camp READER, a volume on the theoretical issues related to the project “Pirate-Camp / the Stateless Pavillion” (www.pirate-camp.org) an itinerant artists campsite that took place during the last Venice Biennale. The aim of the publication is to explore, develop and reconsider in a multidisciplinary way the key tropes underlying the pirate-camp project: piracy, extraterritoriality, statelessness, temporary occupation, the camp, understood as potent concept-tools to interpret contemporary artistic and cultural practices. The deadline for submission of abstracts is March 30th 2012. The authors of the selected contributions will be awarded 400 Euros. For further information, please visit: http://www.pirate-camp.org/call-4-papers-pirate-camp-reader/ --- Pirate-Camp http://pirate-camp.org is the first itinerant artists’ camping program created to give free hospitality to a selection of young international artists during the most important contemporary art events worldwide. The first Pirate-Camp took place during the 54th Venice Biennale of Art violating the notorious ban on camping in the Laguna. Pirate-Camp is promoted by the non-profit organization Kaninchenhaus with the support of the Fondazione Cariplo and the patronage of the City of Turin and GAI (Association for the Circuit of the Young Italian Artists) and with the collaboration of the Department for Youth policies of the City of Venice and of Art Enclosures (Residencies for visiting international artists in Venice created and produced by Fondazione di Venezia). The project also involved a network of Italian artist-run spaces. Following Coniglioviola’s “Pirate Attack to Venice Biennale” http://www.coniglioviola.com/en/attacco-pirata-biennale-venezia/ performed by the group in 2007, Pirate-Camp represents the next step in this story. After the attack, time has come for the pirates to halt on the mainland: colonize the territory and share the treasures stored during their long trip, before taking the Sea route again. The Pirate-Camp – filling up the ideal gap between the sea, the pirates’ dominion, and the land, the system’s dominion – is first and foremost a work of art itself. It is the metaphorical representation of the natural and necessary condition of being-an-artist. The analogy between the artist and the pirate/encamped is the pivot concept, both from a symbolic and a philosophical point of view: a status of extra-territoriality which grants the artist a privileged point of view to critically observe and depict the world. Pirate-Camp responds to a need shared by many young artists: the great international art events, such as biennials, fairs or exhibitions, force young people to invest often large amounts of money in travel and lodging. For this reason the creation of a totally free camping has allowed a set number of artists – selected by public competition – to live the experience of these events. Pirate-Camp is an independent project designed by artists for artists. The Residencies we are used to, are generally organized by institutions, museums or private patrons, and seem to work on the unwitting assumption that, not just the work of art, but its creator as well, can be objectified and included in some sort of a private collection. On the other hand, the Pirate-Camp wants to be a living platform, and each and every participant becomes essential to its life. The Pirate-Camp wants to be a great platform supporting the exchange of new ideas and the mobility of young artists. Such a place wants to give life to a collaborative experiment of artistic creation and encourage the development of a collective and solid conscience, creating an international network able to experiment alternative and independent forms of intervention within the contemporary art system. “The Stateless Pavillion” is the title and theme of the 1st Pirate-Camp: an invitation to focus on the theme of extraterritoriality seen as a natural and necessary condition for being-an-artist. A theme which finds it symbolical representation in the project’s two key-figures: the pirate and the encamped. The status of not-belonging-to-any-place (whether real, common, cultural or symbolical), living on the edge, on the one hand consigns the artist to a condition of marginality, on the other it grants him a privileged point of view in representing and discussing the world. The statelessness theme earns a special meaning when related to the context of La Biennale di Venezia, whose absolute peculiarity resides in the representation of national identities. THEMATIC CONTEXT In this historical moment the concepts of belonging-to-place, the idea of having a permanent home in the world, are put radically into question. This
[NetBehaviour] New Super 8mm film
Simon - I'm impressed with this. Some of the drawings remind me a bit of Mervyn Peake. - Edward ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Networked Video Performance
what you have described is true of networked performance in general, not just networked video performance (except perhaps the last point - do you mean that the output also includes input from audience? which is the case in some but not all networked performance). are you only concerned with video? With this I mean each player in the performance. So, if the composer of the piece has decided that they want the audience to be involved then they will have a say in the final output. I'm primarily concern with video as I feel not much research has gone into this area. I don't know everything, but so so my experience has showed me that most networked performance revolves around audio, not video. Antonio On 12 March 2012 10:00, helen varley jamieson he...@creative-catalyst.com wrote: what you have described is true of networked performance in general, not just networked video performance (except perhaps the last point - do you mean that the output also includes input from audience? which is the case in some but not all networked performance). are you only concerned with video? i don't know much about wj-s, i think you need the software on your computer so maybe there is something to downlaod, but i could be wrong about this, you should email ann roguiny. greetings from pondicherry, h : ) On 8/03/12 4:41 AM, Antonio Roberts wrote: 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? -- 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 -- anto...@hellocatfood.com http://www.hellocatfood.com ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] New Super 8mm film
Thanks! Peake was a big inspiration to me for many years. Simon On 13 Mar 2012, at 18:33, Edward Picot wrote: Simon - I'm impressed with this. Some of the drawings remind me a bit of Mervyn Peake. - Edward ___ 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
[NetBehaviour] Session: with Chris Funkhouser and Chris Diasparra and Azure Carter
Session: http://lounge.espdisk.com/archives/796 Have a listen to these - at least a bit of them - if you have the time - thanks, Alan Chris Funkhouser: bass and flute and rhythm Chris Diasparra: tenor sax Azure Carter: sond and vocal on 10 and 11 Alan Sondheim: cc1 and 2 and 10: sarangi cc3 and 11: jogia sarangi cc4 and 7 and 9: oud cc5: melodica and fife cc6: melodica cc8: electric-acoustic oud cc12: cobza cc13: hegelung cc14 and 15: bansari cc16: 5-hole endblown flute individual files for download (may not play on Chrome): http://espdisk.com/alansondheim/cc01.mp3 http://espdisk.com/alansondheim/cc02.mp3 http://espdisk.com/alansondheim/cc03.mp3 http://espdisk.com/alansondheim/cc04.mp3 http://espdisk.com/alansondheim/cc05.mp3 http://espdisk.com/alansondheim/cc06.mp3 http://espdisk.com/alansondheim/cc07.mp3 http://espdisk.com/alansondheim/cc08.mp3 http://espdisk.com/alansondheim/cc09.mp3 http://espdisk.com/alansondheim/cc10.mp3 http://espdisk.com/alansondheim/cc11.mp3 http://espdisk.com/alansondheim/cc12.mp3 http://espdisk.com/alansondheim/cc13.mp3 http://espdisk.com/alansondheim/cc14.mp3 http://espdisk.com/alansondheim/cc15.mp3 http://espdisk.com/alansondheim/cc16.mp3 ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
